Music And The Mind Machine

Formed in 1991, The Spacious Mind have since become known as one of the world's leading psychedelic bands. Their music owes as much to the acid haze of the San Francisco ballrooms in the late 60's, as it does to the unknown areas of space, heart and time. The twin guitars are battling over a steady drums/bass background, while the atmospheric keyboards are swirling in and out of your mind, and together they create a melancholic tapestry of sounds that should please anyone into consciousness raising or simply the message of Love.

Paul McCartney - McCartney II (1980) {3CD+DVD5 Set, Deluxe Edition, Archive Collection, Hear Music HRM-32800-00 rel 2011}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 784 Mb | MP3 @320 -> 299 Mb
DVD5 -> 2.45 Gb | All Regions | NTSC 16:9 | English (LinearPCM, 2 ch) | ~ 124 m | ISO Image
Full Artwork @ 300 dpi (jpg) -> 479 Mb | 5% repair rar
© 1980, 2011 Concord / MPL / Hear Music | HRM-32800-00
Rock / Soft Rock / Contemporary Pop

Digitally remastered and expanded deluxe four disc (three CDs + DVD) edition of the former Beatle's 1980 solo album. McCartney II was McCartney's return to solo work after nine years touring and having released several massively successful albums with Wings. Reaching #1 in the UK, and #3 in the U.S., the album produced enduring classics such as "Coming Up," "Waterfalls," and "Temporary Secretary." The bonus CDs includes previously unreleased demos and live tracks. The DVD contains videos and previously unreleased footage. The lovingly packaged 4 disc (3 CD, 1 DVD) Deluxe Edition of McCartney II not only includes an exclusive bonus DVD featuring rare and previously unseen footage (including performances of ‘Coming Up’ and the new video for the unreleased track ‘Blue Sway’) but includes an additional seven rare bonus audio tracks exclusive to this edition.

Che’Z Enrique Collins (born January 1, 1990), known as The Enigma TNG, is an American music composer and YouTuber. Before becoming “The Enigma TNG,” Che’Z created older original tracks as a young teen. Gaining inspiration from artists such as Skrillex, Deadmau5, The Birthday Massacre and many others, he began creating his tracks in FL Studio.

As the Soft Machine moved further away from rock on Third and Fourth, drummer/vocalist Robert Wyatt's dissatisfaction with the band's direction grew and, by the time sessions started for Fifth in late 1971, he had left permanently to form Matching Mole. While the instrumental Fourth had forayed deep into jazz-rock territory, Fifth found the Soft Machine working almost completely in the jazz idiom. At the time of Wyatt's departure, keyboardist Mike Ratledge commented that the band's co-founder had "never enjoyed or accepted working in complex time signatures." However, Wyatt's replacement - Phil Howard - didn't prove to be the kind of timekeeper Ratledge and bassist Hugh Hopper had in mind and his free jazz orientation led to his dismissal during the recording of the album…

The Owsley Stanley Foundation, in partnership with the Ali Akbar College of Music in San Rafael, CA, is pleased to announce the sixth release from Owsley’s storied archive of live concert recordings – Bear’s Sonic Journals: That Which Colors the Mind, a previously unreleased 1970 live concert featuring one of the greatest masters of Indian classical music, Ali Akbar Khan (sarod), accompanied by Indranil Bhattacharya (sitar) and Zakir Hussain (tabla).

In 1969, Soft Machine were commissioned to provide music for a multimedia show at the Roundhouse in London. As Hugh Hopper writes in the liner notes, "they wanted a backing tape of suitably deranged and doomy sounds," and the group (augmented in parts by saxophonist Brian Hopper) delivered suitably abstract music that was high on improvisational challenge and low on melody. This 67-minute CD was compiled from music used in the show. It varies from off-kilter planetarium-type sounds (especially evident in Mike Ratledge's astral electric keyboards) to background-type instrumental jazz-rock to bordering-on-clamorous noisy improv (especially on the 32-minute "Spaced Four"). The sound quality is good, but this is, after all, work that was recorded as a supplement to a performance art event, with a different purpose in mind than home listening…