320 kbps | 118 MB | LINKS
Tracks:
1. Time Of The Innocent (3:43)
2. Anne-Christine (3:45)
3. Bittersweet Love (3:27)
4. I Do (4:06)
5. Hazelville (5:13)
6. Run To You (4:25)
7. A Good Song On Repeat (4:12)
8. Now I Am Ready (4:04)
9. As Long As It Ain’t Me (4:51)
10. Herstory (3:21)
11. Requiem (5:00)
12. More Like Me In Heaven (4:48)
320 kbps | 77 MB | LINKS
Tracks:
01. I’ll Sing You a Song
02. Interlude I
03. Old Chairs to Mend
04. Interlude II
05. Once I Saw a Little Bird
06. Interlude III
07. Boys and Girls Come Out to Play
08. Interlude IV
09. Here We Go
10. Interlude V
11. Johnny Come Give Me Your Fiddle
12. Interlude VI
13. O Who Is so Merry?
14. Interlude VII
15. Bird, O Bird
16. Interlude VIII
17. We’re All in the Dumps
18. Interlude IX
19. The North Wind Doth Blow
20. Interlude X
21. Cheer Up
22. Interlude XI
23. Monday Alone
24. Interlude XII
25. Quiet the Night, Soft Is the Breeze
VBR~235 kbps | 60 MB | LINKS
M.E. Baird’s follow up solo album and 5th long player, TIME is a tad more upbeat. At its core the album is a lyrical and sonic journey through age, experience and a testament to the passing of ‘time’. The tracks on TIME individually explore varied sub texts ranging from belonging, coming of age, corruption, migration, fortune, misfortune, contempt, loneliness and the joy of being alone.
All tracks for the album were written in the winter of 2016 and recording of the album began in the following winter. The album was recorded at Wild Mountain Sound Studio, Brisbane located amongst the sublime beauty of Mt Nebo’s Eucalyptus forests. The album was produced by producer/musician, Jamie Trevaskis. Jamie and M.E. Baird had mused for some time about recording a new album together, with Jamie playing a leading and creative role in the co- production of the album. When recording began it became instantly clear that Jamie, as a collaborator was be able to transport the songs sonically into a universe far beyond the ordinary.
It was important for the songs narrative to tell Jamie Trevaskis where the song/story needed to go sonically. Where a song needed to be tough, it had to be threatening, where it needed to be honest, it needed to be candid, where there was tenderness, it must be achingly forgiving and where there’s was anger, it’s uncompromised. It was creatively vital that the album not pander to any genre, audience or expectations, of course, there is some hat tipping and influences evident; it would be arrogant to pretend otherwise. Both Jamie and M.E. Baird wanted to show that it is an album born of maturity, rigour, determination, and patience.
With this album there was a return to how M.E. Baird made records in the past. All tracks were recorded to analogue tape, predominantly live and with very little overdubs. This was done not for nostalgic reasons but for a more ‘authentic’ audio representation. It also places more emphasis on musicianship rather than software know-how and digital trickery.
In regards to band members, most notable in the line up is Welsh/Australian songstress Sali Bracewell with her piano/keyboard skills and extraordinary vocal talents. Sali’s vocal dexterity is featured on many of the songs but most clearly on the title track, Time and My Girl. Also key to the process was long time collaborator, Hannah Jane who provided her distinctive and haunting string arrangements, violin playing and virtuous vocals. Seconded from Brisbane, bands Sacred Shrines and Hillsborough for the rhythm section were new friends, Phil Usher on drums and Robbie Zawada on bass, truly two of Brisbane’s finest musicians. Lastly, but certainly not least, was notable Brisbane singer/songwriter and multi-instrumentalist, Skye Staniford who provided percussion. The album was Mastered by Andy ‘The Master’ Stewart at The Mill Mixing and Mastering, studio, Gippsland, Victoria, Australia.”
In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile – and even murdered, ending one of the most beloved music eras in all of Africa and largely denying some of Sudan’s gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.
What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum.
Each chapter of the cosmopolitan city’s tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.
Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum’s sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum’s reputation as ground zero for innovation and technique that inspired a continent.
Musicians in Ethiopia and Somalia frequently point to Sudan’s biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi, aka “The Last King of Nubia,” himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.
Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the “Sudanic Belt,” a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.
But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato’s team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa’s most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan’s neighbors is a testament to Sudanese music’s widespread appeal.
With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in ’80s Khartoum, Ostinato’s fifth album, following our Grammy-nominated “Sweet As Broken Dates,” revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan’s brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music. A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.
Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.
1. Emad Youssef – Al Bareedo Ana (The One I Love) [06:39]
2. Abdel El Aziz Al Mubarak – Ma Kunta Aarif Yarait (I Wish I Had Known)[07:52]
3. Kamal Tarbas – Min Ozzalna Seebak Seeb (Forget Those That Divide Us)[06:27]
4. Madjzoub Ounsa – Arraid Arraid Ya Ahal (Love, Love Family)[04:46]
5. Khojali Osman – Malo Law Safeetna Inta (What If You Resolve What’s Between Us) [05:01]
6. Zaidan Ibrahim – Ma Hammak Azabna (You Don’t Care About My Suffering) [04:43]
7. Saied Khalifa – Igd Allooli (The Pearl Necklace) [04:24]
8. Taj Makki – Ma Aarfeen Nagool Shino! (We Don’t Know What to Say!) [05:28]
9. Hanan Bulu Bulu – Alamy Wa Shagiya (My Pain and Suffering)[03:28]
10. Abdelmoniem Ekhaldi – Droob A Shoag (Paths to Love) [05:25]
11. Samira Dunia – Galbi La Tahwa Tani (My Heart, Don’t Fall in Love Again)[04:31]
12. Mohammed Wardi – Al Sourah (The Photo) [09:00]
13. Abdullah Abdelkader – Al Zaman Zamanak (It’s Your Time) [06:08]
14. Mustafa Modawi, Ibrahim El Hassan – Al Wilaid Al Daif (The Youth Who Came as a Guest)[07:43]
15. Ibrahim El Kashif – Elhabeeb Wain? (Where is My Sweetheart?)[01:52]
16. Mohammed Wardi – Al Mursal (The Messenger) [11:31]
320 kbps | 184 MB | LINKS
CD1
1. Tom Dooley (2:50)
2. Long Time Man (3:35)
3. Michael (Row The Boat Ashore) (2:15)
4. Blowin’ In The Wind (2:48)
5. Green Green (2:09)
6. Where Have All The Flowers Gone (3:58)
7. If I Had A Hammer (3:03)
8. Tall Oak Tree (2:27)
9. Catch The Wind (3:01)
10. 500 Miles (3:04)
11. Mr. Tambourine Man (3:35)
12. Jailer Bring Me Water (2:19)
CD2
1. The Seventh Son (2:50)
2. Greenback Dollar (3:20)
3. Stop! In The Name Of Love (3:04)
4. Un-Square Dance (0:53)
5. Silver Threads & Golden Needles (3:03)
6. Land Of 1.000 Dances (5:37)
7. Parchman Farm (3:37)
8. I’ll Cry Instead (2:51)
9. Break Up (3:06)
10. Work Song (4:22)
11. Stagger Lee (3:16)
12. Susie Q (4:11)
FLAC | 201 MB | LINKS
Bonnie and Clyde isn’t actually a full-fledged collaboration between Serge Gainsbourg and Brigitte Bardot; during their storied mid-’60s fling the two French cultural icons recorded just a handful of tracks together, only a couple of which appear here. Nevertheless, this is a worthwhile collection. In addition to the pair’s “Bonnie and Clyde” and “Comic Strip,” this album features earlier Gainsbourg numbers, as well as Bardot recordings of compositions by Gainsbourg and others. The moody title track alone justifies the price of admission. Bardot’s vocals inject a wistful melodic dimension into Gainsbourg’s sung-spoken account of the ill-fated gangsters, producing one of pop music’s great duets. Gainsbourg was enthralled by American pop culture and the cabaret-style “Comic Strip” memorably exemplifies that orientation. His lyrics lure Bardot into his cartoon world and she provides the requisite onomatopoeic interjections (“Shebam! Pow! Blop! Wizz!”). In a similarly American vein, on “Bubble Gum,” a Gainsbourg-penned Bardot single, she sings about love and candy over a plinky-plonk saloon piano evoking the silent film era. Elsewhere, Gainsbourg’s Hollywood fascination takes a B-Movie turn, the camp “Docteur Jekyll et Monsieur Hyde” suggesting the Monks at the Eurovision Song Contest. There was always more to Gainsbourg’s work than his love of Americana, though, and his incorporation of Afro-Caribbean rhythms was especially striking: “Pauvre Lola,” for instance, percolates with an infectious beat. Despite much of this material’s playful character, listeners also glimpse another side of Gainsbourg. During his career, he sang about Harley motorcycles and incest and composed a song that involved simulated farting, but he was also deeply cultured. In that vein, “Baudelaire” places the 19th century poet’s “Le Serpent Qui Danse” in an unlikely tropical lounge setting. Of course, no Gainsbourg collection would be complete without a nod to his dissolute side, and “Intoxicated Man” fits the bill with its appropriately louche, swaggering groove.
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