Alejandro Jodorowsky - Soundtracks [EAC-FLAC] [RePoPo]

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Alejandro Jodorowky Soundtracks

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CD: Alejandro Jodorowsky & John Barham - El Topo

YEAR: 1971



01. Entierro Del Primer Juguete (Burial Of The First Toy) [0:02:29.32]

02. Bajo Tierra (Under The Earth) [0:01:39.39]

03. La Catedral De Los Puercos (Monastery Of The Pigs) [0:01:32.54]

04. Los Mendigos Sagrados (The Holy Beggars) [0:02:30.74]

05. La Muerte Es Un Nacimiento (Death Is Birth) [0:02:17.67]

06. Curios Mexicano (Mexican Curios) [0:02:36.52]

07. El Agua Viva (Living Water) [0:01:17.37]

08. Vals Fantasma [0:03:16.69]

09. El Alma Nace En La Sangre (The Soul Born In The Blood) [0:02:44.09]

10. Topo Triste [0:02:43.50]

11. Los Dióses De Azúcar (The Sugar Gods) [0:01:38.60]

12. Las Flores Nacen En El Barro (Flowers Born In The Mud) [0:01:51.49]

13. El Infierno De Los Angeles Prostitutos (The Hell Of The Prostituted Angels)

[0:01:53.70]

14. Marcha De Los Ojos En El Triángulos (March Of The Eyes In The Triangles)

[0:01:36.65]

15. La Miel Del Dolor (The Pain Of The Honey) [0:01:07.48]

16. 300 Conejos (300 Rabbits) [0:00:55.71]

17. Conocimiento A Través De La Música (Knowledge Through Music) [0:00:35.20]

18. La Primera Flor Después Del Diluvio (The FIrst Flower After The Flood)

[0:03:29.38]







CD: Alejandro Jodorowsky - The Holy Mountain



01. Trance Mutation [0:03:31.73]

02. Pissed and Passed Out [0:01:48.33]

03. Violence of the Lambs [0:02:03.06]

04. Drink it [0:01:38.02]

05. Christs 4 Sale [0:00:43.70]

06. Cast Out and Pissed [0:01:47.57]

07. Eye of the Beholder [0:02:17.14]

08. Communion [0:01:23.52]

09. Rainbow Room [0:04:40.69]

10. Alchemical Room [0:04:14.45]

11. Tarot Will Teach You/Burn Your Money [0:08:44.66]

12. Mattresses, Masks & Pearls [0:05:53.25]

13. Isla (The Sapphic Sleep) [0:02:21.53]

14. Psychedelic Weapons [0:01:12.16]

15. Rich Man in a Fishbowl [0:04:09.19]

16. Miniature Plastic Bomb Shop [0:03:14.29]

17. Fuck Machine [0:03:12.56]

18. Baby Snakes [0:01:21.05]

19. A Walk in the Park [0:01:31.06]

20. Mice and Massacre [0:03:27.30]

21. City of Freedom [0:03:22.08]

22. Starfish [0:02:21.66]

23. The Climb/Reality (Zoom Back Camera) [0:04:15.05]

24. Pantheon Bar (Bees Make Honey...) [0:03:42.56]







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Alejandro Jodorowky's Biography

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Biography by Keith Phipps



Born in 1929 in Chile to Russian-Jewish immigrants who owned a dry-goods store,

Alejandro Jodorowsky seems an unlikely candidate to become one of the godfathers

of the American midnight-movie scene. But essentially every turn in his career

has been unlikely, a career that has found Jodorowsky taking on the roles of

director, screenwriter, author, actor, cartoonist, editor, artist, composer,

mime, guru, mystic, and tireless self-promoter. A famed raconteur, it's

occasionally difficult to sort the facts of Jodorowsky's early life from the

myth. Entering the theater at an early age, Jodorowsky eventually enrolled at

the University of Santiago, where he developed an interest in puppetry and mime.

After creating a theater company that, at its height, employed 60 people,

Jodorowsky departed for Paris, breaking with his parents and, according to

Jodorowsky, throwing his address book in the sea.

Once in Paris he began a lengthy collaboration with Marcel Marceau,

collaborating on some of his most famous mimeograms. He also worked both in

mainstream theater (directing Maurice Chevalier's comeback) and offbeat

productions. For the next few years, Jodorowsky would alternate between working

in Mexico City and in Paris, developing his interest in the avant-garde and

staging the playwrights who would be major influences on his film career,

including Samuel Beckett, Ionesco, and August Strindberg, and the surrealists.

Of special importance would be Theater of Cruelty champion Antonin Artaud and

Spanish playwright Fernando Arrabal, with whom he launched the Panic Movement

(from the god Pan) in conjunction with artist Roland Topor. By the mid-'60s, the

Panic Movement began yielding full-fledged "ephemeras" or "happenings,"

theatrical events designed to be shocking. One four-hour ephemera starred a

leather-clad Jodorowsky and featured the slaughter of geese, naked women covered

in honey, a crucified chicken, the staged murder of a rabbi, a giant vagina, the

throwing of live turtles into the audience, and canned apricots. This

privileging of the provocative above all other qualities would prove to be a

sign of things to come in Jodorowsky's early film career.

While working in the theater as one of Mexico City's most in-demand directors

and concurrently turning out a comic strip entitled Fábulas Pánicas, Jodorowsky

first tried his hand at directing a film in 1967. For his first project, he

chose to adapt the Arrabal play Fando and Lis, which Jodorowsky had recently

staged. Working on weekends from a one-page outline and his own memory of the

script, Jodorowsky shot the story of two quarrelling lovers looking for the

magical city of Tar. Fando and Lis would go on to be banned in Mexico after

starting a riot at the 1968 Acapulco Film Festival, an event that forced

Jodorowsky to flee an angry mob in a limousine. The film would next resurface to

poor response in New York in 1970, garnering unfavorable comparisons to Fellini

Satyricon.

It wouldn't take long for the pain of rejection to wear off. In December of

1970, Jodorowsky premiered his next film, the self-starring El Topo, at a

midnight screening at the Elgin Theater in New York, bypassing the tumultuous

Mexican scene entirely. Ignoring criticism that Fando and Lis owed too much to

other directors, the nightmarish allegorical Western El Topo practically

announced its debts to Fellini, Luis Bunuel, and Sergio Leone. If audiences

minded, it didn't show. El Topo became a cult sensation and the first midnight-

movie hit.

After a few months of underground success, El Topo attracted the attention of

the critics, who were fiercely divided. Pauline Kael and Vincent Canby fell

firmly in the anti-Jodorowsky camp, but a number of publications embraced El

Topo as a masterpiece. "El Topo is a quest for sainthood," Jodorowsky claimed,

but it was also a highly unpolished piece of filmmaking not above exploiting

violence for kicks and throwing in copious amounts of misogyny and

voyeuristically staged lesbian sex. Regardless of the split, the film played on

as a midnight sensation in a theater thick with eager fans and marijuana smoke.

Time has been less kind. Unlike other midnight movies — such as the work of John

Waters and George Romero — El Topo's reputation hasn't grown over the years,

perhaps because it's a film virtually inseparable from the moment that produced

it, a blood-soaked counterculture parable for the post-1968, post-Altamont,

post-Manson era.

At the suggestion of John Lennon, El Topo was acquired by Allen Klein's Abkco

Films. Abkco also produced the even more extreme follow-up Holy Mountain, which

failed to build on the success of its predecessor. In 1975, Jodorowsky, now

living in Paris, announced his next project, an adaptation of Frank Herbert's

sci-fi epic Dune starring Brontis Jodorowsky, Alexandro's son. Orson Welles,

Gloria Swanson, and Salvador Dali were also on board, but the film never got

past the production stage. Almost as intriguing as the cast was the development

talent Jodorowsky employed, which included writer Dan O'Bannon and the artists

Jean Giraud (aka Moebius), Chris Foss, and H.R. Giger. (All four would

eventually work together on Alien.) Pink Floyd and the prog-rock group Magma

were also reportedly on board to provide the score. If nothing else, the failed

Dune project marked the start of Jodorowsky's long friendship and collaboration

with Moebius, with whom he has worked on a number of comic book projects.

His next film project, Tusk, told the family friendly story of the bond between

an English girl and an Indian elephant. It remains rarely seen and Jodorowsky,

citing differences with its producers, has disavowed it. Production difficulties

included the fact that instead of receiving 1,000 elephants with which to work,

he received seven; and instead of a budget of five million dollars, he received

1.5 million. By the end of the '80s, Jodorowsky's time seemed to have passed

along with the counterculture that supported him. But in 1989, he staged a

surprising comeback with Santa Sangre, a surrealistic horror film that attracted

considerable cult interest. Produced and co-written by Claudio Argento (brother

of Dario Argento), it contained many moments of Jodorowsky's trademark for-its-

own-sake bizarreness within a relatively coherent story and the handsomest

filmmaking of the director's career. Despite a cast that included Omar Sharif,

Peter O'Toole, and Christopher Lee, its follow-up, The Rainbow Thief, fared far

less well and Jodorowsky seemed to disappear from filmmaking yet again, although

he continued to conduct weekly seminars in his own self-styled amalgam of Jung

and Tarot card-derived spirituality. In the late '90s, he announced plans to

film Abelcain, a semi-sequel to El Topo. Due to copyright disputes with Klein,

Jodorowsky was forced to change his protagonist's name from El Topo to El Torro.







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EXTRACT FROM EAC LOG FILE

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008



EAC extraction logfile from 10. June 2009, 10:33



Alejandro Jodorowsky & John Barham / El Topo



Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0



Read mode : Secure

Utilize accurate stream : Yes

Defeat audio cache : Yes

Make use of C2 pointers : No



Read offset correction : 102

Overread into Lead-In and Lead-Out : No

Fill up missing offset samples with silence : Yes

Delete leading and trailing silent blocks : No

Null samples used in CRC calculations : Yes

Used interface : Installed external ASPI interface

Gap handling : Appended to previous track



Used output format : User Defined Encoder

Selected bitrate : 1024 kBit/s

Quality : High

Add ID3 tag : Yes

Command line compressor : F:Archivos de programaExact Audio

CopyFLACFLAC.EXE

Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T

"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o

%d





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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008



EAC extraction logfile from 10. June 2009, 10:05



Alejandro Jodorowsky / The Holy Mountain



Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0



Read mode : Secure

Utilize accurate stream : Yes

Defeat audio cache : Yes

Make use of C2 pointers : No



Read offset correction : 102

Overread into Lead-In and Lead-Out : No

Fill up missing offset samples with silence : Yes

Delete leading and trailing silent blocks : No

Null samples used in CRC calculations : Yes

Used interface : Installed external ASPI interface

Gap handling : Not detected, thus appended to

previous track



Used output format : User Defined Encoder

Selected bitrate : 1024 kBit/s

Quality : High

Add ID3 tag : Yes

Command line compressor : F:Archivos de programaExact Audio

CopyFLACFLAC.EXE

Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T

"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o

%d









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IMPORTANT: PLEASE READ (A REQUEST)

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I've often found one comment (negative) on a movie/CD downloaded by 2000+

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