VA - The Best Of Paganini (1999)

February 7, 2019, 9:51 pm

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Performer: VA
Album: The Best Of Paganini
Label: Philips Classics
Catalog #: 289 462 865-2
Style: Classical Music
Year: 1999
Format: Flac (*image + .cue,log,scans)
Bitrate: lossless
Covers: in archive
Amount of tracks: 18
Size RAR: ~ 863 MB
Upload: cloud.mail
Recovery: 3%
Password: sim-sim

Niccolo Paganini (27.10.1782 - 27.05.1840) - ??????????? ??????? ? ??????????, ???? ?? ?????????? ????????? ? ??????? ???????? ???????????? ?????????. ??????????? ???????, ?????? ???????? ????????? ??? ??????, ?? ??? ??? ???????????? ?????????????? ????????? ??????? ?????? ? ?????????? ?????????? ? ???????????, ???? ?? ??? ?????? ????? ?????? ?????? ???.
??????? ?????? 1782 ???? ? ????????? ?????????? ????? ??????? ?????? ???????, ???????? ??????? Niccolo. ???????? ?????? ?????????? ?? ?????, ??? ??? ???????? ???????? ?? ???? ?????? ????? ? ??? ??????????? ? ?????????. ??????? ?????? ???????? ????????? ?????, ??????? ??????? ??????? ??????? ????????? ??????????? ???????. ????? ??????? ?????????? ? ??? ???????, ??? ?????????? ???????????, ???? ? ??? ?????? ??????. ????, ???????? ? ????? ???, ????? ???????? ?????????? ? Niccolo ??????? ???? ?? ???????. ? ?????? ??????? ?????????? ????, ??? ??????? ?????? ?? ??????? ????????? ??????. ??????? ??????? ???? ?????? ?????? ? ?????????? ????????, ?? ??????? ?? ???? ??????. ?? ???? ???????? ??????? ????, ???????? ???? ? ?????? ????? ? ????? ????? ?????. ??????? ??? ???????? ?????? ?? ??????????? ????? ????? ??????, ??? ??????? ? ??????????. ????? ?????????????? ??????, ? ?????? ????? ???????? ?????????? ? ????????? ???????. ?? ?? ????????? ???????? ????????? ???? - Niccolo ??????? ? ??? ? ?????.
??? ?????? ????? ??????????, ???? ????? ?????? ??? ??????? ???????-???????????? ? ???????. ?????? ??????? ????????? ??????????????? ????? ? ????? ? ????????? ???????. Paganini ???? ????? ????????? ?????? ?????????? ???????????? ?????????. ??? ? 8 ??? ?? ????????? ????????????? ?????????? ???????. ????????????????? ????????? Paganini ??????? ???????? ???????? ? ?????, ??? ?????? ?? ????????? ???????? ? ?????????? ???????? ???? ?? ?? ?????, ? ????????, ? ? 1797 ???????? ???? ?????? ?????????? ?????.
? 1800 ??? ???? ???????, ??? ???? ???????????? ?????? ?? ??????? ????, ?????????? ?????????? ? ?????????? ???????? ?? ???????? ??????. ??????????? ????? ???????????? ? ????, ?????????, ???????, ??????, ???????. ? ??????? ?????????? ???????? ????, ???? ????? ?????????? ?? ????? ????????. ??????????? ?????? ????, ?? ? ??? ?? ????????? ???????? ???????? ???????????? ?????? ???????? ??? ??????????? ? ????????? ???? ??????, ? ????? ? ??????.
? ??? ????? ?? ???????? ????????? ???????????? ????????. ??? 24 ??????? ????????? ????????? ? ???? ?????????? ??????. ?????? ????????? ?? ????????? ?????????????? ???????? ?? Paganini, ?? ?????? ??????? ? ?????. ?????? ????????? ?? 24 ?????? ??????????, ??????? ? ????????? ? ????, ? ?????, ? ????? ???? ????????????. "??????????? ????????", - ??????? Niccolo ???????????? ?? ????? ?????. ? ?????????????, ???? ????????? ?????? ??????? ???? ????????? ??? ?????????? ????????? ?? ???????, ? ???? ???? ??????? ?? ??????? ?????????????? ?????? ?? ??? ??????? ???? ????????? ?????????. ? ?? ???????? ???????? ?????, ??? "??????? ??????? Paganini ?? ? ??????? ????????? .., ?? ? ??? ?????, ????? ?? ?????? ???????? ? ????????? ? ?????. ????? ????????, ??? ??? ???????? ????? ??????, ??? ?????? ???????".
?????? 1839 ???? Paganini ??????? ????????? ?????, ?? ??????? ?????? ???????. ???????? ???????? ???????? ??????????, ??-?? ???????? ??????? ????? ?????????? ?????? ? ????????? ???. ????????? ?????? ????? ??????? ?? ???? ?? ??????? ?? ????. ? 1840 ??????? ????????? Niccolo, ??????? ?? ???????? ???? ???????? ????????? ?????? ??????? ???????, ?? ? ????? ??????? ??????. ? ???? ?? ???? ??????? ???????? ?????????.
Niccolo Paganini ??????????? ????? ????????-??????, ?????????-???????. ????????? ? ???? Paganini ???? ????? ????????????????? ????????????, ???????????, ???????? ??????????, ???????????? ????????, ????????? ???????? ???????? ?????. ??? ??????????? ??????????? ?. ?????, ?. ?????, ??????????, ?. ???????, ?. ????. ??? ??-?????? "???????" ? Niccolo. ???, ?? ?????? ?. ?????, ??????? Paganini ??????? ?? ?????: "????? ???????, ????? ???????, ????? ????????!.. ? ?????? ??? ?????????: ??????? ???????? ?? ?????... ?????? ????? ????? ????????? ?????????? ???... ??????? ?? ??? ???? ????? ????????, ????? ? ????? ???????? ????? ?? ????? ????? ????????? ???????, ????????, ???????? ???? ??? ? ???? ???????????? ??????????? ??????? ?? ??????? ???? ??????????".

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Areni Agbabian Bloom

February 7, 2019, 10:51 pm

≫ Next: Marillion: 1987 Clutching At Straws - 5-Disc Box Set Parlophone Records 2018

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Areni Agbabian
Bloom
(ECM, 2019)
more details

Marillion: 1987 Clutching At Straws - 5-Disc Box Set Parlophone Records 2018

February 7, 2019, 11:51 pm

≫ Next: Bloodest Saxophone – Texas Queens 5 (2019)

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Marillion: 1987 Clutching At Straws
5-Disc Box Set Parlophone Records 2018

Performer:
Marillion
Box Set / Albums:
1987 Clutching At Straws
(4CD + Blu-ray Box Set Parlophone Records 2018)
Info:
Parlophone Records
Catalog Box: 0190295605049
Catalog Discs:
0190295605155 ? 190295605131/1~2
190295605148 ? 190295605162
Made in EU
Dynamic Range: 8 / 10 / 9 / 11
Genre / Style: Rock / Progressive Rock
Released Year: 1987/2018
Format:
CD: FLAC / Level 6 (img + *cue / *cue with ISRC + EAC log, AccurateRip)
BD: Full Disc (DVDFab 11) ? FLAC Stereo (5.1 Surround) 24(16)/48 (img + *cue + eac3to log)
Covers: format PNG 600dpi, full scans
Upload: GigaPeta / TurboBit
(5% recovery)

Bloodest Saxophone – Texas Queens 5 (2019)

February 7, 2019, 11:54 pm

≫ Next: Clarence “Gatemouth” Brown – Live From Austin, TX (2019)

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320 kbps | 102 MB | LINKS

Formed in Tokyo, the jump blues & swing band, BLOODEST SAXOPHONE has been playing old-school vintage sounds since 1998. The groups leader, Young Corn Shintaro, established the band with the ambition to rule the world with the saxophone. Over the years they have gotten together with the likes of sax icon Big Jay McNeely and vocalist Jewel Brown, and established themselves on international stages.

Tracks:

1. I’ve Got A Feeling (feat. Diunna Greenleaf)
2. I Just Want To Make Love To You
3. Losing Battle (feat. Crystal Thomas)
4. Walking The Dog (feat. Jai Malano)
5. Pork Chop Chick
6. Run Joe (feat. Lauren Cervantes)
7. It’s Your Voodoo Working (feat. Jai Malano)
8. Don’t Move Me (feat. Crystal Thomas)
9. Don’t Hit Me No More (feat. Angela Miller)
10. I Done Done It (feat. Jai Malano)
11. The Grape Vine (feat. Lauren Cervantes)
12. Cockroach Run

Clarence “Gatemouth” Brown – Live From Austin, TX (2019)

February 7, 2019, 11:54 pm

≫ Next: Woods Of Ypres - Woods 5: Grey Skies & Electric Light (2012)

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320 kbps | 144 MB | LINKS

Clarence “Gatemouth” Brown was a versatile and crowd-pleasing entertainer throughout his long career, but it’s easy to overlook just how explosive a guitarist he was, and his style mixed an elegant, jazzy tone with a rough rustic edge, and the same could be said of his fiddle playing, or Brown on any of the other instruments he played, from mandolin to harmonica to piano. Brown pretty much invented his own bayou-tinged and jazzy Texas swing style, and if it centered on the blues, it didn’t always. Brown was a maverick musician, with a raconteur’s attitude and talent to burn, whether he was playing blues, jazz, honky tonk, Cajun, R&B, funk, or one his own wild fiddle breakdowns, and he kept at it all the way through to his death in 2005 at the age of 81.

Tracks:
1. Ain’t That Dandy 05:38
2. Born In Louisiana 04:56
3. Honky-Tonk 05:55
4. Dark End of the Hallway 05:09
5. Bits and Pieces 06:37
6. Leftover Blues 11:25
7. There You Are 05:56
8. Early in the Mornin’ 05:14
9. Things Ain’t What They Used to Be 05:51
10. Up Jumped the Devil 05:08

Woods Of Ypres - Woods 5: Grey Skies & Electric Light (2012)

February 8, 2019, 12:21 am

≫ Next: Amy McCarley – MECO (2019)

≪ Previous: Clarence “Gatemouth” Brown – Live From Austin, TX (2019)

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???????????: Woods Of Ypres
??????: Canada
??????: Woods 5: Grey Skies & Electric Light
????: Melodic Doom Metal | Gothic Metal | Dark Metal
????????: Earache Records [MOSH446]
???: 2012
??????: FLAC (*image + .cue,log, covers)
??????: 455Mb
??????: Turbobit | GigaPeta (3% ?? ??????????????)

Amy McCarley – MECO (2019)

February 8, 2019, 12:55 am

≫ Next: Chuck Mangione - Bellavia (1975) [Reissue 1988]

≪ Previous: Woods Of Ypres - Woods 5: Grey Skies & Electric Light (2012)

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320 kbps | 92 MB | LINKS

With poignant and thought provoking lyrics, Amy McCarley finds balance in a new perspective with MECO, her 3rd studio album . After collaborating in writing new songs with Bluebird Cafe round-mate and Nashville Songwriters Hall of Famer, Pat Alger, McCarley returned to the studio with esteemed colleagues, co-producers Kenny Vaughan & George Bradfute to work on MECO, her highly anticipated follow up to 2014 s Jet Engines. MECO was recorded and mixed by Bradfute in his Tone Chaparral Studios in Madison, Tennessee and mastered by Jim DeMain at Yes Master in Nashville.

Chuck Mangione - Bellavia (1975) [Reissue 1988]

February 8, 2019, 1:21 am

≫ Next: Wild Bill & The Railroad Cats – Santa Fe Buffet (2019)

≪ Previous: Amy McCarley – MECO (2019)

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Artist: Chuck Mangione
Title Of Album: Bellavia
Year Of Release: 1975/1988
Label (Catalog#): A&M Records [CD 3172]
Country: United States
Genre: Jazz, Rock, Blues, Fusion
Quality: FLAC (tracks,cue)
Bitrate: Lossless
Time: 38:45
Full Size: 228 mb
Upload: Turbobit

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Wild Bill & The Railroad Cats – Santa Fe Buffet (2019)

February 8, 2019, 1:54 am

≫ Next: Michael McDermott – Orphans (2019)

≪ Previous: Chuck Mangione - Bellavia (1975) [Reissue 1988]

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320 kbps | 73 MB | LINKS

Pumping Piano Rock & Roll band with Wild Bill backed up by The Railroad Cats cutting a vintage vibe and look that’s sure to get the dancers moving.Wild Bill has been playing piano since 1990 and has found himself in demand as a one man show and hunted by other bands, considered one of the best boogie woogie piano players in Kent.

Michael McDermott – Orphans (2019)

February 8, 2019, 1:54 am

≫ Next: EHUD ASHERIE TRIO με βλέμμα στραμμένο πάντα προς την τζαζ παράδοση

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320 kbps | 123 MB | LINKS

Michael McDermott first tasted success in his early 20’s, going all the way back to his critically-acclaimed “620 West Surf” for the Warner Bros. label in 1991. It thrust him into the limelight, perhaps before he was ready, leading down a path of self-destruction. He’s older, wiser, and now has a child with writing partner Heather Lynne Horton, and is four years clean and sober. For his latest release, Michael took a rather unique approach. Over the last three years, he’s been touring almost non-stop in support of his last two albums, “Willow Springs,” and “Out From Under.” And, as with many writers, there are usually a plethora of songs that do not appear as part of the “finished product.” That is the backstory of the twelve “Orphans” on this set. They are songs that Michael believed he simply could not just discard, so, here they are. They deal with a myriad of emotions, mostly dealing with the acute loneliness he felt while on the road for so long, in addition to losing his parents. As such, they are small glimpses into his soul, and how he has used music to cope with life.

Assisted by Heather, Will Kimbrough, Lex Price, John Deaderick, and a host of other A-listers, the set begins with a nod to Edgar Allan Poe and “Tell Tale Heart.” This excellent piece of jangly-pop also shouts out to Dorian Grey and hunger-strike icon Bobby Sands. The wistful “Ne’er Do Well” has “Miss Browning to help me count the ways,” and, altho he may not have much, “at least you are still mine.”

The loneliness of being on the road constantly and away from loved ones is spelled out in “Meadowlark,” and “Black Tree, Blue Sky.” while his time spent in California, a somewhat dark period in his life, is documented in “Los Angeles, A Lifetime Ago.”

We had two favorites, too. “Once we were like warriors/once we were like kings,” sadly ends with our lovers “Givin’ Up The Ghost.” And, in a nod to one of our favorite places, the two lovers of “Sometimes It Rains In Memphis” just can’t keep things together, either–“maybe we were just too dumb to realize these were the best times of our lives.”

EHUD ASHERIE TRIO με βλέμμα στραμμένο πάντα προς την τζαζ παράδοση

February 8, 2019, 2:33 am

≫ Next: Yvonne Elliman - The Best Of Yvonne Elliman: 20th Century Masters The Millennium Collection (2004)

≪ Previous: Michael McDermott – Orphans (2019)

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Ο Ehud Asherie, ισραηλινός τζαζ πιανίστας γεννημένος το 1979 και εγκατεστημένος από πολλά χρόνια στην Νέα Υόρκη, έχει οπωσδήποτε την ιστορία του. Και στο κύκλωμα των κλαμπ και στη δισκογραφία. Στο δισκορυχείονέχουμε γράψει για ένα προηγούμενο άλμπουμ τού Asherie, το “Shuffle Along” [Blue Heron, 2016], όταν επιχείρησε να επαναφέρει στο τώρα ένα παλαιό musical του Broadway από το 1921, ενώ έχουμε αναφερθεί και σε συμμετοχές του, όπως στο CD τού πνευστού Ken Peplowski“Enrapture” [CAPRI, 2016] και στο ανάλογο του επίσης πνευστού Harry Allen“For George, Cole and Duke” [Blue Heron, 2015]. Τώρα, ένα καινούριο άλμπουμ του Ehud Asherie με το trio του (Peter Washington μπάσο, Rodney Greenντραμς, οι υπόλοιποι δύο) στρίβει στο player, δείχνοντας, και αυτό, τον σταθερό προσανατολισμό του παίκτη προς την κλασική τζαζ παράδοση.

Το “Wild Man Blues” [CAPRI, 2019] περιλαμβάνει μόνο versions (συνθέσεις των Louis Armstrong, Charlie Parker, Ary Barroso, George Gershwin και Dizzy Gillespie) και στάνταρντ (“Flying down to Rio”, “Autumn nocturne”). Φανερώνει δηλαδή την επιμονή του Ehud Asherieστην εξερεύνηση των κλασικών φορμών και από ’κει και πέρα στην ανάδειξη επιμέρους «ζητημάτων». 

Οι προσαρμογές, θέλω να πω, των μελωδιών του Charlie Parker για παράδειγμα είναι πολύ καλές, εμπνευσμένες δηλαδή, ιδίως στην περίπτωση του “Chasin’ the bird”, όπου η πρωταρχική αντιστικτική, διπλή μελωδική γραμμή (των Parker και Miles Davis), προσαρμόζεται με μεγάλη μαεστρία στα πλήκτρα. Έξοχα είναι περαιτέρω και τα latin tracks του CD, τόσο το “And then she stopped” του Gillespie, με τη μεστή και συνάμα εντυπωσιακή συνοδεία των Washington και Green, όπως και το “Na baixa do sapateiro”, ένα διάσημο (βραζιλιάνικο) τραγούδι του Ary Barroso, το οποίο παρέχει στο Ehud Asherie Trio τη δυνατότητα να αυτοσχεδιάσει με διακριτικό τρόπο, πάνω στη θεσπέσια και πολυδιασκευασμένη αυτή μελωδία.

Επαφή: www.ehudpiano.com, www.caprirecords.com

Yvonne Elliman - The Best Of Yvonne Elliman: 20th Century Masters The Millennium Collection (2004)

February 8, 2019, 2:51 am

≫ Next: Bobby Whitlock - There's A Will There's A Way (1972) Remastered (2013)

≪ Previous: EHUD ASHERIE TRIO με βλέμμα στραμμένο πάντα προς την τζαζ παράδοση

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Artist: Yvonne Elliman
Title Of Album: The Best Of Yvonne Elliman: 20th Century Masters The Millennium Collection
Year Of Release: 2004
Label: Polydor/Chronicles / B0002868-02
Genre: Soul, Pop, Ballads, Female Vocal
Total Time: 44:30 min
Format: FLAC (tracks +.cue, log-file)
Quality: Lossless
Total Size: 284 mb
Upload: Turbobit

Bobby Whitlock - There's A Will There's A Way (1972) Remastered (2013)

February 8, 2019, 2:51 am

≫ Next: Little Free Rock - Time Is of No Consequence (1969-71) (1991)

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Artist: Bobby Whitlock
Title Of Album There's A Will There's A Way
Year Of Release: 1972/2013
Label (Catalog#) : Future Days [FDR 602]
Country: USA
Genre Rock/Blues Rock/Soul
Quality: FLAC (image + cue,scans)
Bitrate: Lossless
Quality: 01:10:29
Full Size: 520mb(+3%)
Upload: Turbobit / Rapidgator

Little Free Rock - Time Is of No Consequence (1969-71) (1991)

February 8, 2019, 3:22 am

≫ Next: Claudia Schmidt – Hark the Dark (2019)

≪ Previous: Bobby Whitlock - There's A Will There's A Way (1972) Remastered (2013)

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Artist: Little Free Rock
Title Of Album: Time Is of No Consequence
Year Of Release: 1969-71/1991
Label (Catalog#) :World Wide[SPM-WWR-CD-0020]
Country: UK
Genre: Psych Hard Rock, Blues Rock
Quality: FLAC (image + cue,scans)
Bitrate: Lossless
Time: 00:54:37
Full Size: 310mb(+3%)
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Claudia Schmidt – Hark the Dark (2019)

February 8, 2019, 3:55 am

≫ Next: Mad Dog Blues – Happy Dance: Colorado Country Blues (2019)

≪ Previous: Little Free Rock - Time Is of No Consequence (1969-71) (1991)

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320 kbps | 103 MB | LINKS

Hark the Dark is Claudia Schmidt’s 22nd recording in a career spanning almost 45 years of composing and performing. She takes a thematic turn here, offering an homage to the oft-maligned season of the winter. Along with her original pieces, she has gathered some musings of fellow musicians, and thrown in a couple standards.Along with her extraordinary voice, dulcimer, and deluxe pianolin, she is accompanied brilliantly by pianist Miro Sprague, bassist Marty Jaffe, drummer Conor Meehan, and pianist/accordionist Chris Haynes.

On Hark the Dark, Claudia is doing what she most loves, weaving genres, moods, and textures in a seamless journey from beginning to end and back around.

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Mad Dog Blues – Happy Dance: Colorado Country Blues (2019)

February 8, 2019, 3:55 am

≫ Next: VA - Pure Bossa Nova: The Classic Songs (2008)

≪ Previous: Claudia Schmidt – Hark the Dark (2019)

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320 kbps | 83 MB | LINKS

Changing the face of the “Colorado Sound,” Mad Dog Blues is a new, high-energy acoustic blues grass jam band. We are Mad Dog Friedman on harmonica, Steve Doersam on acoustic guitar, Jeff Becker on mandolin, Clark Chanslor on stand-up bass and our “ringer” utility player, multi-instrumentalist Sean Bennight. We think you will enjoy our original “Colorado Country Blues” sound, a unique fusion of delta blues, bluegrass, honky-tonk, hokum and acoustic jam music.

VA - Pure Bossa Nova: The Classic Songs (2008)

February 8, 2019, 4:23 am

≫ Next: VA – Music Inspired By the Film Roma (2019)

≪ Previous: Mad Dog Blues – Happy Dance: Colorado Country Blues (2019)

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Artist: Various Artists
Title Of Album: Pure Bossa Nova: The Classic Songs
Year Of Release: 2008
Label (Catalog#): Universal Music/EmArcy [0600753083154]
Genre: Latin Jazz, Vocal Jazz, Bossa Nova
Quality: FLAC (tracks,scans)
Bitrate: Lossless
Time: 43:53
Full Size: 278 mb
Upload: Turbobit

VA – Music Inspired By the Film Roma (2019)

February 8, 2019, 5:07 am

≫ Next: ΒΙΝΥΛΙΟ σε… κακή κατάσταση στον ΣΚΑΪ

≪ Previous: VA - Pure Bossa Nova: The Classic Songs (2008)

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Music is integral to the world of Alfonso Cuarón’s Roma, but it is also incidental, experienced only as part of the action. The remarkable 2018 film contains only diegetic uses of music; no song is ever superimposed over the deliberately paced action that takes place in Mexico City’s Colonia Roma neighborhood at the dawn of the 1970s. Of the 41 songs identified in IMDB’s soundtrack credits, most viewers won’t notice more than a handful. A wistful Leo Dan lament plays tinnily on the radio as Cleo, the film’s housekeeper protagonist, tidies up; a Berlioz symphony shakes the paterfamilias’ Ford Galaxie as he stubs out his cigarette in its overflowing ashtray; a garage band rehearses a shambling cover of “House of the Rising Sun” outside a corrugated shack in…

136 MB  320 ** FLAC

…the muddy slum of Nezahualcóyotl. It’s all part of Cuarón’s naturalistic touch.

In fact, there is no difference between those moments and any of the other sounds so meticulously captured in the film’s sound design: the knife-sharpener’s whistle as he trundles his whetstone down the street, the cries of women in a crowded maternity ward, the three unbroken minutes of footsteps and mop sploshing that provide the film’s meditative opening scene. All these sounds are inextricable from the delicate shading of Cuarón’s black-and-white tone poem, as much a part of the setting as the period costumes, the middle-class furniture, the indigenous characters’ Mixteca dialogue.

But this album—Music Inspired by the Film Roma—is not that soundtrack. The actual original motion picture soundtrack, featuring not just Leo Dan and Berlioz but also mambo giant Pérez Prado and the coastal sound of Acapulco Tropical, is a fine complement to the film—an interactive volume of CliffsNotes, perhaps, a chance to duck inside Roma’s hidden corners. This album is an altogether different proposition. Overseen by Cuarón and music supervisor Lynn Fainchtein, it’s billed as Cuarón’s favorite artists making music inspired by his film. It would be an unusual grouping by virtually any standard, gathering together proto-punk royal Patti Smith, post-millennial icon Billie Eilish, British folk singer Laura Marling, and turntablist DJ Shadow, among others. To apply such an eclectic roster to Roma’s meticulous work of reconstruction is even more confounding.

Following Cuarón’s field-recorded introduction, “Tepeji 21 (The Sounds of Roma),” the album begins with a double dose of déjà vu. First Patti Smith reprises her 1996 song “Wing”; then Beck and his father, the Canadian arranger and composer David Campbell, tackle “Tarantula,” a 1982 song by the 4AD band Colourbox. Both are lovely renditions—the pedal steel of “Wing” is liquid and narcotic; Beck’s “Tarantula” blows wide the proportions of This Mortal Coil’s 1986 cover of the song—and, if you squint, you can kind of see how “Wing,” at least, might reflect back on Cleo. But Beck’s song would seem to have only the most tenuous connection to Roma, and its bilious lyrics (“My world’s under a sentence of death, I was born underground/But when the pressure gets too much for me, I bite”) feel out of step with the story’s quietude, and even its brief moments of violence.

The best songs here connect more firmly back to the narrative. Billie Eilish’s “When I Was Older” takes its premise from Pépe, the film’s youngest character, who has a habit of fantasizing about his past lives. It’s a gorgeous song, with diaphanous synths rippling atop snub-nosed synth bass and tough trap snares, and even though the sound couldn’t be further from Mexico City of the 1970s, it makes for a fitting contemporary extrapolation. At the other end of the spectrum, the Mexico City group Sonido Gallo Negro’s “Cumbia del Borras” pays tribute to the movie’s canine character with a giddy psychedelic cumbia whose slipperiness may or may not have something to do with the dog’s penchant for befouling the family’s carport.

A number of artists avail themselves of sounds from the film—the knife-sharpener’s whistle recurs again and again—while others deliver appropriately cinematic mood pieces. El-P and Wilder Zoby’s instrumental “Marooned” is a nice surprise; UNKLE’s mopey “On My Knees,” not so much. A few selections are simply great songs, no matter the context: The Colombian-Canadian singer Jessie Reyez’ largely acoustic, cumbia-flavored “Con el Viento” has a certain timelessness that lends itself to a project like this; it’s also a fine introduction to the rising singer’s expressive voice. There’s another introduction here, in the form of “PSYCHO,” by Bu Cuarón—the director’s 16-year-old daughter. She also has a strong voice, but, like so much contemporary pop, it’s been overproduced—processed and equalized to a fault—and the song’s big-budget pop runs against the grain of the rest of the album.

Even at its best, much of Music Inspired by the Film Roma feels unnecessary. Cuarón’s movie is such a singular, self-contained universe—right down to the furniture that he borrowed from his extended family, in order to recreate his boyhood home in meticulous detail—that a project like this runs counter to the spirit of the whole enterprise. When Cuarón repainted the surface of a Mexico City street to ensure that even the marks on the asphalt were historically accurate, what are we to make of unmistakably futuristic synths and trap drums? The album doesn’t so much break the fourth wall as smash it to pieces with a high-tech battering ram. The beauty of Roma comes down to its tone and its upending of narrative expectation. We expect big, tragic, pivotal things to happen, and for the most part, they don’t. It’s a quiet film about big ideas; a film about interior worlds that refuses to let viewers get too far inside its characters’ heads. But Music Inspired by the Film Roma is none of those things. It’s a reverse mood board, or at best, a kind of bizarre, sanctioned fanfic. — Pitchfork

ΒΙΝΥΛΙΟ σε… κακή κατάσταση στον ΣΚΑΪ

February 8, 2019, 5:52 am

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Αυτοί που παρουσιάζουν την εκπομπή Βινύλιο στον ΣΚΑΪ, μαζί με τον παρλαπίπα Αντώνη Κανάκη (νομίζω πως δεν πρέπει να υπάρχει άλλο άτομο στην ελληνική τηλεόραση που να μιλάει τόσο πολύ και τόσο αδιάφορα), είναι το ίδιο άσχετοι μ’ εκείνον. Ψευτοβινυλιάδες, σαν πολλούς σημερινούς, που ξανα-ανακαλύψανε το βινύλιο, πουλώντας μούρη, παίζοντάς το συλλέκτες κ.λπ.
Είδα λοιπόν σε κάποιο site την Πάολα να τραγουδάει το «Δημοσθένους λέξις» στην εκπομπή, παρουσία του Σαββόπουλου (ήταν το τιμώμενο πρόσωπο), και αφού πρώτα ξέρασα είπα, στη συνέχεια, να ρίξω μια ματιά στο πρόγραμμα συνολικά, για να δω τι πουλιά πιάνει (το πρόγραμμα). Πήγα στο YouTube είδα κανα 15λεπτο, αλλά το παράτησα, γιατί άκουγα εν τω μεταξύ Eric Dolphy, γράφοντας παράλληλα και το σχετικό κείμενο.

Σ’ αυτό το διάστημα, πάντως, πρόλαβα να μαζέψω κάμποσες φαιδρότητες από την εκπομπή, πράγμα που δείχνει πως οι άνθρωποι αυτοί είναι τυχάρπαστοι και πως δεν κάνουν για τέτοια πράγματα – και ν’ αφήσουν το βινύλιο κατά μέρος και να πάνε ν’ ασχοληθούνε με το ψάρεμα (αν τα καταφέρνουν κι εκεί δηλαδή).  

Βγαίνει λοιπόν ο Στάθης Παναγιωτόπουλος και λέει (προς τον Σαββόπουλο): «Αγόρασα το δισκάκι το 1997, πριν από πολλά χρόνια, είναι αυθεντικό του ’66 κύριε Διονύση και σας το έδωσα και μου το υπογράψατε και το ’χω κορώνα στο κεφάλι μου» (σιγά ρε μεγάλε!). «Είναι το αυθεντικό έτσι;» πετάγεται ο άσχετος Κανάκης, συνεχίζοντας… «45άρι, η Συννεφούλα, στο αυθεντικό 45άρι, στο σίνγκλ, που λέγαμε τότε, τα πανέμορφα αυτά σίνγκλ και μ’ αυτό θα πάμε σε διαφημίσεις…» και λοιπά.

Ακούγεται λοιπόν το 45άρι επί τόπου (το βάζει ο Κανάκης στο πικάπ), αλλά η μουσική που παίζει είναι η ενορχηστρωμένη από το Γιώργο Κοντογιώργο (δισκάκι Lyra LS 1334 από τα τέλη του 1969) και όχι από το ’66, όπως έλεγε ο Παναγιωτόπουλος. Γιατί στα μέσα του ’60, το 1965 δηλαδή και όχι το 1966, είχε βγει άλλο δισκάκι (με άλλη «Συννεφούλα» και Lyra LS 1080 στην ετικέτα), με συνοδεία κιθάρας μόνον από το Νότη Μαυρουδή. Μπέρδεψαν τα μπούτια τους οι άνθρωποι!  

Μετά τις διαφημίσεις, τώρα, ξαναρχίζει η εκπομπή και κάποια στιγμή βλέπω φωτογραφία του Σαββόπουλου με δήλωση περασμένη «Είμαι ένας Έλλην που παίζει ροκ»(!), ενώ πιο πριν είχαν εμφανισθεί φωτογραφίες, τις οποίες είχα δείξει εγώ για πρώτη φορά στο δίκτυο, σ’ ένα κείμενό μου στο lifo.gr (8 Μαρτίου 2015). Να, εδώ… https://www.lifo.gr/team/music/55944.

Αυτά τα στοιχεία πρέπει να ξαναπώ πως εγώ τα πρωτοέδειξα στο δίκτυο (έχοντάς τα σε έντυπες μορφές), όπως και τη φράση εξάλλου «Είμαι ένας Έλλην που παίζει ροκ», που προέρχεται από παλιά, άγνωστη, συνέντευξη του Διονύση Σαββόπουλου και που την αναδημοσίευσα στο ίδιο κείμενο στο lifo.gr (αναφέροντας την πρωτότυπη πηγή).

Δεν ξέρω αν στο τέλος έγραψαν από πού «δανείστηκαν» οι… βινυλιάδες της πυρκαγιάς το συγκεκριμένο υλικό, αλλά αν δεν το έκαναν είναι… τελείως κουραμπιέδες.

Taj Mahal, V.M. Bhatt, N. Ravikiran – Mumtaz Mahal (1995)

February 8, 2019, 5:56 am

≫ Next: VA – The Best Of Country: The Essential Country Music Album (2018)

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FLAC | 0,9 GB | LINKS

Taj Mahal is joined by Indian master musicians N. Ravikiran and V.M. Bhatt on a selection of tunes that ultimately owe more to obvious blues clichés than they do to cross-cultural collaboration. Perhaps that’s because nearly half of the album’s tunes — including Robert Johnson’s “Come on in My Kitchen,” “Mary Don’t You Weep,” and “Johnny Too Bad” — have long been staples of Taj Mahal’s concert catalog. This isn’t to say that the set doesn’t have any moments of inspired improvisation and nuanced playing; there are a few instances of brilliance. But that seems a terrible waste of the talent gathered, unless the listener is looking for nothing more than an unlikely blues workout.