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VA - Soul Cal: Disco & Modern Soul Masterpieces 1971-1982 (2012)

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VA - Soul Cal: Disco & Modern Soul Masterpieces 1971-1982 (2012)

Artist: Various Artists
Title Of Album: Soul Cal: Disco & Modern Soul Masterpieces 1971-1982
Year Of Release: 2012
Label (Catalog#): Now-Again Records [NA 5084CD]
Genre: Soul, Funk, Disco, Rhythm & Blues
Quality: FLAC (tracks,log)
Bitrate: Lossless
Time: 64:00
Full Size: 437 mb
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Malo istorije

Los Hermanos Martelo y su Orquesta – Ritmo Sabroso Victoria LPC-3518

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los-hermanos-martelo-front

De Martelo broertjes spelen een vrolijke noot op deze gouwe
ouwe. Verschillende stijlen passeren de revue, brinca-brinca,
pasaje, cumbia, pata pata, cumbión, porro, pasadoble, bolero,
Paseaíto en merengue. Ze konden er wat van deze jongens..

The Martelo brothers play a happy song on this golden oldie.
Various styles are presented, brinca-brinca, pasaje, cumbia,
pata pata, cumbión, porro, pasadoble, bolero, Paseaíto and
merengue. These guys knew what they were doing..

tracks ;

01 – El sabroso
02 – preguntale al mar
03 – Lamento
04 – Be e…e…
05 – La ramita de matimba
06 – Cerete
07 – Toros en la monumental
08 – Que bueno esta
09 – La vida se acaba
10 – Al compas de las polleras
11 – Por que negamos
12 – Yerno flojo

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Orquesta Akokán Orquesta Akokán

Auntie Flo – Radio Highlife (2018)

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Auntie FloAs parts of the world turn inwards and look to close themselves off from their neighbours, Auntie Flo represents a more universal attitude.
Born in Glasgow with Goan and Kenyan heritage, Auntie Flo is an artist that thrives upon cultural nuances. Radio Highlife is a record moulded by these geographic subtleties. As the album title suggests, Radio Highlife is deeply influenced by Africa, but also draws influence from Brian d’Souza aka Auntie Flo’s travels through Cuba, Bali, Russia, Norway, the UK and more.
Musicians, field recordings, voices and sounds are patched together with the hypnotic rhythms of house, disco and afrobeat. The percussive elements of Radio Highlife are the roots that keep the music grounded; every track grows organically…

104 MB  320 ** FLAC

…from this irresistible, tribal groove. Rather than producing an album of out-and-out bangers, Auntie Flo lets the live instruments be his guide – using the riffs and loops he has recorded over the years as the foundations for him to start building upon.

Each song has its own mantra. “Nobody Said It Would Be Easy” switches and swerves between an uplifting guitar riff, “Havana Rhythm Dance” uses Andrew Ashong’s simple yet effective vocal phrases as its keystone; whilst “Western Princes” clatters along to the jangling sound of an energetic xylophone. “Cape Town Jam” is an irresistible summer jam, once again rising up from sun-soaked guitar licks and catchy choral refrains.

Dance music dredges up images of dark clubs, pounding kick-drums, bright lights and zoned-out dancers, but Radio Highlife is here to take dance music back to its beginnings. At the centre of it all, dance music revolves around one thing – the drums. A solid groove is universal. It doesn’t matter what you look like or where you’re from, a good groove is going to get you moving. In these turbulent times when borders are being propped up, Radio Highlife takes us back to basics and looks to unite us with a good old fashioned boogie.

Cash Savage and the Last Drinks – Good Citizens (2018)

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71vd22uZZYL._SL1200_.jpg320 kbps | 95 MB | LINKS

Everyone’s got a “fucked-up way” of being good citizens – or so Melbourne’s Cash Savage tells us on the title track of her fourth album. Some of the things that might help us feel good about ourselves are rooted in inequalities and injustice. Like, for example, voting in a voluntary postal survey on whether or not LGBTIQ people should be able to marry.

Good Citizens was written against the backdrop of that risible survey, the trauma it caused Savage’s community, and the aftermath: that even when you might have got the result a large majority of the population wanted, amid the celebrations and self-congratulations, the scars of being asked to justify and defend your own identity and humanity remain.

That trauma though has produced her most focused, cohesive record. Gone is any vestige of the faint Americana leanings of her earlier albums. The nine songs here are all brawling rock’n’roll and crushing ballads. It’s got more in common with Nick Cave and the Dirty Three, in Savage’s vocals and Kat Mear’s sawing violin, than Wilco – much less the Band.

But while the basic reference points are clear, Savage has never sounded more self-assured – or more Australian. Her voice is magnificent throughout, whether she’s gently chiding her country on Better Than That (“There’s a lot of people thinking I’m up for discussion”, she notes) or tearing through the tearaway pub-punk rock of Pack Animals.

Glen Campbell – Reunion: The Songs Of Jimmy Webb (1974/2001)

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51-LxXt1P8L._SS500.jpgFLAC | 200 MB | LINKS

It doesn’t really matter if Glen Campbell was Jimmy Webb’s best interpreter or if Webb gave Campbell his best songs — in other words, it doesn’t matter who helped the other more — because it doesn’t change the essential fact that the duo fit each other so naturally. Webb’s intricate, idiosyncratic compositions sounded warm and accessible in Campbell’s hands, while the songs revealed Campbell’s musical range and ambition. Other singers had big hits with Webb’s songs and Campbell made tremendous music with other people’s songs, but there was something special about their collaboration that was evident on their big hits of the ’60s: “By the Time I Get to Phoenix,” “Wichita Lineman,” “Galveston,” “Where’s the Playground, Suzie?.” These songs provided the background for Reunion, the 1974 album where Campbell and Webb reunited for a set of Webb songs. Well, that’s not exactly accurate, since Webb never produced or arranged the hits Campbell had in the ’60s, and the record isn’t entirely written by Webb, since it features Susan Webb’s “About the Ocean” and Lowell George’s “Roll Um Easy” (here retitled “Roll Me Easy”). So, this marks the first time that Webb arranged a full album of Campbell’s, along with providing the majority of the songs, a move that in many ways made this closer to a Jimmy Webb record than a Glen Campbell LP. Certainly, it favored Webb’s idiosyncrasies, particularly his elliptical songs with winding melodies and no straightforward songs. Not a song here outside of “Roll Me Easy” announces itself as a potential single (which very well may be why this tremendous song was added to the play list, particularly as the first single, since it might be the easiest way into the record for most listeners). Since most of the songs share a similar easy mid-tempo pace and have similar lushly interwoven arrangements, it’s not necessarily the most accessible of Campbell’s records; it doesn’t set out to alienate, it’s just that Webb’s songs and arrangements call for close listening, which is precisely why it’s an album beloved by Campbell/Webb connoisseurs. So, it’s not entirely surprising that the record didn’t make much of an impression, certainly nothing close to their big hits of the ’60s, but rather that it’s become a cult item, with some fans regarding it among Campbell’s best work. And, in many ways, they’re right. Reunion has a quiet power that grows with repeated listenings since it does indeed showcase Webb at his best as songwriter/arranger and Campbell as an interpretive singer. But this is very much a record for the dedicated, those that are already convinced of the strengths of both men, because it reveals its gifts slowly, and even when they’re out in the open, the songs are so delicately, if exquisitely, crafted they’re best appreciated by listeners with an eye for detail. Those listeners will surely find Reunion among Campbell’s best work, and it is certainly among his most consistent and ambitious records, but it’s just a little too reserved to play to an audience outside of the already converted.

Michael Jackson - Discography (1967-2009)

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Michael Jackson - Discography (1967-2009)

Artist: Michael Jackson
Title Of Album: Discography
Year Of Release: 1967-2009
Label: Steeltown/Motown/Epic/Legacy/Sony/MJJ Productions
Country: United States
Genre: Pop, R&B, Disco, Post-Disco, Dance, Soul/Funk, Pop Rock, New Jack Swing
Quality: FLAC (tracks +.cue,log,scans)
Bitrate: Lossless
Full Size: 33.20 gb
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VA - Samba Soul 70! (2001)

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VA - Samba Soul 70! (2001)

Artist: Various Artists
Title Of Album: Samba Soul 70!
Year Of Release: 2001
Label (Catalog#): Ziriguiboom [ZIR 07]
Genre: Latin Jazz, Funk/Soul, Samba
Quality: FLAC (tracks,cue,log,scans)
Bitrate: Lossless
Time: 57:26
Full Size: 410 mb
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Gygafo - Legend Of The Kingfisher (1973)

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Gygafo - Legend Of The Kingfisher (1973)


Artist : Gygafo
Title Of Album: Legend Of The Kingfisher
Year Of Release: 1973 (1992)
Label (Catalog#): Holyground (HBG 122/2 CD)
Country : UK
Genre: progressive folk rock, psychedelic rock
Quality : FLAC (*image + .cue,log,scans)
Bitrate: Lossless
Time: 41:37
Full Size: 332,0 MB

Quasar Lux Symphoniae - The Dead Dream (1977)

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Quasar Lux Symphoniae - The Dead Dream (1977)


Artist : Quasar Lux Symphoniae
Title Of Album: The Dead Dream
Year Of Release: 1977 (2012)
Label (Catalog#): Lizard Records (Lizard CD 0012)
Country : Italy
Genre: progressive rock, psychedelic rock
Quality : FLAC (*image + .cue,log,scans)
Bitrate: Lossless
Time: 49:34
Full Size: 277,0 MB

Laraaji | Arji Oceananda | Dallas Acid Arrive Without Leaving

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Laraaji | Arji Oceananda | Dallas Acid
Arrive Without Leaving
(Flying Moonlight, 2018)
more details

Bixiga 70 – Quebra Cabeça (2018)

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Bixiga 70It might be audacious to suggest that Bixiga 70 represents one of the highest peaks of Afro-Brazilian music, but their new album Quebra Cabeça makes it hard to imagine anything grander in scope. Thus far, the São Paulo-based ten-piece has enjoyed well-deserved critical acclaim and, in Brazil, some national awards. In the past few years, the group has not only been hitting the international tour circuit hard, but has had the invaluable chance to play with groundbreaking musicians Pat Thomas, Orlando Julius, and João Donato. The group’s growth is clear on this fourth album. While the basic elements that define Bixiga 70 – Afrobeat-inspired brass, Latin jazz melodies, and rhythms, measured electronic twists scattered throughout the music – are still there,…

131 MB  320 ** FLAC

…the band is both tighter and more adventurous on Quebra Cabeça, and their forays further and further outside the box are ones marked by technical mastery.

Key to Bixiga 70’s style is how the group both breaks ground and can sling a universally appealing tune. As the album’s title track begins, the group does just that. Polyrhythms syncopate with a simple opening riff, and horns add a warm, winding melody to the track. Spacey keyboards lend out-of-this-world flourishes, balancing a sense of modernity with retro brass and hand percussion that draws on the centuries-old West African-Caribbean connection still so crucial to Brazilian musical aesthetics today.

And so it is across the board on Quebra Cabeça. Wavy notes and high guitar ostinato on “Ilha Vizinha” gives the track a tropical feel, while the rest of the ensemble maintains the weight necessary for Bixiga 70 to keep the music moving – and to keep the band’s audience in the throes of dance. “Pedra de Raio” begins in a synthesized haze, the instruments loosely in sync with each other before meeting for a midtempo waltz. Here, the guitar emulates West African lutes with delicate, lace-like motifs, and the texture stays at a simmer until the piece blossoms into brilliant moments of jazz horns and electric bass fuzz.

The spiraling urgency of “4 Cantos” comes to a sharp end; Areia is a heated jam with synths for days. “Ladeira” has a cinematic quality to it, a dramatic chord leading quickly into a full-on action sequence with continuous shifts in rhythm and tempo that make it feel alive.

For all that, the best is yet to come. “Levante” brings in an ode to the Eastern Mediterranean, and though it’s a slower piece, it may be one of the most interesting on the album. Shimmering and sinuous, it gilds Bixiga 70’s Afro-Brazilian roots in a way that speaks to growing diversity in the band’s repertoire.”Primeiramente” follows, a piece full of protest that starts slow and quickly becomes a genuine headbanger, with heavy rock buoyed by funk grooves and leading into ominous Kill Bill-esque sirens. The stylistic mix is an unlikely one and makes for an intriguing shift in tone.

“Torre” lightens up the album next with quick, contemporary highlife sounds, and “Camelo” is a joyful dancefloor masterpiece. Finishing off the album is “Portal”, a blissful finish to the album.

Quebra Cabeça means “puzzle” in Portuguese, but its literal translation is something like “break head” – appropriately close to “mindblowing”, the perfect adjective for any Bixiga 70 release, especially this one, an appropriately diverse reflection of the streets of São Paulo and far, far beyond. If it is a puzzle, it’s a satisfying one, and the different pieces – so many of them – come together brilliantly.

The Almighty - Crank (1994)

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The Almighty - Crank (1994)


Artist : The Almighty
Title Of Album: Crank
Year Of Release: 1994
Label (Catalog#): Toshiba-EMI Ltd. (TOCP-8363)
Country : UK
Genre: hard ?n? heavy
Quality : FLAC (*image + .cue,log,scans)
Bitrate: Lossless
Time: 48:57
Full Size: 407,0 MB

Silverchair - Freak Show (1996)

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Silverchair - Freak Show (1996)

Artist: Silverchair
Title Of Album: Freak Show
Year Of Release: 1996
Label (Catalog#): Murmur [MATTCD043]
Country: Australia
Genre: Grunge, Alternative Rock
Quality: FLAC (tracks,cue,log,scans)
Bitrate: Lossless
Time: 49:39
Full Size: 438 mb
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Masters Child - Distant Thunder (1992)

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Masters Child - Distant Thunder (1992)


Artist : Masters Child
Title Of Album: Distant Thunder
Year Of Release: 1992
Label (Catalog#): Inline Music / Battery (55 B-8787-001)
Country : Switzerland / Germany
Genre: hard rock, hard ?n? heavy
Quality : FLAC (*image + .cue,log,scans)
Bitrate: Lossless
Time: 53:19
Full Size: 398,0 MB

White Heat - We Never Heard Of You Either (1989)

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White Heat - We Never Heard Of You Either (1989)


Artist : White Heat
Title Of Album: We Never Heard Of You Either
Year Of Release: 1989
Label (Catalog#): The Record Company / CBS Associated (BFZK-80138)
Country : Canada
Genre: hard rock, AOR
Quality : FLAC (*image + .cue,log,scans)
Bitrate: Lossless
Time: 43:31
Full Size: 320,0 MB

Mythica - Mythica (1995)

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Mythica - Mythica (1995)

Artist: Mythica
Title Of Album: Mythica
Year Of Release: 1995
Label: Self Released
Country: Australia
Genre: Folk, Jazz, Celtic, Acoustic
Quality: FLAC (tracks,cue,log,scans)
Bitrate: Lossless
Time: 19:38
Full Size: 150 mb
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Allman Brothers Band – First Flight (1969)

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30k53co.jpg320 kbps | 200 MB | LINKS

This is regarded as the first live show of the Allman Brothers Band, and was recorded just four days after their official foundation.

Tracks:
CD 1:
1. Don’t Want You No More
2. Rock Me Baby
3. Crossroads
4. Born In Chicago
5. Willie Jean Jam
6. Born Under A Bad Sign

CD 2:
1. She Has Funny Cars
2. Hey Joe
3. New Shoes Blues
4. Travellin’ Music Jam

Sacred Spirit - Culture Clash Vol.2 (1997)

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Performer: Sacred SpiritAlbum: Culture Clash Vol.2Genre: World, Ethnic FusionYear: 1997Format: FLAC (image + .cue)Bitrate: losslessCovers: in archiveAmount of tracks: 13Size ZIP: ~ 360mbUpload: nitroflare.comPassword: without a password
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