Articles on this Page
- 07/24/18--23:49: _The Jayhawks – Holl...
- 07/25/18--01:38: _The Dubrovniks - Me...
- 07/25/18--01:51: _Harrison Street Ban...
- 07/25/18--01:51: _Ryan Peters – Songs...
- 07/25/18--02:13: _Aurra - Discography...
- 07/25/18--02:49: _Rick Astley - Beaut...
- 07/25/18--02:50: _Wild Whens – From t...
- 07/25/18--03:25: _Public Image Limite...
- 07/25/18--05:08: _ποιο είναι τελικά τ...
- 07/25/18--05:48: _Carlos Bica & Azul ...
- 07/25/18--06:53: _Hank & Ella with th...
- 07/25/18--06:53: _Rex Allen Jr. & Sar...
- 07/25/18--06:56: _Duende Libre – Drif...
- 07/25/18--07:20: _Ben Sidran - 2 Albu...
- 07/25/18--07:20: _Joe Bonamassa - Dri...
- 07/25/18--07:20: _Ramin Djawadi - Wes...
- 07/25/18--07:20: _Claudine Longet - C...
- 07/25/18--07:20: _Al Di Meola - Elega...
- 07/25/18--07:20: _VA - Haynes Ultimat...
- 07/25/18--07:20: _Andy Lumpp - Impres...
- 07/24/18--23:49: The Jayhawks – Hollywood Town Hall [Expanded Edition] (2011)
- 07/25/18--01:38: The Dubrovniks - Medicine Wheel (1994)
- 07/25/18--01:51: Harrison Street Band – Harrison Street (2018)
- 07/25/18--01:51: Ryan Peters – Songs for Old Souls (2018)
- 07/25/18--02:13: Aurra - Discography (1981-2013)
- 07/25/18--02:49: Rick Astley - Beautiful Life (2018) [Hi-Res]
- 07/25/18--02:50: Wild Whens – From the Valley (2018)
- 07/25/18--05:08: ποιο είναι τελικά το ερώτημα;
- 07/25/18--05:48: Carlos Bica & Azul feat. Frank Möbus and Jim Black Azul in Ljubljana
- 07/25/18--06:53: Rex Allen Jr. & Sara Lou – Sara Lou and Rex Allen Jr (2018)
- 07/25/18--06:56: Duende Libre – Drift (2018)
- 07/25/18--07:20: Claudine Longet - Colours (1968, 2018) (24bit Hi-Res) FLAC
- 07/25/18--07:20: VA - Haynes Ultimate Guide to Northern Soul (2018) [3CD] FLAC
- 07/25/18--07:20: Andy Lumpp - Impressionen (2018) (24bit Hi-Res) FLAC
FLAC | 532 MB | LINKS
It was one of the more unlikely major-label releases of 1992: it had nothing to do with grunge, and was certainly not a last holdout from ’80s mainstream sludge. On the flipside, it wasn’t really the incipient alternative country/No Depression sound, either; for all that, there was a clear influence from the likes of Gram Parsons and fellow travelers throughout the grooves. This wasn’t a sepia-toned collection of murder ballads or the similarly minded efforts that were almost overreactions to Nashville’s triumphalism throughout the ’90s. At base, Hollywood Town Hall found a finely balanced point: accessible enough for should-have-been success (sclerotic classic rock station programmers were fools to ignore this while still playing the Eagles into the ground) but bowing to no trends. Its lack of variety tells against it a bit—while there are certainly stronger moments than others, most of the songs do have a tendency to blend into each other—but the core strengths of the group come through. George Drakoulias fleshed out the sound just enough, with the side help of performers like Benmont Tench and Nicky Hopkins adding fine extra touches without swamping the identity of the group. Piano and organ may be prevalent, but it’s really Olson and Louris’ great harmonies that are the core of things, giving songs like “Crowded in the Wings” and “Settled Down Like Rain” a high and lonesome sparkle. Callahan’s a good drummer, if not particularly noteworthy, but he keeps the pace steady without dominating the tracks, Drakoulias keeping him back in the mix a bit. Olson’s eventual departure isn’t really explained by this disc: he might have been tired of the attempt to aim for commercial success, but this sounds more like something made for the group’s own satisfaction that connects beyond it as well.
In 2011, American Recordings released an expanded and remastered edition of Hollywood Town Hall that added five bonus tracks to the album. “Leave No Gold,” “Keith and Quentin,” and “Up Above My Head” had previously surfaced on a rare, promo-only disc, and the latter two also appeared on single B-sides, but this marks their first appearance on an album, while “Warm River” and “Mother Trust You to Walk to the Shore” are session outtakes that have never been issued anywhere before. While none of these songs qualify as lost classics, “Leave No Gold” is a potent rocker that gives Gary Louris plenty of room to work out on guitar, and they’re all fine addendums to the Jayhawks’ finest and most enduring album. The new edition also includes a fine essay from producer George Drakoulias on the surprisingly long and difficult journey of creating Hollywood Town Hall, an album that sounds natural and unforced.
01. Waiting for the Sun (Mark Olson / Gary Louris) 04:20
02. Crowded in the Wings (Mark Olson / Gary Louris) 04:56
03. Clouds (Mark Olson / Gary Louris) 04:51
04. Two Angels (Mark Olson / Gary Louris) 04:04
05. Take Me with You [When You Go] (Mark Olson / Gary Louris) 04:51
06. Sister Cry (Mark Olson / Gary Louris) 04:08
07. Settled Down Like Rain (Mark Olson / Gary Louris) 03:01
08. Wichita (Mark Olson / Gary Louris / Marc Perlman) 05:26
09. Nevada, California (Mark Olson / Gary Louris) 04:05
10. Martin’s Song (Mark Olson / Gary Louris) 03:02
11. Leave No Gold (Mark Olson / Gary Louris) 05:50
12. Keith And Quentin (Mark Olson / Gary Louris) 02:39
13. Up Above My Head (Mark Olson / Gary Louris) 02:38
14. Warm River (Mark Olson / Gary Louris) 03:25
15. Mother Trust You to Walk to the Store (Mark Olson / Gary Louris) 03:54
Mark Olson: Vocals, Acoustic Guitar, Harmonica
Gary Louris: Vocals, Electric Guitar, Fuzz Guitar
Marc Perlman: Bass
Ken Callahan: Drums
Benmont Tench: piano
Nicky Hopkins: piano (4, 10)
Charlie Drayton: Drums (Keith Richards’ Expensive Winos)
???????????: The Dubrovniks
??????: Medicine Wheel
????: Rock / Hard Rock
??????: FLAC (tracks+.cue, log, covers)
??????: 374 Mb
320 kbps | 103 MB | LINKS
01. No Drama Mama
02. Drink Your Whiskey
03. Rain Dance
04. Funky Way to Treat Somebody
06. Old Shoes
07. Quit That Man
08. Run Away
11. Turn It Up
12. Devil Gotta Mess
320 kbps | 113 MB | LINKS
Ryan Peters is a Native Michigander with strong roots in Singer/Songwriter storytelling skills. Pulling from Country, Southern Rock, Americana and Blues music styles, he has blended colorful pictures of lyric content with a variety of musical genres which ultimately has given him this collection of cuts he call’s “Songs For Old Souls”.
Title Of Album: Discography
Year Of Release: 1981-2013
Label: Dream Records/Salsoul/10 Records/Family Groove
Genre: Soul, Funk, Disco, R&B
Quality: FLAC (tracks+.cue,log,scans)
Full Size: 3.60 gb
Title Of Album: Beautiful Life
Year Of Release: 2018
Genre: Pop, Pop Rock
Quality: FLAC (tracks)
Bitrate: Lossless [24bit-44.1kHz]
Full Size: 520 mb
320 kbps | 111 MB | LINKS
01. Crazy to the Bone (Remastered)
02. Backtrack Jack
03. Sally Saloon (Remastered)
04. Travellin’ man
05. Captain in the Sand (Remastered)
06. Rebel Heart
07. Chains of Yesterday
08. Sailin’ sarah
09. From the Valley
Title Of Album: The Public Image Is Rotten [Songs From The Heart]
Year Of Release: 2018
Label: UMC, Virgin
Genre: Post-Punk, Alt. Rock, New Wave
Quality: FLAC (tracks)
Full Size: 2.61 gb
Επιτρέπεται άνθρωποι να εγκλωβίζονται (και να καίγονται) σε χωράφια με γκρεμούς από κάτω; Να μπλοκάρονται σε δρόμους με τ’ αυτοκίνητά τους ή να μένουν στη θάλασσα τρεις και τέσσερις ώρες, με τον κίνδυνο να πεθάνουν από ασφυξία, μέχρι να τους περισυνελέξουν;
Αυτά… και άλλα τόσα… και άλλα τόσα… είναι τα άμεσα ερωτήματα που πρέπει να απαντηθούν, για την καταστροφή μιας τόσο πυκνοκατοικημένης περιοχής, με άναρχη δόμηση, με δρόμους που οδηγούν σε αδιέξοδα, χωρίς δυνατότητες εύκολης και άμεσης εκκένωσης (σε φάση κινδύνου) κ.λπ.
Δεν θα απαντηθούν όμως. Δεν πρόκειται να απαντηθούν. Υπάρχει μεγάλη ευαισθητοποίηση από τον κόσμο για το ανθρώπινο κομμάτι της υπόθεσης (κι έτσι πρέπει), να δοθεί αίμα, να βοηθηθούν οι πληγέντες κ.λπ., και αυτό προβάλλεται πανταχόθεν, αλλά για το άλλο, το ακόμη πιο σοβαρό εγώ θα πω, δεν ακούγεται κιχ. Ούτε θ’ ακουστεί.
Κοντολογίς, δεν θα μάθουμε ποτέ γιατί χάθηκαν τόσες δεκάδες άνθρωποι, ποιοι φταίξανε, και γιατί δεν θα οδηγηθούν στις φυλακές εκείνοι που φταίξανε…
Carlos Bica & Azul feat. Frank Möbus and Jim Black
Azul in Ljubljana
(Clean Feed, 2018)
320 kbps | 105 MB | LINKS
Hank and Ella With The Fine Country Band’s debut album is made up of all original, vintage-inspired songs that explore themes of Love and Loss, Dimly-Lit Honky-Tonks, Working Hard and Having a Good Time.
Imagery throughout the album transports the listener back to the era when the rock and roll sound was still being created. The band puts their own stamp on this early rock and country sound by injecting unique, Dreamy Melodies that soar over Hank’s vocal lines. The distinct chord progressions and The Diamond Sisters’ harmonies push the songs into dream land. “We really like the sounds that take the listener to new, uncharted places…sounds that bring up uncertain, joyful emotions.”
Inspired by the golden era of country music, Hank started bringing more of his original songs to the band. “We all believed in Hank’s songwriting so much we decided to record an all original album, arranged and flavored by the band, featuring creative, blues-inspired guitar leads by Curtis Rieser aka “Poncho Lefty” which really set the vibe and feel of the songs. The album features piano, organ, saxophone, pedal steel and drums plus beautiful twin and triple fiddle throughout which really gave the album that feeling the whole Orchestra was there in the studio. Vince Sanchez at VSO Productions mixed and mastered the album giving it a real Vintage sound with a Modern twist…there’s even a real rock song with screaming guitar solos and a few straight ahead honky Tonk numbers to boot.
320 kbps | 81 MB | LINKS
This CD offers great melodies and harmonies, that golden voice of Rex Allen Jr. that you all know and love, and the fresh new voice of Sara Lou to Country and Western music. Great listening music for anytime!
Duende Libre is an energetic trio of Seattle musicians utilizing the American jazz tradition as a jumping off point for exploration of global musical forms. The creative vision for the band is perhaps that of pianist/composer Alex Chadsey, yet it is his two mates, drummer/percussionist Jeff Busch, and uber bassist Farko Dosumov that bring his musical vision to life.
Chadsey sets the bar high for this band by including the term “duende” as part of its moniker. While the term has ancient cultural roots, Spanish author Federico Garcia Lorca provided modern insight into the phenomena in the early twentieth century. Lorca stated, “The duende, then, is a power, not a work. It is a struggle, not a thought,” adding, “the duende’s arrival always…
…means a radical change in forms. It brings to old planes unknown feelings of freshness, with the quality of something newly created, like a miracle, and it produces an almost religious enthusiasm.”
While all arts are capable of duende, it is most commonly found in music, dance, and spoken poetry. It is most applicable to arts that require a living body to interpret them, being forms that are born, die, and open their contours against an exact present. It represents the height of an artist’s magical prowess. In the jazz world, one can assess that Miles and Trane had duende. So yes, Chadsey has set the bar high, absolved from any notion of limitation, or cultural separation.
The band’s premise also explores jazz music, the quintessential American art form, as a creative platform that unites with other cultural flows in continuous motion, defying political boundaries rooted in struggle. Drummer Busch best personifies that notion, having traveled the world extensively in exploration mode, seeking to add world rhythmic variance to his vocabulary and master the instruments that speak those musical dialects. Add a generational talent in electric bassist Dosumov, and Chadsey has some tools in his toolbox to etch out the framework of the collective he envisions, elevating the duende of his music into a mysterious power which everyone senses and no philosopher explains. That is duende, and as mentioned, a lofty, if not unattainable standard for an artist, much less this trio.
On the band’s second release, Drift, the energetic trio attempts to recreate its stellar reputation as live performers. Indeed, while unadorned by guest artists, the trio can work some magic into live performance. There are a few tracks on this record that notably reflect that ardent live sensibility in the studio.
The album finale, “Bosphorus,” is representative of the energy and focus of a live performance by this eclectic trio. Chadsey’s piano solo on the piece is the album’s best example of pure jazz expressionism, conjuring sentimental images of joy and trepidation. Dosumov’s virtuosity is accompanied by his deep understanding of flamenco form and rhythm in a resounding resolution to the tune. His soloing on this tune, and the entirety of the album, brings to light a well-trained musician in a myriad of musical forms who is not constricted by his knowledge or training. At some point in time, his boundless talents will no doubt be celebrated appropriately, as he is simply a marvelous player.
On the title track, Chadsey bounces back and forth between piano and electric keyboard, offering perhaps the strongest composition on the album in terms of melody. There is a very Chick Corea type of feel to Chadsey’s prowess as both a player and composer on this piece. Busch creates a foundational rhythmic sense that truly opens the door for Chadsey to create a beautiful melody, and expound on it with a riveting piano solo.
While one may allude to Chadsey’s prodigious talents to being “Corea-like,” it is somewhat trite and unimaginative that he decided to include a well performed, but ordinary version of Corea’s signature offering, “Spain” on this record. While it is difficult enough for Chadsey himself to elevate his own game to that of Corea, vocalist Chava Mirel is put in the unenviable position of channeling Flora Purim and her brilliance as a voice instrumentalist. All said, this is one track that easily could have been left out of the final cut.
The Chadsey compositions “Choro,” and “Kiki” return the listener to the conceptual intrigue of Duende Libre. The Brazilian choro form is an improvisational form that literally translates to “lament,” or “cry.” The melody refers to that tradition, and accentuates that theme with brilliant soloing from Dosumov and Chadsey. “Kiki” comes off as the most organic piece on the album, again featuring a melody enhanced with syncopated counterpoint. Both tunes are emblematic of what one would expect from a live DL performance.
Dosumov’s single contribution is the rollicking funk anthem, “Subway.” Dosumov benefited from the amazing support for the arts afforded by his native Soviet Union, becoming a very well trained, well-rounded musician. More notable, however, is how he has utilized that training. Dosumov might be described as a once-in-a-generation type of talent, playing in relative obscurity in Seattle. Unfortunately, his brilliance on this tune is interrupted by overproduced tracked choral vocal harmonies that seem out of place within this funk groove. Solos by Dosumov and Busch return this composition to form and intensity.
What will continue to entice multiple listens of this album is the band’s ability to explore multiple cultural forms without being constrained by them. They use danceable rhythms without falling into the irrelevance of dance music. There is something there for the body to dance to, with enough tangible instrumental virtuosity to entertainment even my most esoteric musical leanings. Whether that translates into the rarefied air of “the duende” is for the listener to decide. Duende allows a musicians to see through the ordinary, and helps them create and communicate memorable, enlightened art.
When this trio figures out how to shed the shackles that can be applied by a lack of label distribution, overproduction, and musical identity crisis, it may prove capable of issuing a musical statement worthy of its mythical and perhaps unreachable standard expressed by its moniker. Duende is not a variable as seen through the lens of individual conception or impression. It simply is. This band does not lack the two main ingredients in creating magical art-talent and courage. The three members of the trio are distinct in their talents, inspirations, and musical aspirations. In Drift, they have created an entertaining album that at times falls into artistic profundity.
Personnel: Alex Chadsey: piano, keyboards, composer; Farko Dosumov: electric bass; Jeff Busch: drums, percusssion; Chava Mirel: vocals.
Artist: Ben Sidran | Album: 2 Albums: Free In America (1976), The Doctor Is In (1977) | Released: 1976, 1977 | Label: Arista (Sony Music Ent.) | Genre: Jazz, Easy Listening
Artist: Joe Bonamassa | Album: Driving Towards The Daylight | Released: 2012 | Genre: Rock, Blues Rock
Artist: Ramin Djawadi | Album: Westworld. (Season 1-2) (3 Albums) | Released: 2016, 2018 | Genre: Soundtrack
Artist: Claudine Longet | Album: Colours | Released: 1968, 2018 | Genre: Pop
Artist: Al Di Meola | Album: Elegant Gypsy and More (Live) | Released: 2018 | Genre: Jazz
Artist: VA | Album: Haynes Ultimate Guide to Northern Soul | Released: 2018 | Genre: Soul, RnB
Artist: Andy Lumpp | Album: Impressionen | Released: 2018 | Genre: Jazz