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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
-------------------------------------------------------------------------------


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. 



-------------------------------------------------------------------------------
                           EXTRACT FROM EAC LOG FILE
-------------------------------------------------------------------------------

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


-------------------------------------------------------------------------------

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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