ΒΑΣΙΛΗΣ ΒΑΣΙΛΕΙΑΔΗΣ – ΠΥΘΑΓΟΡΑΣ – ΣΤΕΛΙΟΣ ΚΑΖΑΝΤΖΙΔΗΣ «ΕΦΥΓΕ ΕΦΥΓΕ» η ιστορία ενός ελληνικού τραγουδιού, που δονεί Δύση και Ανατολή τα τελευταία 50+ χρόνια
Fats Domino - Walking to New Orleans: 100 Legendary Imperial Recordings 1949-1962 [4CD Remastered Box Set] (2002)
Title Of Album: Walking to New Orleans: 100 Legendary Imperial Recordings 1949-1962
Year Of Release: 2002
Label (Catalog#): Capitol Records [72435-37374-2-9]
Country: United States
Genre: Rock & Roll, Rockabilly, Early Rhythm & Blues
Quality: FLAC (tracks,cue,log)
Bitrate: Lossless
Time: 3:47:57
Full Size: 1.23 gb
Upload: Turbobit
Harlots - Betrayer (2008)
Pseudogod ? Deathwomb Catechesis (2012)
Supermax - World Of Tomorrow (1990)
Old Jerusalem – Chapels (2018)
320 kbps | 73 MB | LINKS
Tracks:
01. Carnation Day
02. Black Pool Of Water And Sky
03. The Meek
04. Oleander
05. I Could Never Take the Place of Your Man
06. Lighthouse
07. Ancient Sand, Ancient Sea
08. Lucky Me
09. Magna
10. How Beautiful, That
Scorpions - Discography (1972-2012)
Santana – Evil ways (2018)
320 kbps | 476 MB | LINKS
CD 1
01. Jingo
02. Every day I have the blues
03. Fried neckbones and some home fries
04. Persuasion
05. Jammin’ home
06. Latin tropical
07. The way you do me [live]
08. Soul sacrifice
CD 2
01. Evil ways [live]
02. Santana jam
03. Acapulco sunrise
04. Travelin’ blues
05. Jam in G minor
06. Hot tamales
07. Let’s get ourselves together
08. Funky piano [live]
09. Rock me [live]
CD 3
01. As tears go by
02. El corazon manda
03. Coconut grove Hawaii
04. Jam in E
05. Santana jam [live]
06. With a little help from my friends
07. Soul sacrifice [live]
08. Just ain’t good enough [live]
09. We’ve got to get together; Jingo
Henri Salvador - 1978 - flac par Fred'
Ca ressemble à un album de contrat car Henri est en dépression suite a la disparition de sa femme. Sortie fin décembre, pas de 45 tours mis a part la 12 en face b. Le 45 est "Carnaval", on l'a pas. Un album sans surprise, c'est du Salvador pur jus qui mélange bien les genres et son côté critique social qu'on a un peu oublié ! La moité de l'album est inédit en cd.
[03:08] 01. Henri Salvador - Les canotiers
[02:31] 02. Henri Salvador - Le tour des choses
[02:23] 03. Henri Salvador - On y va quand même
[02:20] 04. Henri Salvador - Monsieur l'baron
[03:31] 05. Henri Salvador - A coeur joie
[03:03] 06. Henri Salvador - Satchmo au paradis
[03:47] 07. Henri Salvador - Si j'étais une musique
[03:08] 08. Henri Salvador - Y'a des jours
[02:05] 09. Henri Salvador - Ouais
[02:40] 10. Henri Salvador - Balance la danse
[03:04] 11. Henri Salvador - C'que ca va mal
[03:52] 12. Henri Salvador - Je n'peux pas travailler
Steve Marriott - Marriott (1976) [Reissue 2005]
???????????: Steve Marriott
??????: Marriott
????: Hard Rock / Blues / Soul / Funk
??? ??????: 1976 / 2005
??????: FLAC (tracks+.cue, log, covers)
????????: Lossless
??????: 251 Mb
??: turbobit/uploadboy/gigapeta/katfile
ΜΙΚΡΑ ΚΕΙΜΕΝΑ ΑΠΟ ΤΟ FACEBOOK 126
[Φωτογραφία μέσω του ακαταπόνητου ερευνητή της λόγιας μουσικής των Ελλήνων και των ελληνικής καταγωγής συνθετών φίλτατου Θωμά Ταμβάκου, από τον οποίον μαθαίνουμε πως στον Λαπαθιώτη ανήκουν 154 συνθέσεις και πως «η μουσική εργογραφία του αποτελείται κυρίως από ελεγείες (30), εμβατήρια, μικρές συμφωνικές σουίτες (3), βαρκαρόλλες, ταγκό, βαλς, και τραγούδια για φωνή και πιάνο».
Τέλη ’50, αρχές ’60 και ό,τι πιο κοντά στο πνεύμα του ροκ, που θα ξεσήκωνε τους πάντες μετά από λίγα χρόνια, είναι αυτά τα φοβερά r&b, που γράφονταν από αγνώστους μουσικούς σε μικρές ή… ανύπαρκτες εταιρείες.
Μετά ήρθαν το freakbeat στο Νησί και το garage-punk στην Αμερική…
Όχι… δεν την έχω… ούτε την έχω δει. Έχω όμως δημοσιεύσεις γι’ αυτή από περιοδικά της εποχής, όπως κι αυτή τη σπάνια φωτογραφία που δεν θα την βρείτε εύκολα αλλού…
Βασικά εδώ ο Θέος αναπλάθει το μύθο της Αντιγόνης, διατηρώντας το μυθολογικό / ιστορικό background, αλλά βάζοντας τους ήρωες να συμπεριφέρονται εντελώς διαφορετικά (και) με όρους, θα έλεγα, της εποχής μας. Οι εξουσιαστικές δομές αλλάζουν χέρια (μητριαρχία-πατριαρχία, η συγγενική οργάνωση της κοινωνίας παραχωρεί τη θέση της στην οργάνωση με βάση τις παραγωγικές σχέσεις, ο στρατός αποκτά νέο ρόλο μέσα από μια ιμπεριαλιστική οπτική και πρακτική κ.λπ.).
Είναι δύσκολο να υπάρξει «περίληψη» της «Διαδικασίας», που μάλλον αποτελεί την πιο «ερμητικά κλειστή» ταινία του ελληνικού κινηματογράφου… εντελώς αδύνατον να αποκρυπτογραφηθεί στην ολότητά της.
Αξίζει μια προβολή της, το προσεχές διάστημα, και μια συζήτηση επ’ αυτής, με αφορμή την απώλεια του δημιουργού της…
Κουφάρι που επιπλέει είναι το «έντεχνο» της πίστας. Ιδίως αυτό το «μετά το ’90», που επιχειρούν κάποιοι να το αναζωπυρώσουν και που συνειρμικά θα το συνδέω, πάντα, με τις… βούτες του «εκσυγχρονισμού».
Μόνο θλίψη για το χαμό τού ασύγκριτου Tony Joe White… κι ένα τραγούδι του από το 1998.
Whitesnake - Osaka 2016 (2016)
Title Of Album: Osaka 2016
Year Of Release: 2016 [2 × CD, Live, Bootleg]
Label: Xavel Silver Masterpiece Series [XAVEL-SMS-103]
Genre: Hard Rock
Quality: FLAC (tracks, scans)
Total Time: 01:40:37
Total Size: 654 Mb
Upload: Depositfiles, Turbobit
Discogs.com
??????? ? ???????? ?????? ????? 13 ??????? 2016 ????
Ashford & Simpson – Love Will Fix It : The Warner Bros. Anthology 1973-1981 (2018)
320 kbps | 537 MB | LINKS
Ashford & Simpson: Love Will Fix It – The Warner Bros. Records Anthology 1973-1981 is a comprehensive three-disc collection spanning the legendary song-writing duo’s classic recordings for the major label. The husband and wife team of Nickolas and Valerie, having established themselves as one of Motown’s many successful hit-making partnerships (“Ain’t No Mountain High Enough,” “You’re All I Need To Get By”), added even more depth, emotion and rich musicality to their self-produced recordings.
This Groove Line Records release features all of the duo’s Warner Bros. R&B hits including I’d Know You Anywhere, Send It, Don’t Cost You Nothing, Found A Cure, Is It Still Good To Ya, Tried Tested And Found True, and Nobody Knows, as well as an un-released version of The Debt Is Settled and club hits like Stay Free, Bourgie Bourgie and One More Try. A third disc features 12” Disco mixes from Jimmy Simpson, Tom Moulton, Joe Claussell and previously unreleased John Morales (M&M) and Mike Maurro mixes of Love Don’t Make It Right and Tried, Tested and Found True.
Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible. This anthology is newly remastered from the original tapes and housed in a deluxe digipack containing a 28 page booklet featuring rare photos and artwork. With liner notes penned by Christian John Wikane, which include many glowing quotes from the artist’s peers and personal tributes from musical director Ray Chew and vocalist Fonzi Thornton (CHIC), Ashford & Simpson: Love Will Fix It – The Warner Bros. Records Anthology 1973-1981 three CD set is an essential addition to any serious R&B, Soul, Funk and Disco collector.
Kill Devil Hill - Kill Devil Hill (2012)
Juanito Makandé - El Habitante de la Tarde Roja (2018).VS.MP3
Juanito Makandé - El Habitante de la Tarde Roja (2018).VS.MP3
Flamenco | mp3 320 Kbps | 106 Mb
M201802871
1. El Vuelo de los Cuchillos
2. La Soledad
3. Oh Mama
4. Vivir Sin Miedo
5. El Llanto de las Gallinas
6. Me Marcharé
7. Guarromántico
8. A los Inviernos los Mata el Amor
9. Una Broma Seria
10. Entre Mi Casa y la Luna
11. No Te Alejes
12. Tangos del Adiós
[Solo los usuarios registrados pueden ver los enlaces | Only registered and activated users can see links Cliquea aquí para registrarte | Click here to register]
Juanito Makandé - El Habitante de la Tarde Roja (2018).VS.MP3
Juanito Makandé - El Habitante de la Tarde Roja (2018).VS.MP3
Flamenco | mp3 320 Kbps | 106 Mb
M201802871
1. El Vuelo de los Cuchillos
2. La Soledad
3. Oh Mama
4. Vivir Sin Miedo
5. El Llanto de las Gallinas
6. Me Marcharé
7. Guarromántico
8. A los Inviernos los Mata el Amor
9. Una Broma Seria
10. Entre Mi Casa y la Luna
11. No Te Alejes
12. Tangos del Adiós
[Solo los usuarios registrados pueden ver los enlaces | Only registered and activated users can see links Cliquea aquí para registrarte | Click here to register]
Dead Can Dance – Dionysus (2018)
In Greek mythology, Dionysus represents the god of the grape harvest, winemaking, and wine, of fertility, ritual madness, religious ecstasy, and theatre. In ancient times, he was worshipped fondly by his followers with cultural festivities, wine-induced ritualistic dances, intense and violent orgies, and secretive various depictions of drunken revelry (the Dionysian Mysteries). What he embodied was the intoxicating portion of nature. The worship began as a celebration of culture, with plays and processions, and progressed into a cult that was shrouded in mystery. It was characterized by a worshipper’s powerful identification with and emotional connection to the god. The rituals behind the celebrations and the symbolism of creative renewal is what provides the creative…
…impetus behind Dead Can Dance’s album Dionysus.
The Dead Can Dance’s creative force, vocalist Lisa Gerrard and multi-instrumentalist Brendan Perry first met in Melbourne in 1979 and developed through the same “new wave” music scene as singer Nick Cave. They formed the band Dead Can Dance in 1981 and the duo has been creating boundary-breaking music ever since. Throughout their career, both Gerrard and Perry have proven to be unique sonic architects who never relied on blueprints. Over the years, the duo went to reap a rich harvest of influences as diverse as Renaissance music, Spanish and Celtic folk music, ancient forms of music, Gregorian Chants, Balkan folk music, music from the Middle East along with Joy Division and Scott Walker influences and vocals, ambient music that were mixed with ethnic African rhythms into a mélange that was uniquely their own. On top of that were incantatory wordless vocalizations by Gerrard, which was steeped in the older melismatic traditions and Perry’s dark tenor that added to their yin- yang relationship and work approach.
Musically, Dionysus is an impressive and ambitious amalgam of the band’s previous leanings like the sampled and kaleidoscopic nature of Into the Labyrinth (4AD, 1993) and the percussion dominated Spiritchaser. (4AD, 1998). There are no songs here in a classical sense as it was done on their previous records. The song format was completely eschewed as a concept. Divided in two compositions that are further subdivided into several movements, the duo took the constituent elements of some of its past and further refined them into an enormous sound bathed in a myriad of melodies and polyrhythms. Each of these acts and their movements has distinct moods and ambiances that reveal varied soundworlds with fresh nuances and facets with each new listen. As a result, Dead Can Dance creates a non-linear, genre-less concoction that merges tribal beats, ambient sounds, folk instruments like bagpipes, Bulgarian choirs, dulcimers, highly-manipulated samples into a decontextualized whole, an idea that is close to composer and conceptualist Jon Hassell’s concepts of Fourth World Music. As a result, literally, the listener is transmuted in both geography and dimension.
The opening movement “Sea Borne” is built on dense and dizzy layers of loops and beats that are overwhelmed by interspersing ethereal, windswept vocal textures that resonate like gigantic springs. All movements seamlessly transit into the next. “Liberator of Minds” is built on layers of percussion and Middle Eastern melodies and various vocal chants. “Dance of the Bacchantes” mixes various types of percussions, the Brazilian berimbau instrument, and an annoying synthesizer that imitates bagpipes, hand claps, vocal choirs (that seems to resemble Serbian women choir), Moroccan ululations and sounds from both Eastern and Western traditions that are intertwined within a dense forest of sounds and orchestrations. The pacing of this movement literally drives the listener into a frenzied ecstasy. Truly, there is a spiritual and even magical quality to this music.
While the first act doesn’t really reveal easily the fact that this is DCD music as there aren’t any of their characteristic vocals and song formats, the second act “ACT II: The Mountain -The Invocation -The Forest—Psychopomp” reveals more of their presence. “Mountain” delves deeper into Balkans music with its opening melodies on bagpipes that are sprinkled with Moroccan ululations and are augmented by tribal beats. Very soon the familiar vocals chants by Perry and Gerrard are heard and a wave of familiarity washes over. There is a call and response duet between Perry and Gerrard’s radiant vocals which resemble a Bulgarian choir chants. This movement then morphs into the next just by using sounds of bells and goats.
“The Invocation” uses samples of Bulgarian choir possibly The Mystery of the Bulgarian Voices with whom Gerrard has recorded and performed recently (Prophecy, 2018). This is not the first time she has worked with musicians in Bulgaria as she even performed with the Genesis orchestra in Sofia in early 2018. The choir’s chants are re-contextualized as DCD builds all kinds of sounds around them and at one point the vocals just chant a different kind of melody. “The Forest” feels more like it might have come from the Spiritchaser album with its percussive beats, Arabic orchestrations, and shimmering electronics and Perry’s lead vocals.”Psychopomp” has a different sound aesthetics and it actually feels as if it was recorded in a tropical jungle with its sounds, whistles and rattles, and characteristic electronics as DCD weaves music that is both evocative and plaintive.
Dead Can Dance has always explored the intersections between genres, geographies, sounds, cultures, modern and primitive, folk music and contemporary music. All throughout their illustrious career, the duo has been both purveyors and seekers of transcendent cultural experiences. Dionysus is thoughtful in its construction, unfurling in a dreamy fantasia that is imaginative, colorful and intriguing. It fits perfectly into the continuum of DCD’s entire career. But at moments its dense nature makes it feel like it’s a kind of construction project. Every sound has been meticulously built and each second has been crammed with sounds as if the listeners might be bored. Still, the album feels adventurous and challenging with its multidimensional trance groove trajectory that envelops the listener with its mysteries and visionary power. Their elastic musical approach suggests that the world is a cultural continuum and not a series of segmented and isolated spaces. Like DCD’s other works, Dionysus takes travelers on a nocturnal pilgrimage through uncharted places of worship made of sound, which are at the same time strange and oddly familiar. As such, this album is a soundtrack for the spirit. — AllAboutJazz
Falco - LIVE forever (1999)
REO Speedwagon – Live on Soundstage (2018)
320 kbps | 173 MB | LINKS
REO Speedwagon: Soundstage Classic Series, presents Kevin Cronin (lead vocals, guitar), Bruce Hall (bass), Neal Doughty (keyboards), Dave Amato (lead guitar) and Bryan Hitt (drums) performing a full-throttle, 16-song set that spans the band’s celebrated 35-year career – from the Number 1 charting “Keep on Loving You” and “Can’t Fight This Feeling” to hits from their most recent album release “Find Your Own Way Home”.
King Crimson – Ladies of the Road (Live 1971/72) (2018)
320 kbps | 262 MB | LINKS
CD1
1. Pictures Of A City (Live 1972) 08:45
2. The Letters (Live 1972) 04:43
3. Formentera Lady (Abridged) [Live 1971] 06:41
4. The Sailor’s Tale (Live 1971) 05:43
5. Cirkus (Live 1971) 07:57
6. Groon (Live 1972) 06:51
7. Get Thy Bearings (Live 1972) 08:33
8. 21st Century Schizoid Man (Live 1972) 08:58
CD2
1. Schizoid Men – 1 (Live 1972) 01:44
2. Schizoid Men – 2 (Live 1972) 04:45
3. Schizoid Men – 3 (Live 1972) 03:12
4. Schizoid Men – 4 (Live 1972) 05:15
5. Schizoid Men – 5 (Live 1972) 06:22
6. Schizoid Men – 6 (Live 1972) 03:56
7.. Schizoid Men – 7 (Live 1972) 05:13
8. Schizoid Men – 8 (Live 1972) 03:18
9. Schizoid Men – 9 (Live 1972) 05:01
10. Schizoid Men – 10 (Live 1972) 03:23
11. Schizoid Men – 11 (Live 1972) 04:57
12. Schizoid Men – 12 (Live 1972) 05:40