320 kbps | 85 MB | LINKS
From the sounds of the Mississippi Delta to inner city Chicago, with the stories of Ali Sleeq’s personal life of blues, this album will be a one-of-a-kind blues release from the Middle East, with various inspirations across the genre.
320 kbps | 141 MB | LINKS
Blues of Desperation is Bonamassa’s most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of This Train (Joe’s guitar is set to rude throughout) to the elegant yet emotionally shattering ballad What I’ve Known for a Very Long Time to the soul-nourishing, acoustic-based Americana of The Valley Runs Low, on which Bonamassa’s voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there’s the bleary, tequila-soaked Drive, dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.
320 kbps | 115 MB | LINKS
Pulling on influences from the 60s pop of The Byrds, The Beatles and The Beach Boys, through to the harmonies of Crosby, Stills, Nash and Young, with dashes of Petty and Springsteen thrown in for good measure, perhaps the most remarkable thing is that what shines through all of this is the quality and originality of the songwriting. The songs deal with wide-ranging issues and personal truths, from the aptly titled opener ‘Soon Enough’ through the biographical tale of Danny’s family in ‘Wilson General Store’ and the politically-charged rallying cry of ‘Hate Won’t Win’ to the social commentary of epic album-closer ‘Lifeboat (Take a Picture of Yourself)’.
320 kbps | 97 MB | LINKS
Tracks;
01. Ok Boy
02. Songbird
03. Lovers Do
04. Takes Some Time
05. Drive Away (feat. Kacey Musgraves)
06. Do It Tomorrow
07. What Do You Think
08. Set You Free
09. Haunted
10. Another Me
11. Somebody New
12. Going Crazy
13. Norway
14. Troubles
FLAC | 821 MB | LINKS
Although Steve Miller had been slugging it out since the late 60’s as a blues-rock guitarist, it wasn’t until his 1973 release, “The Joker”, that he finally found his most marketable niche in radio friendly rock. Here Miller abandoned his edge and his rootsy sensibilities, and leaned toward a lighter, more melodic approach. This is typified in the title track, a shuffling groover with an infectiously hooky chorus that went on to become a monstrous smash, and something of a signature song for Miller.
While “The Joker” is the centerpiece of the album the be-bop ditty “Shu Ba Da Du Ma Ma Ma Ma,” the humorous “Your Cash Ain’t Nothin’ But Trash,” and the underrated Miller composition “Sugar Babe” are also noteworthy. “The Joker” is most interesting as a look at Miller in transition: it contains many of the elements that would go on to make him a superstar over the course of his next two releases, 1976’s “Fly Like An Eagle” and “77’s Books Of Dreams”.
“The Joker is, without question, the turning point in Steve Miller’s career, the album where he infused his blues with a big, bright dose of pop and got exactly what he deserved: Top Ten hits and stardom. He also lost a lot of fans, the ones who dug his winding improvs, because those spacy jams were driven by chops and revealed new worlds. The Joker isn’t mind-expanding, it’s party music, filled with good vibes, never laying a heavy trip, always keeping things light, relaxed and easygoing. Sometimes, the vibes are interrupted, but not in a harsh way — the second side slows a bit, largely due to the sludgy “Come in My Kitchen” and “Evil,” the two songs that were recorded live but lacking any kinetic energy — but for the most part, this is all bright and fun, occasionally truly silly, as on “Shu Ba Da Du Ma Ma Ma Ma.” This silliness, of course, alienated old fans all the more, but that sense of fun is both the most appealing thing about The Joker and it set a touchstone for the rest of his career. Here, it’s best heard on the terrific opener “Sugar Babe” and, of course, the timeless title track, which is sunny and ridiculous in equal measure. If nothing else is quite up to that standard in terms of songs — certainly, it’s not as jammed-pack as its successor, Fly Like an Eagle — The Joker nevertheless maintains its good-time vibe so well that it’s hard not to smile along…provided you’re on the same wavelength as Miller, of course.” (Stephen Thomas Erlewine, AMG)
Steve Miller, guitar, vocals, harmonica
Gerald Johnson, bass, backing vocals
Dick Thompson, organ, keyboards, clavinet
John King, drums
320 kbps | 81 MB | LINKS
The album cover for Warrior, the third full-length by Brooklyn-based band Air Waves, features a ominous, androgynous figure standing with a bicycle, wearing a gas mask adorned with a daisy. The remarkable image was taken on April 22nd, 1970 at the inaugural Earth Day celebration in New York City by Nicole Schneit’s dad, Martin Schneit. Forty-seven years later, artist Em Rooney hand-painted Schneit’s original black & white photo, resulting in an image that radiates with Warrior’s indefatigable spirit, strength, and love
Like many queer women, Nicole Schneit is a warrior by necessity, fighting for basic rights, dignity, and acceptance. Such determination in the face of hardship and injustice runs in Schneit’s family; her new album was inspired in part by her mom who was diagnosed with fallopian cancer last year. As she explains, “The doctor told her she had a fifteen to twenty percent chance, and her response was ‘I’m going to get this mother fucker.’ So the title Warrior and the song are about her. After chemotherapy, surgery, and then more chemotherapy, all the cancer in her body has left and she’s currently in remission. I feel like most of the people in my life, including myself, are warriors and have overcome obstacles that seemed impossible to defeat.”
![VA - 101 Ultimate 80s [5CD Set] (2011)](http://lossless-galaxy.ru/uploads/posts/2018-04/thumbs/1523094930_01.jpg "VA - 101 Ultimate 80s [5CD Set] (2011)")
