Articles on this Page
- 05/15/18--23:34: _Ingested - The Leve...
- 05/15/18--23:34: _Murat Dalkilic - As...
- 05/15/18--23:58: _The Kry - Unplugge...
- 05/16/18--00:03: _MaNga - X (2018) (2...
- 05/16/18--00:03: _Potatohead People -...
- 05/16/18--00:03: _Thunderegg - Cosmos...
- 05/16/18--00:03: _Vickie Winans - Fre...
- 05/16/18--00:30: _VA - Funk Box (2017)
- 05/16/18--01:04: _Kárpátia - Légió (2...
- 05/16/18--01:04: _Kárpátia - Isten ke...
- 05/16/18--01:15: _Gurrumul – Djarimir...
- 05/16/18--01:24: _Julito de la Ossa –...
- 05/16/18--01:38: _Svartsot - Ravnenes...
- 05/16/18--02:13: _VA - 70's Funk Esse...
- 05/16/18--02:33: _Terry Blersh – Play...
- 05/16/18--02:33: _The Artwoods – Stea...
- 05/16/18--03:33: _Calexico – Live in ...
- 05/16/18--03:46: _JUAN ANDRÉS OSPINA ...
- 05/16/18--03:53: _Lemongrass - The Re...
- 05/16/18--05:35: _Rubén Blades & Robe...
- 05/15/18--23:34: Ingested - The Level Above Human (2018) FLAC (tracks)
- 05/15/18--23:58: The Kry - Unplugged (1995)
- 05/16/18--00:03: MaNga - X (2018) (24bit Hi-Res Single) FLAC
- 05/16/18--00:03: Potatohead People - Nick and Astros Guide to the Galaxy (2018) FLAC
- 05/16/18--00:03: Thunderegg - Cosmos (2018) FLAC
- 05/16/18--00:03: Vickie Winans - Fresh Takes (2018) FLAC
- 05/16/18--00:30: VA - Funk Box (2017)
- 05/16/18--01:04: Kárpátia - Légió (2013)
- 05/16/18--01:04: Kárpátia - Isten kegyelméből (2018)
- 05/16/18--01:15: Gurrumul – Djarimirri: Child of the Rainbow (2018)
- 05/16/18--01:24: Julito de la Ossa – 8º Rey Vallenato Discos Fuentes 1975
- 05/16/18--01:38: Svartsot - Ravnenes Saga [Limited Edition] (2007)
- 05/16/18--02:13: VA - 70's Funk Essentials (2016)
- 05/16/18--02:33: Terry Blersh – Play It All Day (2018)
- 05/16/18--03:33: Calexico – Live in Nuremberg 2009
- 05/16/18--03:46: JUAN ANDRÉS OSPINA BIG BAND τραμουντάνα
- 05/16/18--03:53: Lemongrass - The Remix Sessions Volume 1 & 2 (2010/2017)
- 05/16/18--05:35: Rubén Blades & Roberto Delgado & Orquesta – Medoro Madera (2018)
Artist: Ingested | Album: The Level Above Human | Released: 2018 | Genre: Metal, Death Metal | Country: United Kingdom | Duration: 00:44:25
Artist: Murat Dalkılıç | Album: Aşinayız (feat. Oğuzhan Koç) | Released: 2017 | Genre: Pop
???????????: The Kry
??????: Unplugged (Live)
????: Melodic Rock / CCM
??? ??????: 1995
??????: FLAC (image+.cue, log, scans)
??????: 355 Mb
Artist: MaNga | Album: X | Released: 2018 | Genre: Rock
Artist: Potatohead People | Album: Nick and Astros Guide to the Galaxy | Released: 2018 | Genre: Electronic
Artist: Thunderegg | Album: Cosmos | Released: 2018 | Genre: Rock
Artist: Vickie Winans | Album: Fresh Takes | Released: 2018 | Genre: Gospel, Jazz
Title Of Album: Funk Box
Year Of Release: 2017
Label: Warner Music/X5 Music Group
Genre: Funk, Soul, R&B, Disco
Quality: FLAC (tracks)
Full Size: 1.36 gb
??? ??????: 2013
????: Folk Rock / Ethno Punk
??????: Lossless: FLAC (track's) cue+log+covers
??????: 530.09 Mb
?????? ??: Turbobit | Hitfile | Rapidgator
??????: Isten kegyelméből
??? ??????: 2018
????: Folk Rock
??????: Hungary (Budapest)
??????: Lossless: FLAC (track's) cue+covers+log
??????: 276.09 Mb
?????? ??: Turbobit | Hitfile | Rapidgator
The untimely passing of Geoffrey Gurrumul Yunupingu late last year was perhaps one of the saddest moments in Australian music in 2017.
Djarimirri: Child of the Rainbow represents a four-year labour of love that was completed just prior to his passing. Gurrumul stakes his legacy in an album that feels instantly classic and destined to become an iconic Aussie album. Drawing from his traditional Yolngu heritage, Gurrumul presents a series of traditional songs and chants around which huge orchestral arrangements have been woven.
It would be easy to accuse Gurrumul of watering traditional music to make it more palatable for western audiences, but for a man whose music has travelled around the world, this album feels more like a thoughtful reconciliation of…
…divergent traditions and musical styles. In the nicest way imaginable, Gurrumul symbolically brings together Indigenous and western music such that they harmoniously co-exist on this album. This is an important message itself, even though at times they furiously chase each other’s tails like yin and yang.
It seems this album was conceived as an extension of Gurrumul’s 2013 Vivid performance with the Sydney Symphony Orchestra, which celebrated his music. Gurrumul’s vocals have often been described as angelic but on this album they are dreamy and haunting. Singing in his native language, some fans will need to do their research to understand his literal meaning, but while immediate understanding of Gurrumul’s lyrics will elude non-Indigenous speakers, he works to immerse all listeners in a wondrous environment that suggests his homeland. Like Liz Fraser and Jonsi Birgisson, who left language behind to focus on texture and emotion, Gurrumul goes beyond speech. The emotions embedded in this album speak for themselves.
Moving from the celebratory Galiku (Flag) to more tender Wulminda (Dark Clouds) this album wears its heart on its sleeve and packs plenty of emotional punches. The title track brings together a majestic wash of sound and Gurrumul’s thrilling vocals. Gapu (Freshwater) wears an arrangement that comes across as a hybrid of Glass and Nyman’s styles of minimalism. The tune teems with life and feels like a refreshing splash of water across the face while swimming in a waterhole at a remote location in Arnhem Land. Many of these tracks seemingly celebrate the animals of the land, and like much of this album Gapu (Freshwater) creates an imaginary environment in the mind’s eye that listeners are left to explore. The fluid Gopuru (Tuna Swimming) takes a plunge into the aquatic to discover swarms of fish in the water. Djapana (Sunset) comes with more of a neo-classical vibe than the rest of the album. It’s a sound clash of sorts as the pomp of the orchestra is confronted with the more tribal style of Gurrumul’s vocals.
Saving the best for last, the poignant the brooding Wulminda (Dark Clouds) drops deep, melancholy vibes upon our ears. Such a fully formed and joyous album released posthumously makes for truly bittersweet listening.
Julio de la Ossa werd na te hebben meegedaan sinds 1968, in 1975
dan toch eindelijk “Rey Vallenato”. De juryleden herkenden in zijn
stijl de authentieke vallenato. Julio de la Ossa , ook wel “el Pequeno
Gigante del Acordeon” genoemd werd geboren in de staat Sincelejo
en brengt op deze langspeler zijn tot dan toe beste werk. Het
kronings album uit 1975 werd reeds geplaatst op 29 juni 2015.
Gebruik onze zoekbalk om hem te vinden..
He joined the competition since 1968 but in 1975 Julio de la Ossa
finally was crowned “Rey Vallenato”. The members of the jury
recognized the authentic vallenato in his style. Julio de la Ossa,
also called “el Pequeno Gigante del Acordeon” was born in the
state of Sincelejo and brings his best songs till then on this
longplayer. His coronation album was already posted on
june 29, 2015. Use our search-bar and find it instantly..
01 – Orfelina
02 – Sin cariño
03 – Amores escondidos
04 – Me dominas
05 – La viuda alegre
06 – El pajarito
07 – La cita
08 – Corazon intranquilo
09 – Flor prohibida
10 – Amor divino
??????: Ravnenes Saga [Limited Edition]
????: Viking Metal | Folk Metal
????????: Napalm Records GmbH. [NPR 221]
??????: FLAC (*image + .cue,log, covers)
??????: Depositfiles | Turbobit (3% ?? ??????????????)
Title Of Album: 70's Funk Essentials
Year Of Release: 2016
Label: Warner Music/X5 Music Group
Genre: Funk, Soul, Rhythm & Blues
Quality: FLAC (tracks)
Full Size: 617 mb
320 kbps | 85 MB | LINKS
A modern take on Blues, Soul, Rock and a smidgeon or Jazz.
320 kbps | 653 MB | LINKS
The Artwoods were every bit the rivals of such bands as the Animals and the Spencer Davis Group, but never saw the success as a recording act that either of them enjoyed. Rather, their following was confined to the clubs they played, despite releasing a half-dozen singles and an LP during their four years together.
Art Wood, the older brother of Ron Wood, had been involved with the London blues scene almost from the beginning, as an original member of Blues Incorporated, the pioneering blues/R&B outfit founded by Alexis Korner and Cyril Davies. He was the backup rhythm singer in the band’s early lineup, before the split between Davies and Korner (and prior to their recording their one and only album); he also had a group of his own that he fronted on the side, called the Art Woods Combo. They later became the Artwoods in 1963 and Jon Lord later joined along with guitarist Derek Griffiths, after their own earlier band, Red Bludd’s Bluesicians, split up. The group’s decision to turn professional in 1964 required a new drummer and Keef Hartley was recruited by way of an ad in Melody Maker magazine. For their bassist, they raided Malcolm Pool from the Roadrunners lineup. In the booming London music scene, getting a recording contract was relatively easy — labels were signing everything in sight that could make a noise that sounded like music — and they joined Decca Records’ roster in 1964.
The Artwoods’ early records are some of the most fondly remembered British R&B singles, rivals to the work of the Rolling Stones, the Yardbirds, or, ironically enough, the Birds, the outfit of which Art Wood’s younger brother Ron Wood was a member. Their sound was as steeped in soul and funk as it was in blues, which set them apart from many of their rivals. What’s more, they were good at it, with a natural feel for the music and even capable of writing decent originals, which graced the B-sides of their singles. And they had a virtuoso lineup: Jon Lord’s piano and organ sound was a great complement to Wood’s singing, Derek Griffiths’ guitar work was tastefully flashy, and Keef Hartley was animated as well as powerful, with a bigger sound on the drums than, say, Jim McCarty of the Yardbirds. All of these attributes made the Artwoods a top stage attraction. Club audiences always knew they were good for a great show and the band loved playing live. Ultimately, in fact, the group’s success in touring and their love of playing live may have hurt them. They had no problem playing hundreds of gigs a year at venues like Klooks Kleek in Hampstead and dozens of lesser clubs for the sheer enjoyment of it, but they earned relatively little money doing it.
At the same time, their singles never seemed to connect, despite appearances on programs like Ready, Steady, Go! and other television venues promoting them. Their failure as a recording outfit is inexplicable upon hearing the singles — they weren’t strong songwriters, to be sure, but when covering American-style R&B, their records were soulful, funky, and played not only well but inventively; close your eyes and it seems like they were the U.K. answer to Booker T. & the MG’s. And the vocals — if not as charismatic as what Eric Burdon, Mick Jagger, or Paul Jones were doing with their respective bands — were attractive and memorable and sounded authentically American. And, in contrast to a lot of other British bands of that period, they did manage to capture something of their live sound on those records, which made them very potent. In fairness, Decca even allowed them to cut a complete LP despite their lack of chart success, but the quintet never broke through. Like the Action, another U.K. R&B outfit that made great records that never got heard, the Artwoods never did more than amaze audiences one club at a time and leave behind some great music to be found by pop culture archivists.
A series of label switches in 1967 to Parlophone and then Fontana gave them some furtive success on the continent (in Denmark, of all places) and after four years of hard work, the Artwoods called it quits after a brief foray under the name the St. Valentine’s Day Massacre. Keef Hartley was the first to go, heading to John Mayall’s band (Macolm Pool followed his lead) and then into his own group, while Jon Lord, who had dabbled in studio outfits like Santa Barbara Machinehead, took up an offer from ex-Searcher Chris Curtis to join a group called Roundabout, which evolved into Deep Purple. Art Wood himself never left music, despite the disappointment inherent in the Artwoods. Like such older contemporaries as Alexis Korner, he made the occasional recording and was one of the members of the revived Downliners Sect during the 1980s and 1990s.
192 kbps | 105 MB | LINKS
John Convertino: drums
Joey Burns: acoustic and electric guitar, vocals
Paul Niehaus: pedal steel, electric guitar, backing vocals
Jacob Valenzuela: trumpet, keys, vibes, percussion, vocals
Volker Zander: upright and electric bass, backing vocals
Martin Wenk: trumpet, guitar, keys, vibes, accordion, backing vocals
Jairo Zavala: electric guitar, bouzouki, vocals
1 – Roka
2 – Bend To The Road
3 – Inspiracion
4 – Crystal Frontier
5 – Two Silver Trees
6 – Red Blooms
7 – Victor Jara’s Hands
8 – Man Made Lake
9 – Fractured Air
10 – All Systems Red
Title Of Album: The Remix Sessions Volume 1 & 2
Year Of Release: 2010/2017
Genre: Downtempo, Chillout, Nu Jazz
Quality: FLAC (tracks)
Full Size: 984 mb
320 kbps | 75 MB | LINKS
On “Medoro Madera”, Rubén Blades inhabits his ‘alter-ego’ Medoro Madera – a Cuban octogenarian who has made brief appearances on his albums since 1997. Here the entire album is devoted to Madera singing mostly songs from the 20s and 30s, backed by Roberto Delgado with a quasi-conjunto version of his orchestra. Blades explains how he creates the Medoro Madera voice saying “I can produce such an effect by channeling the spirit of the old Cuban soneros, my true inspiration for this work, and by doing what in Spanish is known as “impostacion”. This voice technique helped me create a different color, potency and timbre to my natural voice.”