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Roger Glover And Friends: 1974 The Butterfly Ball And The Grasshopper's Feast - 3CD Box Set Purple Records 2018

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Roger Glover And Friends
1974 The Butterfly Ball And The Grasshopper's Feast
3CD Box Set Purple Records 2018


Roger Glover And Friends: 1974 The Butterfly Ball And The Grasshopper's Feast - 3CD Box Set Purple Records 2018


Performer:
Roger Glover And Friends
Box Set / Albums:
1974 The Butterfly Ball And The Grasshopper's Feast
(3CD Box Set Purple Records 2018)
Info:
Purple Records / Cherry Red Records
Catalog Box: PURPLEBOX016
Catalog Discs: PURPLEBOX016/1~2 ? PUR 125 CD / 3
Made in EU
Dynamic Range: 12 / 12 / 12
Genre / Style: Rock / Pop Rock / Classic Rock / Rock Opera
Released Year: 1974/2018
Format:FLAC / Level 8 (img + *cue / *cue with ISRC + EAC log, AccurateRip)
Covers: format PNG 600dpi/300dpi (booklet, poster), full scans
Upload: GigaPeta / TurboBit
(5% recovery)

Bombino – Deran (2018)

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1z1ea9e.jpg320 kbps | 106 MB | LINKS

Partisan Records will release ‘Deran,’ the new full-length album from Niger-born Tuareg guitar virtuoso, Bombino. ‘Deran’ – which loosely translates to “best wishes” – is Bombino’s most focused, compelling, and diverse statement to date, and delivers a message of hope and well-wishes to the world in a time of great pain and tumult. Written and sung entirely in Bombino’s native language of Tamasheq, ‘Deran’ was recorded in Casablanca – at a studio owned by current Moroccan king Mohammed VI, no less – over a ten day stretch, and marks his first time making an album in Africa in nearly a decade. In Bombino’s own words, “my mission for this album was always to get closer to Africa.” How to celebrate, protect, unify, and above all, never forget that desert home, are the salient themes throughout ‘Deran.’ Across ten tracks, the album showcases Bombino’s mastery of a rich palette – from folk, rock, blues, funk, and of course the ‘Tuareggae’ sub-genre which he has single-handedly pioneered.

VA - KGSR Broadcasts Volume 3 [2CD Set] (1995)

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VA - KGSR Broadcasts Volume 3 [2CD Set] (1995)

Artist: Various Artists
Title Of Album: KGSR Broadcasts Volume 3
Year Of Release: 1995
Label: KGSR
Genre: Folk Rock, Country Rock, Alternative, Acoustic Blues Rock
Quality: FLAC (tracks,cue,log)
Bitrate: Lossless
Time: 2:33:27
Full Size: 766 mb
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Dana Fuchs – Love Lives On (2018)

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71tyjL6VrEL._SL1200_.jpg320 kbps | 112 MB | LINKS

Dana Fuchs and her music partner, Jon Diamond have crafted an incredible album of new soul-influenced songs with a little help from new songwriting partners, most notably, Scott Sharrard (Gregg Allman).

The album also features distinctive covers from Memphis icons Otis Redding and Johnny Cash, to render a cohesive body of Memphis Soul done Dana-style.

Gretchen Peters – Dancing with the Beast (2018)

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41Rq4vuLxyL.jpg320 kbps | 114 MB | LINKS

There’s a bittersweet beauty to the passing of time — the changes it brings are just as often heartbreaking as they are heartwarming. The inevitable tension that arises from that sway is Gretchen Peters’ most trusted muse. “The years go by like days. Sometimes the days go by like years. And I don’t know which one I hate the most,” she sings in “Arguing with Ghosts,” the hauntingly wistful opening cut on her new album, Dancing with the Beast.

Between the melody and the melancholy, the song sets the tone for all that is to come after and lifts the album over the high artistic bar set by her last outing, 2015’s award-winning Blackbirds. Written with Matraca Berg and Ben Glover, “Arguing with Ghosts” began, as so many songs do, with one small grain of inspiration. “I think we were initially talking about how Nashville is changing, and Matraca said, ‘I get lost in my hometown,’” Peters recalls. “And we went from there. Of course, it took on much more meaning, but I think that our starting point was just that sense of disorientation.”

Whether a single sentence or a simple setting, once planted, even the tiniest seed can grow into a vision unto itself. Strung together and populated with strong and broken female heroines, those vignettes make up Dancing with the Beast and, indeed, Peters’ entire discography. “The pictures and the details come first, and I think that’s kind of necessary because they’re sort of like little bombs of emotion,” she says. “It’s like when you pull out a Polaroid that you haven’t seen in 25 years, and your heart just kind of explodes because it brings back a whole world.”

Bombino – Deran (2018)

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1z1ea9e.jpg320 kbps | 106 MB | LINKS

Partisan Records will release ‘Deran,’ the new full-length album from Niger-born Tuareg guitar virtuoso, Bombino. ‘Deran’ – which loosely translates to “best wishes” – is Bombino’s most focused, compelling, and diverse statement to date, and delivers a message of hope and well-wishes to the world in a time of great pain and tumult. Written and sung entirely in Bombino’s native language of Tamasheq, ‘Deran’ was recorded in Casablanca – at a studio owned by current Moroccan king Mohammed VI, no less – over a ten day stretch, and marks his first time making an album in Africa in nearly a decade. In Bombino’s own words, “my mission for this album was always to get closer to Africa.” How to celebrate, protect, unify, and above all, never forget that desert home, are the salient themes throughout ‘Deran.’ Across ten tracks, the album showcases Bombino’s mastery of a rich palette – from folk, rock, blues, funk, and of course the ‘Tuareggae’ sub-genre which he has single-handedly pioneered.

Bombino – Deran (2018)

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BombinoIn the 2010 documentary Agadez, The Music and the Rebellion, director Ron Wyman explores the culture of the Tuareg people of North Africa — specifically their music. As pointed out in the film, one name has become synonymous with Tuareg music. The guitarist and singer-songwriter Bombino, born Omara Moctar, grew up amid the social, political and economic unrest in the Sahara in the 1980s and ’90s. Fleeing from drought, he and has family emigrated from Niger to Algeria, where they endured anti-Tuareg sentiment and the subsequent rebellions against it.
A rapidly developing guitar virtuoso at a young age, Bombino eventually spun his native stardom into international success, first by collaborating with Keith Richards and Charlie Watts on…

106 MB  320 ** FLAC

…a cover of The Rolling Stones’ “Hey Negrita,” then by releasing Nomad, his 2013 breakout album, which was produced by Dan Auerbach of The Black Keys.

The context of Bombino’s music isn’t incidental; it’s essential to understanding the impact and poignancy of Deran, his latest full-length. Sung exclusively in the Tuareg language of Tamashek, songs such as “Tehigren” (“Trees”) and “Imajghane” (“The Free People”) distill Bombino’s memories and impressions of his homeland. Fluid and bluesy, his guitar playing is more than just an agile dance between rhythm and melody. It speaks and breathes across centuries. In Tuareg culture, guitarists and the songs they sing have long been the means by which traditions, mores and revolutionary spirit have been passed down.

On “Oulhin” (“My Heart”), Bombino evokes the warmth of tribal bonds among the Tuareg, as well as the agony of internecine strife that has splintered the Saharan region. Amid mildly distorted rock hooks and sashaying syncopation, Bombino’s internationally sourced band — including Illias Mohammed on guitar, Youba Dia on bass, Corey Wilhelm on drums, Hassan Krifa on percussion, and Mohammed Araki on keyboard — inject an upbeat tune with a heart-piercing sentiment. “My heart is burning / It burns because of my brothers / My brothers who do not love each other,” Bombino sings in his high, sweet voice, and the accumulated ache of decades echoes through it.

Bombino courted American audiences via his high-profile team-ups with members of The Stones and The Black Keys, but Deran is a back-to-roots affair. It was almost entirely recorded in Casablanca, and the sumptuous track “Deran Deran Alkeir” spirals around hypnotic polyrhythms, flickering guitar, and a fugue of call-and-response chants that shimmer like mirages. In Tamashek, “Deran deran alkeir” means “Best wishes, best wishes, for peace,” and it’s this plea for the preservation of Tuareg identity and solidarity that soulfully underpins the album. “You have to begin with the question of who you are,'” Bombino said recently. “With all the travels, all the experience of world, it’s as if I’m making myself remember where I come from. Where I come from will always be my home, my memory.” — NPR

VA - SOHO - Prog Rock (2016)

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VA - SOHO - Prog Rock (2016)

Artist: Various Artists
Title Of Album: SOHO - Prog Rock
Year Of Release: 2016
Label: Soho / APM Music
Genre: Prog Rock
Quality: FLAC (tracks)
Bitrate: Lossless
Time: 65:33
Full Size: 434 mb
Upload: Turbobit

Kelly Willis – Back Being Blue (2018)

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61lr1Q78O8L._SS500.jpg320 kbps | 75 MB | LINKS

It’s not surprising when contemporary artists invoke Loretta Lynn as a template. But country icon’s younger sister, the urbane country-pop balladeer Crystal Gayle, is a far less likely reference, particularly for an artist like Kelly Willis.

Willis was an Austin rockabilly frontwoman before record man Tony Brown transported her to the country mainstream in the early ’90s, as he’d already done with idiosyncratic voices like Steve Earle, Nanci Griffith and Lyle Lovett. Willis’ subsequent indie output was embraced as part of the alt-country wave, an association bolstered by the company she’s kept (including her songwriter husband and duet partner Bruce Robison) and the low-key approach she’s taken to continuing her career (shifting her focus between performing and childrearing as she sees fit).
Kelly Willis, Back Being Blue

Still, the tone-setting, self-penned title track of Willis’ new album Back Being Blue (produced by Robison) has the pillowy, R&B-glazed texture of country-pop in the disco era, and she’s said that she was thinking of Gayle when she recorded it. If the use of “blue” in the title and lyrics is any indication, Gayle’s best known hit was probably a source of inspiration.

Both songs dwell on a lover’s departure, but Willis leavens her sultry sincerity with a touch of skepticism. Accompanied by weepy strings, she quotes the ex directly: “He said ‘Our love, was one to be proud of, but wasn’t the same.'” Here she pauses to set up the cold-bloodedness of the comparison, while the band stairsteps up an arpeggio. Then she places mildly mocking rhythmic emphasis on his description of his rekindled affair as “oh such a rare love,” with the musicians mirroring her syncopation.

“Up until writing that song, my songs were all feeling a little bit wordy and complicated and personal, and they just weren’t clicking,” Willis explained in her press materials. She would go on to write more than half of the album’s 10 songs on her own, the sort of display of creative self-sufficiency that’s respected among singer-songwriters, but steer her compositions toward deceptively unsophisticated forms of classic country, pop and rock and roll, enlivening them not only with feeling, but flickers of self-awareness and wit.

In the jangly, bouncing “Only You,” Willis inverts the starry-eyed sentiment of a phrase sprinkled throughout the pop lexicon. Instead of making an object of affection out to be her sole source of happiness, she rolls her eyes at a cad’s audacity. “Only you could take your crimes, swear you thought I knew, say it happens all the time: ‘That’s just what lovers do,'” she scoffs, her melody sunny and brisk.

The string band two-step “Fool’s Paradise” describes a situation that would certainly merit a barroom weeper: dealing with a fickle lover’s manipulative ways. But when she sings, “All that ache in your voice, like I don’t have a choice,” the composure in her voice conveys distrust of such an emotional display.

Willis does dabble in honky-tonk melancholy elsewhere. “Freewheeling” is her take on managing the excruciating disconnect between outer perception and inner state. In “What the Heart Doesn’t Know,” a lilting, lament whose acoustic strumming is overlaid with piano and fiddle filigree, she takes up the time-tested theme of how emotional attachments resist reason.

In the country shuffle “Afternoon’s Gone Blind,” one of the album’s outside songs, she portrays coping as a halting, highly undignified process. “Seems to me that every day is a little bit hotter than the other one,” she complains conversationally. “Seems to me that every way that I try to get through ’em is the stupidest thing that I’ve ever done.”

Willis also chose to record “I’m a Lover (Not a Fighter),” a swinging, congenial entry in the country tradition of domestic sparring. The way she lets her aggravation show through the honeyed veneer of her delivery makes her version feel a little more knowing than Skeeter Davis’s 1969 original.

In the loping, reflective folk-country number “We’ll Do It For Love Next Time,” drawn from the catalog of Rodney Crowell, Willis’ attack of densely packed lines is lusty and slightly teasing. The song is an appraisal of a used-up, youthful romance. During the string-swathed bridge, she invites her ex to share a rueful chuckle over their mutual impulsiveness: “You and I know, we never ran low on passion / It only goes to show, lovers come and go like — I don’t know — springtime fashion.”

Since this is Willis’ first album of solo material in 11 years, that gap will be a topic of interest. But the passage of time has brought unforeseen blessings, too: distance from others’ notions of what she ought to sing and how she should be presented. (Alongside stylistic discussions, past coverage of her music far too frequently dwelled on things like her complexion, her figure, her youthful, feminine allure.)

Ash – Islands (2018)

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61ky6Sdl8UL.jpg320 kbps | 110 MB | LINKS

Despite proclaiming they were no longer going to create music in the album format, Northern Ireland’s ASH are about to release their second LP since this announcement, their seventh overall, ‘Islands’. Returning to their original label Infectious Music, the label on which they released seminal albums ‘1977’ and ‘Free All Angels’, ‘Islands’ is being heralded as a return to their peak. A bold claim for a band over twenty-five years together, but actually they’re not far off the mark.

The title, ‘Islands’ refers to the islands across the world where lead songwriter Tim Wheeler composed the album, including north Dublin’s own Lambay Island. We can neither confirm nor deny if Wheeler took any inspiration from the island’s wallaby population. The artwork also holds another Irish connection, featuring an inverted Skellig Michael, a nice nod from the Star Wars fans.

‘Islands’ features the signature undeniably ASH sound, although overall the album probably isn’t as catchy as previous releases, but this isn’t necessarily a bad thing. There may not be an obvious singalong classic along the lines of Girl From Mars, it is a more mature, polished ASH and while it may not grab you instantly it is most definitely a grower that could be a future classic.

Big Daddy Wilson – Songs from the Road (2018)

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51dEBK7KbpL._SS500.jpg320 kbps | 176 MB | LINKS

Tracklist:

1. Wake Up (Live)
2. Drop Down Here (Live)
3. Miss Dorothy Lee (Live)
4. Texas Boogie (Live)
5. Ain’t No Slave (Live)
6. Anna Mae (Live)
7. Walk a Mile in My Shoes (Live)
8. Cross Creek Road (Live)
9. Neckbone Stew (Live)
10. 7 Years (Live)
11. Baby Don’t Like (Live)
12. I Just Need a Smile (Live)

Matthew Sweet – Tomorrow’s Daughter (2018)

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51aB8tTMN9L._SS500.jpg320 kbps | 91 MB | LINKS

Singer-songwriter, producer and multi-instrumentalist Matthew Sweet has announced his new album Tomorrow’s Daughter, out on May 18 via Sweet Honeycomb Hideout label through MRI/Sony.

Sweet’s forthcoming record was “spurred on by a move to his native Nebraska and the death of both of his parents in short succession,” per a press release. The album features his previously released single “I Belong To You,” an enlivening, joyful pop/rock tune with hints of Neil Young’s guitar playing and Big Star’s harmonious pop vocals and strong melodic sensibilities.

Yello - The Eye (2003)

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Yello - The Eye (2003)
Artist: Yello
Title Of Album: The Eye
Release Date: 2003
Location: Switzerland
Label: Motor (0602498658635)
Genre: Leftfield, Electronic, Synth-pop
Quality: FLAC (image+.cue+covers)
Length: 60:40 min
Tracks: 14
Total Size: 440 MB (+5%)

Ronnie Wood - Anthology The Essential Crossexion (2008)

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Ronnie Wood - Anthology The Essential Crossexion (2008)
Artist: Ronnie Wood
Title Of Album: Anthology The Essential Crossexion
Release Date: 2008
Location: England
Label: EMI (00946 3 11735 2 3)
Genre: Classic Rock, Blues-Rock
Quality: APE (image+.cue+covers)
Length: 75:33 / 74:30 min
Tracks: 37 (2 CD)
Total Size: 1.0 GB (+5%)

Ronnie Wood Anthology: The Essential Crossexion is the first solo compilation of Ronnie Wood, which includes solo work and music from Wood's bands The Birds, The Creation, Jeff Beck Group, The Faces and The Rolling Stones.

(ethnic) [Ocora] (Indonesia) Java - Palais Royal de Yogyakarta Vv. 1-2, 2 CD - 1994-1995, MP3 (tracks), 192 kbps

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[Ocora] (Indonesia) Java - Palais Royal de Yogyakarta Vv. 1-2 http://radikal.ru/ Жанр : ethnic Год выпуска диска : 1994-1995 Производитель диска : France Аудио кодек : MP3 Тип рипа : tracks Битрейт: 192 kbps Продолжительность: 2 CD, 02:19:18 Альбом: Java - Palais Royal De Yogyakarta Vol.

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(world) [Sublime Frequencies] (Western Sahara) Group Doueh: Treeg Salaam - 2009, MP3 (tracks), 216-301 kbps VBR

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[Sublime Frequencies] (Western Sahara) Group Doueh: Treeg Salaam Жанр : world Год выпуска диска : 2009 Производитель диска : USA Аудио кодек : MP3 Тип рипа : tracks Битрейт: 216-301 kbps VBR Продолжительность: 00:43:07 Треклист: A1 - Min Binat Omum [00:05:52] A2 - Ragsa Jaguar [00:05:08] A3 - Beatte Harab [00:04:43] A4 - Nabi El Mohamed [00:07:37] B1 - Tazit Kalifa [00:19:45] Доп.

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Jason Boland & The Stragglers – Hard Times Are Relative (2018)

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A1bfESn7pKL._SL1500_.jpg320 kbps | 104 MB | LINKS

Jason Boland and the Stragglers, purveyors of red dirt country music for nearly two decades, are poised to release their latest album, Hard Times Are Relative.The album — the band’s ninth overall — was recorded in Wimberley, Texas. It features long-time members Grant Tracy on bass; Brad Rice on drums; Nick Worley on fiddle, mandolin, and harmonies; and Cody Angel on guitar and pedal steel.

(ethnic) [Auvidis/Unesco] (Unesco Collection) Benin: Bariba and Somba Music - 1994, MP3 (tracks), 320 kbps

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[Auvidis/Unesco] (Unesco Collection) Benin: Bariba and Somba Music http://ipicture.ru/ Жанр : ethnic Год выпуска диска : 1994 Производитель диска : France Аудио кодек : MP3 Тип рипа : tracks Битрейт: 320 kbps Продолжительность: 00:43:27 Треклист: 01 - Praise Song for Hunters [00:03:55] 02 - Music Played When Setting Out for a Hunt [00:02:29] 03 - Music in Praise of Oru Suru [00:05:56] 04 - Sambani, Music for Dancing [00:02:43] 05 - Taru, Music for Dancing [00:01:49] 06 - A Poor Man Has No Country [00:05:14] 07 - Dinaba, Myth of the Origins [00:06:09] 08 - Song for Grinding Millet [00:05:15] 09 - Musotie, Harvest Dance [00:03:11] 10 - Funeral Lament [00:02:08] 11 - Song to Carry the Corpse [00:02:07] 12 - Song for Grinding Karite Nuts [00:02:26] .

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[Обновлено] (ethnic) [Ocora] (Indonesia) Java - Palais Royal de Yogyakarta Vv. 1-2, 2 CD - 1994-1995, MP3 (tracks), 192 kbps [191.4 MB]

New Found Glory – Makes Me Sick Again (2018)

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51gKa0L-mqL.jpg320 kbps | 104 MB | LINKS

The last twenty years to the most of us feel like a blur that went by in the blink of an eye, so when veteran outfit New Found Glory announced their newest effort titled Makes Me Sick and began touring the 20 Years of Pop Punk package.

The rest of the record is exactly what wanted to hear from this group. There are slight variations in what you’d assume to hear in songs like “Say It Don’t Spay It” as the main guitar part plays a chopped up, catchy lick. Between “Short and Sweet” and “The Cheapest Thrill.”

Makes Me Sick wraps up nicely with a great audible bow. Be sure to check out this album and see for yourself how it holds up front to back and catch the band on tour now as they hit most major markets.

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