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    Έριξα μια ματιά στο discogs και διαπίστωσα πως οι Lost Bodies, ένα σχήμα εν πάση περιπτώσει που υφίσταται εδώ και καμμιά τριανταριά χρόνια, και που έχει μια κάποια (εκτεταμένη) δισκογραφία (και φυσικά ιστορία) δεν διαθέτει ούτε ένα βινύλιο! Ας ρίξω λοιπόν το θαυμαστικό, καθότι με τα flac και με τα cd-r δεν γίνεται να προχωρήσει όπως πρέπει η ιστορία… (Και τα live είναι άλλη δουλειά).
    Τι είναι τοOn Vinyl at Last [B-otherSide Records / dark liquid, 2017]; Δεν είναι καινούριο άλμπουμ (με καινούρια κομμάτια εννοώ), αλλά μια πολύ καλή, δηλαδή πάρα πολύ καλή συλλογή-οδηγός (κομμένη σε 200 αντίτυπα) γύρω από το τι είναι, τέλος πάντων, αυτοί οι Lost Bodies. Όσοι γνωρίζουν… γνωρίζουν. Οι υπόλοιποι θα έχουν την καλύτερη ηχογραφική ευκαιρία, ώστε να αντιληφθούν από ποια ακριβώς στοιχεία συνίσταται ο «κόσμος» τους, και πώς, με ποιον τρόπο, έτσι όπως αναβλύζει και απλώνεται, μπορεί και γεμίζει το χώρο.
    Κομμάτια, λοιπόν, που έχουν τη δική τους ιστορία, πίσω τους και... μπροστά τους, και που επιλέγονται μέσα από τη «Ζωή», από το «Γενετικά Καθαροί», την «Υποτροπή», το “Brutal”, την «Όσμωση», το «Φιγουρίνι», συν ένα ανέκδοτο track (για να κάνει τη διαφορά και προς αυτούς που τα ’χουν όλα), τo «Παρίσι-Ντακάρ».
    ajazz%2Blost.jpg
    Τι να πεις τώρα για τους Lost Bodies, ένα σχήμα που έχει φανατικούς φίλους – πιστούς να πούμε, που το ακολουθούν παντού; Ένα σχήμα που συνδυάζει μουσικές από πολλά και διαφορετικά στυλ (rock, punk, pop, blues, μπαλάντα, easy κ.λπ.), ανακατεύοντάς τα με προκλητικά λόγια (πολιτικο/ κοινωνικο/ αναρχοαυτόνομης υφής), που έχουν τον τρόπο και να λένε τα πράγματα όπως είναι, και να… διασκεδάζουν ταυτοχρόνως. Καθότι η χοντρή ειρωνεία, το χιούμορ και η καλώς εννοούμενη πλάκα δεν έλειψαν ποτέ από τους Lost Bodies.
    Στο “On Vinyl at Last” υπάρχουν, φυσικά, τέτοια κομμάτια με πρώτο και καλύτερο ανάμεσά τους το «Lost Bodies live στο Μέγαρο Μουσικής», ένα γαμιστερό track που ρίχνει στ’ αυτιά στο «Μωρό μου» (Πουλικάκος/ Σπανουδάκης) από το «Μεταφοραί Εκδρομαί Ο Μήτσος» (η αρχική ιδέα μπορεί να είναι από ’κει δηλαδή –μπορεί και όχι όμως– αν και, σε κάθε περίπτωση, οι άνθρωποι το πάνε παραπέρα). Επίσης, βρίσκω, πάντα εύρισκα, πολύ μπάνικο τον τρόπο που απαγγέλει ο Θάνος Κόης (είτε Άρη Αλεξάνδρου, είτε Μίλτο Σαχτούρη, είτε Κωνσταντίνο Καβάφη), καθώς με τη σχετική μουσική συνοδεία το όλον πράγμα ξεφεύγει (προς τα πολύ επάνω). Να μη μιλήσω, δε, για κομμάτια όπως τα «Καυγαδάκι», «Αρκετά», «Παγκοσμιοποίηση» κ.λπ., που φανερώνουν το πραγματικά ισχυρό δυναμικό των Lost Bodies – το «γιατί», εν ολίγοις, κάποιοι (λίγοι, πολλοί, περισσότεροι) τους θεωρούν αναντικατάστατους.
    Επαφή: www.b-otherside.gr
     

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    Elba Ramalho / Collection - 30 Albums Жанр : Samba\Forró\MPB Страна исполнителя (группы) : Brazil Год издания : 1979-2015 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 128-320 kbps Продолжительность : 24:18:03 Наличие сканов в содержимом раздачи : нет #77 Продолжительность : 00:36:19 Битрейт: 192 kbps Треклист: 01.

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    West End String Band / All Night Long Жанр : Country/Bluegrass Страна : USA Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 37:31 Треклист : 1.

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    320 kbps | 364 MB | UL | TB | DF

    This 2CD set anthologises Marty Robbins’ entire recorded output during 1961-62, featuring: four LPs and six hit singles. Much of this material is difficult to find elsewhere on CD, with the ‘Portrait Of Marty’ album making its CD debut herein.

    Tracklist:
    1. A Little Sentimental (2:54)
    2. Hurt (2:56)
    3. To Each His Own (1:56)
    4. I Can’t Help It (If I’m Still In Love With You) (2:10)
    5. Answer Me, My Love (2:08)
    6. Clara (1:31)
    7. Half As Much (2:08)
    8. Unchained Melody (2:18)
    9. Are You Sincere (2:32)
    10. Guess I’ll Be Going (2:05)
    11. To Think You’ve Chosen Me (2:09)
    12. Too Young (2:42)
    13. I’m In The Mood For Love (3:24)
    14. Misty (3:26)
    15. Looking Back (3:14)
    16. September In The Rain (2:02)
    17. Don’t Throw Me Away (3:29)
    18. Pennies From Heaven (2:08)
    19. Summertime (2:33)
    20. All The Way (3:00)
    21. It Had To Be You (2:27)
    22. I’m Having A Ball (2:05)
    23. If I Could Cry (2:45)
    24. On The Sunny Side Of The Street (1:56)
    25. Jimmy Martinez (3:26)
    26. Ghost Train (3:11)
    27. It’s Your World (2:48)
    28. You Told Me So (2:51)
    29. Sometimes I’m Tempted (2:23)
    30. I Told The Brook (2:54)

    1. The Bend In The River (2:29)
    2. Abilene Rose (2:56)
    3. Lolene (3:55)
    4. Foggy Foggy Dew (2:16)
    5. Beyond The Reef (3:04)
    6. Ka-Lu-A (2:25)
    7. Yours (Quiéreme Mucho) (2:36)
    8. Dusty Winds (1:50)
    9. No One Will Ever Know (2:11)
    10. The Nearness Of You (3:01)
    11. All The Way (Alternate Version) (2:55)
    12. I’ll Walk Alone (2:55)
    13. Devil Woman (2:51)
    14. Ain’t Life A Crying Shame (2:28)
    15. Time Can’t Make Me Forget (2:39)
    16. In The Ashes Of An Old Love Affair (2:02)
    17. The Hand You’re Holding Now (3:03)
    18. Worried (2:04)
    19. Little Rich Girl (2:33)
    20. Progressive Love (2:04)
    21. I’m Beginning To Forget (2:43)
    22. Love Is A Hurting Thing (2:26)
    23. Kinda Halfway Feel (2:42)
    24. The Wine Flowed Freely (2:13)
    25. Love Can’t Wait (2:45)
    26. Too Far Gone (3:03)
    27. April Fool’s Day (2:47)
    28. Ruby Ann (1:59)
    29. Won’t You Forgive (2:48)


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    320 kbps | 101 MB | UL | TB | DF

    There are always at least two ways to interpret David Olney’s songs. They involve earthly matters of love, work, and engaging in vices. They are parables about the relationship between human beings and God. The fact that the meanings intertwine so well reveals his talents as a songwriter and philosopher. Olney understands our worldly actions have a ripple effect that goes far beyond what an individual may intend. Everything is connected to everything else.

    Olney’s low and gritty vocals belie his heavenly concerns. He also takes things slow and easy, even when all hell is about to break out. Take his entreaties to the boss when the workplace is about to explode on “Situation”. The narrator needs backup. He can’t handle the problem, and he’s not even sure if there is one. But his instincts tell him something is wrong. Olney’s poetic language suggests the narrator himself may only be paranoid and there is no trouble (“Was that a siren’s whine / or was that a woman’s laugh /was that a raven calling / or the sound of broken glass”). Whatever the case, he needs the boss to come down and take care of the issue. Does he mean god and modern life or a worker in a nameless factory? The answer is yes to both.

    After 26 albums, Olney’s skills as a songwriter are well-known. His songs have been covered by Johnny Cash, Linda Ronstadt, Emmylou Harris and many others. But the 10 tracks gathered here on Don’t Try to Fight It are among his best. There is not a clunker in the bunch. One of them, “Yesterday’s News”, was originally written (but not recorded) when he was a young man in search of success. The self-referential treatment of this pursuit now as an older man adds another layer to the cut. Or in terms of the song itself, what does last call matter when tomorrow is another day? What does material gain and fame in life mean if there is an afterlife?

    Olney sings and plays acoustic guitar and harmonica on the album. He’s joined by Blair Hogan on electric and nylon string guitars, Brock Zemon (who produced and engineered the record) on acoustic guitar and glockenspiel, and various side musicians on drums, fiddle, cello, dobro, piano, accordion, and saxophone. The mostly acoustic instrumentation gives the sound an organic feel, rich with the compost of various Americana traditions. One can hear echoes of waltzes, two-steps, folk songs, country blues, and Southern gospel weaved into the mix. The echoes of the past are made present through people at the precipice of their understanding, whether it’s the person atop the “Ferris Wheel” looking down at the crowd and grasping their unhappy fate, the man at the circus (“Big Top”) seeing a tornado in the distance, or the one who spots the “Crack in the Wall” as an omen of a much bigger problem. Whatever the case, action needs to be taken.

    Or not. As he sings with co-writer Kieran Kane on the title track, sometimes it is best not to fight but to cosmically laugh at one’s existential circumstances. Sometimes it is best to let the phone keep on ringing and the train go down the rails without hopping on. Olney makes no claim as a preacher. He understands the attractions of sin and the limitations of clean living. He just pens songs that illuminate the human condition. Whether there is anything more to life, well, he’s still deciding.


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    Ryan Chrys & The Rough Cuts / Shovel Full Of Coal Жанр : Country/Rock Страна : USA Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 39:01 Треклист : 1.

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    R-6595230-1422748632-3660.jpeg
    1     Cosmópolis
    2     Ball De Gegents
    3     Tema Del Mull
    4     Arístides Y El Gato
    5     L’Enanito Trist
    6     Conga Con Ganas
    7     Gritos Y Susurros
    8     El Turista

     

     

    Grabacion anterior a su primer disco comercial con el material de Nuevos Encuentros en formato maqueta para presentar a las discograficas


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    Hicksville Band / Dakota Sunset Жанр : Country Страна : UK Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 44:16 Треклист : 1.

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  • 04/02/17--10:28: Party X5 Music Group (2017)
  • Party X5 Music Group (2017)

    Artist: Various Performers
    Title: Party 2017
    Label: Warner Music Group - X5 Music Group
    Style: Alternative, Power Pop, Blue-eyed Soul, RnB, Swing, Reggae, Dancehall
    Release Date: 01-03-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 28 Tracks
    Size: 292 Mb / 02:07:57 Min

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    DMC Commercial Collection 411 (2017)

    Artist: Various Performers
    Title: Commercial Collection 411
    Label: DMC Records
    Style: Funk, RnB, Soul, Swing, Jazz, Reggae, Cut-up DJ, Electro, Synthpop, House
    Release Date: 23-03-2017
    Format: 2CDr, Compilation, Partially Mixed, Special Edition
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 17 Tracks
    Size: 364 Mb / 02:38:26 Min

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  • 04/02/17--10:54: Mars Lasar - Utopia (2017)
  • Mars Lasar - Utopia (2017)


    Исполнитель: Mars Lasar
    Альбом: Utopia
    Год издания: 2017
    Стиль: New age

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    320 kbps | 204 MB | UL  | TB

    During the rock’n’roll era, the hit parade was dominated by boys but there were indications that a change was coming. Brenda Lee, Connie Francis and then Dusty Springfield led the way, together with girl groups like the Shirelles and the Shangri-las. But those female singers who had only the occasional hit are also an important part of the story of women in rock – and Linda Scott is a case in point. She could cut a good single and, uniquely for the time, wrote many of them herself. Enjoy this excellent collection including “I’ve Told Every Little Star”, “Yours”, “Starlight, Starbright” and many more.

    CD 1
    1. I’ve Told Every Little Star (2:19)
    2. Don’t Bet Money Honey (2:30)
    3. I Don’t Know Why (2:23)
    4. A Thousand Stars (2:03)
    5. I Wonder, I Wonder, I Wonder (1:55)
    6. Why Do Fools Fall In Love (1:30)
    7. I’ll Walk Alone (2:24)
    8. Town Crier (2:28)
    9. Yessiree (2:24)
    10. To Each His Own (1:58)
    11. Stardust (3:14)
    12. The Things I Love (2:19)
    13. Little Star (2:42)
    14. Three Guesses (2:13)
    15. Land Of Stars (2:00)
    16. The Loneliest Girl In Town (2:04)
    17. I’m So Afraid Of Losing You (2:29)
    18. Yours (2:31)

    CD 2
    1. Never In A Million Years (2:25)
    2. Starlight, Starbright (2:21)
    3. Catch A Falling Star (1:47)
    4. Goody Goody (2:13)
    5. I’m Gonna Sit Right Down, And Write Myself A Letter (2:39)
    6. Stars Fell On Alabama (2:18)
    7. The Loveliest Night Of The Year (2:09)
    8. You Are My Lucky Star (2:18)
    9. Through The Summer (2:10)
    10. It’s All Because (2:37)
    11. Count Every Star (2:35)
    12. Bermuda (2:10)
    13. Blue Star (2:53)
    14. Lonely For You (2:23)
    15. Lopsided Love Affair (2:00)
    16. When You Wish Upon A Star (2:21)
    17. I Left My Heart In The Balcony (2:38)
    18. Christmas Day (2:15)


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    SomiFor her previous effort, 2014’s superb Lagos Music Salon, New York-based singer/songwriter Somi moved to Lagos, Nigeria in order to absorb the city’s vibrant music and culture and utilize them as a catalyst for her own cross-pollinated jazz and R&B. On 2017’s Petite Afrique, she turns her attention back across the Atlantic to New York’s Harlem, drawing inspiration from that city’s deep cultural roots to celebrate America’s immigrant experience. Although born in Illinois, Somi is the daughter of Rwandan and Ugandan immigrants, and even spent several years living in Zambia and Kenya as a child. Consequently, she brings a unique cultural perspective to her music, a sound informed by jazz, R&B, and African and Latin traditions. Here, Petite Afrique (or “Little Africa”) refers to…

    125 MB  320 ** FLAC

    …a stretch of Harlem along West 116th Street, famed for its many shops and restaurants historically run by French-speaking Muslim West African immigrants. Somi even includes snippets of recorded conversations she had with Harlem locals and cab drivers to help flesh out her story-based song cycle. Produced by Lagos Music Salon’s Keith Witty, Petite Afrique showcases an adept ensemble including guitarist Liberty Ellman, pianist Toru Dodo, bassist Michael Olatuja, and drummer Nate Smith. Also collaborating with Somi is trumpeter and associate producer Etienne Charles (himself an immigrant who grew up in Trinidad), who co-wrote some of the songs and supplies string and horn arrangements featuring fellow jazz musicians tenor saxophonist Marcus Strickland and alto saxophonist Jaleel Shaw.

    The result is a set of songs that deftly straddle the lines between evocative R&B, atmospheric world music, and organically robust jazz. It’s a sophisticated vibe, full of pathos, awareness, and poetry, both in the lyrics and in the melodies. It brings to mind the work of icons like Nina Simone and Miriam Makeba, and aligns Somi with such highly regarded contemporaries as Cassandra Wilson and Esperanza Spalding. After a brief opener of found sounds and spoken words that set the Harlem milieu, Somi kicks things off with “Alien,” a bold, wry reworking of Sting’s “Englishman in New York,” featuring the revised chorus of “I’m an alien, I’m a legal alien, I’m an African in New York.” Similar themes of racial and cultural identity crop up throughout Petite Afrique, as on the moody, Afro-pop-inflected “Black Enough” and the languid, classical guitar-tinged “Like Dakar.” Elsewhere, Somi ruminates on the gentrification of Harlem on the thrilling, Duke Ellington and Charles Mingus-influenced “The Gentry.” She also delivers several poignantly rendered ballads, including the string-accented “They’re Like Ghosts,” in which she equates the romanticized feelings one might have for an old lover with the displacement of moving to a new country and longing for a past that might never have really existed, at least not exactly as you might remember it. She sings “They’re like ghosts, these old lovers/Glowing in my dreams, twilight/Singing with a sweet familiar/But out of reach and out of sight.” Undeniably, Somi has crafted a deeply emotive, socially minded album rife with layers of dense jazz harmonies and intoxicating soul grooves. However, what truly grabs your attention on Petite Afrique is her intuitive ability to capture the spirit of the immigrant heart, that dichotomously sorrowful and joyous sweet familiar between the old world and the new.


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    320 kbps | 146 MB | UL | TB | OB

    Music superstars Dailey & Vincent are excited to announce the release of their upcoming eighth album, Patriots & Poets on March 31. The star-studded project features collaborations with bluegrass music’s top musicians including Steve Martin, Doyle Lawson, Bela Fleck, and David Rawlings.

    The project features 16 all-new tracks that were all written or co-written by Jamie Dailey and Darrin Vincent, with a collection of energizing upbeat songs, along with slow sing-along anthems. Standout tracks on the project include the feel-good track “California” which features a very special verse by comedic and bluegrass enthusiast Steve Martin. Other highlights on the project include thought-provoking songs like, “Beautiful Scars” and “American We Love You,” all highlighting harmonies by 6-time “Male Vocalist of the Year” winner Jamie Dailey and 5-time Grammy® winner Darrin Vincent. Another feel-good moment on Patriots & Poets includes the track “Bill and Ole Elijah.”


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