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    [Image: kzsBMc7l.jpg]

    Keith Urban - Graffiti U (2018).VS.MP3
    MP3 CBR 320 kbps - 121 Mb | 00:52:40
    Pop, Country | Label: A Hit Red Records, Capitol Records Nashville
    M201801153

    1 "Coming Home"
    2 "Never Comin Down"
    3 "Same Heart"
    4 "My Wave"
    5 "Parallel Line"
    6 "Drop Top"
    7 "Way Too Long"
    8 "Horses"
    9 "Gemini"
    10 "Texas Time"
    11 "Love The Way It Hurts (So Good)"
    12 "Female"
    13 "Steal My Thunder"

    [Image: C63fOTw.png]
    Comprimido con WINRAR

    [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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    [Image: kzsBMc7l.jpg]

    Keith Urban - Graffiti U (2018).VS.MP3
    MP3 CBR 320 kbps - 121 Mb | 00:52:40
    Pop, Country | Label: A Hit Red Records, Capitol Records Nashville
    M201801153

    1 "Coming Home"
    2 "Never Comin Down"
    3 "Same Heart"
    4 "My Wave"
    5 "Parallel Line"
    6 "Drop Top"
    7 "Way Too Long"
    8 "Horses"
    9 "Gemini"
    10 "Texas Time"
    11 "Love The Way It Hurts (So Good)"
    12 "Female"
    13 "Steal My Thunder"

    [Image: C63fOTw.png]
    Comprimido con WINRAR

    [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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    rip by Boris1

    London Boys - The Twelve Commandments Of Dance (Special Edition) (2009)

    Performer: London Boys
    Album: The Twelve Commandments Of Dance (Special Edition)
    Label: Cherry Red Records
    Catalog #: CRPOP30
    Style: Eurodance
    Year: 2009
    Format: Flac (*image + .cue,log,scans)
    Bitrate: lossless
    Covers: in archive
    Amount of tracks: 16
    Size Rar: ~ 755 MB
    Upload: deposit, cloud.mail
    Recovery: 3%
    Password: sim-sim

    29 ?????? ?????????? ????????????? ???? ????? (International Dance Day) - ????????, ??????????? ???? ?????? ?????. ??????????? ?????? ? 1982 ????. ?? ??????? ???????????, ????????????? ???? ????? ??????? ?????????? ??? ??????????? ?????, ????? ??????? ??? ??????????? ???? ????? ?????????, ? ??????????? ???????????? ??? ????????????, ?????????? ? ?????????? ???????, ??????????? ?????????? ????? ?? ??? ?????? ? ????, ???????? ?? ???????? ?? ????? ????? - ????? ?????.
    ? ??????? ? ????????? ????????? ???, ??? ??? ???????????? ???????? ?? ?????????? ???????????? ?????, ? ???????? ?????? ?????? ????????? ???????????, ?? ???? ????? ???????????? ???? ? ???????. London Boys - ?????????-?????????? ???????????? ????. ???? ???????? ?????? The Twelve Commandments Of Dance (12 ????????? ?????) ????????? ? 1988 (? ???? ???? ??? ????? ?? ???????? 30-?????), ??? ?????? ?????, ? ????? ?? 12, ??? ????????? ???????? ?????. ? 2009 ???? ?????? ??? ????????? ? ??????????? 4-? ???????, ??????????? ?????? ???????, ???????? ? UK Singles Chart.
    ??? ??? ???????? ???????-????????! ???, ??? ????? ???????? ????, ????? ?????????? ????? ????. ????????? ??????? ?????? ????????. ????????? ??????? ?????? ????. ????????? ??????? ?????? ???????. ??? ???????? ?? ????, ????! ????????, ????? ??? ???????! ????????, ????? ??? ??????! ????????, ????? ??? ???????? ??? ??????? ?????? ?????????! ????????, ????? ?????????! ????????, ????? ?? ????????? ??????????? ????????! ????????, ????? ????????? ????????? ?????? ? ???????! ????????, ????? ?? ??????! ????????, ????? ???? ???? ? ??????!
    ????????, ????? ? ??? ? ?????? ??????????? ?????! ????????, ???????-????????! ? ??????? ?? ???????????? ???? ??????? ????? ?????, ??????????? ?? ??????? ??????, ???????, ??????? ??? ?????????? ?????? ?????????? ??????!




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    511RJfq4FEL._SS500.jpg320 kbps | 846 MB | LINKS

    Lefty Frizzell was the definitive honky tonk singer, the vocalist that set the style for generations of vocalists that followed him. Frizzell smoothed out the rough edges of honky tonk by singing longer, flowing phrases essentially, he made honky tonk more acceptable for the mainstream without losing its gritty, bar-room roots. In the process, he changed the way country vocalists sang forever. From George Jones, Merle Haggard, and Willie Nelson to George Strait, John Anderson, Randy Travis, and Keith Whitley, hundreds of artists have emulated and expanded Lefty’s innovations. Frizzell’s singing became the foundation of how hard country should be sung.

    Tracks:
    01. Cold Feet
    02. Don’t Think It Ain’t Been Fun, Dear (Cuz It Ain’t)
    03. When Payday Comes Around
    04. You Want Everything but Me
    05. You Can Go On Your Way Now
    06. Lullabye Yodel
    07. I Love You (Though You’re No Good) (1951 Version)
    08. It’s Just You (I Could Love Always) (1951 Version)
    09. (Darling Now) You’re Here So Everything’s Alright (1951 Version)
    10. I’ve Got Reasons to Hate You
    11. I Love You (Though You’re No Good) (1952 Version)
    12. It’s Just You (I Could Love Always) (1952 Version)
    13. (Darling Now) You’re Here So Everything’s Alright (1952 Version)
    14. I Know You’re Lonesome (While Waiting for Me)
    15. Lost Love Blues (Rehearsal Session)
    16. That’s Me Without You (Rehearsal Session)
    17. Send Her Here to Be Mine (Rehearsal Session)
    18. That’s Me Without You
    19. I Won’t Be Good for Nothin’
    20. If I Lose You (I’ll Lose My World)
    21. I’ll Try
    22. Time Changes Things
    23. All of Me Loves All of You
    24. Never No Mo’ Blues
    25. We Crucified Our Jesus
    26. When It Comes to Measuring Love
    27. I’m Lonely and Blue
    28. Before You Go Make Sure You Know
    29. Two Friends of Mine in Love
    30. Hopeless Love
    31. Then I’ll Come Back to You
    32. The Tragic Letter (The Letter That You Left)
    33. You Can Always Count on Me
    34. I’ve Been Away Too Long
    35. The Darkest Moment (Is Just Before the Light of Day)
    36. You’re Too Late
    37. My Little Her and Him
    38. You’re There I’m Here
    39. Let It Be So
    40. Mama! (1954 Version)
    41. Making Believe
    42. Moonlight, Darling and You
    43. I’ll Sit Alone and Cry
    44. A Forest Fire (Is In Your Heart)
    45. Your Tomorrows Will Never Come
    46. It Gets Late So Early
    47. I’m Lost Between Right and Wrong
    48. Promises (Promises Promises)
    49. My Love and Baby’s Gone
    50. Today is That Tomorrow
    51. First to Have a Second Chance
    52. These Hands
    53. You Can’t Divorce My Heart
    54. Treat Her Right
    55. Heart’s Highway
    56. I’m a Boy Left Alone
    57. The Waltz of the Angels (Single Version)
    58. Lullabye Waltz
    59. Glad I Found You
    60. Now That You Are Gone
    61. Lover by Appointment
    62. Mailman, Bring Me No More Blues
    63. You’ve Still Got It
    65. Tell Me Dear
    65. To Stop Loving You (Means Cry)
    66. The Torch Within My Heart
    67. Time out for the Blues
    68. I Love You a Thousand Ways (February 1958)
    69. If You’ve Got the Money, I’ve Got the Time (February 1958)
    70. I Want to Be with You Always (February 1958)
    71. (Darling) Let’s Turn Back the Years
    72. You Win Again
    73. Silence
    74. Our Love’s No Bluff
    75. Cigarettes and Coffee Blues
    76. I Need Your Love
    77. Mom and Dad’s Waltz (December 1958)
    78. If You’re Ever Lonely Darling (December 1958)
    79. Sin Will Be the Chaser for the Wine
    80. Knock Again, True Love
    81. Long Black Veil
    82. One Has-Been to Another
    83. Farther Than My Eyes Can See
    84. My Blues Will Pass
    85. Ballad of the Blue and Grey
    86. That’s All I Can Remember
    87. So What! Let it Rain
    88. What You Gonna Do, Leroy?
    89. I Feel Sorry for Me
    90. Heaven’s Plan
    91. Looking for You
    92. A Few Steps Away
    93. Just Passing Through
    94. That Reminds Me of Me
    95. Preview of Coming Attractions
    96. I’m Not the Man I’m Supposed to Be
    97. The Rider
    98. The Nester
    100. Make That One for the Road a Cup of Coffee
    101. ‘Gator Hollow
    102. It Costs Too Much to Die
    103. Mama! (1966 Version)
    104. It’s Hard to Please You
    105. You Don’t Want Me to Get Well
    106. Writing on the Wall
    107. I’m Not Guilty
    108. It Couldn’t Happen to a Nicer Guy
    109. Everything Keeps Coming Back (But You)
    110. My Feet Are Getting Cold
    111. Is There Anything I Can Do
    112. The Old Gang’s Gone
    113. A Song from a Lonely Heart
    114. There in the Mirror
    115. Hobo’s Pride
    116. Only Way to Fly
    117. Only Way to Fly (Laughing Version)
    118. A Word or Two to Mary
    119. Have I Ever Been Untrue?
    120. If You’ve Got the Money, I’ve Got the Time
    121. When the Grass Grows Green Again
    122. The Marriage Bit
    123. I’ll Remember You
    124. Wasted Way of Life
    125. Keep Them Flowers Watered While I’m Gone
    126. Blind Street Singer
    127. Honky Tonk Hill
    128. My Baby Is a Tramp
    129. She Brought Love Sweet Love
    130. I Must Be Getting over You
    131. Out of You
    132. It’s Raining All over the World
    133. There’s Something Lonely in This House
    134. Three Cheers for the Good Guys
    135. An Article from Life (Without Overdub)
    136. Honky Tonk Hill (Without Overdub)
    137. Honky Tonk Stardust Cowboy
    138. What Am I Gonna Do
    139. Give Me More, More, More (Of Your Kisses)
    140. You Babe
    141. This Just Ain’t No Good Day for Leavin’


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  • 04/27/18--11:41: Elina Duni – Partir (2018)
  • Personal circumstances underscore Elina Duni’s fifth album and third for ECM. Unlike its predecessors, Partir finds the Albanian-Swiss singer/songwriter going it alone for the first time, apart — perhaps permanently — from her quartet due to the ending of a long-term relationship. In charting a new course, Duni accompanies herself on guitar, piano, and percussion, embracing these 12 songs in nine languages about love, loss, and leaving. It’s a departure from the Albanian-only songs that governed her two previous outings and instead reflects the tenor of her solo concerts. In the short epigraph she provides in the liner notes to Partir, Duni writes, even before a word has been sung: “We are all departing, bound to…

    112 MB  320 ** FLAC

    …be torn away, one day or another, from what we love.”

    She sets the stage in opener “Amara Terra Mia,” an Italian waltz by 20th century icon Domenico Modugno and lyricist Enrica Bonaccorti. Duni’s alternately strummed and fingerpicked guitar holds space for her vocal: “Endless skies and faces like stone/Calloused hands now hopeless. Goodbye, goodbye my love, I am leaving/Bitter land of mine, bitter and beautiful…” She follows it with her own “Let Us Dive In,” a lilting ballad performed on piano where she portrays loss as a shared burden: “Let me look at you my love/As we dive under and above our ‘whys’/It’s been good til here/We made it through til here….” Even more powerful is the 19th century Egyptian song “Lamma Bada Yatathanna,” by poet and musician Muhammad Abd al Rahim al Masloub. Duni plays a frame drum known as a daf. Her protagonist has been struck by a beauty so profound she is left confounded, desolate: “Who will alleviate my suffering of love and torment/except the King of Beauty…Mercy, mercy, mercy.” She examines her themes in familial expressions, too, as in the Yiddish folk song “Oyfn Weg” and “Vishnja,” a traditional song from Kosovo, about the bond that exists between mother and daughter. Both are leaving songs, but in the former, the leaving child may or may not be speaking from beyond the pale. In “Kanga e Kurbetit,” another song from Kosovo, she sings as a mother and bereft lover raising a son alone. Its time frame spans more than 20 years. As it develops, her sense of loss deepens, not dissipates, as she alternates carving and cleaving meaning from her life. The totality of separation experienced through exile is rendered as ravaged beauty in her reading of Jacques Brel’s “Je Nai Sais Pas.”

    In the music made with her quartet, Duni consistently blurred lines between jazz, folk, poetry, chanson, and other traditions. In performing solo, these already thin lines vanish; they’re replaced by the intimate, authoritative weight of her voice writing a mapped, annotated language that juxtaposes tender abundance (the past) with the raw experience of lack (the present). On Partir, Duni enters the realm of the profound: Her voice does not hold within it the grain of separation, but is instead that grain personified.


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    Catrin FinchEven before the first notes of harp and kora play out from this excellent second disc by Welsh harpist Catrin Finch and Senegalese Kora player Seckou Keita, there is a lovely piece of romance surrounding it that mirrors the two musics that this duo have put together so very successfully. The main star of Soar is the Osprey, a raptor that has begun breeding again in Wales after a four hundred year absence when it was effectively persecuted to extinction in the country as vermin. The bond between Wales and West Africa has been re-established for the bird, with the first to remake the several thousand mile round journey being christened ‘Clarach’, which also provides the title of the opening track.
    As was clear from the duo’s debut Clychau Dibon from 2013, the music produced from this…

    106 MB  320 ** FLAC

    …pairing seems to be more a re-establishing of sound and musical cultures, rather than an introduction, which of course ties in well with the story of our eponymous bird, flying the flag for the species in Wales. ‘Clarach’ begins spacious, with a long bass note and phonetics playing alongside the picked kora, before the harp line begins to set a pace and rhythm that grows in strength and urgency as the track develops. At six minutes, there is time to allow the music to unfold here and switch from a minor to major key, which adds to the drama of the bird’s journey, so skilfully illustrated through the duo’s playing. Just before we are two thirds through, there is a subtle shift where the energy calms and Keita’s kora line jumps away from the harp, as if being carried off on a breeze, before rejoining for a rousing end. It’s examples like this running through the whole set that displays the trust the pair have in each other’s ability and the relationship they have built through collaborating this past six years.

    And the enjoyment the pair obviously get from playing together runs strongly throughout their work and creates pure pleasure in places. The high notes of Catrin’s harp line, matched with Seckou’s lower kora combine wonderfully on tracks like ‘Téranga-Bah’, which again takes plenty of time to unfold before Keita’s powerful vocal kicks in and ends the song with strong energy through its message based on the ritual of hospitality. It also leads on nicely to ‘Yama Ba’, an altogether looser and more playful track in sepia tone that has the harp and this time louder kora (a nod to the amplification of the instrument to push it into modern music) running along carelessly together in one of the more innocent tracks on the record. And then we go classical on the kora with ‘Bach to Baisso’, probably the most complex and expansive track on the album and one that incorporates two significantly different traditions in classical music and Baisso, an African tune type that is synonymous with wisdom through poetry.

    Further on is ‘Listen to the Grass Grow’, a simple melodic piece penned by Catrin to create a sense of calm through two or three chords. At four and a half minutes, it’s the shortest track of the eight and doesn’t deviate far from its initial pattern, but that enables the listener to do the desired and switch off somewhat to allow the delicacy of the song to wash over them. It also works well with the pieces surrounding it, with ‘1677’ possessing a certain darkness with its low noted refrain hanging behind a dancing melody from Finch’s harp. Perfectly contrasting the simplicity of ‘Grass’, this tune is quite mercurial, with only that deep bounce staying steady, which works well with its slave trade based story spanning over a century. In fact, ‘Grass’ becomes even more effective in hindsight, sandwiched between ‘1677’ and ‘Hinna-Djulo’ and creating the respite in an expansive core to the album. ‘Hinna-Djulo’ is a piece that has been incubated since the pair’s collective career began and only now has felt ready to be let loose. Catrin’s fingers create a frenetic pace with this one in places, but then calms to provide an operatic mood, which Keita comfortably works alongside. Wonderful stuff.

    The album ends with ‘Cofiwch Dryweryn’, a song that takes us back to a Wales and the tragic story of the Tryweryn valley (the song title translates to ‘remember Tryweryn’) and its flooding in 1965 from water now used as the reservoir supplying Liverpool. The piece starts with a gentle harp line and just the hint of the lower kora behind it, but two minutes in the song shifts into its second part with the two instruments joining to create a more serious melody, and the two players singing native lyrics alongside it. The arrangement giving the strings the road lends an ethereal air to the vocal lines that works well with the sense of lament the song is illustrating, both for the loss of the valley and, in a broader sense, the Welsh language itself. Alongside ‘1677’, it creates the album’s most pointed and possibly even angry moments, but the pair are careful and skilful enough to maintain the beauty in their work that has been present throughout the set; both songs are lessons in positivity through adversity.

    This ingenious duo have let fly with their second set and released a remarkable album of such texture and prowess that at points its scope, concentrated into the workings of two masters of their instruments, takes the breath away. The pacing, structure, packaging and context, including inspired liner notes from Andy Morgan, is all impeccable and it all combines to result in a truly inspired, beautifully conceived project.


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    61fEKk%2BB2kL._SS500.jpg320 kbps | 97 MB | LINKS

    Roy Harper followed HQ with another superb rock-oriented classic, 1977’s interestingly titled Bullinamingvase. The album will forever be remembered for its controversial track “Watford Gap,” with lyrics that supposedly defamed the service station of Watford Gap. Harper ran into legal problems when the station owners voiced their extreme distaste of the song, resulting in the record company’s removal of the composition from the album. It was replaced with the light but solid “Breakfast with You.” Both songs are included in the 1996 reissue. But the album’s strengths lie elsewhere. The compositions are laced with beautiful passages, both musically and lyrically, and the vibrant acoustic guitar work on tracks like “Cherishing the Lonesome,” “Naked Flame,” and the epic “One of Those Days in England (Pts. 2-10)” are likely to never be surpassed. The powerful, energetic passion, brilliant lyrics, and driving force of “Cherishing the Lonesome” make for one of Harper’s greatest accomplishments. “Naked Flame” impresses equally with its clean, country-tinged guitar work. The jewel in the crown, though, is “One of Those Days in England (Pts. 2-10).” The lyrical content, a collection of reminiscences, is striking, being at once trenchant/biting and beautiful. The piece is comprised of many movements, opening (with guitar) like a looming cloud foreshadowing the storm and darkness that lie ahead. Suddenly, after the introductory verses, the guitar picks up and the clouds begin breaking apart, allowing the sun to shine through. The song becomes hopeful before changing moods once again, with Harper’s voice at its peak. The song benefits from wonderful use of lap steel guitar with strings fleshing out several movements. Bullinamingvase also contains the radio-friendly pop tune “One of Those Days in England,” the closest Harper ever came to having a hit single. This is also the alternate title of the album. It is interesting to note that, even though most of the lyrical content is presented in the CD booklet, several lines/verses have been purposefully omitted from the printing, such as much of “Watford Gap” and the opening of “One of Those Days in England (Pts. 2-10).” Upon listening to the tunes, the reason becomes quite clear. Listen for uncredited vocal contributions from Paul and Linda McCartney.


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    51DxPU1ZECL._SS500.jpg320 kbps | 500 MB | LINKS

    Tracks:
    01. A Rusty Old Halo
    02. Della and the Dealer
    03. The Hotel Ritz
    04. So Hard to Give It All Up
    05. Evangelina
    06. Torpedo
    07. Viva Pancho Villa
    08. Wild Bull Rider
    09. In a Young Girl’s Mind
    10. Gotta Keep Rollin’
    11. Everybody’s Goin’ on the Road
    12. Betty La Rue
    13. Boozers Are Losers
    14. Politicians
    15. (When You Dance) You Do Not Tango
    16. Smile as You Go By
    17. Where Did the Money Go?
    18. Some People Ride
    19. Midnight in Memphis
    20. Ease Your Pain
    21. The Battle of New Orleans
    22. The House Song
    23. Roanoke (Live)
    24. Wild Bull Rider (Live)
    25. Flash of Fire (Live)
    26. Boney Fingers (Live)
    27. Della and the Dealer (Live)
    28. When the Morning Comes (Live)
    29. Evangelina (Live)
    30. No No Song (Live)
    31. Mel Tillis/Roger Miller Story (Live)
    32. Lion in the Winter (Live)
    33. Jealous Man (Live)
    34. The Devil (Live)
    35. A Rusty Old Halo (Live)
    36. Bus Story (Live)
    37. An Old Greyhound (Live)
    38. Orange Blossom Special (Live)
    39. Will the Circle Be Unbroken (Live)
    40. Maybelline (Live)
    41. Never Been to Spain (Live)
    42. Joy to the World (Live)
    43. She’s Too Lazy to Be Crazy
    44. Pistol Packin’ Mama
    45. I Walk the Line
    46. Don’t Fence Me In
    47. There Stands the Glass
    48. Warm Storms & Wild Flowers
    49. He Played Real Good for Free
    50. James Dean & The Junkman
    51. Indian Song
    52. Fearless the Wonder Dog
    53. Spin of the Wheel
    54. Heartbreak Hotel
    55. We Could’ve Been Sweethearts
    56. Young Man
    57. Mr Winchester’s Gun
    58. If You’re a Cowboy
    59. American Dreams
    60. Mountain Right
    61. Cowboys on Horses with Wings
    62. I Collect Hearts
    63. We Were Buccaneers
    64. The Weight
    65. Thank You Lord
    66. Blue Prelude


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    2rw58gy.jpg320 kbps | 157 MB | LINKS

    Sporting a slam-bang rock ‘n’ roll band and a hard-core honky-tonk wail, Stacie Collins pushes the boundaries of rock, blues and country. A singer-songwriter and a bad-ass harmonica player in the style of Chicago Blues greats Little Walter and James Cotton, Collins has garnered a reputation for her high energy shows, diverse songwriting and unlike most chick-singers, they are not all about love and heartbreak.

    Had her records been released twenty or thirty years ago, they would have sounded as natural on ’70s FM radio alongside ZZ Top and The Rolling Stones as they do next to contemporary rockers like the Drive-By Truckers or Blackberry Smoke.


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    The Official UK Top 40 Singles Chart 28 April (2018)

    Artist: Various Performers
    Title: The Official UK Top 40 Singles Chart 28 April
    Label: BBC Radio 1, OfficialCharts
    Style: Hip Hop, R&B, Grime, Neo Soul, Folk, Indie, Synthpop, Electropop, Future Bass
    Release Date: 27-04-2018
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Codec: MP3
    Tracks: 40 Tracks
    Time: 02:16:23 Min
    Size: 318 MB

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    Big Ole P & Lil'Missy • Big Ole P & Lil'Missy Жанр : Country/Pop Страна : Norway Год издания : 2018 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:32:44 Наличие сканов : нет Источник релиза : Lossless 01.

    Тема на форуме



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    Sara Douga • Boots, Bras And Drawers Жанр : Country Страна : USA (Sulphur, LA) Год издания : 2018 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:45:46 Наличие сканов : нет Источник релиза : Lossless 01.

    Тема на форуме



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    Halie Loren – From the Wild Sky (2018) FLAC
    Artist: Halie Loren | Album: From the Wild Sky | Released: 2018 | Genre: Jazz

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    Forth Wanderers – Forth Wanderers (2018) FLAC
    Artist: Forth Wanderers | Album: Forth Wanderers | Released: 2018 | Genre: Pop, Indie

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    Father Murphy – Rising. A Requiem for Father Murphy (2018) FLAC
    Artist: Father Murphy | Album: Rising. A Requiem for Father Murphy | Released: 2018 | Genre: Alternative Rock, Indie

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    Jeff Richardson – Optimistic Rhodes Revolution (2018) FLAC
    Artist: Jeff Richardson | Album: Optimistic Rhodes Revolution | Released: 2018 | Genre: Jazz

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    Kari Ikonen Trio – Wind, Frost & Radiation (2018) FLAC
    Artist: Kari Ikonen Trio | Album: Wind, Frost & Radiation | Released: 2018 | Genre: Jazz

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    Midas Fall – Evaporate (2018) FLAC
    Artist: Midas Fall | Album: Evaporate | Released: 2018 | Genre: Alternative Rock

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    ilan Bluestone – Scars (2018) FLAC
    Artist: ilan Bluestone | Album: Scars | Released: 2018 | Genre: Dance, Electronic

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