320 kbps | 103 MB | LINKS
Tracks:
01. Dirt Road
02. Big House All by Myself #2
03. Stay out All Night Long
04. She Won’t Call Me on the Telephone
05. Oh Baby
06. Bring My Baby Back Home
07. Tree Man
08. What the Blues is All About
09. Chocolate
10. What’s the Matter with You Baby
11. I’m Getting Old
320 kbps | 102 MB | LINKS
Tracks:
01. Intro
02. Heartbreakin Business
03. True
04. Torn
05. Worst Regret
06. Lovin Someone That Don’t Love You
07. What We Didn’t Say
08. Someone Else’s Smile
09. In My Mind
10. One of Those Days (Outro)
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FLAC | 489 MB | LINKS
The Rose Garden Collection is the first thorough compilation assembled on the California folk-rock quintet, containing all of their eponymous 1967 debut — previously, that was the only Rose Garden music to reach CD — along with alternate mixes and takes, rehearsals, acetate versions, and five live tracks recorded at Canoga Park’s Chaminade High School in 1967. The lack of Rose Garden compact discs could be down to how they had only one hit single: “Next Plane to London,” which climbed to number 17 in the fall of 1967. A Trip Through the Garden fills out the story, underscoring how the Rose Garden were very much a band of their time and place, quite proudly displaying their debt to the Byrds. All of their eponymous debut and the assorted ephemera on the disc recall the sweeter, folkier elements of the Byrds, but the connection is deepest with Gene Clark. The Rose Garden cut two Clark songs that are otherwise unavailable: the tuneful jangle of “Long Time” and the proto country-rocker “Till Today.” These two songs, along with the mellow effervescence of “Next Plane to London,” are the highlights of the album and the comp, rivaled only by a crunchy version of Neil Young’s “Down to the Wire” and the five live cuts, which are much tougher than anything else heard on the CD (they also contain two additional Byrds covers in “So You Want to Be a Rock ‘n’ Roll Star” and “She Don’t Care About Time”). Saving these cuts, the Rose Garden are a pleasant period artifact: gentle, hazy, and light, so light they float away on a breeze.
African music is as diverse as the topography of the land itself, and is said to be comprised of literally thousands of different styles of music. But many experts of regional music tend to separate African music into two distinct groups: North African Music, which is strongly Arabic/Islamic in nature, and Black African music, or that which is centralized in the Western, Central and Sub Saharan regions of Africa.
So many iconic Western musicians have incorporated African instrumentation, ideas and ideals into their music. And ultimately there is an almost infinite variety of music forms, most of which, on some level, have been produced as a result of African music, or influenced by it. Whether Western instruments have evolved from ancient African models, or whether we have…
…adopted our knowledge in terms of rhythms and cross rhythms, various scalic patterns, and the basic evolution of melody and harmony, Western music undoubtedly owes an immeasurable debt of gratitude to the African peoples for their wisdom, insight and creativity.
During recent decades we’ve witnessed more and more of the inverse phenomenon, with African musicians absorbing styles and trends developed in Western countries, so that at last the circle has closed. Finally, then, we can embark on our “unexplained sounds” journey into Mother Africa. — unexplainedsoundsgroup.bandcamp.com
Espontáneo or spontaneity is the key reason why the world falls in love with Afro-Cuban music. From the trova tradition through to performances of traditional forms such as son, danzón and others – especially the manner in which classic elements of clave have been expressed in the proverbial Cuban descarga, in this descarga. Firstly, this recording session is an extremely spare one; featuring just a guitarist, tresero and a bongosero. Secondly, the level of virtuosity that each player brings to The Abdala Sessions is of a rarefied kind. But most of all the recording puts a spotlight on the fact that great musicianship brings with it an extremely high calibre of ideas that seem to flow as if the players here have an uncannily empathetic understanding of each other. It’s almost as if the music…
…comes from a single brain.
It is also a not so big secret anymore that some of the finest musicianship has never really been locked away in Cuba, but remains hidden in plain sight. As far as discoverers from the so-called outside world are concerned between Dizzy Gillespie and Jane Bunnett and Larry Cramer, then with Ry Cooder and Wim Wenders, there has been a proverbial musical Gold Rush flowing between the US and Puerto Rico, Canada and Cuba. It is beginning to look like Bob Lord and Parma Recordings have found a new conduit that is leading to spate of recordings on Lord’s new, Ansonica imprint.
This one with guitarist Dayron Ortega Guzmán, tresero Maykel Elizarde Ruano and bongosero Eduardo Silveira is the latest in what looks to be the beginning of a breathtaking series of what Mr Lord is calling “Música de Cuba”. Throughout the nearly hour-long recording we hear music that is played by prodigiously gifted musicians who interpret new and old music with relaxed grace and total lack of vanity. The phenomenally high-quality of instrumentation – which, mind you, is played on the fly – is riveting. Song after song is simply counted off and reeled off by these musicians who weave a spell of charms with – at the appropriate time – arresting grandeur as in “Son Pa’ Gozar (Bolero a la Intemperie)”, “Improvisar (Un Nengón pero No Salió)” and the incredible version of “Mambo Influenciado”; the latter as if it were composed on the spot.
In fact all of this music is underpinned with a certain unbridled classicism, matched only by the winningest surprises that the musicians toss off as if they were continually giddy with excitement to be in the same room as each other. It’s an irresistible disc that also comes with exquisite production values enjoyed throughout – right up to the final solo tres piece. It’s worth noting that there is a booklet that in all likelihood will provide a vivid commentary on this recording session. Too bad it was not included in the envelope that was received for this review.
Personnel – Dayron Ortega Guzmán: guitar; Maykel Elizarde Ruano: tres; Eduardo Silveira: percussion
320 kbps | 110 MB | LINKS
With a sound that is “quintessentially Oklahoma,” this Cherokee singer-songwriter explores her unique relationship to her home-state; the values, the people, the land, and the inevitable distance one has to create. Driven by a folk, country, and indie rock sensibility, Good Company contains the accessibility of modern elements, though intertwined with vintage sounds. Recommended if you like: Gillian Welch, Cat Power, Doug Paisley
320 kbps | 83 MB | LINKS
Tracks:
01. Head-On Collision
02. Frequently Asked Questions
03. Mccauley Culkin Stole My Phone
04. Warriors
05. Shaving My Balloon
06. I Want to Marry the Prime Minister of Iceland
320 kbps | 515 MB | LINKS
Van Zant (1985)
Brother To Brother (1998)
Van Zant II (2001)
Get Right With the Man (2005)
My Kind Of Country (2007)
![VA - Disco Sessions - Celebrating A Legendary Era In Music [2CD Set] (2003)](http://lossless-galaxy.ru/uploads/posts/2019-02/thumbs/1550483630_folder.jpg "VA - Disco Sessions - Celebrating A Legendary Era In Music [2CD Set] (2003)")
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