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    [Label: BBE | Cat#: BBE448]

    1. Billy Bang’s Survival Ensemble – Illustration (8:13)
    2. Michel Sardaby – Martinica (5:45)
    3. Kafé – Fonetik A Velo (10:02)
    4. Le Steel-Band De La Trinidad – Calypso Jazz Improvisation (5:06)
    5. The Theo Loevendie Consort – Timbuktu (4:41)
    6. Armand Lemal – Souffle [Pt. 2] (8:42)
    7. Joe Malinga & Southern African Force – ITwenty Five (8:59)
    TB

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  • 12/05/18--21:32: Northward - Northward (2018)
  • Northward - Northward (2018)

    ???????????: Northward
    ??????: Netherlands-Norway
    ??????: Northward
    ????: Hard Rock | Alternative Rock
    ????????: Soyuz Music; Nuclear Blast GmbH. [27361 45212]
    ???: 2018
    ??????: FLAC (*image + .cue,log, covers)
    ??????: 372Mb
    ??????: Turbobit | GigaPeta (3% ?? ??????????????)

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    Meat Loaf - Bat Out Of Hell (1977)

    ???????????: Meat Loaf
    ??????: United States
    ??????: Bat Out Of Hell
    ????????! ? ??? ??? ???? ??? ????????? ???????? ??????.

    ????: Hard Rock, Arena Rock
    ??? ??????: 1977
    ????????: (CD-Rip) Epic (EPC 463044 2)
    ??????: 824 kbps FLAC (image. cue. log. cd scans)
    ??????: 278.27 Mb
    ?????????????: Turbobit/Gigapeta

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    Mallet - Roll Mallet Roll (1999)

    ???????????: Mallet
    ??????: Roll Mallet Roll
    ????: Hard Rock/Arena Rock
    ??? ??????: 1999
    ??????: APE (image+.cue, scans)
    ????????: Lossless
    ??????: 496 Mb
    ??: katfile/turbobit/gigapeta

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    51eaZZGSDML._SS500.jpg320 kbps | 157 MB | LINKS

    Legendary performer Van Morrison will issue a new studio album entitled The Prophet Speaks via Caroline International on December 7. Morrison’s 40th studio album features a mix of classics written by John Lee Hooker, Sam Cooke and others along with six new originals.

    “It was important for me to get back to recording new music as well as doing some of the blues material that has inspired me from the beginning. Writing songs and making music is what I do, and working with great musicians makes it all the more enjoyable,” Morrison said in a statement. The Northern Ireland native is joined by multi-instrumentalist Joey DeFrancesco and his band of guitarist Dan Wilson, drummer Michael Ode and tenor saxophonist Troy Roberts on The Prophet Speaks.


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    ABBA - The Name Of The Game (2002)

    Artist: ABBA
    Title Of Album: The Name Of The Game
    Year Of Release: 2002
    Label (Catalog#): Spectrum Music [064 969-2]
    Country: Sweden
    Genre: Pop, Eurodisco, Europop
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 59:12
    Full Size: 415 mb
    Upload: Turbobit

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    rufo-garrido-front

    Saxofonist Rufo Garrido met zijn orkest presenteert verschillende
    vokalisten op dit album. Crescencio Camacho, July Montero, Johny
    Gonzalez en Ñañita Castro nemen om beurten en soms samen de
    nummers voor hun rekening. Nummers geschreven door Manuel
    Garcia, Ceferino Meléndez, Julio Rodríguez en Rufo Garrido zelf.

    Saxofone player Rufo Garrido and his Orchestra present various
    vocalists on this album. Crescencio Camacho, July Montero, Johny
    Gonzalez and Ñañita Castro sing the songs taking turns and also
    together sometimes. Songs written by Manuel Garcia, Ceferino
    Meléndez, Julio Rodríguez and Rufo Garrido himself.

    tracks ;

    01 – Mi pueblo
    02 – Chino chino
    03 – Gaita real
    04 – Las cuatro culebras
    05 – Mana juana
    06 – Quitate teresa
    07 – Por ti
    08 – El guapachoso
    09 – El burro mocho
    10 – Hueso no mas
    11 – Esperando tanto
    12 – La penosa

    downloadbutton


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    BARRE PHILLIPS: End To End [ECM, 2018]
    Ο αμερικανός κοντραμπασίστας, αλλά χρόνια εγκατεστημένος στην Ευρώπη, Barre Phillipsείναι πια 84 ετών. Πέρυσι όμως, στα 83 του, μπήκε σ’ ένα στούντιο κάπου στη νοτιοανατολική Γαλλία, για να ηχογραφήσει το τελευταίο σόλο-μπάσο άλμπουμ του – που δεν αποτελεί… περίληψη των προηγουμένων, αλλά την τελευταία «σελίδα» σ’ αυτό το «βιβλίο», που άρχισε να γράφεται 50 χρόνια πριν, όταν τον Νοέμβριο του 1968 υλοποιούσε ο ίδιος το πρώτο σχετικό σόλο στο Λονδίνο (λέμε για το LP Journal Violone” στην αμερικανική Opus One). Το “End to End”, έτσι αποκαλείται το έσχατο LP/CD τού Barre Phillips, σηματοδοτεί επίσης τη διαχρονική παρουσία του στην ECM, εκεί όπου τον συναντάμε σε πάμπολλα άλμπουμ (με πρώτο σ’ αυτή τη σειρά το “Music from Two Basses”, τη συνεργασία του δηλαδή με τον David Holland, από το 1971). Γι’ αυτά και για άλλα πολλά γράφει στο επιμελημένο ένθετο και ο Steve Lake.
    a%2Bjazz%2BECM%2B1.jpg
    Στο “End to End” εκείνο που αποδεικνύεται για μιαν ακόμη φορά είναι η αδιαμφισβήτητη αξία αυτού του μουσικού, ο οποίος, ακόμη και τώρα, στα γεράματά του, παραμένει όχι απλώς εντυπωσιακός, αλλά και στην πρώτη γραμμή της μπασιστικής πρωτοπορίας. Αρκεί ν’ ακούσει κάποιος tracks σαν τα “Quest/ Part 4”, “Inner door / Part 4” και “Outer window / Part 2” για να διαπιστώσει τον τρόπο μέσω του οποίου ο Barre Phillipsμπορεί όχι απλώς να συνθέτει και να αυτοσχεδιάζει για κοντραμπάσο, αλλά και να δημιουργεί πρωτόγνωρες ρυθμικές μα και μελωδικές ακολουθίες, με τα καταιγιστικά παιξίματά του με πιτσικάτο (αφήνω κατά μέρος εκείνα με το δοξάρι), γεμάτες με την οξυδέρκεια και τη φρεσκάδα ενός, πάντα, σε εγρήγορση οργανοπαίκτη.
    Εξαιρετικό άλμπουμ!
    a%2Bjazz%2BECM%2B2.jpg
    SUNGJAE SON / NEAR EAST QUARTET: S/T [ECM, 2018]
    Παράξενο σχήμα από την Κορέα (τη Νότια Κορέα), που εμφανίζεται στην ECM μ’ ένα παράξενο άλμπουμ. Παράξενο για τα δεδομένα της ECM; Ναι, μάλλον. Αλλά παράξενο, γενικότερα, και για το «μέσο» δυτικό αυτί, που δεν είναι συνηθισμένο ν’ ακούει παραδοσιακά κορεάτικα τραγούδια, φερ’ ειπείν, διασκευασμένα από ένα fusion κουαρτέτο.
    Αν και ηχητικώς μπορεί κάποιος να αναζητήσει τις αναφορές των Near East Quartet(τις κιθαριστικές ας πούμε) στον Terje Rypdal και τις γενικότερες σε μια κλασική folk-rock προσέγγιση-αντίληψη, που μπορεί να κρατάει ακόμη και από τα seventies, στην πράξη το πρώτο αυτό (φερώνυμο) άλμπουμ του κορεατικού γκρουπ, δεν παύει να ακούγεται (κατά τόπους) πρωτότυπο και εντυπωσιακό.
    Ας πούμε είναι εντυπωσιακή η εισαγωγή του, το κομμάτι “Ewha”, που διαθέτει νεο-ψυχεδελικά ηχοχρώματα, με τις κιθάρες του Suwuk Chung και το τενόρο σαξόφωνο του Sungjae Son να καθηλώνουν, αλλά και με το συνολικότερο concept να δρα… λυτρωτικώς. Ο Son είναι και ο βασικός συνθέτης του γκρουπ, με το άλμπουμ να περιλαμβάνει πέντε πρωτότυπα και τρεις versions(σε παραδοσιακά κορεατικά τραγούδια).
    Σαξόφωνο / μπάσο κλαρίνο και κιθάρα από τους δύο άντρες του γκρουπ, όπως και φωνή / κρουστά και ντραμς από τις δύο γυναίκες (Yulhee Kim και SoojinSuh αντιστοίχως) είναι τα λίγα όργανα, που ακούγονται εδώ – αρκετά όμως για να φτιάξουν την ατμόσφαιρα που πρέπει. Και αναφέρομαι στα πιο αργά, σχεδόν θρηνητικά κομμάτια σαν το παραδοσιακό “Mot”, το οποίον όμως δεν έχει το ίδιο θρηνητικούς στίχους. Και αυτό είναι ένα θέμα (δηλαδή δικό μας πρόβλημα) με τη μουσική της Άπω-Ανατολής γενικότερα. Το γεγονός ότι παρασυρόμενοι, συχνά, από τις οικείες σ’ εμάς ηχητικές και στιχουργικές εικόνες «μεταφράζουμε» κατά τον ίδιο ή παρόμοιο τρόπο κάποιες τελείως διαφορετικές (μιας άλλης κοσμοαντίληψης και κουλτούρας).
    Το πρώτο αυτό άλμπουμ των Near East Quartet φαίνεται «εύκολο» στο αυτί, με μια πρώτη ακρόαση, αλλά στην πράξη δεν είναι. Διαθέτει πολλαπλά επίπεδα για να πιαστείς και να εξερευνήσεις και όσον αφορά στις μουσικές, και σε σχέση με τα λόγια και το τραγούδισμα.
    Και σίγουρα απ’ αυτή την εξερεύνηση δεν πρόκειται να βγει κανείς χαμένος.
    a%2Bjazz%2BECM%2B3.jpg
    DANISH STRING QUARTET: Prism I, Beethoven / Shostakovich / Bach [ECM New Series, 2018]
    Τρία άλμπουμ γιατην ECM μέσα σετρία χρόνια έχουν τυπώσει οι Danish String Quartet (Rune Tonsgaard Sørensen βιολί, Frederik Øland βιολί, Asbjørn Nørgaard βιόλα, Fredrik Schøyen Sjølin βιολοντσέλο), με τοπαρόν “Prism I” ναπεριστρέφεται γύρω απόκουαρτέτα(εγχόρδων) των Σοστακόβιτς καιΜπετόβεν, ενώ καταγράφεται καιμιαν εκδοχή τής“Fugue in E-flat major” του Μπαχ, μετην οποίαν ανοίγειτο άλμπουμ.
    Δεν έχω να πω πολλά για το συγκεκριμένο άλμπουμ. Οι φίλοι της «κλασικής» νομίζω, όμως, πως θα το βρουν άκρως ενδιαφέρον. Προσωπικώς, με άγγιξε περισσότερο ο Σοστακόβιτς, με το “Funeralmarch, adagio molto” να συνεπαίρνει.
    Ωραία η εξωτερική εμφάνιση των Δανών, με ρούχα που δεν κρύβουν καμμιάν… επισημότητα. Ελπίζω, δε, έτσι να εμφανίζονται και στα κονσέρτα τους, στις πολυτελείς σάλες.
    a%2Bjazz%2BECM%2B4.jpg
    KIM KASHKASHIAN: J. S. Bach / Six Suites for Viola Solo [ECM New Series, 2108]
    Οι έξι σουίτες του Γιόχαν Σεμπάστιαν Μπαχ για τσέλο (BWV 1007-1012) είναι ένα κλασικό έργο του μπαρόκ. Και ως κλασικό έχει ερμηνευθεί και στη δισκογραφία δεκάδες φορές από θρυλικούς παλαιούς εκτελεστές (Pablo Casals, André Levy, Paul Tortelier…), μέχρι τα πιο νέα μεγάλα ονόματα (όπως είναι ο Yo-Yo Ma για παράδειγμα). Φυσικά, οι σουίτες έχουν διασκευαστεί μέσα στα χρόνια και για βιόλα, αλλά όταν μιλάμε για την βιόλα της Kim Kashkashian τότε, όπως γράφουν και οι πιο ειδικοί, το έργο αποκτά μιαν άλλη σημαντική.
    Διπλό CD, μεγάλης διάρκειας, που λογικώς θα αποτελέσει μελλοντικό ηχογραφικό «μνημείο».
    a%2Bjazz%2BECM%2B5.jpg
    DÉNES VÁRJON: De La Nuit, Maurice Ravel / Robert Schumann / Béla Bartók [ECM New Series, 2018]
    Γεννημένος στη Βουδαπέστη πριν από 50 χρόνια, ο Dénes Várjon είναι ένας κλασικός πιανίστας με όνομα, και με μια κάποια ιστορία πια στην ECM – αφού αυτή πρέπει να είναι η τρίτη παρουσία του στην ετικέτα.
    Στο “De La Nuit” ο Várjon αποδίδει συνθέσεις των Robert Schumann (“Fantasiestücke Op.12”), Maurice Ravel (“Gaspard de la nuit”) και Béla Bartók (“Im Freien”) για σόλο πιάνο φυσικά – συνθέσεις, που ναι μεν τις χωρίζει χοντρικά μια εκατονταετία, αλλά που παρουσιάζουν και κάποια (δευτερεύοντα ίσως) κοινά σημεία. Φερ’ ειπείν το γεγονός πως έχουν ποιητικούς τίτλους και τα τρία έργα, όπως διαβάζω στο ένθετο και κάποια σύνδεση άλλοτε πιο χαλαρή και άλλοτε πιο στενή με συγκεκριμένους λογοτέχνες-ποιητές τα δύο πρώτα (E.T.A Hoffmann, Aloysius Bertrand αντιστοίχως).
    Το έργο του Bartok είναι φυσικά το πιο προχωρημένο, με επιταχύνσεις, κοψίματα, ρυθμικές αλλαγές, επαναληπτικά στοιχεία, δυναμικά και λυρικά παραθέματα – ένα opus, το οποίον, ο Várjon, το κάνει να ακούγεται μεγαλειώδες.

    Οι ECM / ECM New Series εισάγονται από την AN Music

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    Manu Dibango - Afro-Soul Machine [2CD] (2011)

    Artist: Manu Dibango
    Title Of Album: Afro-Soul Machine
    Year Of Release: 2011
    Label (Catalog#): Metro Select [METRSL026]
    Country: Cameroon
    Genre: Afrobeat, Soul/Funk, Jazz, World Fusion
    Quality: FLAC (tracks,cue,log,d.booklet)
    Bitrate: Lossless
    Time: 2:32:30
    Full Size: 1 gb
    Upload: Turbobit

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    2lwas0y.jpg320 kbps | 84 MB | LINKS

    There are a lot of great singers in this world but not all are gifted with a voice that is at once captivating and yet familiar all in the same breath. Clementine has that kind of voice. The kind of voice that pulls you in like a friend sharing a secret and at the same time gently compelling you to listen to herinterpret the lyrics of whatever song she s singing. In my professional experience I ve just described the difference between a good singer and the kind of voice that makes a star, there s an intangible it that separates the two, you ve either got that special it or you don t and Clementine s got it. With her new collection of songs on Letting Go, and her stunning vocal delivery, Clementine has got all the makings of a star.


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    61Teea33ibL._SS500.jpgFLAC | 294 MB | LINKS

    Tracks:
    01. Tales Of Brave Ulysses
    02. N.S.U.
    03. Sitting On Top Of The World
    04. Sweet Wine
    05. Rollin’ & Tumblin’
    06. Spoonful
    07. Steppin’ Out
    08. Traintime
    09. Toad
    10. I’m So Glad


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    51wAcQGL3OL._SS500.jpg320 kbps | 268 MB | LINKS

    “We exist for, and because of, you,” Chris Martin tells close to 50,000 people in the Estadio Ciudad de la Plata, Buenos Aires. Ever since they first broke big in 2000 with “Yellow,” a song that dedicates an entire night sky to an object of desire, Coldplay have betrayed a willingness to please. As deep into their career as 2016, Chris Martin was describing playing live as a “service,” viewing Coldplay as mere backing musicians in a communal, singalong experience for their fans. It’s a philosophy that rings through this companion piece to the A Head Full of Dreams documentary, recorded at their November 2017 gig in the Argentine capital. They do much to charm a noisily responsive crowd, Martin addressing them in Spanish throughout and the band playing “Amor Argentina”—a bespoke new tango in which the singer proclaims, “Porque en este lugar/Hallé un gozo profundo” (“Because in this place/I found a deep joy”)—alongside a cover of “De Música Ligera” by local alt-rock legends Soda Stereo. Around those two tracks sits a remarkable collection of tried-and-tested crowd-pleasers—each played with vitality and enthusiasm, as if they’d only just been minted in the studio. The incisive, universal longing of “The Scientist” and we’re-in-this-together optimism of “Up&Up” are potent reminders that Coldplay’s personal touch extends far beyond learning the local lingo.


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    51w-LDpLGSL._SS500.jpg320 kbps | 78 MB | LINKS

    Rock and Roll Hall Of Fame and Songwriters Hall of Fame inductee John Mellencamp releases his 24th studio album Other People’s Stuff via Republic Records.

    Although the title’s something of a misnomer, it does accurately sum up the vintage sentiments that give this album its common bond. Still, it’s a viable concept, especially given Mellencamp’s reputable stance as a heartland hero and blue collar troubadour. That is, of course, the tack he’s taken for the better part of his career, ever since he shed the posturing of his initial incarnation as Johnny Cougar, rock star and raconteur.

    Nevertheless, the obvious question is why Mellencamp would choose to revisit songs he originally recorded. While these songs suggest varied sources, many revisit earlier offerings Mellencamp sang himself on previous albums. The easy answer seems to lie in his desire to express the outrage that he, like most similarly-minded musicians, feel in today’s maelstrom of polarized politics and increasing division. Fancying himself as a folk singer in the populist tradition—think Dylan, Springsteen, Pete Seeger and Woody Guthrie—he tackles these tunes with a gritty, rough hewn sensibility that reflects both his passion and purpose. The tattered yet timeless narrative “Wreck of the Old 97”,” the craggy folk blues of the oft-covered standard “In My Time of Dying” and the erstwhile narrative entitled “Mobile Blue” maintain that sense of resolve, yet still offer due reverence to the originals.


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    ncadk8-redrosespe-preview-m3_550x550.jpg320 kbps | 264 MB | LINKS

    Red Rose Speedway was released in 1973 to what can only be described as a turgidly tepid reception by both rock critics and fans alike, and has largely, even by McCartney fanatics, been relegated to a rating slightly higher than forgettable. Now whilst this album has its detractors and defenders, me being both, the real tragedy behind this album’s release is that we only got half of the content upon release.

    Originally this was to be a double album, a band album, a semi-live album, the early Wings magnus opus, and the band’s great statement to the world that they were not to be messed with. But due to reasons not fully disclosed, the record label decided that it was time to go George Martin on Red Rose and condense it down to a single, cheaper, and more marketable product. It’s like Capitol Records was giving us half a PS4 game but then refusing to give us the DLC. No remaster, no release, no ultimate edition, bugger all!!!

    But what if it didn’t go down that way? What if the band didn’t back down? What if they said ‘sod it’ and decided to release all of their content all at once and to hell with the consequences? Well, that’s what we are here to find out. So here I am now, trying to right the wrongs that took place over 40 years ago today. Let’s see if I can’t make something a little bit better to take the sting out of the calamity that was Red Rose Speedway.

    Paul himself oversees all aspects of each and every title in the Paul McCartney Archive Collection from remastering to the curation of lost tracks, outtakes, artwork, photographs and video from his personal vaults, and much more. The result is one of the most ambitious and personal undertakings of its kind, one that encompasses more than 40 years of cherished, classic material from the most successful songwriter and recording artist in music history.

    “You could trawl the rock & roll archives all the way back to the start and never find an album quite like Red Rose Speedway. Which is not to say that it’s great. Just that it’s… weird. Though it’s a Wings album, it’s entirely irradiated with Paul McCartney’s personality–to the extent that virtually the entire band left him while attempting to rehearse for the supporting tour, claiming they couldn’t operate in his huge, overbearing shadow. You can see where they were coming from. Red Rose Speedway, right down to the cover shot of Macca with a rose in his mouth, is about Paul McCartney, specifically his unique ability in the ’70s to pump up slight, pretty songs to the scale of “Hey Jude,” seemingly unaware or unworried that that didn’t necessarily make them as good as “Hey Jude.” The high spot is the saccharine sauciness of “My Love,” a lurching soft-focus ballad about his wife’s sexual excellence. The rest of it–lazy, lushly produced rock, sometimes sweet, sometimes just cloying, but always unmistakably Macca–is worth hearing if just to ponder: “What the hell did he think he was doing?” (Taylor Parkes)

    “All right, he’s made a record with his wife and a record with his pickup band where democracy is allegedly the conceit even if it never sounds that way, so he returns to a solo effort, making the most disjointed album he ever cut. There’s a certain fascination to its fragmented nature, not just because it’s decidedly on the softer side of things, but because his desire for homegrown eccentricity has been fused with his inclination for bombastic art rock à la Abbey Road. Consequently, Red Rose Speedway winds up being a really strange record, one that veers toward the schmaltzy AOR MOR (especially on the hit single “My Love”), yet is thoroughly twisted in its own desire toward domestic art. As a result, this is every bit as insular as the lo-fi records of the early ’90s, but considerably more artful, since it was, after all, designed by one of the great pop composers of the century. Yes, the greatest songs here are slight — “Big Barn Bed,” “One More Kiss,” and “When the Night” — but this is a deliberately slight record (slight in the way a snapshot album is important to a family yet glazes the eyes of any outside observer). Work your way into the inner circle, and McCartney’s little flourishes are intoxicating — not just the melodies, but the facile production and offhand invention. If these are miniscule steps forward, consider this: if Brian Wilson can be praised for his half-assed ideas and execution, then why not McCartney, who has more character here than the Beach Boys did on their Brother records? Truthfully.” (Stephen Thomas Erlewine, AMG)

    Paul McCartney, vocals, bass, piano, guitars, electric piano, Mellotron, celeste, Moog synthesizer
    Linda McCartney, vocals, piano, organ, electric piano, electric harpsichord, percussion
    Denny Laine, vocals, guitars, bass, harmonica
    Henry McCullough, guitars, backing vocals, percussion
    Denny Seiwell, drums, percussion
    Additional musicians:
    Hugh McCracken, electric guitar (on track 5)
    David Spinozza, electric guitar (on track 3)

    Produced by Paul McCartney

    Digitally remastered

     

    Tracks:

    1. Big Barn Bed (2018 Remaster) 03:50
    2. My Love (2018 Remaster) 04:08
    3. Get On The Right Thing (2018 Remaster) 04:17
    4. One More Kiss (2018 Remaster) 02:29
    5. Little Lamb Dragonfly (2018 Remaster) 06:23
    6. Single Pigeon (2018 Remaster) 01:53
    7. When The Night (2018 Remaster) 03:37
    8. Loup (1st Indian On The Moon) (2018 Remaster) 04:23
    9. Medley: Hold Me Tight/Lazy Dynamite/Hands Of Love/Power Cut (2018 Remaster) 11:21
    10. Mary Had A Little Lamb (2018 Remaster) 03:34
    11. Little Woman Love (2018 Remaster) 02:08
    12. Hi, Hi, Hi (2018 Remaster) 03:10
    13. C Moon (2018 Remaster) 04:36
    14. The Mess (Live At The Hague/1972) 04:34
    15. Live And Let Die (2018 Remaster) 03:14
    16. I Lie Around (2018 Remaster) 05:01
    17. Night Out (2018 Remaster) 02:16
    18. Country Dreamer (2018 Remaster) 03:10
    19. Seaside Woman (2018 Remaster) 03:57
    20. Best Friend (Live In Antwerp/1972) 04:00
    21. Mama’s Little Girl 03:45
    22. I Would Only Smile 03:24
    23. Tragedy 03:21
    24. Thank You Darling 03:20
    25. 1882 (Live In Berlin/1972) 06:32
    26. Jazz Street 05:10
    27. Live And Let Die (Group Only/Take 10) 03:33


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    e88cha-wildlifesp-preview-m3_550x550.jpg320 kbps | 200 MB | LINKS

    Wild Life was the first Wings album but third overall by McCartney outside the shadow of his famous band. Paul and his wife Linda teamed up with drummer Denny Seiwell and guitarist/multi-instrumentalist Denny Laine to create a relaxed, pastoral album that was intentionally as light as a feather. Recording occurred over a little more than a week at Abbey Road (with Alan Parsons engineering alongside Tony Clark), and a number of songs were recorded in just one take. “Dear Friend” – a response to John Lennon’s scathing “How Do You Sleep” which was, in turn, a response to Paul’s “Too Many People” – was a holdover from the Ram sessions. Recording took place from July 25-August 2, 1971, and on that latter date, McCartney announced the birth of Wings to the world. Wild Life arrived on December 7, making No. 10 on the U.S. Billboard 200 and No. 11 on the U.K. Albums Chart but was generally considered a commercial disappointment; it yielded no hit singles. Wild Life was eventually certified Gold in the United States, and has since become a cult favorite for its loose, freewheeling sensibility and homespun sound.

    “Rich, successful, happily married and absurdly talented, Paul McCartney had nothing to do, so he recorded Wild Life. That would explain the frippery for which this curious record has long been ridiculed, but it’s a perspective that does Wild Life–recorded in a couple of days-a disservice. Really, it sounds shattered, in every sense, the work of a still-young man still reeling from the Sixties, unsure what to do with himself, in a still-young decade that had the same problem. Once past the thumbs-up inanity of “Bip Bop”, much of it is great. The title track is an ominous, slow motion blues, showcasing a vicious, throat-shredding McCartney vocal and a genuine sense of doom. Best is “Dear Friend”, a red-raw ballad that throws long shadows over the rest of the album, McCartney singing of his crushed friendship with John Lennon and the termination of whatever the Sixties meant to the men who made them.” (Taylor Parkes)

    “The irony of the first Wings album is that it seems more domesticated than Ram, feeling more like a Paul ‘n’ Linda effort than that record. Perhaps it’s because this album is filled with music that’s defiantly lightweight — not just the cloying cover of “Love Is Strange” but two versions apiece of songs called “Mumbo” and “Bip Bop.” If this is a great musician bringing his band up to speed, so be it, but it never seems that way — it feels like one step removed from coasting, which is wanking. It’s easy to get irritated by the upfront cutesiness, since it’s married to music that’s featherweight at best. Then again, that’s what makes this record bizarrely fascinating — it’s hard to imagine a record with less substance, especially from an artist who’s not just among the most influential of the 20th century, but from one known for precise song and studiocraft. Here, he’s thrown it all to the wind, trying to make a record that sounds as pastoral and relaxed as the album’s cover photo. He makes something that sounds easy — easy enough that you and a couple of neighbors who you don’t know very well could knock it out in your garage on a lazy Saturday afternoon — and that’s what’s frustrating and amazing about it. Yeah, it’s possible to call this a terrible record, but it’s so strange in its domestic bent and feigned ordinariness that it winds up being a pop album like no other.” (Stephen Thomas Erlewine, AMG)

    Paul himself oversees all aspects of each and every title in the Paul McCartney Archive Collection from remastering to the curation of lost tracks, outtakes, artwork, photographs and video from his personal vaults, and much more. The result is one of the most ambitious and personal undertakings of its kind, one that encompasses more than 40 years of cherished, classic material from the most successful songwriter and recording artist in music history.

    Paul McCartney, lead vocals, bass guitar, guitar, piano, keyboards, percussion
    Linda McCartney, co-lead vocals (3, 5, 6), keyboards, piano, percussion, backing vocals
    Denny Laine, guitars, bass guitar, percussion, keyboards, backing vocals
    Denny Seiwell, drums, percussion

    Recorded from 25 July to 2 August 1971 at Abbey Road Studios, London
    Produced by Paul McCartney, Linda McCartney

    Digitally remastered


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    Neil Young - ROXY: Tonight's the Night Live (2018)

    Artist: Neil Young
    Title Of Album: ROXY: Tonight's the Night Live
    Year Of Release: 2018
    Label (Catalog#): Reprise/Warner Bros. [567390-2]
    Country: United States
    Genre: Classic Rock, Blues Rock, Folk Rock, Singer-Songwriter
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 53:08
    Full Size: 286 mb
    Upload: Turbobit

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    Chic & Sister Sledge - The Chic Organization 1977-1979 [5CD Remastered Box Set] (2018)

    Artist: Chic & Sister Sledge
    Title Of Album: The Chic Organization 1977-1979
    Year Of Release: 2018
    Label (Catalog#): Atlantic Recording [603497855094]
    Country: United States
    Genre: Disco, Funk, Soul
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 3:24:22
    Full Size: 1.24 gb
    Upload: Turbobit

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  • 12/06/18--05:37: Jeane Manson - Country girl
  • https://mega.nz/#!ic9ySCKQ!DKLvu45RBBlNu5GGAsNxK5UPcv8hI_4V5ctdUXXg4gA

    R-8097724-1518464889-7956.jpeg.jpg

    Fin des haricots pour la belle Jeane, le contrat Sony est bien loin et on cherche l'idée, le créneau, pour reprendre un peu de gloire. L'idée est simple : faire du Country en version sous-titrée française, la musique américaine blanche. Alors on sort les gros clichetons pour le livret : la paille, le chapeau, l"éolienne  et pour être vraiment raccord on va chercher le cow boy d'Aubervilliers : Michel Mallory. La production est très propre (trop ?) on va même chercher un sponsor bien ricain. Cela donne un album sympatoche mais qui sent l'ultra marketing. Il n'a pas marché, évidemment...

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    41X%2BQ3aabnL._SS500.jpg320 kbps | 198 MB | LINKS

    LOW IN HIGH SCHOOL was recorded at La Fabrique Studios in France and in Rome at Ennio Morricone’s Forum Studios. The record was produced by Joe Chiccarelli (who has worked with The Strokes, Beck and The White Stripes to name a few).

    Morrissey’s talent for combining political statements and beautiful melodies is more prevalent than ever on LOW IN HIGH SCHOOL, capturing the zeitgeist of an ever-changing world.

    This Deluxe Edition of Low In High School includes an extra LP which includes 5 live tracks.


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