Crionics - Armageddon's Evolution (2004)
Crionics - N.O.I.R. (2010)
Crionics - Neuthrone (2007)
Bill Frisell & Mary Halvorson – The Maid With The Flaxen Hair: A Tribute To Johnny Smith (2018)
320 kbps | 96 MB | LINKS
Mary Halvorson is one of the most acclaimed guitarists of her generation—a virtuoso improviser, distinctive composer, arranger and a deep student of the jazz guitar. Here she joins forces with living legend Bill Frisell to pay tribute to Johnny Smith, a guitarist who has been a huge influence on them both. Performing nine ballads associated with Smith and his classic composition “Walk Don’t Run”, this is an essential CD of soulful guitar duets by two of the most beloved and original guitarists in modern jazz. A beautiful CD of ballads like you have never heard them before!
Bill Frisell: Guitar
Mary Halvorson: Guitar
Meliah Rage - Idol Hands (2018)
Passenger – Runaway [Deluxe Edition] (2018)
320 kbps | 173 MB | LINKS
Produced by Rosenberg, along with longtime collaborator Chris Vallejo, the new album is largely inspired by the North American landscape and geography, both musically and lyrically, and taps into Rosenberg’s family roots in New Jersey. This brings a fresh new approach and sound, and speaks to the road going traveller in all of us.
Tracks:
1. Hell Or High Water (03:41)
2. Why Can’t I Change (03:11)
3. Heart To Love (03:17)
4. Let’s Go (03:14)
5. He Leaves You Cold (03:21)
6. Ghost Town (05:13)
7. Runaway (03:10)
8. Eagle Bear Buffalo (03:24)
9. To Be Free (04:47)
10. Survivors (04:57)
11. Survivors (Live from Jedediah Smith Redwood State Park, CA) (04:42)
12. To Be Free (Live from Dauphin Rd, Vineland, NJ) (04:41)
13. Eagle Bear Buffalo (Live from Canaan Mountain Wilderness Area, UT) (03:27)
14. Runaway (Live from Joshua Tree National Park, CA) (03:22)
15. Ghost Town (Live from Michigan Theatre, Detroit, MI) (04:23)
16. He Leaves You Cold (Live from Unityville, PA) (03:23)
17. Let’s Go (Live from Trough Rd, State Bridge, CO) (02:49)
18. Heart To Love (Live from a Rooftop in Manhattan, NY) (03:16)
19. Why Can’t I Change (Live from Tahkenitch Landing Campground, Gardiner, OR) (03:15)
20. Hell Or High Water (Live from Santa Monica Beach, CA) (03:07)
Eric Clapton - Big Blue (1992)
Title Of Album: Big Blue
Year Of Release: 1992, 1994 [2 × CD, Live, Bootleg]
Label: Hawk [HAWK 049/50]
Genre: Blues Rock
Quality: APE (tracks, log, scans)
Total Time: 01:54:53
Total Size: 541 Mb
Upload: Depositfiles, Turbobit
Discogs.com
???????????? ??? ?? ?????? ???????, ??? ??????? 29 (??? 30) ??????? 1992 ????
Creedence CLearwater Revival (1986) Chronicle Volume Two
Performer: Creedence Clearwater Revival
Location: USA
Album: Chronicle Volume Two
Label: Ⓟ & Ⓒ 1986/ 1996 Fantasy (Made in Brazil)
Catalog: FCD-CCR2-3
Barcode: 02521800032
Genre/ Style: Rock, Blues Rock, Folk Rock, Rock & Roll, Southern Rock, Cajun, Classic Rock
Total time: 01:14:58
Format: .flac level 8 (image + .cue + .log)
Covers: full artwork ".png" 600 dpi included
Amount of tracks: 20 Tracks
Dynamic Range: 12
Total size RAR: 660.80 MB
Upload: MEGA
Scans & Rip by Capivara JR
VA - Knebworth (1990)
Title Of Album: Knebworth
Year Of Release: 1990 [2 × CD, Live, Compilation]
Label: Polydor [847 042-2]
Genre: Rock
Quality: APE (image, cue, log, scans)
Total Time: 02:16:50
Total Size: 861 Mb
Upload: Depositfiles, Turbobit
Discogs.com
? ???????? ????????? ???????: Eric Clapton, Phil Collins, Dire Straits, Genesis, Elton John, Paul McCartney, Pink Floyd, Robert Plant, Cliff Richards, Status Quo, Tears For Fears.
Creedence Clearwater Revival (1976) Chronicle
Performer: Creedence Clearwater Revival
Location: USA
Album: Chronicle
Label: Ⓟ & Ⓒ 1976/ 1996 Fantasy (Made in Brazil)
Catalog: FCD-CCR2-2
Barcode: 02521800022
Genre/ Style: Rock, Blues Rock, Folk Rock, Rock & Roll, Southern Rock, Cajun, Classic Rock
Total time: 01:08:05
Format: .flac level 8 (image + .cue + .log)
Covers: full artwork ".png" 600 dpi included
Amount of tracks: 20 Tracks
Dynamic Range: 12
Total size RAR: 607.00 MB
Upload: MEGA
Scans & Rip by Capivara JR
Lambchop – What Another Man Spills [Remastered 20th Anniversary Reissue] (2018)
320 kbps | 122 MB | LINKS
To celebrate its 20th anniversary, Lambchop’s 1998 album ’What Another Man Spills’ is being pressed to vinyl for the first time after it’s original release 20 years ago. Remastered from the original DAT, the 2-LP and CD reissue features a refreshed artwork, and a limited version comes on coloured vinyl.
It was hard to know what – or sometimes even who – Lambchop were by the time they released What Another Man Spills, their fourth full length record, in September, 1998. An album assimilating multiple styles, some recognisably theirs and others doubtless unexpected, it seemed at the time mildly baffling, albeit, simultaneously, a continuation of the unique style that they’d initiated and an ingenious swerve towards territory that might, in other hands, have felt incompatible.
It was also the work of a band for whom the word ‘membership’ was unusually open to interpretation: if you turned up with an instrument – whatever it might be – at mastermind Kurt Wagner’s house in a humble Nashville suburb, then made it down the rickety stairs into his dusty basement to contribute to the strange noise being made beneath his living room’s wooden floorboards, you could, by rights, consider yourself part of the group. That they’d started out as a trio – originally called Posterchild (until The Poster Children objected), and formed by singer / guitarist Wagner, bassist Marc Trovillion and guitarist Jim Watkins – never gave much indication as to who Lambchop were, even from one day to the next.
Described invariably from the start as a bizarre, sprawling, country music collective – their record sleeves always made a point of instructing listeners to “visit the Country Music Hall of Fame in Nashville, TN” – Lambchop had initially stirred interest in the UK, of all places, with a pair of peculiarly named albums, 1994’s I Hope You’re Sitting Down, which also went under the name Jack’s Tulips, and 1996’s How I Quit Smoking. These helped establish (or at least revive) one of those things that critics like to call a ‘scene’ – duly named Alt. Country or Americana – which, they suggested, drew, partially at least, and in different measures, on the spirit of outlaws like Gram Parsons, Waylon Jennings, Willie Nelson, and, later, Dwight Yoakam and Steve Earle.
So Wagner and his revolving band of colleagues soon found themselves filed alongside similarly influenced, similarly recalcitrant contemporary acts, including Freakwater, Sparklehorse and Will ‘Palace Brothers’ Oldham. These, though, were only loosely comparable, mainly for their shared attitude rather than its results, and Lambchop were never ‘country’ in any traditional sense of the word anyway. Nashville might have been their home, and they might have nodded to its dominant sound, but they never did so in a fashion that pandered to its conventions. Instead they established themselves, if inadvertently, as outsiders, their interest in such music merely a springboard from which to explore whatever other fertile ground intrigued them.
This they did with glee on What Another Man Spills, having been inevitably, largely shunned in their homeland, and even by their hometown. After all, in the early 1990s, Nashville was long past its sell-by date rather than the gentrified, hipster city that it’s become in recent years. With the place – and all it stood for musically – broadly snubbed for its robust association with an unfashionable sound, its younger or more adventurous citizens were in turn cold-shouldered by the local establishment, allowing, among others, “Nashville’s most fucked-up country band” – as they originally, knowingly styled themselves – to develop their art out of the spotlight, and, in Lambchop’s case, during unofficial, ‘downtime’ sessions in renowned studios. The band were therefore left free to pursue their creative urges without undue economic pressure – after all, no one was ever going to join a band this populous to get rich in a rundown city – and secure in the knowledge that they must be doing something right to have been ex-communicated by their neighbourhood musical community.
Furthermore, Lambchop’s roots were independent, both artistically and in terms of their music business relationships. This enabled them to be next to fearless, addressing unpalatable topics such as suicide, employing a gritty vocabulary which leapt from strikingly sentimental images of romance to ugly words like ‘scrotum’ – sometimes in the same song – and able to incorporate previously unanticipated musical styles, from avant-garde noise to soul, into their arrangements. What Another Man Spills, though, is far more than the sum of its many parts. While it may not have refreshed audiences in quite the same, startling fashion as those first two albums – and that’s not to forget 1996’s mini album, Hank, famed for its pithy final track, ‘I Sucked My Boss’ Dick’, whose unlikely title followed in a tradition first established by the likes of ‘Soaky In The Pooper’ and ‘The Man Who Loved Beer’ – it’s a record that, in hindsight, becomes especially fascinating. It shows a band in flux, testing themselves as much as new styles, their by now firmly established, if offbeat approach welcoming improbable influences, their ambitions extending far beyond their previously subterranean existence.
Heard as part of their larger catalogue, What Another Man Spills represents a milestone in Lambchop’s career, but not in the modern sense of a ‘landmark’ release (though it was, and remains, a vital part of their oeuvre). Building on foundations that had once sounded almost literally creaky, it expands upon the tentative manoeuvres they’d undertaken with the previous year’s Thriller – most notably its single, the radio-rebuffing ‘Your Fucking Sunny Day’ – and gestures confidently towards its brassy successor, Nixon, which would arrive in 2000 to wild acclaim and previously unimaginable commercial success. Indeed, it sits at a crossroads between the band that Lambchop first emerged as, and the band that they would later become. If it felt at the time like a reasonable, yet slightly confused descendant of what had gone before, without it, one suspects, what followed might never have been possible. In fact, what might first seem an anomaly in their catalogue, a deviation from a previously familiar path, instead becomes a beacon lighting the way forward. It is, one might say – were one eager to mix metaphors within a single paragraph – both ugly duckling and beautiful swan all at once.
Elsewhere in this reissue, Wagner refers to the album as marking the “‘methodization’ of what it meant to make Lambchop records”. In suggesting an incredibly warm collection was calculated, he risks underestimating its strengths. Naturally, Mark Nevers’ studio techniques ensure it sounds leagues ahead of anything Lambchop had previously released. (Frankly its gloss rivals any of the polished recordings coming off the Music Row production line at the time.) In addition, the band’s success at integrating a vast string arrangement into a cover of Curtis Mayfield’s ‘Give Me Your Love’ unlocked opportunities, in terms of production, that might otherwise have been unthinkable to them. Nonetheless, this is Lambchop: thanks both to the album’s content and its clash of styles, carefully premeditated methodology appears – superficially, at least, and in a welcome manner – lacking in other artistic sectors, their distinctive impulses instead intact.
Consequently, while their stunning, nimble, and soon-to-be show-stopping reading of Mayfield’s ‘Give Me Your Love’ may find companionship in an elegantly peppy cover of Frederick Knight’s tender ‘I’ve Been Lonely For So Long’ – and together these undeniably signal the path the band would promptly pursue – elsewhere it’s a pick ‘n’ mix selection. There’s a song by Dump, a lo-fi, guitar-friendly side-project led by Yo La Tengo’s James McNew, and another two by F.M. Cornog, another artist signed to Lambchop’s American label, Merge, and better known, albeit by criminally few, as East River Pipe. (He’d also previously contributed three tracks to Thriller.) Wagner himself only contributes six, and this is something which might add to concerns that the record is scrappy, as though the title itself suggests it’s been compiled from what others have discarded. Fortunately, though, there’s a red thread running throughout, one that would be further developed on Nixon: soul music, whatever it might sound like, is best defined by the simple fact that it originates in the soul.
Accordingly, lo-fi recordings characteristic of both Cornog’s and Dump’s careers are here reinvented, with the transparency of the former’s lyrics and melodies poured forth sympathetically, whether in the unguarded optimism of the soothing ‘Life #2’ or the almost haiku-like simplicity of the extravagant, galloping ‘King of Nothing Never’. Splashes of brass, moreover, on a rumbling canter through McNew’s emotionally intricate ‘It’s Not Alright’ bridge the gap between the band’s older, rawer sound and the increasingly sophisticated realms into which they’d now begun to delve. One can also hear echoes of the enthusiasms which led Wagner to Mayfield and Knight straining at the leash during opening song ‘Interrupted’s extended instrumental sections, while the smooth ‘Scamper’ would have had little problem slotting onto Nixon a couple of years later. What Another Man Spills might spread its reach wide, in other words, but it embraces everything comfortably under one roof. Despite its digressions, it’s instantly recognisable as Lambchop.
This was never truer than of the extraordinary, lilting ‘Scamper, which reveals, in stark but empathetic terms, the reality of Wagner’s day job sanding floors. His voice wavering with a hint of vibrato, he paints a distressingly visceral portrait of old age, culminating in a description of an incontinent woman asleep on a sofa as he continues his work around her: “Three hundred and fifty pounds of machinery/ Roll between her surgical stockings.” That his final, ambiguous “I’m terrified” might first be interpreted as repulsion at the decrepit lady’s state, and only later as dread at our universal human decline, makes its poignancy all the greater, and such pathos is matched by ‘Interrupted’. An exceptionally concentrated, precisely articulated example of Wagner at his best, it kicks off by serenading its audience with a little Mexican guitar before, against a richly textured arrangement, Wagner stacks up words – lugubriously, over a mere sixteen lines – to complete, like a puzzle, a vignette detailing what would in any other hands have been a prosaic night-time trip across the street to allow his pet dogs to urinate.
Visually compelling yet enigmatically delivered, powerfully intimate and oddly confessional, ‘Interrupted’ is one of a trio of Wagner songs launching the record, and it’s followed by the appealingly lazy, innuendo-laden ‘The Saturday Option’, which employs charmingly archaic vocabulary – “Mine is a lazy bumpus” (look it up) – to depict, poetically, the act of sex: “Do the shabby thing/ With you/ Separate the lily/ From the dew”. ‘Shucks’, meanwhile, points directly towards Nixon, its gorgeous piano solo coincidentally the first sign of the tremendous influence newcomer Tony Crow would later have on 2002’s Is A Woman. Typically, however – this being Lambchop – the song then defies its effortless, dreamy rendering of a polite gathering, offsetting nostalgic field recordings of sweetly senescent society with shocking imagery: “Rotting bodies wrapped in black cowhide/ Sit at the table by your mother’s side”.
Further confirmation of Wagner’s willingness to address taboo themes is evident later in the album on ‘N.O.’, whose mellifluous melody, snaking through swathes of Paul Niehaus’ gleaming pedal steel, presents a horrifying yet still affecting narrative of alcoholic dependency, culminating with an unforgettably grotesque image of “a human pile/ Of hair and cum”. There’s one final Wagner song, too – ‘Magnificent Obsession’ – nestling towards the album’s close. Sandwiched between its remarkable re-imaginings of Knight’s ‘I’ve Been Lonely For So Long’ (which showcased for the first time a falsetto Wagner would exploit more fully on Nixon) and Cornog’s ‘King Of Nothing Never’, its calm helps row the record back to Lambchop’s idiosyncratic musical departure point – without ever apologising for pushing the boat out in the first place – and offers a welcome reminder of Wagner’s inscrutable literacy (“Lost in topography/ Each with our possessions”) and humour (“We all know love is free/ I guess you’re frying chicken”).
There’s a final, ‘hidden’ track as well: ‘The Theme from the Neil Miller Show’, written by the band’s co-founder, Marc Trovillion, to whose memory this reissue is dedicated. It provides an almost flippant coda reminiscent of some of the band’s earliest, more playful work, and as a finale it’s as eccentric as the album’s packaging: printed – at least for the original CD format – on tracing paper, it reproduces an ingenuous illustration by their dear friend, the late Vic Chesnutt, with whom they’d just worked on the soon-to-be-released The Salesman And Bernadette. Hidden on the spine of the CD tray, too, were the song titles, only faintly visible, while any credits were barely discernible in equally tiny type beneath the disc itself, as though none of the story behind the record were important. All that mattered was the music itself, alongside its intentions.
At 55 minutes long, there were plenty of such intentions in evidence – if to a certain extent subconscious – on What Another Man Spills, especially compared to the sometimes-hesitant Thriller, the 34-minute album that had preceded it. In terms of its sonics, it represented a huge leap forward, and stylistically it took bold, convincing strides towards uncharted territory. Its impact wouldn’t be felt for another couple of years, of course, but then it would suddenly look like part of a carefully orchestrated masterplan. Today, too, it continues to stand as a vibrant, satisfying snapshot of a band at a pivotal moment in their lengthy career. Soon they’d almost entirely leave their formative aesthetic behind to embark on a journey that would reach so many people it would ultimately help transform Nashville’s image as culturally moribund and reactionary. But what and who Lambchop were, and what and who they are, never really changes, despite their gradual evolution. They are, and always will be, Lambchop, and they could never have been that without What Another Man Spills.
WYNDHAM WALLACE
U.D.O. - Steelfactory [Japanese Edition] (2018)
QUEEN ?Discography on vinyl? (19 x LP + bonus ? Queen Productions Limited ? 1973-1995)
Performer: QUEEN
Album / collection: ?Discography on vinyl 1973-1995?
Label / country: ⒸⓅ 1973-1995 Elektra | Capitol | EMI | Queen Productions Ltd. Made in Europe, USA, Japan.
Source: Rip by Dymokust, bruk67, bazar, Oleg-Leshiy, sv-dd > Conversion 32/96 by KoGGaN?
Official DR value: 11?10?9?11?10?10?12?11?11?11?11?11?12?13?12?13?12?11?12?13?11/12/8
Catalog (Barcode): much
Genre / Style: Rock, Classic Rock, Arena Rock, Hard Rock
Year (info): 1973-1995 (19 × Original Vinyl, LP, + 3 x CD Box-Set, Collection)
Format: WV (image + .cue)
Bitrate: 32bit/96kHz Stereo
Covers: in archive
Amount of tracks: 281
Total time: 18:16:29
Size RAR: ~ 31.10 Gb
Password / ?????? : 1965
Upload: DepositFiles.com, TurboBit.net
Recovery 3%
Johnny & The Headhunters – That’s All I Need (2018)
320 kbps | 75 MB | LINKS
Formerly the lead guitar player with multi BMA-award winner Louisiana Red, Johnny Ticktin (pronounced Tick-Tin), along with the Headhunters, is set to release his 8th album, “That’s All I Need.” The ten tracks are a testimony to his life-long obsession with the six string, covering the gamut of guitar centric styles from surf and swing to blues, Mambo and classic R&B. The Headhunters are joined by a couple of special guests on the collection of songs from heroes like Lowell Fulson, Magic Sam, and Link Wray that have shaped Ticktin’s guitar playing over the years.
The album opens with swamp blues proto type ‘That’s All I Need,’ from Magic Sam’s seminal 1967 album “West Side Soul.” Johnny pushes the tremolo guitar sound that made Sam famous even further evoking CCR and Tony Joe White. Venerated D.C. area keyboardist, Tam Sullivan, adds luscious piano and organ to the Bobby “Blue” Bland soul blues classic ‘Lead Me On,’ creating a vehicle for Johnny to ramp up the drama with his enduring vocal and sweet lead guitar. Johnny and the boys then get funky on the ode to shapely curves and Johnny’s other obsession and day job at JT Auto Service, ‘Body And Fender Man,’ originally written by Doc Pomus and Duke Robillard for Baton Rouge soul singer Johnny Adams. They smooth out the groove, while staying true to the guitar riff created by Chet Atkins, on 1957 Rockabilly B side hit ‘Chicken House.’ Lowell Fulson’s 1957 hit for Chess Records, ‘Rock ‘Em Dead,’ is given the Headhunter treatment, pushing the boogie woogie up a notch to a full-tilt dance-floor-filling roadhouse shuffle, and the frenzy continues for the blazing rip thru Elmore James slide guitar bombast ‘Shake Your Money Maker.’
Steve Shehan - Hang With You (2013) Lossless
Sean Wilson – Latest & Greatest (2018)
320 kbps | 163 MB | LINKS
Tracks:
01. Better Than Today
02. Three Wooden Crosses
03. Love at First Sight
04. Wine into Water
05. Better Man
06. Home
07. If Tomorrow Never Comes
08. Rosie
09. A Road That Never Ends
10. Song for Ireland
11. Cottage on the Hill
12. You Can’t Turn Back the Years
13. If I Could See the World Through
14. New Wine
15. Hard Times Come Again No More
16. Shanagolden
17. So Much Music & So Little Time
18. From the Candy Store
19. Let’s Turn Back the Years
20. The Tears of an Exile
Uriah Heep – Living The Dream (2018)
320 kbps | 143 MB | LINKS
Uriah Heep are releasing their anticipated brand new studio album – the 25th in their storied career – which will be titled, appropriately enough, “Living The Dream”.”We have been together for 47 years and we have seen many bands come and go, so in effect we are ‘Still Living The Dream,’ so it was the perfect title for the new album,” says Uriah Heep guitarist and founding member Mick Box.Famed Canadian engineer, Jay Ruston has been called in to produce the album. Mick continues: “We chose Jay because we admire his work with The Winery Dogs, Stone Sour, Black Star Riders, Paul Gilbert, and Europe. Jay has either produced, mixed orboth for these bands, and he brought a fresh approach to Heep. He has been marvellous to work with.”The band is beyond excited with the material written for the new album, which will include some epic additions to the band’s huge catalog of rock staples and looks forward to sharing it with their fans around the world.Uriah Heep debuted in 1970 with the release of one of hard rock’s milestones, Very ‘eavy… Very ‘umble, and have since sold in excess of 30 million albums worldwide.
Chancha Via Circuito – Bienaventuranza (2018)
For the last decade, Argentina has become the epicenter of a musical explosion that characteristically blends folk music from the surrounding Andes and electronic beats.
The artist arguably responsible for its emergence on a global platform is one named Chancha Via Circuito a Buenos Aires native named Pedro Canale whose first album Rodante (2008) opened the floodgates by pushing the borders of Cumbia listeners weren’t even aware existed. He’s gone on to release other highly acclaimed albums such as Rio Arriba (2010), which Resident Advisor described as ‘aural magical realism’, and Amansara (2014), which catapulted him onto acclaimed international stages and received praises from Pitchfork to the New York Times.
Four years later, in the midst of some very notable global turbulence, Chancha Via Circuito brings us his highly anticipated new album Bienaventuranza- a word that essentially means bliss. Replete with his signature touches of Andean instruments (think lots of flute and charango), the folkloric elements on this album blend fluidly with danceable and digestible electronic beats. He’s been cooking this record slowly, with unprecedented amounts of care and in a much more collaborative manner than his past albums.
Appearing on the album are heavy hitters in the digital cumbia scene, including Mateo Kingman, Kaleema, and Lido Pimienta, all of whom contribute their highly distinguishable sounds to the natural flow of the album. Most of these collaborations came about almost effortlessly. La Victoria is a track that blends cumbia, dancehall, and a bit of mysticism- carried by Lido Pimienta’s luminous voice, Colombian Dancehall wizard Manu Ranks happened to be in town and slipped into the song naturally. Kawa Kawa came from an improv jam during rehearsal one day with Kaleema (Heidi Lewandowski) and Federico Estevez (percussionist in Chancha Via Circuito). Niño Hermoso, which is lyrically a fable, sounds the way it does because Pedro saw a video of Gianluz (Gianluca Zonzini), who he knows from dance classes, singing a Pocahontas song on Youtube.
As dancefloor-friendly as it is mystical, Bienaventuranza is as Chancha as it gets- with elements from Cumbia to Dancehall to Andean Folk to Global house, crystal clear production, and collaborations that are evidently natural and genuine, the record holds true to the sound that Canale has played such a huge part in creating. Since the release of his last album, the digital folk scene has also grown exponentially. From a new generation of producers to more listeners in unassuming parts of the globe, Pedro has been humbled to see the sound develop- and proves with this album that he’s grown swiftly alongside it.
Manfred Mann - Pretty Flamingo/ The Five Faces Of (2001)
Performer: Manfred Mann
Album: Pretty Flamingo (1966)/ The Five Faces Of (1965)
Label: EMI-Capitol Music
Catalog #: COL-CD-2787
Style: Rock, Pop-Rock
Year: 2001
Format: Flac (*image + .cue,log,scans)
Bitrate: lossless
Covers: in archive
Amount of tracks: 22
Size RAR: ~ 461 MB
Upload: cloud.mail
Recovery: 3%
Password: sim-sim
The Five Faces of Manfred Mann - ???????? ?????? ?????????? ??????? Manfred Mann ???????? ?? ?????? ? ???????? 1964, ? ?????? ?????? ?? ???????????? ????? ??????? ???? ??????. ?????????? ??????? ??? ? ?????????, ??? ? ???????? ???????? ????? ??????????? ? ????????????? ????????. ?????? ? ???? ??????? ?????????? ?????????? ???? ?? ?????, ???????? ? ???????????? ??????? The Five Faces of Manfred Mann ????? ?????? ??? ????? ?? ??????????? ???????, ?? ? ?? ?????????? ??? ??????. ???????????? ??????? ????? ????????, ? ?????? ???? ???????? ??? ?? ????? ??????? ???? ?????? - Sha La La ? Come Tomorrow.
Pretty Flamingo ??????? ????? ??? ??? Manfred Mann. ? ???? ????? ? ??????????? ????????? ?????? ??????? ????? ? UK Singles Chart, ?????? ? ????? Billboard Hot 100 ?????? ?????? ? ????????? ??? ?? 29 ???????, ??? ??????, ??????? ??? ??????? ?????? ? ???, ???? ????????? ?????? ??? ????????????? ??????? ??????.
David Arkenstone - Christmas Pan Pipes (2003) FLAC (image + .cue)
Artist: David Arkenstone | Album: Christmas Pan Pipes | Released: 2003 | Genre: New Age | Country: US | Label: Green Hill Productions | Catalog: GHD5347 | Duration: 00:51:32