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    320 kbps | 100 MB | LINKS

    Tracks:
    1. With Or Without You (Remastered) [4:55]
    2. With Or Without You (Live From The Joshua Tree Tour 2017) [5:19]
    3. I Still Haven’t Found What I’m Looking For (Remastered) [4:37]
    4. I Still Haven’t Found What I’m Looking For (Live From The Joshua Tree Tour 2017) [4:11]
    5. Where The Streets Have No Name (Remastered) [5:36]
    6. Where The Streets Have No Name (Live From The Joshua Tree Tour 2017) [6:46]
    7. In God’s Country (Remastered) [2:56]
    8. In God’s Country (Live From The Joshua Tree Tour 2017) [3:18]


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    Έλληνες, από τη Θεσσαλονίκη, είναι οι Dimorfia, με το Utopia [Private, 2017] να αποτελεί το πρώτο ολοκληρωμένο CD τους. Τι παίζουν οι Dimorfia; Από το εξώφυλλο, και από το όνομα ακόμη-ακόμη, όλοι μπορούν να το υποθέσουν. Μέταλλο. Μεταλλικοί λοιπόν, αλλά με τα δικά τους επιμέρους χαρακτηριστικά.
    ajazz%2Bdimorfia.jpg
    Είναι power μπάντα οι Dimorfia, με πολλά όμως μελωδικά και progressive χαρακτηριστικά. Δίνουν βάση θέλω να πω στις μελωδίες τους (και καλώς πράττουν), με τα φωνητικά τους να είναι κατά το μάλλον ή ήττον οπερατικά και συχνά ομαδικά (εδώ μου θυμίζουν τους Therion και άλλους πολλούς), αφήνοντας (και) στα πλήκτρα πολλούς κενούς χώρους για να τους γεμίσουν. Ναι, έχουν κιμπορντίστα ή πληκτρά (πείτε τον όπως θέλετε) οι Dimorfia και αυτός είναι ο Stathis X(ένα από τα έξι βασικά μέλη του γκρουπ), ενώ οι υπόλοιποι είναι οι Maria Loti φωνή, φωνητικά, Kimon Pantelidakis ρυθμικές, lead κιθάρες, Nikos Giogas ρυθμικές, ακουστικές, lead κιθάρες, Kleanthis Xenitidis μπάσο και George Baltas ντραμς, κρουστά, lead και backing φωνητικά.
    Το γκρουπ τα καταφέρνει μια χαρά, σχεδόν στα πάντα. Και όταν λέω «στα πάντα» εννοώ πως έχουν και αναφορές (πολύ ωραία ενταγμένες στο σύνολο) από είδη μουσικά, που δεν τα φαντάζεται, ενδεχομένως, ο απλός φίλος μεταλλάς. Και αναφέρομαι βασικά στα ethnic στοιχεία στο “Witch in veil white” και όχι τόσο στις art-rock επιρροές, που είναι, εν πάση περιπτώσει, πιο κατανοητές. 
    Αν υπάρχει κάποιο ζητηματάκι με το “Utopia” αυτό έχει να κάνει κυρίως με την παραγωγή, που συχνά είναι/ακούγεται κάπως flat. Χωρίς το απαιτούμενο «βάθος» εννοώ και το… τρισδιάστατο του πράγματος (πρόσεξε το ποδοβολητό στα ντραμς, που ακούγεται ξέπνοο, όπως και το rhythm section γενικότερα, που δεν προσφέρει τον απαιτούμενο όγκο).
    Έχουν πολλά προσόντα οι Dimorfia, με σημαντικότερο φυσικά το να γράφουν καλά τραγούδια, όπως και το να τα τραγουδάνε με πρωτότυπο τρόπο. Δεν χρειάζονται πολλά, για να ανεβούν πολλές θέσεις ή και να πλησιάσουν προς την κορυφή σ’ αυτό που κάνουν.

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    Various Artists
    Soul Jazz Records Presents Studio One Supreme: Maximum 70s & 80s Early Dancehall Sounds
    (Soul Jazz Records, 2017)
    more details


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    320 kbps | 102 MB | LINKS

    In 2014, Annie Clark’s career could not have been going better. After years of carving out her place as a cult hero, the singer-guitarist – who records as St. Vincent – found a surprising level of success with her fourth LP, St. Vincent, which reached Number 12 on the album charts. Clark toured the world, fronted Nirvana at their live reunion at the Rock and Roll Hall of Fame induction ceremony and turned in one of the more memorable Saturday Night Live performances in recent years, playing inside a giant box and doing strange choreography between fuzz-guitar outbursts.
    But if you ask Clark, that period wasn’t a lot of fun. “I was going out of my mind,” she says. “I was on the road constantly and just trying to keep up with the pace. It was go-go-go, and I didn’t have incredibly well-developed coping mechanisms. I was just trying to keep my sanity.” Clark started taking medication for anxiety and depression. Today, she credits pharmaceuticals with helping her move on to the next phase of her career. In fact, they even influenced her excellent new album, Masseduction (out October 13th); one of the first songs she wrote for the LP was “Pills,” a jittery guitar-scraper with a childlike melody. Masseduction is Clark’s most intriguingly complex album to date. She recorded with producer Jack Antonoff (Taylor Swift, Lorde), working up a set of songs about sex, drugs and sadness. The music she came up with straddles New Wave, ambient rock and straight-ahead pop, and features appearances by jazz virtuoso and Kendrick Lamar sideman Kamasi Washington, Jenny Lewis, and producer and Dr. Dre bassist Mike Elizondo. Model and actress Cara Delevingne (whom Clark dated before they split last year) guests on back-up vocals. “What sold me on working with Annie was how much she was willing to expose and how ready she was to rip it all apart and go all in,” Antonoff says. “It’s exactly in line with how I like to make records right now.”

    Clark, 34, has spent most of the past two years out of the public eye. But that doesn’t mean she hasn’t been busy. “I don’t take time off,” she says. “I tweeted this the other day, but it’s true: ‘Work is more fun for me than fun.'” Since St. Vincent, she’s directed a short horror film for XX, an anthology spotlighting female directors, and announced plans to direct a film that would reimagine The Picture of Dorian Gray with a female lead. She also designed a custom electric guitar for Ernie Ball instruments and built a recording studio in Los Angeles.


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    320 kbps | 102 MB | LINKS

    It’s been 12 years since Billy Corgan, leader and sole remaining original member of Smashing Pumpkins, released a solo album. That record, 2005’s TheFutureEmbrace, was a self-produced affair that cloaked Corgan’s distinct, keening voice in layers upon layers of synthesizer and guitar.

    He’s taken a much different direction on his second solo album, Ogilala, released under his full name of William Patrick Corgan. Rather than handling the production himself, Corgan handed over the reins to celebrated studio master Rick Rubin, renowned for his ability to reinvent the careers of veteran singer-songwriters, from Johnny Cash to Neil Diamond. Rubin’s usual approach is to strip the artist to a state of vulnerability then drape them in minimal, at times ghostly arrangements — and that’s exactly what he’s done with Ogilala, much to Corgan’s benefit.
    William Patrick Corgan, Ogilala
    Courtesy of the artist

    Corgan has long been the poster child for anguished, emotive alt-rock, delivered with grandeur and sweep. But sublime songwriting always lied at the heart of his success, and Rubin polishes Corgan’s compositions to a humble luster on Ogilala. “Zowie” launches the album not on a wave of gorgeously distorted guitar (Smashing Pumpkins’ stock in trade), but a delicate caress of piano. The only other instrument is Corgan’s voice, which ruminates on sorrow and loss with an injured authority. A similar arrangement adorns “Aeronaut,” a hymn to exploration—both astral and romantic—that taps into the 1970s spaciousness of David Bowie and Elton John. Here, though, Rubin adds a string section, and that ethereal shimmer is more powerful than a cranked-up amp. “Half-Life Of An Autodidact” is sprightlier, an acoustic folk-rock tune elevated by galloping rhythm and tender melodicism. “Triumph after triumph / Dashed,” Corgan sings, and there’s a tattered wisdom the edge of his voice.

    Whether intentional or not, the title “Half-Life Of An Autodidact” hints at Corgan’s capitulation to a more hands-on producer like Rubin, who can curb and edit the artist’s more extravagant tendencies.”Having written the songs for voice and guitar, I put myself in Rick’s hands to take the music wherever he’d like,” Corgan remarked about the making of the album. “Amarinthe” is a perfect example. Against a backdrop of droning organ and start-stop strumming, Corgan splashes an imagistic portrait of past pain and hopeful mornings. “Mandaryne” sets the guitar aside for another exhibition of piano and strings, resulting in a ballad that resonates and haunts. When Corgan croons, “No one can break us down,” there’s a lifetime of ache caught up in his words.

    Ogilala may sound hushed and restrained, but this is Corgan, after all, and there is a conceptual ambition to it. The track “The Spaniards” is not only sumptuous and soaring; it also comes with an elaborate, fantastical music video that involves everything from costumed warriors to vivid animation. A cryptic narrative seems to run through it, which makes sense, considering the scenes of the video are taken from Pillbox, a silent film written by Corgan and co-directed with his longtime collaborator Linda Strawberry that make its theatrical premiere this month. Adding depth to Corgan’s already formidable body of work, Ogilala strikes a breathtaking balance between intimacy and imagination.


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    320 kbps | 72 MB | LINKS

    The White Buffalo (a.k.a. Jake Smith) is back with his sixth full-length album and sees Jake explore more into the country & blues territory. Don’t worry White Buffalo fans, the signature sounds are still here.

    For those that don’t know who The White Buffalo is. He’s a singer-songwriter that plays a mixture of Americana, “outlaw” country, rock and even has a bit of a punk influence thrown in there as well. His vocals are incredible and always compare them as a hodge podge of Eddie Vedder, Mike Ness, Tom Waits and Richie Havens.

    The opening track “Hide and Seek” sounds a little different than what he has does in the past. It’s more honky tonk/blues kind of country, especially with the way he’s singing the song. The next track, “Avalon,” is more in line with why love White Buffalo’s music. Fast, catchy, Americana rock tune that showcases his excellences as a storyteller and his vocals just fit this style more. The Tom Waits influence shows up in “Robbery,” where I can just picture Jake singing the song in a dark, smokey jazz lounge. Stray Cats pop in my head for that song as well.


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    Son de Madera "Son de mi tierra" Son de Madera ............................ formed in 1992 / Veracruz / Mexico Жанр .................. Son Jarocho / Mexican Music / Mexican Folk Music Издатель ............. Smithsonian Folkways (USA) / SFW40550 / 2009 Аудио .

    Тема на форуме



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    Lemchaheb "La chanson populaire marocaine" Lemchaheb ................... 1974 / Casablanca / Casablanca-Settat / Morocco Издатель ........ Les Artistes Arabes Associés (France) / AAA 008 / 1989 Жанр .........

    Тема на форуме



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    Son de Madera "Son de mi tierra" Son de Madera ............................ formed in 1992 / Veracruz / Mexico Жанр .................. Son Jarocho / Mexican Music / Mexican Folk Music Издатель ............. Smithsonian Folkways (USA) / SFW40550 / 2009 Аудио .

    Тема на форуме



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    320 kbps | 512 MB | LINKS

    DISC 1: Live at the Ahoy, Rotterdam, Netherlands 1995

    1. Grand Pappy Du Plenty Intro 1:15
    2. Give It Away 6:34
    3. Aeroplane 4:49
    4. Warped 5:43
    5. Walkabout 5:42
    6. Come As You Are Intro/Backwoods 5:32
    7. My Friends 5:06
    8. Sweet Home Alabama 1:05
    9. Coffee Shop 3:27
    10. Sound And Vision 1:02
    11. Higher Ground 3:34
    12. Hey Joe 0:45
    13. Transcending 5:29
    14. Pea 2:01
    15. One Big Mob 8:05
    16. Under The Bridge 5:17
    17. Me And My Friends 3:44
    18. Deep Kick 6:22

    DISC 2: Live at the Pat O’brien Pavilion, Del Mar, Ca 1991

    1. Love Trilogy 4:07
    2. Organic Anti – Beat Box Band 4:24
    3. Bullet Proof 1:59
    4. Suck My Kiss 3:35
    5. Blackeyed Blonde 2:32
    6. Funky Crime 3:01
    7. Give It Away 4:35
    8. If You Have To Ask 4:53
    9. Stone Cold Bush 3:36
    10. Blood Sugar Sex Magic 4:12
    11. Magic Johnson 1:50
    12. I Could Have Lied 4:35
    13. Subway To Venus 4:39
    14. Fopp/Party On Your Pussy/Me And My Friends 12:02
    15. Yertle The Turtle/Freaky Stylee/Cosmic Slop 13:07
    16. Crosstown Traffic 2:47

    DISC 3: Live at Club Citta, Kawasaki, Japan 1990

    1. Out In L. A. 2:39
    2. Backwoods 4:09
    3. Funky Crime 4:48
    4. Stone Cold Bush 3:58
    5. Organic Anti – Beat Box Band/Anarchy In The U. K. 5:05
    6. Green Heaven/Guitar Solo 10:28
    7. Pretty Little Ditty 3:35
    8. Hollywood (Africa) 7:44
    9. Knock Me Down 4:11
    10. F. U. /Boyz – N – The – Hood/Party On Your Pussy 6:14
    11. Magic Johnson 2:20
    12. Nobody Weird Like Me 4:50
    13. Taste The Pain/Back In Black 5:09
    14. Crosstown Traffic 3:14
    15. Mommy, Where’s Daddy? 4:38
    16. Me And My Friends 3:00


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    Amália Rodrigues - Coliseu De Lisboa, 3 De Abril 1987 (2017) :guit:
    :new:




    :info:

    Artista: Amália Rodrigues
    Nome do Álbum: Coliseu De Lisboa, 3 De Abril 1987
    Ano: 2017
    Tamanho: 332 MB
    Formato: Mp3
    Velocidade de Bits: 320Kbps
    Fonte: WEB-Rip
    Editora: EVC
    Género: Fado...
    Pais: Lisboa,
    Capas: Frente
    CD: 2
    Faixas: 37


    :tracklist:

    CD1

    01. Variações Em Mi Menor (Ao vivo, 3 de Abril 1987)
    02. Fadinho Serrano (Ao vivo, 3 de Abril 1987)
    03. Andorinha (Ao vivo, 3 de Abril 1987)
    04. Lavava No Rio Lavava (Ao vivo, 3 de Abril 1987)
    05. Grito (Ao vivo, 3 de Abril 1987)
    06. Novo Fado Da Severa (Ao vivo, 3 de Abril 1987)
    07. Prece (Ao vivo, 3 de Abril 1987)
    08. Ai Maria (Ao vivo, 3 de Abril 1987)
    09. Soledad (Ao vivo, 3 de Abril 1987)
    10. Chora Mariquinhas Chora (Ao vivo, 3 de Abril 1987)
    11. Gaivota (Ao vivo, 3 de Abril 1987)
    12. Arraial De Santo António (Ao vivo, 3 de Abril 1987)
    13. Lá Vai Lisboa (Ao vivo, 3 de Abril 1987)
    14. Don Solidon (Ao vivo, 3 de Abril 1987)
    15. Obsessão (Ao vivo, 3 de Abril 1987)
    16. Maria Lisboa (Ao vivo, 3 de Abril 1987)
    17. Povo Que Lavas No Rio (Ao vivo, 3 de Abril 1987)
    18. Rosinha Da Serra D'Arga (Ao vivo, 3 de Abril 1987)
    19. Quando Eu Era Pequenina (Ao vivo, 3 de Abril 1987)
    20. Solidó Dos Bolieiros (O Timpanas) (Ao vivo, 3 de Abril 1987)



    CD2

    01. Barco Negro (Ao vivo, 3 de Abril 1987)
    02. Lágrima (Ao vivo, 3 de Abril 1987)
    03. Há Festa Na Mouraria (Ao vivo, 3 de Abril 1987)
    04. Fallaste Corazón (Ao vivo, 3 de Abril 1987)
    05. Pot-Pourri: Fado Do Ciúme, Fado Malhoa, Ai Mouraria, Que Deus Me Perdoe, O Fado De Cada Um, Foi Deus (Ao vivo, 3 de Abril 1987)
    06. Malhão (Ao vivo, 3 de Abril 1987)
    07. Fado Amália (Ao vivo, 3 de Abril 1987)
    08. El Porompompero (Ao vivo, 3 de Abril 1987)
    09. Estranha Forma De Vida (Ao vivo, 4 de Abril 1987)
    10. Lavava No Rio Lavava (Ao vivo, 4 de Abril 1987)
    11. Gaivota (Ao vivo, 4 de Abril 1987)
    12. Maria Lisboa (Ao vivo, 4 de Abril 1987)
    13. Povo Que Lavas No Rio (Ao vivo, 4 de Abril 1987)
    14. Solidó Dos Bolieiros (O Timpanas) (Ao vivo, 4 de Abril 1987)
    15. Lágrima (Ao vivo, 4 de Abril 1987)
    16. Malhão (Ao vivo, 4 de Abril 1987)
    17. Quando Eu Era Pequenina (Ao vivo, 4 de Abril 1987)


    :download:

    :multihost:

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    Nishat Khan / Raga Khan Жанр : Indian Classical Носитель : CD Страна-производитель диска (релиза) : США Год издания : 1998 Издатель (лейбл) : Amiata Records Номер по каталогу : ARNR 1997 Страна исполнителя (группы) : Индия Аудиокодек : FLAC (*.

    Тема на форуме



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    Brooklyn Raga MassiveBrooklyn Raga Massive is a collective of musicians rooted in Indian classical music. That tradition rarely involves an ensemble larger than three or four players. Sitarist Neel Murgai identified Terry Riley‘s canonical minimalist composition In C — an open scored collection 53 short musical phrases that the players repeat and move through at their own pace — as an accessible way for a large number of Indian musicians to play together. This album is a live concert recording with 18 players. The instrumentation is sitar, sarod, bansuri, vocals, tabla, hammered dulcimer, oud, violin, cello, upright bass, dragon mouth trumpet, guitar, cajon, riq and frame drum.
    In C has been arranged for various groupings over the years, and this is not the first employing…

    176 MB  320 ** FLAC

    …non-Western instruments. Montreal’s Ensemble de la SMCQ’s 1997 performance (Atma Classique, 2000) included sitar and tabla (along with Western instruments and chorus), and featured a raga-style free introduction. Before that, the Shanghai Film Orchestra performed it entirely on traditional Chinese instruments (Celestrial Harmonies, 1989). After hearing an early performance recording, Terry Riley suggested that the Brooklyn Raga Massive use the basic form of the composition, but open it up to solos based on the patterns. So this performance fully embraces both Indian instruments and Indian classical music performance tradition.

    The performance begins with “Raga Bihag Alap,” the improvised, unmetered introduction that introduces the raga in a traditional performance. As the piece proper is begun, the part of the Pulse (the metronomic beat usually played on a piano) is introduced by tabla. Then the group begins moving through the patterns, which are banded in groups on the recording (“Cells 1-8” through “Cells 49-53 (Jhalla)”). In one way the piece sounds very familiar, especially the sound of the opening phrases, despite the unexpected sound of the Indian instruments. When there is audible improvisation—e.g. the bansuri solo in “Cells 12-13″—it grows out of the patterns so naturally that it sounds like it had been hidden in the composition all along, waiting to be revealed. The fast jhalla that concludes the performance is another traditional raga performance gesture, which again sounds completely natural in context.

    Terry Riley is a longtime practitioner of Indian classical vocal music, having studied with Pandit Pran Nath. It seems appropriate that this performance should bring his early composition fully into that world, and it’s a fresh view of a piece that was already full of possibilities. — AllAboutJazz

    Personnel: Neel Murgai – Sitar & Vocal Arun Ramamurthy – Violin Andrew Shantz – Vocal Josh Geisler – Bansuri Sameer Gupta – Tabla Roshni Samlal – Tabla Eric Fraser – Bansuri Timothy Hill – Vocal Trina Basu – Violin Ken Shoji – Violin Kane Mathis – Oud Adam Malouf – Cello Michael Gam – Bass Lauren Crump – Cajon David Ellenbogen – Guitar Maz ZT – Hammered Dulcimer Vin Scialla – Riq & Frame Drum Aaron Shragge – Dragon Mouth Trumpet


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  • 10/12/17--08:53: Remembering Fela
  • Fela Anikulapo-Kuti would be 79 years old this month, had he not died from complications of AIDS in 1997. By the time of his death, Fela was the inventor of the enduring and influential Afrobeat music style, the composer of an enormous body of music, and one of the bravest political voices in 20th century African music. It is fair to say that no African musician before or since has sacrificed more for the principles he believed in. Nigerian history and music have barreled forth during the two decades since Fela left us. A powerful new generation of Nigerian musicians have emerged in that time, and the music they now champion has been dubbed “Afrobeats,” an appropriation of the name Fela gave his original sound during its heyday. The youngest artists on the scene today have no direct memory of Fela, though his legacy is impossible to escape. In this program, we hear from current day Nigerians from multiple generations and genres—fuji, juju, hip-hop (Afrobeats) and highlife—on how they remember this musical giant, and how they reckon with his complex and challenging legacy.

    Produced by Banning Eyre and Morgan Greenstreet. Hosted by Sahr Ngaujah.

    Playlist- Fela Inspired Music: From Afrobeat to Afrobeats 

    Seun Kuti: No Holds Barred


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    Jace Everett - Mr. Good Times (2011)
    Artist: Jace Everett
    Title Of Album: Mr. Good Times
    Release Date: 2011
    Location: USA
    Label: Hump Head / Wrasse Records (HUMP105)
    Genre: Country, Rock
    Quality: FLAC (image+.cue)
    Length: 48:30 min
    Tracks: 11
    Total Size: 380 MB (+5%)

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    Mindy Smith - One Moment More (2004)
    Artist: Mindy Smith
    Title Of Album: One Moment More
    Release Date: 2004
    Location: USA
    Label: Vanguard (79736)
    Genre: Folk, Country
    Quality: FLAC | lossless (tracks+.cue)
    Length: 45:57 min
    Tracks: 12
    Total Size: 280 MB (+5%)

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     :obrigado::...

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     ^-^:D :obrigado...

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     :...

older | 1 | .... | 1095 | 1096 | (Page 1097) | 1098 | 1099 | .... | 2478 | newer