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    Oczy Mlody is technically the follow-up to The Flaming Lips’ widely underrated 2013 album, The Terror, but so much has happened between the records that it’s hard to think of it that way. The Terror was such a profoundly personal record, made in the wake up singer Wayne Coyne’s separation from his longtime partner and Steven Drozd’s relapse into drug use, that it was more of a spiritual successor to the emotional weight of classic The Soft Bulletin, even if it didn’t receive the same acclaim. Anyone who saw the Lips supporting The Terror witnessed the band embracing their darkness, with all of the technicolor confetti of previous tours replaced by a dark paranoia that was so vivid it was contagious.

    What followed was a particularly weird period for the band. There was the headdress incident in which an issue of cultural appropriation saw one Lips member getting fired and Coyne on the ropes from facing off against detractors. Rainbows started making their way back into Lips performances, cover song albums continued, and the band found an unlikely partnership through mutual admiration with Miley Cyrus. Without original tunes, it was hard to know where the band’s head was at, happy to just be along for the ride as Cyrus incorporated their laughing-gas psychedelia into her own vision.

    All this considered, the tone of Oczy Mlody shouldn’t be a surprise. Save for a few moments, it’s generally slow and somber. Sure, the imagery is some of their most blacklight poster-inspired to date (there are castles and wizards and unicorns and frogs and outer space, and that’s just in the song titles), but even the most druggy reference isn’t without a touch of sadness, a party lingering on too long as the morning starts to break. It’s very much an album that knows its identity, even opening with a hand-holding instrumental to shift listeners into the right frame of mind.

    It’s hard to place Oczy Mlody into a direct political context, as the record was finished before the election results, but the grim Lips seem ever more at home in this climate. The collection opens with the lyrics “White-trash rednecks earthworms eat the ground, legalize it – every drug right now/ Are you with us? Are you burning out?” before leading to a simple refrain of “How?” In fact, that’s the name of the song that could easily sit as a summation of life in the Trump age. Whereas on The Terror, the band’s internal struggles explained the muting of colors, now it’s hard to fault anyone in America for feeling the same way.

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    Gentlewoman, Ruby Man is an album born of a moment of serendipity. Virginia-based auteur Matthew E White first encountered 21-year-old London singer-songwriter Flo Morrissey when the first track taken from his 2015 album Fresh Blood was reviewed next to her debut single, Pages of Gold, in this newspaper. Intrigued by the writer comparing her to, as he put it, “all the right people” (Karen Dalton and Jackson C Frank, among others), he sought her out. An email correspondence turned into an appearance together at a Barbican tribute concert for the late Lee Hazlewood, and that duet has now turned into an album’s worth of covers.

    Given that they started out singing Some Velvet Morning, you might reasonably expect the shadow of Hazlewood and his muse Nancy Sinatra to hang heavy over subsequent proceedings. For one thing, Hazlewood’s lush, heady “cowboy psychedelia” is among the influences on the sound that comes out of Spacebomb – the studio, complete with house band, that White co-founded in 2010. And for another, if you’re going to do an album’s worth of duets, you could do worse than take your cues from the intriguing, witty relationship Hazlewood and Sinatra projected on their late 60s and early 70s collaborations. There’s certainly a vague hint of Nancy and Lee about Gentlewoman, Ruby Man’s opening take on Look at What the Light Did Now (previously a stark and fragile acoustic track by US indie singer-songwriter Kyle Feld, who records as Little Wing) and, especially, the brilliant reimagining of Frank Ocean’s Thinkin Bout You, with the original’s groggy synths replaced by a gorgeous 12-string guitar figure and its yearning, love-lost lyrics recast as a dialogue. You can hear the ghost of Hazlewood’s hangdog persona in White’s morning-after whisper, slipping from bravado to self-doubt in the face of Morrissey’s airy disinterest. But for the most part, the album avoids what you might call conversational duets. Indeed, its version of James Blake’s The Colour in Anything is virtually a solo performance by Morrissey, with White in the background providing spectral, wordless backing vocals.

    Gentlewoman, Ruby Man’s power comes from its choice of songs – you could make a fantastic, eclectic mixtape out of the originals – and the way it warps them. Albums of cover versions have a bit of a lowly reputation in rock these days: the grim whiff of Duran Duran’s catastrophic Thank You still clings to the whole enterprise. At best they’re seen as interstitial releases, a means of marking time between the more important stuff; at worst they’re a sign that that an artist is floundering, a musical distress signal that says they’re low on ideas. But Gentlewoman, Ruby Man sounds nothing like that. There’s a bullish confidence about the way they tackle stuff as well-worn as the Velvet Underground’s Sunday Morning or Leonard Cohen’s Suzanne. And something hugely impressive about the way they corral the wildly catholic source material – everything from Ocean and Blake to the George Harrison-assisted recordings made by the London Radha Krishna Temple and the curious prog-funk found on troubled French singer-songwriter Nino Ferrer’s 1974 collaboration with the Lafayette Afro Rock Band, Nino and Radiah – into a consistent album.

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    Micki Free / The Native American Flute As Therapy Жанр : Native American, World, Ethno Лейбл : Mysterium Music Год издания : 2016 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 01:33:16 01.

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    z320 kbps | 102 MB | UL | DF | KF | OB

    Wildly eccentric and humorous, the energetic ‘Hear The Lions Roar’ is an art rock record where Jad’s expertly thrown out lyrics remain optimistic and fresh alongside a fierce and compelling rhythm section. Featuring a cohort of past musicians from the 90’s, their dexterous instrumentation brings further depth to Jad’s songs.

    The addition of guest musicians baritone horn player Lydia Fischer and cellist Sophie Bernadou brings more uplifting moments to the record including the title cut. ‘Attack Of The Giant Leeches’ and ‘The Preventers’ share an innocence that harks back to the band’s younger years when their songs were centred around horror movies, tabloids and women.

    With Jad Fair at the helm for over four decades, the highly revered Half Japanese still remain “the ultimate expression of punk’s dictum that rock should be accessible to anyone who wanted to pick up an instrument and play” AllMusic

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    Στον πειραματιστή Dave Phillips έχουμε αναφερθεί πριν καιρό στο δισκορυχείον και αφορμή ήταν το άλμπουμ του “Insect” [πτώματα κάτω από το κρεββάτι, 2010] – ένα LP με επεξεργασμένους ήχους εντόμων από δάση και βιoτόπους της Ταϊλάνδης.
    Συνεχίζοντας στο ίδιο experimental μοτίβο, o Phillips έχει και πιο πρόσφατο άλμπουμ/ CD (όπως και άλλα ενδιάμεσα) κι αυτό για ένα label τού Νικόλα Μαλεβίτση, το noise-below, σε συνεργασία όμως τώρα με το fréquencies critiques.
    Να πούμε κατ’ αρχάς πως στο Selective Memory/ Perception (2016) υπάρχει ένα μόνο track, που διαρκεί σχεδόν μιαν ώρα και πως τούτο είναι συνεχές, χωρίς εσωτερικά «διαλείμματα» και κενά που δεν καταγράφονται. 
    Ο Phillips, χρησιμοποιώντας μια ποικιλία ήχων και πηγών (οπωσδήποτε field recordings και όχι μόνον εντόμων, αλλά και αμφιβίων, ανακατεμένες με ποικίλα περιβαλλοντικά ή μηχανιστικά σπαράγματα, όπως και με συμβατικά μουσικά όργανα, πιάνο π.χ.), δημιουργεί ένα θορυβώδες, έντονης διεισδυτικότητας πλαίσιο, εντός του οποίου η δράση είναι συνεχής (αν και απροσδιόριστης αρχής). Με όχι ιδιαίτερα σκαμπανεβάσματα στο volume, το άκουσμα έχει τη δύναμη να τεντώνει την προσοχή σου, κρατώντας σε πάντα σε εγρήγορση, παρότι η προσπέλαση δεν είναι συνεχής και μονίμως εφικτή. Θέλω να πω πως το “Selective Memory/ Perception” λειτουργεί περισσότερο σαν ένα εικονοκλαστικό αφήγημα, παρά σαν μια γραμμική ιστορία με αρχή, μέση και τέλος – και, προς τιμήν του, με μηδαμινά στοιχεία αυτοαναφορικότητας και αναίτιας «δυσκολίας».
    Χρόνο να έχεις, διάθεση και επιθυμία ν’ ακούσεις κάτι που δεν φαντάζεσαι πως υπάρχει – ή, αν υπάρχει, δεν φαντάζεσαι πώς ηχεί.

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    Butch Baldassari / Old Town Жанр : Bluegrass Носитель : CD Год издания : 1990 Издатель (лейбл) : Rebel Records Аудиокодек : FLAC (*.flac) Тип рипа : tracks+.cue Битрейт аудио : lossless Продолжительность : 00:39:05 Источник (релизер) : Private collection Наличие сканов в содержимом раздачи : нет Треклист : 1 Old Town 2 Boscoe's Boogie 3 Black Canyon 4 Honky Tonk Swing 5 Slocum Hollow 6 Kentucky Mandolin 7 Methodist Preacher 8 The Jackrabbit Trail 9 Rebecca 10 Paintin' The Barn 11 Maydelle's Reel 12 No Title Yet Blues 13 Waltz For Bill Monroe Code: Выделить всё Exact Audio Copy V1.

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    YAKAMOZ ENSTRUMANTAL Жанр : Turkish Folk Носитель : CD Производитель диска : Турция Дата издания альбома : 1998 Издатель : Odeon Номер по каталогу : FMC 98 CD 02 Страна исполнителя : Турция Аудио : FLAC (tracks+.

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    Artist: Dalida Title Of Album: L'original 15 Ans Deja... Year Of Release: 2004 (2002) Label (Catalog#): Barclay / Universal (981 895-6) Country: France / Egypt Genre: Chanson, Disco Quality: SACD (*iso) Bitrate: Lossless Time: 01:15:12 min Full Size: 3.68 GB (+5%)

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    1. The Alan Bown! – Toyland
    2. The Attack – Magic in the Air
    3. The Tickle – Subway (Smokey Pokey World)
    4. Episode Six -I Can See Through You
    5. Dantalian’s Chariot – the Madman Running Through the Fields
    6. Geranium Pond – Dogs in Baskets
    7. The Scots of St. James – Eiderdown Clown
    8. George Alexander – Dear Delilah
    9. The Sorrows – Pink Purple Yellow and Red
    10. The Mirage – Lazy Man (Alt Version)
    11. The Crazy World of Arthur Brown – Give Him a Flower
    12. Tintern Abbey – Tanya
    13. Fleur-De-Lys – Prodigal Son
    14. The Lomax Alliance – See the People
    15. Mickey Finn – Time to Start Loving You
    16. The Fingers – I Hear the Sun
    17. Crocheted Doughnut Ring – Nice
    18. Good Thing Brigade – My House Is Burning
    19. The Motives – Ice Woman
    20. Louise – Look at the Sun
    21. Neo Maya – I Won’t Hurt You
    22. Cliff Ward – Path Through the Forest
    23. The Spencer Davis Group – Sanity Inspector
    24. The Summer Set – ‘Cos It’s Over
    25. The Fadin’ Colours – Try Me on for Size
    26. The Slender Plenty – Silver Tree Top School for Boys
    27. Guy Darrell – Evil Woman

    1. Elmer Gantry’s Velvet Opera -Flames
    2. One in a Million – Double Sight
    3. Paul & Barry Ryan – Keep It Out of Sight
    4. The Pretty Things – Defecting Grey (Extended Version)
    5. John’s Children – Desdemona
    6. The Doves – Smokeytime Springtime
    7. John Williams – Flowers in Your Hair
    8. Sweet Feeling – All So Long Ago
    9. Rupert’s People – Reflections of Charles Brown
    10. The Riot Squad Featuring David Bowie – Toy Soldier
    11. The Rats – the Rise and Fall of Bernie Gripplestone
    12. Circus – Something to Write About
    13. Dave Davies – Funny Face
    14. The Brood – Village Green
    15. Tony Rivers & the Castaways – Mr. Sun
    16. The Peep Show – Your Servant, Stephen
    17. The Uglys – and the Squire Blew His Horn
    18. The Move – Vote for Me
    19. Human Instinct – a Day in My Mind’s Mind
    20. Murray Head – She Was Perfection
    21. Peter & the Wolves – Little Girl Lost and Found
    22. The Bunch – Spare a Shilling
    23. Big Jim Sullivan – Flower Power
    24. Procol Harum – Kaleidoscope (Extended Stereo Mix)
    25. The Searchers – Crazy Dreams
    26. The Artwoods – in the Deep End

    1. Our Plastic Dream – Someone Turned the Light Out
    2. Hat & Tie – Finding It Rough
    3. The Fresh Windows – Fashion Conscious
    4. The Game – the Addicted Man
    5. Felius Andromeda – Meditations
    6. The Honeybus – Delighted to See You (Demo Version)
    7. Ice – So Many Times
    8. The Flower Pot Men – a Walk in the Sky
    9. Five’s Company – Friends and Mirrors
    10. The Late – Family Tree
    11. The Secrets – I Think I Need the Cash
    12. Skip Bifferty – Schizoid Revolution
    13. The Purple Gang – Granny Takes a Trip
    14. The Picadilly Line – Emily Small
    15. The Outer Limits – Help Me Please
    16. Focal Point – ‘Cept Me
    17. Jade Hexagram – Great Shadowy Strange
    18. The Truth – Busker Bill
    19. The Moody Blues – Life’s Not Life
    20. Don Craine’s New Downliners Sect – I Can’t Get Away from You
    21. The Symbols – Again
    22. The Hi-Fi’s – Odd Man Out
    23. The Marmalade – Laughing Man
    24. T. J. Assembly – Ginger
    25. The 23rd Turn Off – Michelangelo (Demo Version)
    26. The Q.P.R. Supporters Supporters – Support Us
    27. Sands – Listen to the Sky

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    Butch Baldassari / New Classics for Bluegrass Mandolin Жанр : Bluegrass Носитель : CD Год издания : 2000 Издатель (лейбл) : SoundArt Recordings Номер по каталогу : SAR-1252 Аудиокодек : FLAC (*.

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    Randy Rogers Band Жанр : Contemporary Country, Red Dirt, Americana Год выпуска диска : 2002-2016 Страна : 2000-, San Marcos, Texas, United States Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 221-320 kbps Продолжительность : 10:07:06 Albums: 01.

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  • 01/12/17--09:57: Rumbo A Tierra
  • Audio-visual collective Systema Solar has been energizing audiences in Colombia and worldwide since it formed in 2006 to perform at the Medellín Biennal, a show that thrust it before of an audience of 4,000 with barely a month to prepare. Ten years later, the band maintains this emphasis on spontaneity and improvisation, approaching music-making through collaboration and the intersection of the diverse backgrounds of its members.

    Rumbo A Tierra, the second album that Systema Solar has released to the U.S. market, sees the band navigating its own realm of electronic music in which traditional Colombian coastal styles such as champeta, bullerengue and cumbia are all just as present as hip-hop, rock, techno and house. The record is full of dance floor-ready energy, with heavy kick drums, psychedelic guitars, and analog synthesizers meshing with traditional instruments. Songs like “Champe Tabluo” and “Rumbera” are rife with catchy vocal melodies (“Rumbera” is featured on the FIFA 2017 soundtrack), while others such as “Que Paso” or “Alo?” explore more trance-like chants which push the band’s sound towards psychedelic electronica territory. Collaborations with esteemed Colombian artists such as guitarist Abelardo Carbonó, Caribbean folk great Pedro “Ramayá” Beltran, and salsa band La 33 bring unique flavors to the group’s electronic sound.

    Resistant to any attempts to label its style, the band came up with its own term, verbenautica, bringing together verbenas, the name given to block parties in parts of Colombia, with nautica, in reference to their constant exploration of new sounds from around the world. Indeed, the album maintains this emphasis on festivity and community strength. The songs speak to issues important to Colombian society, such as women’s rights, environmental protection, and water security, and do so while maintaining the uplifting energy and inclusive sound which is the band’s trademark.

    Staff writer Alejandro Van Zandt-Escobar caught up with Systema Solar’s MC, Walter Hernandez, AKA Indigo, by phone from his home in Colombia to ask him a few questions about the new record.

    Alejandro Van Zandt-Escobar: Can you describe the sound of your new album, Rumbo A Tierra?

    Walter Hernandez: Well, we came to record Rumbo A Tierra in 2015. In its production it has a lot of elements of conventional instrumentation (guitar, drums, bass). We don’t have a preference for any genre. I helped to put the term verbenautica on our sound, an invitation to navigate in the diversity and in the strength of various musics. A verbena is a popular party, in a neighborhood, with a sound system, which they call a picó here. A tremendous sound system where you can listen to music from around the world as well as music from here, and have a great party, an experience with lights, sound, etc. So our music has that spirit, it doesn’t have any limits in terms of being a cumbia band or whatever. We don’t have a tag as if we’re doing music of a specific genre, rather it’s a permanent mix, a constant exploration and that’s why we give it that name, because it doesn’t have a fixed structure. Sometime people say we’re Latin music, and we don’t agree with that label. In the context of the United States, that term implies certain sonic parameters within which we don’t fit.

    Systema Solar

    I’m interested in what you’re saying about picó and verbena, these parties which bring together music from around the world. Is this something specific to a certain region in Colombia, or found throughout the country?

    Verbena and all that is part of the Caribbean region. The picotera culture (that’s what we call it) is from the Caribbean. It’s part of the great tradition of the Caribbean as a whole–in Jamaica there is picó, in Trinidad and Tobago as well–just that they give it different names: sound system, dub machine, sonidero in Mexico… In the end, it’s part of the same culture which adapts to each tradition but is overall very similar.

    You previously mentioned that you started off as a live band, and the thought of making studio recordings only came later. In terms of the relationship between your live and recorded music, have you found that your recordings differ significantly from the live experience? Has the recording process in turn influenced your live sound?

    Of course. They resemble each other a lot, obviously, but when we play live a lot of things change. The experience becomes much more ample, and the studio recording also has other elements that we don’t keep in the live setting, but all of that is to keep improving overall. The energy is different, that’s why in the second album we did a lot of live studio sessions where we would have a clear pause in mind to end the recordings. Before it was the opposite: the spontaneity of jamming, jamming with samplers, and really a very punk energy, very much in the moment. And our songs sounded that way. And of course, in a live setting, our songs last longer. Another example is “Malpapitando,” a song that wasn’t really a fit for radio because it lasts eight minutes, but people liked it and it didn’t matter that it was long. And live it goes even longer, it’s like a shamanic performance.

    I’m interested in knowing more about your connections with artists from other countries with whom you’ve had the opportunity to collaborate. Are there other collaborations that you’d like to have in the future?

    We’ve been moving forward with that bit by bit. We haven’t really had as many collaborations as we would have liked to, but we keep on opening up new possibilities. This new album is an example: there are collaborations with Abelardo Carbonó, a great artist who make Caribbean psychedelic music; Colombian maestro Pedro “Ramayá,” Nedjim Bouizzoul; and also La 33, a salsa band from Bogotá, as well as a collaboration with a harmonica player, on the song “Champeta Blues.” We achieved some very positive connections on this album. We’ve always been open, though they don’t always happen. For example with Amadou and Mariam, we were about to do it and then didn’t. We’re still hoping to make it happen …

    Oh, and I almost forgot about our collaboration with Debbie Harry from Blondie. The guitarist wrote to us and asked if we wanted to collaborate on a song for their new album. They sent us a demo and we recorded a collaboration on the song, “Sugar on the Side,” and it was good timing because we were recording La Revancha del Burro at the time, so we sent them the songs to see what they’d like to record on and they chose “Artificial.” She sent us her voice–we didn’t meet physically–and it was a great experience to collaborate on both albums. Really exciting, because they’re a band that has always been exploring, that has always been keeping track of new sounds.

    Given this 10-year history and your continuing interactions with audiences in different parts of the world and the United States, what image of Colombia do you want to present to your listeners and viewers?

    Our music speaks of how we live in Colombia, and it serves as a way to inform the public more than what they hear in the news. There already is stigmatization, a media agenda which does not inform people about Colombia in a positive way. That has been changing, but at a basic level, audiences in the United States know very little about what happens in our country, so our music and our performance helps a lot to open up the option of learning about us. That way if they want more, they can talk to us or connect with us via social media.

    We are also always promoting support for the great causes that move our country, like that of mining and the risks that it has, the need to take care of our water supply, that of strengthening our self-esteem, and also of not taking violence lightly. We are always disseminating material that helps to inform people more. We aim to be an information platform that amplifies how we are, how we live, what we do–and all in the context of a party.

    For us, the verbenautica experience is that of going to a party–not to go and see a rock band–such that people can move however they want, with the most important thing being that people participate in the party. And if they don’t move well then there’s no party! The audience has to get involved, and that’s also why the images do so much. And we engage in social issues not through protest or complaining, but with a lot of humor and a connection to the sonic energy. We don’t portray ourselves as a protest group, because usually when you do that you end up stigmatized, and anyway we’re not really interested in doing it in the way that other movements have done it, because that has often lead to moving away from possibilities for change, because no one likes being told what to do.

    In the end, our behavior isn’t really that calculated. We’re a collective that has fun and shows the energy of our life here in the Caribbean, in which the relationship between us is one of camaraderie and pulling each others’ legs. We have an expression here which indicates how our work environment is very jovial, full of laughter: mamando gallo. So, that’s our behavior, our way of working. Outside of Systema Solar, there are friends who have jobs in which they’re environmental activists, in which they work to raise consciousness on certain issues. All of that work, combined with our collective energy, is what’s projected when it’s brought together. Although some of us are more activists than others, our message is unified with that general energy.

    That’s definitely something that comes out in your work, an ability confront these issues while maintaining positive energy and a strong sense of community, without which as you say you could push certain audiences aside.

    Well thanks, we’re happy to hear it! Thanks for your support and your interest in our work.

    Rumbo A Tierra will be available in the U.S. on Nacional Records on Jan. 13, 2017.

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    Following on the heels of their latest release Battles, out on Division Records and distributed by Stickman Records in Europe, Norway’s Orango returns with another album of masterfully crafted rock. “The Mules of Nana” is the band’s sixth full length in a career spanning over 16 years showing no signs of slowing down. The virtuoso trio of Helge Kanck, Trond Slåke and Hallvard Gaardløs’ shines in 11 tracks of blues-tinged, folkey and soulful rock and roll with three part vocal harmonies that would bring a tear to the eye of Crosby, Stills and Nash.

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  • 01/12/17--11:16: Run The Jewels RTJ3
  • RTJ3_COVERRun The Jewels
    (Run The Jewels, Inc., 2017)
    more details

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    Chet Baker and Dick Twardzik Quartet - Chet and DickChet Baker & Dick Twardzik Quartet
    Chet & Dick
    (Jazz Images, 2016 [1955])
    more details

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    All photos by Sebastian Bouknight. For a full gallery of photos, scroll to the bottom.

    Daymé Arocena and her band turned up the temperature at the Highline Ballroom on a frigid Manhattan evening last week. Their first concert of the year, and part of the “Summer Preview” showcase for the SummerStage and Santa Monica Pier Twilight Concerts series, they delivered a performance full of energy, technical virtuosity, and musical maturity in a combination stunning to hear for a quartet of musicians in their early 20s. Daymé sang a set of eight songs, many drawn from her forthcoming album, Cubafonía, due to be released on Brownwood Records in March.


    Daymé Arocena



    Rafael Aldama on bass

    Rafael Aldama on bass

    Acknowledging the honor of being in New York City as a representative of Cuba, Daymé and her band demonstrated the richness of the island’s musical heritage, moving through rumba, guajira, and cha-cha, and navigating through a sea of rhythms with a joyful effortlessness. Their combination of masterful jazz technique with Afro-Cuban styles was rounded off with a keen sensibility to 21st century production and tastes, resulting in a sound that was well balanced and full of groove, constantly referring to traditions while remaining refreshing and innovative.


    With a voice that is as deep and rich as it is well trained, Daymé’s delivery was just as compelling when invoking an orisha in “Elegguá” as it was when telling the story of a love affair that has ended in “Lo Que Fué.” The encore brought us back to her 2015 debut album with, “Don’t Unplug My Body,” a bubbling tune which she made clear–in case there was any ambiguity–was all about sexual energy, a message she delivered with sincerity and laughter. Indeed, it is Daymé’s ability to navigate a full spectrum of human drives in such a coherent and joyous way that makes it easy to forget that she is barely 25 years old.


    Jorge Luis Lagarza on keys, Rafael Aldama on bass, Ruly Herrera on drums

    Arocena with band: Jorge Luis Lagarza on keys, Rafael Aldama on bass, Ruly Herrera on drums


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    01. Tomahawk
    02. Who’s the Daddy Now
    03. African Bushfire
    04. Raw Deal
    05. Flight to Nuyorica
    06. Power Generation
    07. Gumbo Ya Ya
    08. Slinky Boots
    09. Jungle Fury
    10. Too Heavy for the Levee
    11. The Urbanista
    12. The Way You Like It
    13. Do the Walk
    14. Quarterback
    15. Four Flights Up
    16. Make It All Right

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    Select Mix Essentials Vol 117 (2017)

    Artist: Various Performers
    Title: Select Essentials Vol 117
    Label: Remix Holdings, Select Mix
    Style: Dancehall, Folk, Tropical, Doo-wop, Soul, Indie, Synthpop
    Release Date: 01-01-2017
    Format: CD, Promo, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 12 Tracks
    Size: 145 Mb / 00:55:11 Min

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