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    Dream Theater - The Astonishing (2016) FLAC (tracks + .cue)
    Artist: Dream Theater | Album: The Astonishing | Released: 2016 | Label: Roadrunner Records | Catalog #: 1686-174932 | Genre: Metal, Progressive Metal | Country: USA | Total Duration: 02:09:33

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    zx320 kbps | 105 MB | LINKS

    Bill Kirchen and Austin de Lone team up for a hands-across-the-Atlantic collection with their new studio album, Transatlanticana, out on August 26, 2016 on Red House Records. This long-overdue release unites the pioneers of two major musical movements: Kirchen co-founded the original “Americana” band, Commander Cody and his Lost Planet Airmen, and his trademark Telecaster licks drove their hit “Hot Rod Lincoln” into the Top 10 in 1972. De Lone dropped out of Harvard to start Eggs Over Easy, moving to London and recording with Jimi Hendrix’s producer/manager and The Animals’ bass player Chas Chandler in 1970. The Eggs are the progenitors of British pub rock, the first link in the chain to punk rock, new wave and beyond.

    Backed by both their all-star British and American bands, Transatlanticana finds Kirchen and de Lone trading songwriting credits and lead vocals on this soulful and rocking collection. They kick it off with the timely “Hounds of the Bakersfield,” a tribute to the late Merle Haggard and the Bakersfield, CA sound.


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    z320 kbps | 102 MB | LINKS

    On Parade, Bill stretches the boundaries of acoustic blues and jug bands, by incorporating accordion, clarinet and stand-up bass to create a uniquely beautiful and haunting ensemble sound. – See more at: http://www.billphillippemusic.com/#sthash.efb4w0oJ.dpuf


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    FRont.jpg

    CD.jpg

    Back.jpg

    Link download:http://swiftation.com/2xYW
    Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: hanguyen@hpmtech.vn

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    Yoshio%2BKimura%2B-%2BA%2BTime%2BFor%2BU

    Yoshio%2BKimura%2B-%2BA%2BTime%2BFor%2BU

    Link download:http://swiftation.com/2xi6
    Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: hanguyen@hpmtech.vn

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  • 01/23/18--01:33: Big Star – Third (2016)
  • cover320 kbps | 107 MB | LINKS

    Tracklist:

    01. Kizza Me
    02. Thank You Friends
    03. Big Black Car
    04. Jesus Christ
    05. Femme Fatale
    06. O, Dana
    07. Holocaust
    08. Kanga Roo
    09. Stroke It Noel
    10. For You
    11. You Can’t Have Me
    12. Nightime
    13. Blue Moon
    14. Take Care
    15. Nature Boy
    16. Till The End Of The Day
    17. Dream Lover
    18. Downs


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    z320 kbps | 459 MB | LINKS

    Big Star’s never-completed third album is enshrined in a triple-disc box that contains all known recordings from the 1974 sessions and finally makes sense of all the chaos.

    Big Star never completed their third album. In fact, it’s likely that the music collected on Omnivore’s triple-disc box set Complete Third was never intended to be a Big Star album. Alex Chilton maintained as late as 2007 that he and drummer Jody Stephens never considered these 1974 sessions a Big Star project, a testament supported by the fact that none of the tapes in Ardent Studios were labeled with name “Big Star.” Instead, they were credited to Alex Chilton alone, Alex & Jody, and Sister Lovers, a punning reference to the fact the pair were dating sisters at the time.

    Sister Lovers also provided Rykodisc with a subtitle for these recordings when they issued Third/Sister Lovers on CD in 1992, marking the first time a label attempted to seriously piece the puzzle of Big Star Third together. Prior to that, the album came out under a variety of titles—3rd, The Third Album, Big Star’s 3rd: Sister Lovers, Sister Lovers (The Third Album), with the alleged provisional title Beale Street Green remaining the province of bootlegs—all bearing a different track listing, none of which mirrored the test pressing that was unsuccessfully shopped around to labels in 1975.

    Reissue producer Cheryl Pawelski uses that test pressing as her lodestar on Complete Third, letting it form the foundation of the third disc of final mixes, serving as a culmination to the discs of demos and rough mixes that precede it. A good chunk of these tracks previously appeared on archival releases from Rhino, Big Beat/Ace and Omnivore, but 28 debut here. None of these unheard cuts would make much sense on their own release, but they provide crucial pieces of the narrative on a box set that attempts to make sense of sessions that the creators themselves don’t quite understand.

    One thing all participants—Chilton and Stephens, producer Jim Dickinson, Ardent owner/producer/engineer John Fry—can agree upon is that no official version of Third exists. Dickinson attempted to piece it together for Rykodisc in 1992 but he freely admits that his vision differed from Chilton’s and once this period passed into history Chilton showed no interest in revisiting it. In the liner notes to Complete Third, Ken Stringfellow—the Posies guitarist who was instrumental in ushering the reunited Big Star into the ’90s and 2000s—recalls a time when he and his partner Jon Auer cajoled Chilton to attempt “Kizza Me” at a latter-day reunion show. Once the band kicked off the song at sound check, Alex stood still as a statue, refusing to lay hands on his guitar or sing. By that point Chilton was finished with Third. But as Chris Stamey— a co-leader of the dB’s who helped maintained the Big Star legend in the ’70s as Stringfellow did in the ’90s—notes elsewhere in the liners, there was a time when these were among his “newest and dearest” tunes.

    Those early demos on the first disc do indeed carry traces of sweetness, particularly in the delicate readings of “Lovely Day,” “Thank You Friends,” “Take Care,” “Jesus Christ,” and “Blue Moon,” all sounding like natural extensions of the folk tunes scattered through the first two Big Star albums, not to mention some of the material Chilton attempted just after leaving the Box Tops. Even the album’s towering triptych of gloom—“Holocaust,” “Nightime,” and “Kanga Roo” (entitled “Like St. Joan” in its first incarnation)—feel brokenhearted rather than desolate. So what happened between these initial readings and the final mixes, which often feel like a fever dream from a man embracing madness?

    Again, nobody knows for sure, but everybody orbiting Ardent in the mid-’70s agree Chilton was hell bent on self-immolation, bitter at the industry, angry at himself, and involved in a destructive relationship with Lesa Aldridge, his girlfriend and muse who co-wrote “Downs,” an improbably chipper valentine to quaaludes. Jim Dickinson could always spin a yarn, and he invented a tale for Third, determining that the album was all about decomposition—a decay that began with the unraveling of Big Star, spread through the dissolution of the golden age of Memphis music, then taking root at the breakdown of Chilton himself. It’s a good story, one that’s likely true on some level, but it’s also a bit pat, the kind of thing that a producer invents: he’s cobbling together a narrative out of what seems to be a mess.

    Complete Third presents that purported mess as a whole, offering every known existing recording from the sessions, and, in doing so, it suggests the sessions weren’t quite as chaotic as lore suggests. Certainly, the demos show that Chilton’s songs were fully formed at the start, so it was a deliberate decision on his part to record the songs just as Jody Stephens was learning them. Ardent producer/engineer Adam Hill supports this theory: “While the lack of pre-production contributed to the loose feel of the songs, there’s no doubt that Alex was chasing sounds he heard in his head, and he knew when had captured them on tape.” If Chilton was deadset in chasing chaos, Dickinson was his ideal partner. Where John Fry favored precision—fitting for an engineer who ran a studio—Dickinson preferred to let things careen out of control, either because he knew magic came with mistakes or because he couldn’t resist mischief.

    Once Dickinson enters the picture, somewhere around the tail end of the first disc after the initial demos were completed, things start to get weird and heavy. The pivot is a pair of duets between Alex Chilton and Lesa Aldridge, where the pair turn the Beatles’ “I’m So Tired” into a narcotic crawl and pretend to be Gram Parsons and Emmylou Harris on “That’s All It Took.” From there, the madness has settled in, so it’s no surprise that they stumble through T. Rex’s “Baby Strange” or spend five minutes dicking around on guitar and steel drums dubbed “Pre-Downs”—an indication that the innocence of the initial demos had now curdled.

    The second disc documents how the sessions started to congeal, the beauty and the bleakness sometimes existing on the same plane, sometimes separating into their own spheres. If there are no great revelations here—the closest is a version of the Velvet Underground’s “After Hours” sung by Lesa, one of many Lou Reed allusions here (another is Alex quoting “Perfect Day” at the start of “I’m So Tired”)—it nevertheless gives an idea of the vibe of the recordings, how it was pitched halfway between madness and intention. Comparing the first disc of Complete Third to the second, and it’s clear that Chilton wanted to create the illusion that everything was spinning out of control.

    Perhaps Chilton succeeded too well, muddying the barrier between the act and the art. After a while, John Fry pulled the plug. He reached his breaking point when Alex pulled in a drunk off the street to sing on a soused version of Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin’ On.” Fry claimed later that the sessions turned “perverted,” which might be a reference to run-of-the-mill late-night seediness but might have a deeper meaning: Third perverted the ideals Fry held for Ardent. When he opened the studio, he allowed the British Invasion mavens of Memphis to hone their craft after hours at a cut rate. It’s how Chilton and collaborator Chris Bell developed the crystalline power pop of #1 Record and Radio Citythese largely were songs invented in the studio and executed by Fry—and such late night sessions are also how Third came to be, except they came out curdled instead of clear.

    Fry shopped the album to labels in 1975 in the hopes of recouping some of the money poured into the project. Nobody bit. Lenny Waronker at Warner asked, “I don’t have to listen to that again, do I?” Over at Atlantic, Jerry Wexler claimed “This record makes me feel very uncomfortable.”

    Wexler was onto something. The bleakest moments of Third remain unsettling, capable of causing existential shivers on a bright, sunny day. Creeping along with no seeming sense of momentum, “Holocaust” and “Kanga Roo” have an inexorable pull—listening to them is like being pulled out to sea on an inescapable undercurrent, utterly impossible to navigate your way back to shore. When paired with the carnivalesque flourish of “Jesus Christ,” the homespun baroque pop of “Stroke It Noel,” the explosive carnality of “Kizza Me” and the woozy sway of “O, Dana,” Third can’t help but suggest that Alex Chilton was losing his grip. The primary gift of Complete Third is to reveal that this was a deliberate performance, not audio verite. Perhaps Third was, as Jim Dickinson claimed, the sound of decomposition. But by presenting the demos, working sessions and final mixes in order, Complete Third makes plain that far from being an unwieldy jumble, Alex Chilton meant to have Third sound as tortured, haunting and beautiful as the darkest moments of the soul.


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    Giants-In-The-Trees.jpg192 kbps | 106 MB | LINKS

    Krist Novoselic’s post-Nirvana career had certainly been more idiosyncratic than one might expect. His fellow traveler in Nirvana-dom, Dave Grohl, hit the ground running after Nirvana’s implosion, serving up the people-pleasing, rockin’ good times of Foo Fighters. Conversely, Novoselic’s first band was Sweet 75, jagged indie rock with a touch of Latin folk (courtesy of Venezuelan lead singer Yva Las Vegas). Then came the space-jam, alt-country trippiness of Eyes Adrift (with Meat Puppets’ Curt Kirkwood in the lineup), followed by a stint in a much beloved punk act of his youth, Flipper. Not to mention his other ventures, like Sunshine Cake and the one-off No WTO Combo. The one thing all these groups have in common? That they have nothing in common.

    Now comes the latest band: Giants in the Trees. The community-minded Novoselic, who lives in a remote corner of southwest Washington, is a member of his local granges in Grays River and Skamokawa. It’s at the latter grange that he began jamming with Jillian Raye (vocals, banjo), Ray Prestegard (guitar, harmonica), and Erik Friend (drums); Novoselic handles bass, of course, as well as accordion. The jamming became more serious, and thus Giants in the Trees was born.

    The album gets off to a folky, dreamy start with “Sasquatch.” It’s the song that references the band’s name, as singer Raye imagines being overseen by an unseen presence: “I can feel eyes watching over me/Hiding in the silence/There’s giants in the trees” (but they sound like friendly giants). There’s a laid back feel to much of the album, largely due to Raye’s cool, almost languid vocals. It’s somewhat at odds with the band’s live performances, which are more energetic — check out the largely instrumental romp “Ode to Pacific Anarchism” for a better sense of what Giants sound like when they kick up their heels.

    There’s a lot going on this musical stew. There’s a decided folk influence, but you wouldn’t call it folk-rock. There’s the sinewy, slinky slide of what sounds like a lap-steel guitar in “Seed Song”; Novoselic’s accordion adds a European, carnivalesque tone on numbers like “Center of the Earth”; the psychedelic wash of “Pretend” swirls the listener around; the guitar distortion that opens “System Slave” provides the perfect introduction for a track that doesn’t sound like anything else on the album.


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    Mat Kearney - Mat Kearney EP (2018)

    Artist: Mat Kearney
    Title Of Album: Mat Kearney
    Year Of Release: 2018
    Label: Tomorrow Music
    Country: United States
    Genre: Folk Pop/Rock
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 16:20
    Full Size: 105 mb
    Upload: Turbobit / HitFile / DipFile

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    Τον Λάμπρο Τσάμη τον γνωρίζω από τα eighties (από τις μπάντες με τις οποίες εμφανιζόταν ή ως R.R. Hearse) και από τα nineties ακόμη περισσότερο – και προσωπικά πια, αφού είχαμε υπάρξει συνεργάτες στο Jazz & Τζαζ.
    Νομίζω πως είναι γνωστή, χοντρικά, στους φίλους του ελληνικού ροκ η πορεία του Λάμπρου στη μουσική –και αν δεν είναι, τότε «χτυπήστε» το όνομά του στο discogs π.χ., για να τη δείτε–, χωρίς να είναι το ίδιο γνωστές (στον ίδιο βαθμό εννοώ) και οι απόπειρές του στη συγγραφή, είτε ως γραφιάς μουσικών θεμάτων είτε και γενικότερα ως λογοτέχνης. Ναι και αυτό το τελευταίο βεβαίως, όσο… too much ή βαρύγδουπο και αν ακούγεται (και γιατί ν’ ακούγεται «too much ή βαρύγδουπο» δηλαδή;). Ο Λάμπρος «έχει πένα» και είναι ταλαντούχος και σ’ αυτόν τον τομέα.
    ajazz%2Btsamis.jpg
    Προσφάτως (Νοέμβριος 2017) κυκλοφόρησε ένα μικρό βιβλίο από τις εκδόσεις Τυφλόμυγα, με τέτοια (λογοτεχνικά εννοώ) κείμενα του Λάμπρου Τσάμη επιλεγμένα από ’κείνα τα χρόνια. Όπως διαβάζουμε στον πρόλογο:
    «Όλα τα κείμενα (και τα σχέδια) γράφτηκαν σε σελίδες ημερολογίων κατά το χρονικό διάστημα 1987-1995, μεταξύ Αθήνας, Αγίου Όρους, Κρήτης και Μεσολογγίου. Τα περισσότερα απ’ αυτά δημοσιεύτηκαν σε περιοδικά εκείνης της εποχής όπως: Merlins Music Box, Brazil, Orange Skies, In Those Days, Photocopy Memories και Speak, ενώ κάποια άλλα παρέμεναν μέχρι σήμερα ανέκδοτα». Δέκα έξι απ’ αυτά τα κείμενα λοιπόν σκορπίζονται στις 59 σελίδες του βιβλίου.
    Τι είναι εκείνο που χαρακτηρίζει τη γραφή τού Λάμπρου Τσάμη; Είναι η ποιητικότητα βασικά, που διαπερνά τις παραισθητικές, εκστατικές ή ονειρικές περιγραφές. Οι αναφορές δηλαδή στη fiction πλευρά της λεγόμενης «ψυχεδελικής λογοτεχνίας» είναι προφανείς και όχι μόνο στην παγκοσμίως αναγνωρισμένη μορφή τους (Alan Wattsή Carlos Castaneda για παράδειγμα), μα ακόμη και στην ελληνική (στο περίφημο «Πεγυότλ» του Σπύρου Μελά θέλω να πω).
    Ο Τσάμης, που γράφει με αληθινό οίστρο, αλλά όχι με ξινή μεγαλοπρέπεια –καθότι είναι απλός, ουσιαστικός και εμπνευσμένος στις περιγραφές του– δίνει ένα «διαμαντάκι» αυτού του τύπου της λογοτεχνίας, τα σχετικά κείμενα της οποίας (λέμε πάντα για την ελληνική εκδοχή της) μετριούνται στα δάχτυλα τού ενός χεριού.
    Επαφή: tflmg@yahoo.gr

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  • 01/23/18--02:59: Announcement
  • Dear visitors,
    I have just removed all Syllart productions from my blog.
    Reason is the following message;

    ” Hi global groovers,

    We see all those albums from our catalogue available on your site to be free downloaded !!!
    It’s a real problem and it’s an illegal piracy of a catalogue for which you haven’t any rights or licenses.
    So we officially ask to you to remove the download link for all album from syllart catalogue.
    Without quick answer from your part, we give that topic to our lawyer in Paris.
    we looking forward to hear you.

    Regards,
    Julien Dayan
    Syllart records
    Label Manager ”

    It was fun as long as it lasted,
    no worries though, there are plenty of other posts left.
    We must respect the business point of view of labels and artists.
    If anyone has a problem with content of the Global Groove,
    please let us know..

    Moos


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    Thing with Five EyesThe Thing with Five Eyes is the follow up to the disassembled projects The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation. Founder and main composer Jason Kohnen brought The Thing with Five Eyes to life in 2014 after the latter where terminated to continue his adventures into dark-jazz territories, this time accompanied by Algerian / French singer Leila Bounous who added the oriental and mystical timbre to the project. 5EYES ventures into the realms of dark jazz, ambient, ethiopique, post rock, doom metal and oriental music.
    The Noirabesque album concept is inspired by a futuristic prehistory, a past and future presence of unknown goddesses and the mystic powers of the feminine, mother earth, fertility’s cycles.

    115 MB  320 ** FLAC

    01. Salem
    02. Alma
    03. Hedra
    04. Zigurhat
    05. Nakba
    06. Taurus
    07. Nehex
    08. Qun
    09. Selenga


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    2ymcf48.jpg320 kbps | 2,7 GB | LINKS

    Emmylou Harris (born April 2, 1947) is an American singer and songwriter. She has released many popular albums and singles over the course of her career, and has now won 13 Grammys – as of 2014 – as well as numerous other awards.

    Her work and recordings include work as a solo artist, bandleader, an interpreter of other composers’ works and as a singer-songwriter, and a backing vocalist and duet partner. She has worked with numerous leading artists including Gram Parsons, John Denver, Linda Ronstadt, Dolly Parton, Roy Orbison, The Band, Mark Knopfler, Delbert McClinton, Guy Clark, Willie Nelson, Bob Dylan, Bright Eyes, Rodney Crowell, John Prine, Neil Young, and Steve Earle.


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    Mahsa & Marjan Vahdat - Songs from a Persian Garden (2008)

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    51GES%2BqUiAL._SS500.jpgFLAC (image, cue, log, Artwork) | 238 MB | LINKS

    This new album finds First Aid Kit as you’ve never heard them before: wounded and biting back hard. While Ruins follows the traditions of the classic folk rock sound that First Aid Kit revived via their breakthrough album Stay Gold (2014) and previous releases The Big Black And The Blue (2010) and The Lion’s Roar (2012), the difference is that this time they’ve lived, and the results are intense.


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    Barry Sisters / Barry Sisters Количество (альбомов) : 2 Жанр : идыш музыка Аудиокодек : FLAC Тип рипа : tracks Битрейт аудио : lossless Источник : VINIL Наличие сканов : да Теги :Прописаны Источник оцифровки : 63yura63 Код класса состояния винила : VG Устройство воспроизведения : Audio-Techica At-Lp-120usb/78rpm Головка звукоснимателя : At-Art9 J323 фоно Корректор : Luxman E-200 предварительный усилитель : ROCLAB MRT 70 АЦП : Creativ Labs Программа-оцифровщик : Adobe Audition CS6 Обработка : реставрация Пластинки 45 оборотов Страна-производитель диска :U.

    Тема на форуме



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    Azam Ali - From Night to the Edge of Day (2011)
    Re-Up

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    mbaraka-mwinshehe-front

    This sixth volume of the Ukumbusho series was made with
    Mbaraka Mwinshehe’s group Super Volcano. Wonderful
    instrumentation, rare album, not to be missed..

    Deze volume 6 in de Ukumbusho serie werd opgenomen
    met medewerking van Mbaraka Mwinshehe’s band Super
    Volcano. Prachtige instrumentalen, zeldzame plaat,
    beter niet door je te missen, zoals beloofd..

    tracks ;

    01 – Afadhali umerudi
    02 – Harusi no.2
    03 – Mshenga no.2
    04 – Dawa ya mapenzi
    05 – Ugeni tabu
    06 – Kifo cha pesa
    07 – Masika zole zole
    08 – Unaulizwa

    downloadbutton


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  • 01/23/18--08:46: Ana Moura - Desfado (2012)
  • Ana Moura - Desfado (2012)
    Artist: Ana Moura
    Title Of Album: Desfado
    Release Date: 2012
    Location: Portugal
    Label: Universal Music (0602537228584)
    Genre: Fado
    Quality: FLAC (image+.cue+covers)
    Length: 54:14 min
    Tracks: 14
    Total Size: 441 MB (+5%)

    Desfado is the fifth album by Portuguese fado singer Ana Moura. It was produced by American record producer Larry Klein in Hollywood, California, and was released on 12 November 2012 in Portugal through Universal Music Portugal, and on 13 February 2013 in the United States by Decca Records. Desfado was met with generally positive reviews by music critics, who praised Moura's vocals. The album counted with the participation of Portuguese songwriters Manel Cruz, Márcia Santos, Pedro da Silva Martins, António Zambujo, and Pedro Abrunhosa, among many others, for the composition of the themes. American musicians Herbie Hancock and Tim Ries contributed in the album, the first being featured in the song "Dream of Fire", whilst Ries in "Havemos de Acordar".

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    [Image: IRtueSkl.jpg]

    Aryeh Frankfurter - Celtic Whispers (2018).VS.MP3
    2018 | MP3 320 kbps | 01:15:51| 164 MB
    Celtic, Folk, World | Label: ARC
    M201800187

    01. She Moved Through the Fair
    02. Ae Fond Kiss
    03. Aye Waulkin O'
    04. The Sandpit
    05. Long Dance from Sollerön
    06. Eleanor Plunkett
    07. Ned of the Hill
    08. Mull of the Mountains
    09. Tá Mé 'Mo Shuí: Ta Me Mo Shui (I am sitting)
    10. In a Garden So Green
    11. Pavane, Op. 50
    12. Lordagvisa (Saturday Song) (arr. for harp, viola, pennywhistle, plucked psaltery)
    13. Lo, How a Rose E'er Blooming
    14. Bridget O'Malley
    15. Gratarevalsen (The Melancholy Waltz) (arr. for harp, guitar and flute)
    16. Martin Wynne's Air
    17. The Twisting of the Rope

    [Image: du2vnzGh.png]

    [Solo los usuarios registrados pueden ver los enlaces | Only registered and activated users can see links Cliquea aquí para registrarte | Click here to register]

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