VBR~257 kbps | 109 MB | LINKS
Simulation Theory is the upcoming eighth studio album by English rock band Muse. It will be released on 9 November 2018 through Warner Bros. Records and Helium-3. Co-produced by the band with Rich Costey, Mike Elizondo, Shellback, and Timbaland, it is a synth-rock album with themes of simulation and centering on the idea of “fantasy becoming real”. Contrasting the band’s previous three albums which dealt with darker themes, the band sought lighter influences from science fiction and 1980s pop culture and produced the album one track at a time without a focus on a greater narrative or theme. Recording began at AIR Studios in London in early 2017 with Elizondo, creating three tracks before embarking on a midyear tour of North America. Production restarted in Los Angeles in late 2017 with Costey, who had co-produced the band’s 2003 album Absolution and 2006 album Black Holes and Revelations. “Era-blending” juxtapositioning and the contemporary political climate of the United States informed the album’s music and lyrics.
320 kbps | 171 MB | LINKS
The terrific must-see Muscle Shoals documentary from 2013 kick-started a revival of sorts for the music that emerged, perhaps exploded is more appropriate, from this sleepy Alabama town. That set the stage for a musical follow-up tribute which finds 17 diverse roots acts offering their own interpretations to a variety of songs recorded there.
Not surprisingly, the result of trying to be a little of everything to everyone ends up as an inconsistent yet certainly heartfelt set that might get a few more folks interested in the Muscle Shoals sound who were previously unaware of how rich and varied it was. It’s easy to forget that the Stones went there to record “Brown Sugar” and “Wild Horses” (appearing here in versions by Stephen Tyler and Alan Jackson respectively), Dylan waxed “Gotta Serve Somebody” (a cool quartet of Willie Nelson, Chris Stapleton, Lee Ann Womack and Jamey Johnson tackles that one) and even Bob Seger (the hopelessly schlocky “We’ve Got Tonight” by Glee’s Chord Overstreet) all washed their music in that special Muscle Shoals Southern sauce.
There’s country (a lovely version of Gregg Allman’s “Come and Go Blues,” by Alison Krauss, a song that has no direct connection to the city), blues (Grace Potter giving it her best shot on Etta James’ “I’d Rather Go Blind”), gospel (“Respect Yourself” is a natural for Mike Farris and The Blind Boys of Alabama), soul (Eli “Paperboy” Reed testifying on the great “Steal Away”) and rock and roll (Shinedown’s Brently Stephen Smith doesn’t do much of interest with “Mustang Sally”). Most of the tracks are from the ’60s and ’70s, the heyday of the Muscle Shoals sound. But soul veteran Candi Staton (with John Paul White and Alabama-born Jason Isbell) reprises her “I Ain’t Easy to Love,” recorded on last year’s album.
There are a few miscues. Bringing in Kid Rock to reprise Clarence Carter’s classic “Snatchin’ It Back” seems like a desperate attempt to get his audience on board since he doesn’t add anything to the song. Aloe Blacc isn’t particularly inspired with his by-the-numbers take on the Staple Singers’ “I’ll Take You There,” and even though it’s fun to hear Delbert McClinton reprise his “Giving It Up For Your Love,” along with Doobie Brothers’ frontman Tom Johnston, there’s nothing going on we didn’t hear the first time around.
None of these are horrible, just unnecessary at worst. While it would be impossible to include music from even a fraction of the artists that chronicled timeless music in Muscle Shoals, ignoring the great Arthur Alexander, who recorded “You Better Move On” (the first record at the city’s fabled FAME studios), is a substantial miss. Still, there is plenty here to enjoy. And if this exposes a new audience to the incredible songs that emerged from this town (and they are inspired to go back to hear the originals that even at their best these covers can’t touch) it has done its job.
320 kbps | 126 MB | LINKS
The Oldham Tinkers formed in the mid 1960’s following a chance meeting in a Lancashire pub. Brothers Larry and Gerry Kearns and John Howarth formed the band and would go on to record tracks for various Topic Record compilations before being asked to record their first of five albums for Topic.
‘Oldham’s Burning Sands’ was recorded in 1971 at Tin Pan Alley Studios London. Produced by A. L. Lloyd, four more albums followed. This introduction to The Oldham Tinkers release is a snap shot of the wonderful collection of colourful material recorded by a lost treasure within the Topic Records stable.
In the summer of 1965 a chance meeting between John Howarth and the brothers Larry and Gerry Kearns in the Highfield and Park pub in Waterloo Street, Oldham, saw the beginning of years of fun and music for the Oldham Tinkers, and indeed for Anybody who happened to listen to them. The trio chose the title “Tinkers” because at that time there were differences of opinion in Oldham between travelling people and the council. The name of the town was later added to differentiate between this northern triumvirate and a London based group, also called the Tinkers.
Although John had not met the Kearns brothers for over ten years, he was no stranger to them. He had shared a primary school desk with Larry for four years and had many times met Gerry at play and at school functions. At this pub meeting they resolved to play music together but this was by no means the birth of their musical apprenticeships. The lads came from musical families of Irish stock where music was never taught but vastly encouraged and where family sing-songs were an everyday event. The boys had grown up surrounded by informal music, and luckily they were very aware of it. It did not pass them by. It clung to them. This combination of music and informality has become their trademark.
Though the manner is casual, the musicianship is thorough, solid, varied and of extremely high standard. Although in the early days all three played a variety of instruments, now John confines his efforts principally to the banjo, Gerry to the Spanish guitar, and Larry to the whistles and mandolin.
For years the majority of their work was in pubs where audiences regarded these three fellows as a three man stand-up turn to be derided and clapped accordingly. In such places they dug deep into the music of their family sing-songs, particularly the humorous ones, and worked hard handling various audiences. After a baptism such as the Oldham Tinkers had, the world of folk clubs and theatres in which they later found themselves, was like being on holiday. Later followed work at folk festivals, radio and television work, much of the latter being background music for plays and documentaries about the north of England, for which the Oldham Tinkers’ music is particularly suited. It was gratifying to have a string of television appearances in their wake, but a terrific honour in the summer of 1977 when the Oldham Tinkers were summonsed to sing for Her Majesty the Queen and Prince Phillip at a Royal Gala Performance at the Palace Theatre, Manchester.
When asked to describe their own music, the Oldham Tinkers are uncertain. Some people call it simply “folk”, but does that word sum it up? It involves a wealth of children’s material, gleaned mainly from their own childhoods, a host of airs and lilts bequeathed by their family backgrounds, narrative songs, music hall songs, dialect songs and poetry, pub songs, daft songs, and deeply sincere songs, often sad. Mostly they sing of Oldham, past and present, with more of a hint of history and industry. They were once guests on the late John Peel Show. They were shocked to be asked, amused too, but flattered. They did the job and enjoyed it.
The town in which they live, and their family upbringings contribute most to the Oldham Tinkers’ music but they owe no mean debt to the influences of the great Northern dialect poets like the late Edwin Waugh and Sammy Laycock, and more recently, but again the late Cliff Gerrard from St Helens and Rochdales’ Harvey Kershaw, both of whom were good friends of the lads. They have been affected too by both George Formby senior and his son, and by Charles Chiltern and Harry Boardman who gave them more than the spark to delve into history for their more serious material, by many close friends, and by thousands of Northern people.
320kbps | 734 MB | LINKS
This is the first time The BEATLES (‘White Album’) has been remixed and presented with an additional disc demo recordings. To create the new stereo audio mixes for ‘The White Album,’ Giles Martin and Sam Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. The album’s original 30 tracks have been newly remixed into stereo by producers Giles Martin and Sam Okell, with the new remix joined by the 27 “Esher Demos” from May 1968 and a whopping 50 session takes, most of which are previously unreleased. (Dig a rehearsal of “Let It Be” among the surprises!) The remix will appear on CDs 1 and 2, with the Esher Demos on CD 3 and the session material on CDs 4-6.
If we look at the countries represented in our download top
twenty, Colombia is with seven out of twenty the clear winner.
For years I thought African music would be, only because of the
amount of reactions it gains. If I look at the countries and their
amount of visitors, the USA is on top and Colombia is second.
I guess it is a language thing. Not so many Spanish speaking
people leave messages, maybe because I only write in English
and Dutch. My Spanish is not sufficient, and I guess their English
isn’t. One way or the other, it is only fair to give our Colombian
visitors the first next day. This is an album by one of Colombia’s
greatest. Calixto Ochoa deserves a bit more attention. With only
five albums on the site and a huge pile on the shelf, it is about
time. Calixto appears on this 1978 elpee with singer Luis Cuadros.
..just love the smashing basslines..
Als we kijken naar de landen die vertegenwoordigd zijn in onze
download top twintig van gisteren, is Colombia met zeven van de
twintig de duidelijke winnaar. Ik heb jaren gedacht dat Afrikaanse
muziek het zou winnen, alleen al door het aantal reacties dat we
erop krijgen. Als ik kijk naar de bezoekers aantallen van de Global
Groove, zien we de VS op één en Colombia op twee. Ik denk dat het
met taal te maken heeft. Niet zoveel Spaanstaligen laten reacties
achter, wellicht omdat ik alleen in Engels en Nederlands schrijf.
Mijn Spaans is helaas niet toereikend, en waarschijnlijk het Engels
van Spaanstaligen ook niet. Hoe dan ook, het is gerechtigheid als
eerst volgende post een Colombiaanse te doen. Dit is een plaatje
van één van Colombia’s grootsten. Calixto Ochoa verdient wel wat
meer aandacht. Met slechts vijf albums op de site en een grote
stapel op de plank werd het wel weer eens tijd. Calixto brengt
dit album met zanger Luis Cuadros.
..geweldige bas partijen..
tracks ;
01 – Una cita mas
02 – Mi tema
03 – La china
04 – Las siete que brillan
05 – Adios
06 – El barquito de papel
07 – Amor bendito
08 – Palenque
09 – Solo y triste
10 – Campanito
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