THE LOUNGE LIZARDS
Queen Of All Ears - (1998)

John Lurie's so-called "non-jazz" approach is in full flower on this fascinating record. The ever-growing (nine-piece at this point) band builds layers of rhythm and melody with unique effect throughout. On "The Birds Near Her House," a serpentine melodic line weaves through a steady rhythmic bed, building to a frenetic climax. "Scary Children" is a foreboding dirge that still manages to exude true humor. Perhaps that is the most significant aspect of this music: it has real character and life. It doesn't just groove -- it starts a conversation.

http://www.mediafire.com/?g037de99ddy44gv

JOHN LURIE
"Mystery Train" Original Soundtrack Recording - (1989)

This is the soundtrack to Jim Jarmusch's excellent film about various intersecting characters in the underbelly of Memphis. Most of Lurie's compositions are delicate miniatures built around spare, reverbed guitar lines that evoke a haunted, late-night Delta vista. There are much better tasters of either Memphis rock-soul or John Lurie, but for someone who just wants a bit of the flavor of the movie and isn't worried about building serious collections, it's not bad at all. In this posting you will find just the John Lurie songs from the soundtrack.

http://www.mediafire.com/?tgzhdd8mz5fb6cg

JOHN LURIE
"Down By Law" Original Soundtrack - (1988)

If John Lurie's music is most aptly described as "fake jazz" (his own description), then there are few better places to experience its fakeness than here. No matter how that sounds, it's a compliment. Lurie's earliest lineups of his Lounge Lizards featured Arto Lindsay in a deconstructive, crunching mode, and the octet that plays the roughly 19 minutes of music for Jim Jarmusch's cult classic Down by Law features not only Lindsay but also his successor, Marc Ribot, among others. They play 13 atmospheric vignettes (again, in 19 minutes!), always forcing the ear back onto the nuggets, as if Lurie is tugging at you to acknowledge that a) his is a strong, idiosyncratic ear for the meeting of auditory and visual elements; and b) his is a music built out of cells like this, which in future versions of the Lounge Lizards have served as the brick and mortar of his additive compositional techniques. Yes, there's too little music from Down by Law, but you do also get nearly 18 minutes of music from Betty Gordon's Variety, this time played with straighter rhythms, albeit ones with titles like "Porno Booth" and "Garter Belt." The band on the latter film's music is Lurie's after-Lindsay outfit, with his brother Evan on piano. The music is stylized without being overstuffed and aptly sultry and noirish. If anyone had doubts about Lurie's manifold talents, this set should confirm that he's been on similar aesthetic roads to his late-1990s bands for many years.

http://www.mediafire.com/?ytmw2mdymyn

JOHN LURIE
"Stranger Than Paradise" Music From The Original Score - (1985)

John Lurie has never minded throwing curveballs at crowds, and his filmmaker pal Jim Jarmusch has made a career of doing so. When they got together for Lurie to act in and compose music for Stranger than Paradise (and, of course, Down by Law), the combo worked like magic. Lurie's aloof distance on screen was well matched with his own music for string quartet, much of it crossing wires between the eerie and the aloof. There's a sense of strangeness in the music, played wonderfully by the Paradise Quartet, with Eugene Moye eking every burnished texture under the sun from his cello. When it comes time to tackle the 16-minute Resurrection of Albert Ayler, the Paradise Quartet's violinists Jill Jaffee and Mary Rowell help set an atmosphere not unlike Ayler's Live in Greenwich Village band. With two percussionists, a kit drummer, Curtis Fowlkes on trombone, Arto Lindsay on guitar, and himself on alto and soprano saxes, Lurie imagines Ayler's supersimple melodic sensibility correctly, as a launching pad for improvisation and expression. That said, Resurrection doesn't ultimately soar like Ayler but instead generates drifting clouds of low strings and percussion.

http://www.mediafire.com/?4thteynz34y

THE LOUNGE LIZARDS
Voice Of Chunk - (1988)

After a few revisions to the band's lineup, John Lurie had a brilliant cast for his Lounge Lizards' Voice of Chunk, which came out on his private label in 1989. Now that Lurie's got his strong Strange & Beautiful label, Voice is in wide circulation. And that's a good thing. It's probably the best work this lineup of the Lizards had to offer. Keyboardist Evan Lurie and guitarist Marc Ribot show themselves clearly up to fulfilling the leader's noirish, additive aesthetic. Additive, you ask? Lurie's a builder. He takes small cells, little turns of phrase, and then layers instruments, approaching the nugget, making for muted thrills as listeners glean the simplicity of the melodies and the sophistication of the instrumental combination (Roy Nathanson on saxophones, Curtis Fowlkes on trombone, percussionist E.J. Rodriguez, drummer Dougie Bowne, and bassist Erik Sanko round out the octet). The solos appear more ascetic, or at least more downturned, in their key signatures and structures. If you're wondering where to find a window on Lurie, a fantastic guy with soundtrack and film credits galore, this is as fine a place to look as any.

http://www.mediafire.com/?tmttj2n0dhk

THE LOUNGE LIZARDS
The Lounge Lizards - (1981)

One might be forgiven for mistaking the Lounge Lizards' debut album for a traditional jazz release at a glance, what with the two Thelonious Monk covers and the participation of producer Teo Macero (who had previously worked with such heavyweights as Miles Davis, Dave Brubeck and Ella Fitzgerald, to name just a few). No, while there's definitely great respect shown here for the jazz tradition, the members are obviously coming at it from different backgrounds — most especially guitarist Arto Lindsay, whose occasional atonal string scraping owes far more to his experience in New York City's no wave scene than to quote unquote traditional jazz. In fact, the two aforementioned Monk covers seem a strange choice when you actually hear the band, which has more in common with sonic experimentalists like Ornette Coleman or Sun Ra. That's not to say that this is too experimental; saxophonist and lead Lizard John Lurie knows when to blow noise and when to blow melody, and ex-Feelies drummer Anton Fier manages to infuse a good rock feel into the drum parts even when he's playing incredibly complex rhythms. The end result is a album that neatly straddle both worlds, whether it's the noir-ish "Incident on South Street," the art-funk of "Do the Wrong Thing," or the thrash-bebop found in "Wangling". (allmusic.com)

http://www.mediafire.com/?2yjjulqdnnj