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    The Lusophone Atlantic is, in so many ways, a world of its own. Forced together by Portuguese imperialism, the nations of Angola, Guinea-Bissau, Cape Verde, São Tome and Principe, and Mozambique were, until the mid-’70s, kept apart from the broader currents of African culture, locked into a colonial network that both stifled and encouraged the creation of a uniquely shared identity. Not only did the Portuguese remain a direct colonial power longer (by over a decade) than any other European nation, but they also started far earlier. Long before Christopher Columbus made landfall on the island of Hispaniola, Portuguese traders were moving up and down the African coast, trading, fighting, dying and—in the process—creating the world’s first creole society.

    All of this is important to keep in mind when thinking about the remarkable musical culture of Cape Verde, a small chain of Atlantic islands a few hundred miles west of the coast of Senegal. Ground zero for the brutal cultural processes that would go on to birth so much of the New World, Cape Verde has been a zone of mixture and fusion for over five centuries, with musical and cultural connections that run throughout the broad sweep of the Atlantic ocean. And these connections don’t only date back to the distant past. Rocked by repeated droughts in the years since independence, the Cape Verdean diaspora is legendary, boasting communities everywhere from New Bedford, Mass. to Rotterdam, Lisbon or Paris. To understand Cape Verdean music then, it’s not only necessary to focus on the physical boundaries of the island nation, but on the far more diffuse enclaves of diaspora which dot Europe and the Americas.

    You can hear all of this history on Synthesize the Soul, a fantastic new compilation of Cape Verdean music released by Ostinato Records. Pulling from a universe of rare vinyl previously available only to hard-core collectors, the disc depicts a nation fully integrated into the synthetic world of ’80s pop, eagerly developing its own neon-hued version of modernity. Primarily created by bands working in a network of cities across Africa and Europe, the result is a remarkable diasporic dance sound, both unmistakably Cape Verdean and tightly attuned to the cosmopolitan genres of disco, funk, zouk, salsa, and r&b that dominated international dance floors during the ’70s and ’80s. Because of its close relationship with these more familiar music styles, listening to Synthesize the Soul also provides a kind of shadow history of a far more traditional pop story, revealing an entire universe of scratching guitars, walking bass lines, and synthesizer riffs that would (at least in America) soon be effaced by the rise of hip-hop.

    A perfect example of this is served up by “Dança Dança T’Manche,” by Val Xalino. Opening with a mechanical beat that wouldn’t sound out of place in the most leaden disco track, the song slides into an elegantly syncopated two-chord pattern, layering swooping synth melodies and chirping keyboards around a gently authoritative vocal and funk-heavy bass line. The effect is like something off “Combat Rock” by the Clash, if Joe Strummer and Mick Jones had traded lover’s rock for Antillean zouk. Combining Caribbean and American styles with European classical runs, and an approach to melody and layering straight from the home islands, the result exemplifies the musical wonders that litter this compilation.

    As the word “synthesize” in the title indicates, the music featured on this compilation also tells a story about technology. After decades of repression, a generation of Cape Verdean musicians looked towards the synthesizer as a primary indicator of modernity—a way to move away from the colonial past and into the future. At the same time, the use of technology in this music is also about the actual evolution of recording. As musicians spread out through the diaspora, they gained access to synthesizers, studios, and drum machines unavailable back home. As a result, Cape Verdean music grew radically de-centered, as the hottest tracks, the ones best able to bridge the gap between back-country African roots and international pop gloss, increasingly came from outside, created by immigrant musicians working on the edges of more established pop scenes. This remarkable situation helped to inject the music with a radical openness to new sounds and styles—it was always necessarily in conversation with the wider world.

    The imaginative leaps created by this fusion are all over “Nós Criola,” by Nhú De Ped’Bia, the album’s first track. It opens like an alien landing, as space-age synths whirl above rhythm guitar chops, before massed keyboards and horns hit and splinter into the kind of dense, melancholy groove that defines so much of Cape Verdean music. Avoiding anything like the sharp edges of American funk or disco’s four-on-the-floor thump, the track brings the groove to a simmer, and then keeps it there, marinating in r&b-style keyboard soloing and low-end bass riffs. That same vibe holds on Pedrinho’s “Nanda,” the album’s next track. Dueling guitars and synth wind over a pleading lead vocal while the rhythm section holds the tension with glorious restraint, the whole ensemble pushing at their limits as they slowly build to an explosive solo break.

    Quite apart from all of the boundary crossing, many of the most exciting cuts are those that stay closest to the local styles of funana and batuku. For those who have never danced to either, some of what’s here will be a revelatory introduction to a pair of musical styles that have received far too little attention. Whether featuring synthesizers or more traditional accordion, nothing can disguise the frantic groove of tracks like “Chuma Lopes” by Elisio Gomes and Joachim Varela, or “Chema” by Pedrinho—this is dance music par excellence, insistent, enticing, and hypnotically repetitive. While the combination of groove and synthesizer may not quite bear out the liner notes’ argument that these tracks offer an “alternative history of electronic music,” there is certainly an aesthetic connection that can be drawn between the rhythmic glory of house or techno and the deep grooves of funana, even absent a direct historical one.

    The similarities heard in these tracks—and all over this album, really—offer a remarkable position from which to rethink so many of the broader currents of popular music. From the perspective of tracks like “Chema” or “Dança Dança T’Manche,” it’s possible to hear disco or funk or techno for what they truly are—Afro-diasporic outcroppings, part of a far larger, and far deeper, conversation. These tracks don’t sound like a pale local copies of their better-known cousins, but like another chapter in the story, a reminder that pop is always deeper and stranger than we know.

    Sam Backer is a producer for Afropop Worldwide and a PhD candidate in History at Johns Hopkins University. He has worked extensively on the Lusophone Atlantic– check out his show “A Brief Guide to the Afro-Lusophone Atlantic: Dancing Toward The Future.


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    Είδα από το discogs πως ο ακορντεονίστας Θάνος Σταυρίδης, που τώρα (δηλαδή πέρυσι) εμφανίζεται με τον πρώτο προσωπικό δίσκο του, έχει μιαν ιστορία στο χώρο, καθώς έχει συμμετάσχει σε άλμπουμ των Παντελή Στόικου, Παναγιώτη Καλαντζόπουλου, Film Noir (Θανάσης Σοφράς κ.ά.), ενώ, φαντάζομαι πως δεν θα είναι λίγες και οι παρουσίες του στις μουσικές σκηνές. Μάλιστα, για όλα αυτά τα άλμπουμ έχω γράψει κριτικές, παλαιότερα, στο Jazz & Τζαζ, χωρίς, όμως, να θυμάμαι το ονοματεπώνυμο τού καλού μουσικού, το οποίον, και σε κάθε περίπτωση, από τώρα και στο εξής δεν πρόκειται να το ξεχάσω. Αφορμή βεβαίως για να γράψουμε αυτά τα λόγια μάς δίνει το CDτου «Με μια βαλίτσα όνειρα» [Kyklos Records, 2106], ένα ορχηστρικό άλμπουμ δώδεκα θεμάτων, που κατακρατούν στοιχεία από πολλές και διαφορετικές μουσικές παραδόσεις. Τον ήχο των Βαλκανίων, το δημοτικό και λαϊκό τραγούδι, το rock, το funk, την jazz-fusion ή την world jazz αν θέλετε και επίσης, αν θέλετε, κάθε άλλη μουσική ή τραγούδι που θα μπορούσε να στηρίζεται στο ακορντεόν (τα γαλλικά musette, τα τάνγκο κ.λπ.). Όλα αυτά, και δεν ξέρω τι άλλο ακόμη, ανακατεύονται με γνώση στο «Με μια βαλίτσα όνειρα», δημιουργώντας μιαν απολαυστική ηχητική ταπετσαρία – απ’ αυτές που σπανίως, πλέον, απολαμβάνεις. Το λέω, γιατί τέτοιου τύπου άλμπουμ που τα ζούσαμε στα nineties, την εποχή τής ethnic παραζάλης (και αναφέρομαι στις «κορυφές» βεβαίως), τώρα, πλέον, δύσκολα τα συναντάς. Πέρασε κι η μόδα εν τω μεταξύ, και μέχρι να έρθει η ανάλογη επόμενη ο χώρος θα καλύπτεται μόνον από ’κείνους που πραγματικά ξέρουν και γουστάρουν. Ο Θάνος Σταυρίδης είναι ένας απ’ αυτούς.
    ajazz%2Bstav.jpg
    Αν και ο Σταυρίδης, που χειρίζεται ακορντεόν (το ξαναλέω) και ακόμη fender rhodes, ενώ κάνει και προγραμματισμό, είναι υπεύθυνος για το σύνολο, σχεδόν, των μουσικών τού CD του εντούτοις, στην πράξη, δεν είναι μόνος του στον… μαγικό αυτό δρόμο, καθώς έχει δίπλα του άσσους οργανοπαίκτες για συμπαραστάτες όπως τον μπασίστα Γιώτη Κιουρτσόγλου, τον τρομπετίστα Παντελή Στόικο, τον πιανίστα Γιώργο Τζούκα, τον κιθαρίστα Γρηγόρη Ντάνη, τον βούλγαρο master του καβάλ Theodosii Spassov, τον περκασιονίστα Βαγγέλη Καρίπη, τον λαουτιέρη Δημήτρη Μυστακίδη και άλλους πολλούς. Όλοι αυτοί δεν μπορεί παρά να είναι υπεύθυνοι για τον ηχητικό πλούτο τού άλμπουμ, δουλεύοντας με όρεξη και πάθος (ακούγεται αυτό!) και δίνοντας πνοή στο όραμα τού συνθέτη Σταυρίδη, ο οποίος δεν μπορεί παρά να είναι –έτσι όπως τον απολαμβάνω στο «Με μια βαλίτσα όνειρα»– ένα ταλέντο εν εξελίξει.
    Βρείτε τον τρόπο ν’ ακούσετε, χαλαροί και καθαροί απ’ όλα όμως, τα tracks Memory lane”, “Blue 9”, “Inema” και “Tango per me” (ανάμεσα στα υπόλοιπα και εξ ίσου σπουδαία), για να αντιληφθείτε με τι ακριβώς έχουμε, εδώ, να κάνουμε…

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    320 kbps | 83 MB | UL |

    A new album of muscular British rock ‘n’ roll from the celebrated beat power trio. ‘Obermann Rides Again’ comes trampling merrily over a swathe of garage rock pretenders, with the group’s vintage instruments and their vintage owners pushed well past breaking-point to bring you 14 slices of raw and tender songsmithery.


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    320 kbps | 236 MB | UL | OB

    CD1

    01. 1984 (Live) [2005 Mix] [2016 Remastered Version]
    02. Rebel Rebel (Live) [2005 Mix] [2016 Remastered Version]
    03. Moonage Daydream (Live) [2005 Mix] [2016 Remastered Version]
    04. Sweet Thing (Live) [2005 Mix] [2016 Remastered Version]
    05. Changes (Live) [2005 Mix] [2016 Remastered Version]
    06. Suffragette City (Live) [2005 Mix] [2016 Remastered Version]
    07. Aladdin Sane (Live) [2005 Mix] [2016 Remastered Version]
    08. All The Young Dudes (Live) [2005 Mix] [2016 Remastered Version]
    09. Cracked Actor (Live) [2005 Mix] [2016 Remastered Version]
    10. Rock ‘N’ Roll With Me (Live) [2005 Mix] [2016 Remastered Version]
    11. Watch That Man (Live) [2005 Mix] [2016 Remastered Version]

    CD2

    01. Knock On Wood (Live) [2005 Mix] [2016 Remastered Version]
    02. Here Today Gone Tomorrow (Live) [2005 Mix] [2016 Remastered Version]
    03. Space Oddity (Live) [2005 Mix] [2016 Remastered Version]
    04. Diamond Dogs (Live) [2005 Mix] [2016 Remastered Version]
    05. Panic In Detroit (Live) [2005 Mix] [2016 Remastered Version]
    06. Big Brother (Live) [2005 Mix] [2016 Remastered Version]
    07. Time (Live) [2005 Mix] [2016 Remastered Version]
    08. The Width Of A Circle (Live) [2005 Mix] [2016 Remastered Version]
    09. The Jean Genie (Live) [2005 Mix] [2016 Remastered Version]
    10. Rock ‘N’ Roll Suicide (Live) [2005 Mix] [2016 Remastered Version]


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    Fulanito - Greatest Hits (2009)
    Artist: Fulanito
    Title Of Album: Greatest Hits
    Release Date: 2009
    Location: USA
    Label: Discos CNR (14971)
    Genre: Merengue, Latin
    Quality: FLAC (image+.cue+covers)
    Length: 01:13:52 min
    Tracks: 18
    Total Size: 544 MB (+5%)

    Fulanito is a Dominican-American musical group that combines traditional merengue with other styles (specifically house, hip hop, and bachata among other genres). With over 5 million albums sold throughout the world, they were at one time the top selling act in Colombia, and were placed on other charts including those of Japan, Switzerland, United States, and Chile.

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    Uaman Flor Nivio - Ciudad De Piedra (2002)
    Artist: Uaman Flor Nivio
    Title Of Album: Ciudad De Piedra
    Release Date: 2002
    Location: Peru
    Label: Ukraine, Rostok Records (RRCD 266)
    Genre: Folk, Ethnic, Native American
    Quality: FLAC (tracks+.cue+covers)
    Length: 01:13:45 min
    Tracks: 18
    Total Size: 569 MB (+5%)

    Huaman Flor Nivio (Уаман Флор Нивио) родился 25 декабря 1973 года в Анкаше (Перу). Мать - креолка (испанского происхождения), а отец - чистокровный индеец (потомок инков). До пяти лет Нивио жил в горах. Позже переехал в столицу для получения образования. В возрасте девяти лет стал увлекаться духовыми инструментами. А в 17 лет Нивио выиграл конкурс и уехал учиться в СССР, поступив в Киеве в институт международных отношений. С этого времени Украина и Россия стали для него второй родиной.

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    Lime Sorbet Vol.6: Selected by Quincy Jointz (2017)
    Artist: VA
    Title: Lime Sorbet Vol.6: Selected by Quincy Jointz
    Year Of Release: 2017
    Label: Timewarp Greece
    Genre: broken beat, funk, nu disco, nu funk, nu jazz, breakbeat, breaks, downtempo, freestyle, funk, house, soul
    Quality: MP3 320 kbps
    Total Time: 02:08:10
    Total Size: 311 Mb

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    Ely Guerra - Lotofire (1999) {2002 Omtown/EMI Mexico}
    Artist: Ely Guerra
    Title: Lotofire
    Year Of Release: 1999 (2002)
    Label: Omtown/EMI Mexic
    Genre: Latin Pop
    Quality: FLAC / MP3
    Total Time: 49:22 min
    Total Size: 367 MB / 175 MB



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    Car-aoke The Collection 4CD (2017)

    Artist: Various Artists
    Title: Car-aoke The Collection
    Label: Rhino Records
    Style: Dance, Synthpop, Blues, Disco, Art Rock, Soul, New Wave
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 613 Mb / 04:28:13 Min

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    Car-aoke The Collection 4CD (2017)

    Artist: Various Artists
    Title: Car-aoke The Collection
    Label: Rhino Records
    Style: Dance, Synthpop, Blues, Disco, Art Rock, Soul, New Wave
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 613 Mb / 04:28:13 Min

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  • 03/21/17--10:52: Mum The Collection (2017)
  • Mum The Collection (2017)

    Artist: Various Artists
    Title: Mum The Collection
    Label: Rhino Records, Warner Music UK Ltd
    Style: Soul, Funk, Blues, New Wave, Folk, Smooth Jazz, Latin, Easy Listening
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 654 Mb / 04:46:04 Min


    0 0
  • 03/21/17--10:52: Mum The Collection (2017)
  • Mum The Collection (2017)

    Artist: Various Artists
    Title: Mum The Collection
    Label: Rhino Records, Warner Music UK Ltd
    Style: Soul, Funk, Blues, New Wave, Folk, Smooth Jazz, Latin, Easy Listening
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 654 Mb / 04:46:04 Min


    0 0
  • 03/21/17--10:52: Mum The Collection (2017)
  • Mum The Collection (2017)

    Artist: Various Artists
    Title: Mum The Collection
    Label: Rhino Records, Warner Music UK Ltd
    Style: Soul, Funk, Blues, New Wave, Folk, Smooth Jazz, Latin, Easy Listening
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 654 Mb / 04:46:04 Min


    0 0
  • 03/21/17--10:52: Mum The Collection (2017)
  • Mum The Collection (2017)

    Artist: Various Artists
    Title: Mum The Collection
    Label: Rhino Records, Warner Music UK Ltd
    Style: Soul, Funk, Blues, New Wave, Folk, Smooth Jazz, Latin, Easy Listening
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 654 Mb / 04:46:04 Min


    0 0
  • 03/21/17--10:52: Mum The Collection (2017)
  • Mum The Collection (2017)

    Artist: Various Artists
    Title: Mum The Collection
    Label: Rhino Records, Warner Music UK Ltd
    Style: Soul, Funk, Blues, New Wave, Folk, Smooth Jazz, Latin, Easy Listening
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 654 Mb / 04:46:04 Min


    0 0
  • 03/21/17--10:52: Mum The Collection (2017)
  • Mum The Collection (2017)

    Artist: Various Artists
    Title: Mum The Collection
    Label: Rhino Records, Warner Music UK Ltd
    Style: Soul, Funk, Blues, New Wave, Folk, Smooth Jazz, Latin, Easy Listening
    Release Date: 03-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 72 Tracks
    Size: 654 Mb / 04:46:04 Min


    0 0

    Fulanito - Greatest Hits (2009)

    Artist: Fulanito
    Title Of Album: Greatest Hits
    Release Date: 2009
    Location: USA
    Label: Discos CNR (14971)
    Genre: Merengue, Latin
    Quality: FLAC (image+.cue+covers) / MP3 CBR 320 kbps
    Length: 01:13:52 min
    Tracks: 18
    Total Size: 544 MB / 200 MB (+5%)

    Fulanito is a Dominican-American musical group that combines traditional merengue with other styles (specifically house, hip hop, and bachata among other genres). With over 5 million albums sold throughout the world, they were at one time the top selling act in Colombia, and were placed on other charts including those of Japan, Switzerland, United States, and Chile.

    0 0

    Uaman Flor Nivio - Ciudad De Piedra (2002)

    Artist: Uaman Flor Nivio
    Title Of Album: Ciudad De Piedra
    Release Date: 2002
    Location: Peru
    Label: Ukraine, Rostok Records (RRCD 266)
    Genre: Folk, Ethnic, Native American
    Quality: FLAC (tracks+.cue+covers) / MP3 CBR 320 kbps
    Length: 01:13:45 min
    Tracks: 18
    Total Size: 569 MB / 239 MB (+5%)

    Huaman Flor Nivio (Уаман Флор Нивио) родился 25 декабря 1973 года в Анкаше (Перу). Мать - креолка (испанского происхождения), а отец - чистокровный индеец (потомок инков). До пяти лет Нивио жил в горах. Позже переехал в столицу для получения образования. В возрасте девяти лет стал увлекаться духовыми инструментами. А в 17 лет Нивио выиграл конкурс и уехал учиться в СССР, поступив в Киеве в институт международных отношений. С этого времени Украина и Россия стали для него второй родиной.

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    The Drugstore Gypsies / The Drugstore Gypsies Жанр : Country, Blues Rock Label : Edgewater Music Group Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:38:20 Треклист : 01.

    Тема на форуме



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    320 kbps | 155 MB | UL | OB

    More than 40 years after its debut, Chicago II still sounds like nothing else. Released in 1970, Chicago’s second album brims with confidence and inspiration as it draws on everything from orchestral music to heavy rock. Although it never affected the record’s popularity – it peaked at #4 on the album chart and spawned a trio of Top Ten hits – many fans have longed for a more-nuanced mix. That wish is about to come true with a new stereo version created by British musician and producer Steven Wilson.

    Chicago II has been remixed before, but never like this. For the first time, a stereo remix from the 16-track multi-track tapes made it possible for Steven Wilson to bring out elements that were muffled or submerged in the mix. The result is a new stereo version of Chicago II that boasts clearness, punch and definition that it didn’t have before.

    Wilson explains: “Working with high-resolution 96K/24 bit digitally transferred files, I had every element from the recording sessions isolated, which meant I was able to rebuild the mix from the drums upwards, recreating as closely as I could the equalization, stereo placement, reverbs, other effects, and volume changes of each individual instrument or vocal – but at the same time looking to gain definition and clarity in the overall sound.”

    In 1969, Chicago recorded the band’s follow-up to their debut album, Chicago Transit Authority (voted 2014 into the Grammy Hall of Fame). When it arrived in January 1970, Chicago II became an instant sensation. Principal composers, James Pankow and Robert Lamm, emerged further as the band’s source of Top Ten hits for the group, including “Make Me Smile” and “Colour My World,” as well as “25 or 6 to 4,” which peaked at #4 and has become one of the band’s signature songs. Terry Kath, Robert Lamm, Lee Loughnane, James Pankow, Walter Parazaider, also Danny Seraphine and Peter Cetera … somehow found time (while touring the world behind the success of “CTA”) to prepare another double LP album.

    “So rich was their creative seam at the time that, like their debut, and the album that followed this one, it was a two record set,” says Wilson. “In fact, with unprecedented boldness the run of double albums was only broken by their fourth which was a quadruple (live) set! I consider all of these albums to be classics, but perhaps Chicago II is the pre-eminent masterpiece. It’s got everything: moments of tender beauty to power riffs and scorched-earth jazz-rock, catchy melodies and gorgeous vocal harmonies. When I first heard it as a teenager I was captivated by the mixture of jazz, blues, pop, classical, progressive and heavy rock styles, including both improvisational elements and intricate arrangements, and by songs written and sung by several different members, all with their own unique personality. How could that possibly hang together?! But it does, and brilliantly so.”


older | 1 | .... | 580 | 581 | (Page 582) | 583 | 584 | .... | 2481 | newer