Articles on this Page
- 02/28/17--21:50: _Yungchen Lhamo - Co...
- 02/28/17--22:22: _Soul Dance Party 3C...
- 02/28/17--23:17: _William Matheny – S...
- 02/28/17--23:46: _Led Zeppelin – Ramp...
- 03/01/17--01:27: _(Country Rock) Will...
- 03/01/17--01:47: _Stevie Wonder – I’v...
- 03/01/17--02:28: _(Pop-Folk) Sandra Č...
- 03/01/17--02:35: _Marian Call – Stand...
- 03/01/17--02:47: _Disorienting
- 03/01/17--02:56: _Paul Simon – Comple...
- 03/01/17--04:23: _ALISON KRAUSS στο π...
- 03/01/17--05:28: _Interlocking Lombok...
- 03/01/17--06:11: _Emisija I TO JE MUZ...
- 03/01/17--06:23: _Re: [CD] Gonçalo S...
- 03/01/17--06:28: _Kelsea Ballerini • ...
- 03/01/17--06:30: _Ahmed Malek & Flako...
- 03/01/17--06:47: _VA - Fania Records ...
- 03/01/17--07:23: _Re: [Discografia] ...
- 03/01/17--07:28: _Dawes • Front And C...
- 03/01/17--08:20: _Re: [Discografia] ...
- 02/28/17--21:50: Yungchen Lhamo - Coming Home
- 02/28/17--22:22: Soul Dance Party 3CD (2017)
- 02/28/17--23:17: William Matheny – Strange Constellations (2017)
- 02/28/17--23:46: Led Zeppelin – Rampaging Cajun 1975 (2009)
- 03/01/17--01:47: Stevie Wonder – I’ve Changed My Mind A Second Time (2017)
- 03/01/17--02:28: (Pop-Folk) Sandra Čaprić - Falsifikat - Single - 2016, M4A, 256 kbps
- 03/01/17--02:35: Marian Call – Standing Stones (2017)
- 03/01/17--02:47: Disorienting
- 03/01/17--02:56: Paul Simon – Complete Unplugged [2CD] (2017)
- 03/01/17--05:28: Interlocking Lombok, Pt. 3: Tongkek
- 03/01/17--06:23: Re: [CD] Gonçalo Salgueiro - Sombras E Fado (2017)
- 03/01/17--06:30: Ahmed Malek & Flako - The Electronic Tapes (2017) Lossless
- 03/01/17--07:23: Re: [Discografia] Katia Guerreiro - Discografia (2011-2015)
- 03/01/17--08:20: Re: [Discografia] Marco Rodrigues - Discografia (2010-2015)
Ни один человек, прослушавший знаменитый альбом 1998 года «Возвращение домой» (Coming Home) или хотя бы композицию с тем же названием, не остался равнодушным. Голос Юнчен совершенно уникален. У нее поразительно красивый тембр и особенная, медитативная манера пения. Но это еще не все. Все вокальные партии она сочиняет сама, часто импровизирует и поет а-капелла.
Title: Soul Dance Party
Label: Universal Music, Big 3
Style: Gospel, Jazz R&B, Soul, Funk, Doo-Wop, Rock and Roll
Release Date: 01-02-2017
Format: CD, Compilation
Quality: 320 Kbps/Joint Stereo/44100Hz
Tracks: 60 Tracks
Size: 485 Mb / 02:41:56 Min
The best storytellers often aren’t the ones who have had the wildest experiences; they’re the ones who have experienced things we all have, and can articulate them in a way we haven’t yet figured out ourselves. They give us a new vocabulary for talking about ourselves and our world. That’s the gift William Matheny presents to us. Matheny, a West Virginia native and longtime keys player for Athens, Ohio, indie heroes Southeast Engine, has broken out on his own with Strange Constellations, his debut 11-song solo collection out February 24, 2017, which might more than anything provoke the question: Why not sooner?
Louisiana State University, Baton Rouge, Louisiana, February 28, 1975
01. Rock And Roll (5:05)
02. Sick Again (5:33)
03. Over The Hills And Far Away (7:26)
04. In My Time Of Dying (11:27)
05. The Song Remains The Same (5:16)
06. The Rain Song (8:45)
07. Kashmir (8:03)
01. No Quarter (20:14)
02. Trampled Underfoot (9:30)
03. Moby Dick (24:08)
01. Dazed And Confused (35:32)
02. Stairway To Heaven (12:58)
03. Whole Lotta Love (6:48)
04. Black Dog (6:29)
William Matheny • Strange Constellations Жанр : Country Rock Страна : USA (Mannington, WV) Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:40:55 Наличие сканов в содержимом раздачи : нет 01.
03. The Square
04. Soul Bongo
05. Frankie and Johnny
06. Come Back Baby
07. I’m Afraid the Masquerade Is Over
08. Don’t You Know
09. Hallelujah, I Love Her So
10. Mary Ann
12. Ain’t That Love
13. Some Other Time
14. Drown in My Own Tears
16. Session Number 112
18. My Baby’s Gone
Sandra Čaprić / Falsifikat - Single Жанр : Pop-Folk Страна исполнителя (группы) : Serbia Год издания : 2016 Аудиокодек : M4A Тип рипа : tracks Битрейт аудио : 256 kbps Продолжительность : 03:28 Наличие сканов в содержимом раздачи : нет Треклист : 01 Falsifikat.
Marian Call – keyboards, percussion, vocals
Bryan Ray – guitars, keyboards, banjo, saxophone, percussion
Scott Barkan – guitars
Kyle Robarge – bass
Stephen Bidwell – drums
Ellen Kilcup – cello
Poppa Diggity – harmonica
Her Majesty Laura Zahasky – mandolin
Joseph Woullard – baritone saxophone
Derek Phelps – trumpet
Mobley – vocals
Molly Lewis – vocals
Seth Boyer – vocals
Bryan O’Flynn – DMX drum machine
Colter Lemons – percussion
Zippy – percussion
The Donors’ Circle – claps and vocals
Tonight, from 7-10 PM ET, Bodega Pop Live on WFMU's Give the Drummer Radio spins a dizzying mix of Algerian acapella, French expérimentale, Cambodian indigenous, Dutch improvisatory, Korean space rock opera, UK plunderphonics, and more.
Bookmark the page and see you tonight!
320 kbps | 286 MB | UL |
01. Born At The Right Time 07:21
02. Me And Julio Down By The Schoolyard 03:30
03. The Boy In The Bubble 06:47
04. The Coast (Breakdown) 03:28
05. The Coast 06:00
06. Mrs Robinson 03:26
07. Bridge Over Troubled Water 05:40
08. Graceland 07:06
09. Jonah 04:45
10. She Moves On 06:25
11. Still Crazy After All These Years 05:23
12. Cecilia (Live At Kaufman Astoria Studios, New York 1992) 03:05
13. 50 Ways To Leave Your Lover (Live At Kaufman Astoria Studios, New York 1992) 04:46
14. Something So Right (Live At Kaufman Astoria Studios, New York 1992) 04:07
15. The Boxer (Live At Kaufman Astoria Studios, New York 1992) 05:59
16. Homeward Bound (Live At Kaufman Astoria Studios, New York 1992) 04:29
17. Scarborough Fair (Live At Kaufman Astoria Studios, New York 1992) 05:25
18. Born At The Right Time (Take 2) [Live At Kaufman Astoria Studios, New York 1992] 05:51
19. Me And Julio Down By The Schoolyard (Take 2) [Live At Astoria Studios,1992] 04:30
20. The Coast (False Start) [Live At Kaufman Astoria Studios, New York 1992] 00:09
21. The Coast (Encore) [Live At Kaufman Astoria Studios, New York 1992] 06:04
22. Jamming (Live At Kaufman Astoria Studios, New York 1992) 04:47
23. Late In The Evening (Live At Kaufman Astoria Studios, New York 1992) 05:06
Location: Pancor, East Lombok
Its always great to see fresh young faces playing music with deep roots. The music we’ve covered so far in the Interlocking Lombok series has not exactly been the domain of sprightly youngsters, with the old rebana beaters of Langko and the bapak bapak (older men) of Montong Betok’s klentang group mostly pushing their fifties and sixties.
If there’s one genre of traditional music that always seems to draw the younger folk, it’s what I’ve called Ramadan Wake-up Jams: the surprisingly varied array of traditional music played to wake up neighborsfor their pre-fasting meal during Ramadan. It might sound highly specific but traditions like this are everywhere, from obrog-obrogan in West Java to musik Patrol in Banyuwangi, Jember, and elsewhere. As I’ve expounded in those posts, these styles are largely the domain of the young and naughty, with young musicians attracted by the subversion and comeradery of making loud music in the middle of the night.
Lombok’s take on this Ramadan musical tradition is called tongkek. Played in only a handful of villages near Lombok’s east coast, tongkek takes the deconstructed rhythms of klentang (called kelenang tunggal in this area) and transfers them to bamboo. While klentang features interlocking rhythms and melodies played on single iron bars, tongkek interlocks single bamboo cylinders not unlike the bars of a bamboo angklung or rindik. Each musician beats their own tongkek with a small, rubber-covered mallet, led by the sounds of a single kendang drum and either kecek (small cymbals, common in Balinese and Sasak gamelan) or the unique bamboo variation, renjek, where a split piece of bamboo is hit to emphasize the kendang rhythms and cues.
The tradition of playing tongkek during Ramadan traces back at least to the 1970s, when gangs of kids playing bamboo slit drums called kenthongan (see: musik patrol Banyuwangi) roamed the neighborhoods of Pancor making noise. Just as in Banyuwangi, the cacophony of kenthongan was eventually refined into something far more complex and tonal. The groups played gending (songs) taken from klentang (Arje, Ngosak beras), tongkek’s main forebear, and from gendang beleq (songs like Lalo Nyongkol), another common gamelan form in Lombok. Tongkek, then, is just the latest in a long line of processional arts in Lombok, music designed to be portable and paradeable.
At the roots of much of tongkek is a three part interlocking rhythm (listen at 0:25 in the recording for the first example.) The first part, pantokan seke' or gempul plays a straight, metronome-like beat (the name gempul likely comes from kempul, a time-keeping gong found in many gamelan.) Weaving around the gempul are pantoken due and pantokan telu, also called gontengan and male'. Long passages of gending tongkek (tongkek songs) can consist of just this pattern, gradually crescendoing until the rhythm is at a fever pitch. Other parts are more melodic, with the musicians sharing linear pentatonic melodies through precise strikes (these parts are the hardest and thus often the sloppiest, just like with the klentang group!)
These days the youngsters of Pancor are still banging away on their tongkek, with one of the groups we met featuring kids as young as seven years old. Following the story of musik patrol Banyuwangi, the style has been refined and turned presentational through a modern tradition of lomba, or competitions. What were once rag-tag teams of kids are now highly practiced groups with matching t-shirts playing medleys of classic songs and kreasi (newer pieces in the same idiom). The groups mix the fierce rhythms of the tongkek with playful, synchronized dance routines, with much of the choreography taken from dancing gendang beleq troupes.
It's interesting to note tongkek’s place in Lombok’s ongoing cultural struggle between agama (religion) and adat (customs or traditions.) I mentioned in my post on rebana reong how that style is a clever compromise, taking adat-rooted, pre-Islamic-tinged gamelan and masking it with the pious Islamic essence of rebana in order, perhaps, to make the music more acceptable to conservative Muslim leaders. Could tongkek be another take on this? Its music has all the hallmarks of more traditional, pre-Islamic musics rooted in adat, from the cyclical structures to the pentatonic melodies. The material, though, is not bronze (once forbidden by conservative religious leaders) but bamboo, and the context of playing during Ramadan embues the tradition with an abstract religious air. Maybe this is another key to the music’s continuing vitality - it’s inoffensive fun, rooted in tradition but with a modern freshness about it.
There’s literally nothing about tongkek in previous surveys and texts on music in Lombok, a curious thing considering how vital the tradition seems today. As is so often the case, I first found out about it from YouTube: while on a binge of musik patrol videos from Java, a tongkek video (there are plenty online, have a look) popped up in the recommended videos. I impulsively sent out a message to the uploader of the first video I saw, hoping for help looking for this tradition on my next trip to the island.
I instantly got in touch with a guy named Faishal, who, upon our meeting in Pancor months later, turned out to be a young guy himself, no older than thirteen. He and his dad met up with us at the park near Pancor and took us to a nearby fusbal field where two groups were already waiting! I’d told Faishal that we’d be happy to just hear the tightest, most senior group, but the news had spread through the community that some bules want to come research tongkek and suddenly everyone was vying to play for us.
Their plan was to have us shoot in the big, empty space of a futsal court, but I didn’t think the grunts and shouts of the matches going on behind us would make for the best recording backdrop. Instead we moved to a weird kind of abandoned property next door, a kind of concrete expanse that must have once been basketball courts.
The little ones played first, and they were as in sync if not more so than the elders busting out interlocking rhythms on klentang the night before. I had asked them to save the dancing for later, fearing that the movement would mar the recordings. The music ended up fairly lifeless that way, though, and the kids looked bored. I’d forgotten that with so many processional and dance-rooted musics, often the spirit is locked in the movement, the music flowing with the choreography.
Playing tongkek with fellow archipelagists Logan and Jo
For the senior group, a gang of smiley teens who already seemed like seasoned pros in the tongkek scene, I said sure, go ahead, dance away. Right from the start, the performance was so much more alive, with the kids running through the choreography they must have worked on tirelessly before Ramadan earlier in the year. After they played, the tongkek were handed over to the bule trio (me, Jo, and Logan) and we tried our best at the simple three-part rhythm at the root of the music. It was surprisingly tough, and the kids laughed as we clumsily tried to replicate the rhythms they were so tightly, almost mindlessly pounding out just minutes before. At some point it all devolved into a kind of tongkek dance party, with the kids running about goofily with their tongkek, playing that same cycling rhythm as we tried our best to keep up.
Audio mixed and mastered by Jo Lamont, recorded by Palmer Keen, Jo Lamont, and Logan Hallay. Huge thanks to the tongkek community of Pancor, especially Pak Alim and Faishal. Check out Faishal's YouTube channel here.
Ovo je jedan poznat čovek sa ovim rukopisom ali nije na meni da otkrivam, baš me briga. Našao sam je u kolekciji sa kasetama gde piše ko je on! TO NEMA VEZE MI ĆEMO SLUŠAMO LEPU STARU EMISIJU IZ DAVNE 1978. godine koja je uključivala lepe stihove GARSIJE LORKE i muziku po izboru RRadija Beograd! I TO JE MUZIKA a ne ovo današnje govno od turbo-folka, turbo-rocka i turbo-zabavne muzike.
Kelsea Ballerini Yeah Boy Жанр : Country pop Продолжительность : 00:03:36 Год выпуска : 2017 Качество : HDTV Разрешение видео/развертка : 720p Контейнер : TS Видео кодек : H.
Artist: Various Artists
Title Of Album: Fania Records 1964-1980: The Original Latin Sound Of New York
Year Of Release: 2011
Label (Catalog#): Strut [STRUT078CD]
Genre: Latin Pop, Latin Jazz, Salsa
Quality: FLAC (tracks +.cue,log)
Full Size: 988 mb
Dawes Жанр : Folk rock, indie folk, indie rock Продолжительность : 00:55:40 Запись : August 17, 2016 Трансляция : February 26, 2017 Качество : HDTV Разрешение видео/развертка : 1080i Контейнер : TS Видео кодек : MPEG2 Аудио кодек : AC3 Видео : MPEG2 Video 1920x1080 29.