Uninhibited 1995 Rapidshare
Uninhibited 1995 Rapidshare https://urllie.com/2trmEK
Following up Riccardo's fine series of big band recordings, here's another one, going back to 1963 and South Africa. This is from a cd re-release in 1991 of the original lp released on Teal Records back then, though listening to it, it sounds as if it was sourced from the original vinyl. This came into my hands via several intermediaries, originating with Chris McGregor's son, if I remember correctly. Thanks to all and sundry. This is one that belongs up on the blogs. It was posted in the past, but this should in any case be an audio upgrade.The basic facts:Chris McGregor & The Castle Lager Big Band - Jazz - The African Sound (1991 Teal TELCD 2300)1. Switch (Kippie Moeketsi)2. Kippie (Dollar Brand)3. Eclipse At Dawn (Dollar Brand)4. Early Bird (Chris McGregor)5. I Remember Billy (Kippie Moeketsi)6. Now (Chris McGregor)saxes:Dudu Pukwana (Lead alto), Barney Rachabane (2nd alto), Nick Moyake (tenor), Christopher Columbus Ngcukane(baritone) and Kippie Moeketsi (alto and clarinet)trombones:Bob Tizzard (lead), Blyth Mbityana and Willie Nettietrumpets:Dennis Mpali (lead), Ebbie Creswell, Mongesi Feza and Noel Jonesbass:Sammy Maritzdrums:Early MabusaPiano:Chris McGregorRecorded 16th and 17th September 1963 by Alan BoyleRemastering Richard Austen, Downtown StudiosCastle Lager is, as one can see above, a South African brewery, and the promoter of an annual jazz festival, the Cold Castle Jazz Festival, at which the band played in 1963. The brewery also agreed to sponsor a 17-piece big band with musicians of McGregor's choice. But finding concert outlets were more difficult as the brewery was only prepared to sponsor concerts in the black townships, but not in the \"white\" venues which would have given much better exposure for the band, nationally as well as overeseas. But with the initiative and tenacity of Maxine McGregor, two concerts was organised in the Johannesburg Playhouse and were a resounding success, according to reviews in the papers. All of this is vividly recounted in Maxine's McGregor's biography, \"Chris McGregor and the Brotherhood of Breath\", published by Bamberger Books in 1995. Required reading for the whole story of the Blue Notes and the Brotherhood, up to the death of McGregor in 1990.Here's a picture from the book:Musically, the blend of styles was apparent - southstream as derived from mainstream, but yet different. As one reviewer put it; \"While admitting the obvious influence of American jazz on its South African counterpart (it is impossible to discount the tremendous impact of Ellington alone), South African jazz has a character and expression of its own - gay, warm, exceedingly good-humoured, uninhibited and vital\". And, \"this is a big bustling, muscular blending of the old familiar swing with a flavour which anybody who has listened to African music in recent years will recognise as springing straight from the townships. At times this flavour is most subtly imparted, but it is always there\".So, with these few words, a happy new year to all ... and cheers!
Take an uninhibited journey into the sensual mind's eye with these illicit tales of lust, longing and the fulfillment of your most carnal desires. From sinfully exciting to outrageously indulgent, this stunning new collection will leave you breathless... for more.
Liberated and uninhibited photojournalist Emanuelle (the ever-delicious Laura Gemser in peak yummy form) once again finds herself in considerable peril and enjoys her usual array of torrid carnal encounters while posing undercover in a prostitution ring that traffics in white slavery. Director Joe D'Amato, who also co-wrote the cheerfully raunchy script with Romano Scandariato, relates the eventful story at a brisk pace, maintains a blithely sleazy tone throughout, and captures the merry spirit of the 70's sexual revolution in the carefree pre-AIDS era of safe sex with total strangers. Naturally, D'Amato not only loads this picture with oodles of scrumptious bare female skin and sizzling soft-core couplings, but also covers the satisfying sensuous bases by including a wide variety bawdy pleasures that include straight copulation, lesbianism, masturbation, an especially hot'n'steamy threesome, and even a couple of (off-screen) gang bangs for good sordid measure. The sturdy cast of familiar solid pro Italian exploitation faces keeps the movie humming: The luscious Ely Galleani as Emanuelle's lusty'n'loyal gal pal Susan Towers, Gabriele Tinti as slimy flesh-peddler Francis Harley, Venantino Venantina as secretive businessman Giorgio Rivetti, and Pierre Marfurt as the dashing Prince Arausani. Special kudos are in order for Nicola D'Eramo as creepy transvestite Stefan, whose unexpected kung-fu fight set piece in a bowling alley provides a definite wacky highlight. The exotic globe-trotting locations add an impressive sense of scope. D'Amato's glossy cinematography makes neat and invigorating use of a constantly moving camera. Nico Fidenco's funky-throbbing score hits the get-down groovy spot (the catchy thumping disco theme song \"Run, Cheetah, Run\" is a real hoot!). An immensely fun drive-in flick.
In the near future(..during George W Bush's *fourth* Presidential term!),a commando unit(..the Z Squad)are called upon by governmental scientists to eradicate a compound riddled with zombies thanks in part to the release of a chemo-virus..this virus was designed to reanimate soldiers for combat against the enemy. One of the unit is bitten, escapes from the compound in fear that he will be shot, and finds himself in an illegal strip joint. Biting the *star* stripper, Kat(porn star Jenna Jameson), he is put away in the basement at the insistence of lecherous scheming germaphobe, Ian(Robert Englund, having the time of his life) who runs the illegal stripper establishment. Ian realizes potential when Kat, who, now a zombie, seems to be an even better stripper dead than alive, as the response by those in attendance is overwhelmingly positive. Seeing dollar signs as lusty males seeking a new brand of entertainment are entering with green to throw around, Ian will allow Kat to continue working even though she craves human flesh and often eats her lap-dance-clients! Soon other strippers are profoundly interested in experiencing what Kat has..becoming a zombie so that they can achieve the level of popularity and admiration showered upon her. It seems that, once bitten and turned into a zombie, the strippers seem more willing to satisfy their audience, athletically superior(..the way they take to the pole displays their new found ability)than ever before, and go for broke on the stage, uninhibited and free without restraint, not holding back..and, in turn, winning the adulation of males only more than willing to go back stage with them not knowing that they are to be on the zombie menu. Meanwhile, the Z squad are on the look-out for the member who got away, soon to find their way into the stripper club. At first, Ian is able to contain those bitten by the zombie strippers, using his hired help to imprison them in a cell in the basement, only to lose control once they are freed after a series of unforeseen circumstances.Well, if you are looking for zombie carnage, gory flesh-ripping, CGI heads exploding, strippers swinging the pole as the male audience, eyes bulging, cheer in unison with dollar bills raining on the stage, then this will more than satisfy. The film features Englund easily walking away with the movie, with Jameson perfectly cast(..not sure this is a compliment, though)as the star stripper(..I like how the door to her isolated dressing area has a star written in crayon to establish her as the headlining girl of the club). As the film progresses, the zombie strippers' flesh slowly rot, their eyes an eerie black, as they continue performing admirably for the crowd. Features some stunning gore, like a face ripped apart at the mouth and a head pried apart, the skull forced open revealing the brain as the zombie eats away. A very funny sequence features a victim, turned into a zombie, attempting to bite with his lower jaw hanging and tongue sticking out, wagging. There are backstage dramas/comedy featuring the variety of strippers, in constant competition/conflict with each other, and their response to Kat's emergence as a greater threat when the customers embrace her new persona on stage.A sub-plot concerns farm-girl Jessy(Jennifer Holland), needing cash to help her grandmother(Nana), during a crisis of faith, questioning life having been brought up in a Christian environment, and how her decision to possibly perform affects boyfriend Davis(John Hawkes)and fellow melancholy stripper, Berengé(Jeannette Sousa)who often finds her peers annoying and trivial, rolling her eyes and scoffing at their behavior. Carmit Levité is Ian's trusty aid, Madame Blavatski, often providing ideas that he can utilize to make a profit, a foreigner often waxing nostalgia over memories of her homeland. Asante Jones is Terrence, Ian's MC who also helps him store away victims, rather reluctantly. Joey Medina is janitor, Paco, his Latin ethnicity used as a constant running gag(\"Badgers!We don't need no stinking badgers!\"). Shamron Moore is Kat's arch nemesis, Jeannie, striving to achieve top-level status as the very best stripper of the club, and often failing despite going the distance for her audience(..who are now transfixed with the new wave of zombie-stripping). While many will flock to see this because of Jameson who gets top billing, I thought Roxy Saint, as the raven-haired goth Lilith(..who secretly admires Kat)was quite a babe as well, emerging as a possible future horror star in the making. While I really enjoyed the practical gore effects, the CGI splatter where heads explode, when machine guns are used, less impressed me. Some nasty flesh devouring delivers the bloody goods. I wasn't particularly fond of the ridiculous, over-the-top supernatural abilities that take precedence over the story as Kat and