Articles on this Page
- 04/20/17--06:51: _Robyn Hitchcock – R...
- 04/20/17--07:01: _Omar Rodriguez-Lope...
- 04/20/17--07:04: _Morionor – Morionor...
- 04/20/17--07:04: _Talib Kweli & Style...
- 04/20/17--07:35: _Όλο το καλό rock πο...
- 04/20/17--07:35: _The Waifs - Ironbar...
- 04/20/17--07:38: _Brad Paisley – Love...
- 04/20/17--07:58: _Procol Harum – Novu...
- 04/20/17--08:09: _Ron Sexsmith – The ...
- 04/20/17--08:14: _Irish singer Imelda...
- 04/20/17--08:29: _The Raveonettes – 2...
- 04/20/17--08:49: _Willie Nelson – God...
- 04/20/17--09:08: _Gorillaz – Humanz (...
- 04/20/17--09:42: _(Ethnic) [CD] Nusra...
- 04/20/17--09:46: _La Noche - Sigueme ...
- 04/20/17--09:57: _John Primer & Bob C...
- 04/20/17--10:07: _A Few Words With Vi...
- 04/20/17--10:46: _Leo Rey - ...Sigue ...
- 04/20/17--11:26: _Stiff Little Finger...
- 04/20/17--12:34: _THURSTON MOORE ROC...
- 04/20/17--06:51: Robyn Hitchcock – Robyn Hitchcock (2017)
- 04/20/17--07:01: Omar Rodriguez-Lopez – Solid State Mercenaries (2017)
- 04/20/17--07:04: Morionor – Morionor (2005) (FLAC)
- 04/20/17--07:04: Talib Kweli & Styles P – The Seven [iTunes Plus AAC M4A]
- 04/20/17--07:35: The Waifs - Ironbark (2CD) 2017
- 04/20/17--07:38: Brad Paisley – Love and War (2017)
- 04/20/17--07:58: Procol Harum – Novum (2107)
- 04/20/17--08:09: Ron Sexsmith – The Last Rider (2017)
- 04/20/17--08:29: The Raveonettes – 2016 Atomized (2017)
- 04/20/17--08:49: Willie Nelson – God’s Problem Child (2017)
- 04/20/17--09:08: Gorillaz – Humanz (2017)
- 04/20/17--09:46: La Noche - Sigueme (2010)
- 04/20/17--09:57: John Primer & Bob Corritore – Aint Nothing You Can Do (2017)
- 04/20/17--10:07: A Few Words With Vieux Farka Touré
- 04/20/17--10:46: Leo Rey - ...Sigue el Sabor (2011)
- 04/20/17--11:26: Stiff Little Fingers – No Going Back [Reissue ] (2017)
- 04/20/17--12:34: THURSTON MOORE ROCK N ROLL CONSCIOUSNESS - 2017
320 kbps | 101 MB | LINKS
Robyn Hitchcock has announced a new self-titled album due out April 21st. Coming from Yep Roc Records, the follow-up to 2014’s The Man Upstairs marks the 21st full-length of Hitchcock’s legendary career.
Described as “an ecstatic work of negativity,” Robyn Hitchcock was recorded in the British icon’s adopted home of Nashville, Tennessee with producer Brendan Benson of The Raconteurs. He was joined in studio by guitarist Annie McCue, bassist Jon Estes, and drummer Jon Radford, along with singers Gillian Welch, Wilco’s Pat Sansone, Grant Lee Phillips, and Emma Swift.
320 kbps | 102 MB | LINKS
01. Bought Some Faith
02. Sinister Page
03. Congenial Censor
04. Lightning Round :29
05. Killing Out The Special Tide
06. Five Star
07. Strangled Maybes
08. Mommy Dearest
09. Your Hazard Name
10. Try On Little Man
Morionor – Morionor (2005) (FLAC)
Released: 2005 | Track: 6 | Country: US | FLAC | Time: 00:32:37 | Label: Not On Label | Artwork Included | 3% Recovery Added | 285 MB
03. Cacophony In Rapture
04. Heresy Incarnadine
06. Charlatan Divine
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Release Name:Talib Kweli & Styles P – The Seven Tunes Plus AAC M4A
Genres: Hip-Hop/Rap, Music, East Coast Rap
Label: 2017 Javotti Media / 3D
1. Poets and Gangstas
2. Brown Guys
3. Nine Point Five (feat. Sheek Louch, Jadakiss & NIKO IS)
4. In the Field
5. Teleprompters (feat. Common & Vic Orena)
6. Let It Burn (feat. Rapsody & Chris Rivers)
7. Last Ones
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The post Talib Kweli & Styles P – The Seven [iTunes Plus AAC M4A] appeared first on MusDL.
LiFO.grτούτο συνέβη για τον εξής απλό λόγο… «Το περιοδικό, με το καλημέρα τής αμερικανόδουλης “εθνικής κυβερνήσεως”, δεν ήθελε να δείξει πως ένα κομμάτι της νεολαίας, υπό τους ήχους ενός δυτικού νεανικού συγκροτήματος, αυθαδίαζε κι έτσι όλο το ρεπορτάζ των Μοντέρνων Ρυθμών, που θ’ αφορούσε στους Stones από το live της Λεωφόρου, παραλήφθηκε – με τη σύμφωνη γνώμη προφανώς τού εγνωσμένης αντικομμουνιστικής ιδεολογίας και δράσης (ήδη από τα χρόνια του '40) εκδότη τους Θανάση Τσόγκα».
Το πρόβλημα δηλαδή δεν ήταν το ροκ γενικώς, αλλά ειδικώς η μια κάποια… διασάλευση της τάξεως. Αυτό φαίνεται και από τη γενικότερη αρθρογραφία του συγκεκριμένου τεύχους των Μ.Ρ. (του #80 εννοώ), όπου μεταγλωττίζονται τραγούδια των Troggs, Dave Clark Five, Byrds, «κριτικάρονται» 45άρια των Ricky Shayne και Simon Dupree and the Big Sound (μεταξύ άλλων), παρουσιάζονται ειδήσεις από τον κόσμο του ροκ (Manfred Mann, Alan Price Set, Who), με τον Γιάννη Πετρίδη στη στήλη του «Μουσική Επιθεώρηση από τη Θεσσαλία» να προμοτάρει κανονικά την επικείμενη συναυλία των Animals, δίνοντας μάλιστα και τηλεφωνικό αριθμό για τη σχετική επικοινωνία! Δηλαδή για το τεύχος της 10ης Μαΐου το live των Animals ήταν ακόμη εν ισχύι και αν δεν έγινε, τελικώς, τούτο δεν οφειλόταν στο ότι συνέβησαν κάποια επεισόδια στη συναυλία των Rolling Stones (και άρα το... απαγόρευσε η χούντα), αλλά γιατί η εταιρεία M PLUS M Enterprises (Μαστοράκης και Μανιατόπουλος), που έφερε τους Rolling Stones, είχε εν τω μεταξύ φαλιρίσει.
|Νούμερο 1 στην Ελλάδα την 10η Μαΐου 1967|
Исполнитель: The Waifs
Альбом: Ironbark (2CD)
Год выхода: 2017
Жанр: Folk Rock / Country Rock
Страна: Australia (Albany Western Australia)
Формат: Lossless: FLAC (track's) cue+covers+log
Размер: 594 Mb
Залито на: Uploaded | Rapidgator
320 kbps | 125 MB | LINKS
Love and War is the eleventh studio album by American country music singer Brad Paisley. It will be released on April 21, 2017 via Arista Nashville.
The album’s originally intended lead single was “Without a Fight”, a duet with Demi Lovato which did not make the album’s final track listing. The first single to be included on the album is “Today”. Paisley co-produced the album with Luke Wooten.
Included on the album are collaborations with Mick Jagger, John Fogerty, Timbaland, and Bill Anderson. The song “Gold All Over the Ground” is based on a poem written by Johnny Cash in the collection Forever Words.
320 kbps | 119 MB | LINKS
The brand new studio album “Novum” (on CD and 2LP) by PROCOL HARUM will be released on April 21 via Eagle Records. The band’s first studio album in fourteen years, and thirteenth overall, follows 2003’s “The Well’s On Fire”. “Novum” is released as the band celebrates its 50th anniversary, while also undertaking a European tour.
Read more at http://www.blabbermouth.net/news/procol-harum-to-release-first-new-studio-album-in-14-years/#fIO8Fy8A9e9PbLP2.99
“Novum” sees a new direction for PROCOL HARUM, with the songs being written and created by the whole band, with most songs featuring words by Pete Brown, most famous for his songwriting collaboration with the members of CREAM. This has given a different feel to the songs, retaining the thought provoking content for which the band has always been known but with a different slant and elements of humor.
Gary Brooker (vocals, piano); Geoff Dunn (drums); Matt Pegg (bass); Josh Phillips (organ); Geoff Whitehorn (guitar).
320 kbps | 112 MB | LINKS
After going for a ride on Carousel One in 2015, Ron Sexsmith is gearing up to take another musical trip with a new album this spring. Titled The Last Rider, Sexsmith’s 13th studio LP will arrive in April on April 21 via Warner Music.
Fifteen tracks in length, The Last Rider was co-produced at Kingston’s Bathouse Studios by Sexsmith and collaborators Don Kerr. The album also stands as the first to include Sexsmith’s touring band.
“At this point, it’s just second nature for me to write short, melodic songs that say everything I want to say,” Sexsmith said in a statement. “But having my band totally involved on this album maybe brought out more in the songs than on other recent albums. It felt special, anyway.”
May's new sound is showcased in her latest album, "Life. Love. Flesh. Blood."
320 kbps | 117 MB | LINKS
One of the biggest challenges for a band is pushing your sound forward without forcing creativity. The Raveonettes’ solution of moving the decade their brand of retro-electro draws on is a clever one. After a few albums with a Sixties vibe, they’ve progressed moved into a combination of Eighties and current pop that feels like a natural next step.
And it’s… often perfectly enjoyable. This latest album 2016 Atomized, a compilation of 12 monthly releases put out last year. It starts very promisingly at least. The riff on ‘The World Is Empty (Without You)’ is catchy, the song makes good use of textural levels – when to grow and when to hold back – and it’s basically, cleverly, made up of three different choruses. Second track ‘Run Mascara Run’ has a catchy title, a differently good melody and a guitar solo. But there’s no real chorus, the middle eight is a substanceless whisper, and every so often the song breaks to play just one, very different sound. Already the cracks are beginning to show. And so the rest of the album continues, on a downwards slope that’s gentle but decided.
The songs seem to exist in a pretty cloud of somehow-soft neon pink, so pretty in fact that it made me question why I wasn’t enjoying it. But the songs aren’t catchy enough to get away with being this light on substance, and the riffs and melodies very rarely deviate from the first five notes of a minor scale. It’s perfectly pleasant background listening, but it yields diminishing returns from close listening.
‘Excuses’ was a particularly grating, with its three entirely separate and incoherent musical ideas, but also with its uncomfortable lyrical concept of hate-fucking someone specified to be female. It’s not something I’m personally comfortable with the glamorising of regardless of gender, but even when sung by Sharin Foo (a woman) and regardless of any mitigating concept, a story of heterosexual hate-sex from the male perspective against a cultural backdrop of men both hating and fucking women being the norm feels specifically uncomfortable. Also the invocation of the character’s mother here and later in ‘Won’t You Leave Me Alone’ is a really weird lyrical cliché that adds nothing but another layer of discomfort that’s less easy to explain. Male self-infantilization? Vaguely oedipal character conflict? Incongruous conservatism? Whatever it is, it’s a rubbish lyrical device.
Mostly though, 2016 Atomized’s worst offence is simply its inability to grip the listener. One assumes it wasn’t conceived as an album, and in shoving the tracks next to each other it’s hard to come away from it with a sense of anything gained, and in the context of the album as a whole the opener ‘My World Is Empty’, at first so promising, feels almost retrospectively disappointing. It’d be a fine album track, but it’s nowhere near strong enough to stand as the strongest track on an album.
160 kbps | 77 MB | LINKS
If Willie Nelson hadn’t fashioned himself into the artist he is over the course of thousands of performances and some hundred-plus albums, who could’ve dreamed him up? He’s been the epitome of consistency, each of his shows an easygoing epic, each album loosely held together by a narrative or stylistic thread, each project expanding on country’s troubadour tradition. And yet, he’s also the most capricious of musicians, willing to let himself be guided by his whims, so wily and jazz-bent in the phrasing of his vocals and guitar figures that trying to match his wavering rhythms is a fool’s errand.
On his rich, new album, God’s Problem Child, Nelson likewise attributes an incongruous range of qualities to the passage of time itself. Where some artists embrace somber, late-career meditations on mortality as a way to make a final case for their depth and burnish their legacies, at age 84, Nelson reflects on this season of his life with a mischievousness and equanimity that already feels familiar coming from him.
Bookending the album are songs that convey nostalgia for places and people: the gospelly country-blues romp “Little House on the Hill” — a first-time cut for songwriter Lyndel Rhodes, the nonagenarian mother of Nelson’s seasoned producer, Buddy Cannon, who’s been on quite the roll this year — and “He Won’t Ever Be Gone,” a twangy, Gary Nicholson-penned tribute to Nelson’s late peer and comrade, Merle Haggard.
320 kbps | 112 MB | LINKS
01. Intro: I Switched My Robot Off
02. Ascension (feat. Vince Staples)
03. Strobelite (feat. Peven Everett)
04. Saturnz Barz (feat. Popcaan)
05. Momentz (feat. De La Soul)
06. Interlude: The Non-Conformist Oath
07. Submission (feat. Danny Brown & Kelela)
08. Charger (feat. Grace Jones)
09. Interlude: Elevator Going Up
10. Andromeda (feat. D.R.A.M.)
11. Busted and Blue
12. Interlude: Talk Radio
13. Carnival (feat. Anthony Hamilton)
14. Let Me Out (feat. Mavis Staples & Pusha T)
15. Interlude: Penthouse
16. Sex Murder Party (feat. Jamie Principle & Zebra Katz)
17. She’s My Collar (feat. Kali Uchis)
18. Interlude: The Elephant
19. Halleujah Money (feat. Benjamin Clementine)
20. We Got the Power (feat. Jehnny Beth)
Nusrat Fateh Ali Khan / Mera Piya Ghar Aaya Жанр : Ethnic Носитель : CD Год издания : 1998 (?) Издатель (лейбл) : ArsNova Аудиокодек : FLAC (*.flac) Тип рипа : tracks+.cue Битрейт аудио : lossless Продолжительность : 1:02:15.
320 kbps | 123 MB | LINKS
John Primer and Bob Corritore join forces once again to present their deep Chicago blues roots. Their 2013 Delta Groove debut, ‘Knockin’ Around These Blues,’ garnered awards and nominations, international critical praise, and a number one spot on the Living Blues radio charts! Backed by an all-star cast that includes Henry Gray, Barrelhouse Chuck, Big Jon Atkinson, Troy Sandow, Chris James, Patrick Rynn and Brian Fahey, Primer and Corritore lead their seasoned session partners through a hard-hitting program of stompin’ shuffles, rowdy dance floor packers and treacherous slow blues.
If you’ve been in the orbit of Afropop for any time you should be well acquainted with Vieux Farka Touré. His father, Ali Farka Touré, is counted with King Sunny Adé, Sir Victor Uwaifo, Franco and Djelimady Tounkara as a luminary in a generation of great African guitar maestros. Vieux Farka is an apple that didn’t fall far from the tree, himself an exceptional player whose deft fingers and wide capacity for collaboration have produced several excellent albums and to be sought out by notable guitarists from around the world. Touré is consistently turning out solid, guitar-driven music rooted in the sounds of his birthplace in northern Mali. He’s worked across the board with American guitarists like John Scofield and Derek Trucks, Israeli musician Idan Raichel, his father’s protégé Afel Bocoum and young kora player Sidiki Diabaté, son of Toumani Diabaté. His recent album, Samba, is yet another production rich with his uniquely warm, dynamic guitar sound. Vieux Farka Touré was in New York recently for the beginning of a tour for this album, performing at BRIC in Brooklyn, with local Gnawa group Innov Gnawa opening. Afropop’s Sebastian Bouknight sat down with Touré for a brief conversation about his music, Mali and the future.
Photos by Sebastian Bouknight.
Sebastian Bouknight: Hi Vieux, good to see you again. Could you introduce yourself?
Vieux Farka Touré: I’m Vieux Farka Touré, I’m from Mali. I’m a musician and we’re just starting the tour for the new album, Samba.
What can we expect from Samba?
You know, Samba is a…trio and quartet album, it’s not very busy. It’s very…I’ll say simple. But why Samba? Samba is…I’m Samba. Because I am the second boy in the family so they call me [Samba]. All second boys in the family are named Samba. But, when I’m young, my dad and grandfather, they sing for me “Samba Si Kairi.” [Sings “Samba Si Kairi” and claps in rhythm]. So I’m young, I’m on the calabash and I’m dancing [sings and claps more]. It’s like… for me it’s like a homage for my grandparents.
Vieux Farka Touré
You began playing music on the calabash, yes?
Yeah, with the calabash, the rhythm. That’s it! I started with the calabash, with congas, drum set, and after, I could play all of that and I thought it’d be good to play guitar. So that’s how I started.
So on this album you worked with Idan Raichel, Afel Bocoum and others.
Yes, I invited them – you should know that Idan is a friend of mine…I told myself, “O.K., it’ll be good to invite him to be on this album.” It’s an album for peace, it’s an album of the revolution, in fact you’ll find everything about society on this album – it’s very important.
What do you like about Idan? What draws you to work with him?
It’s his manner of playing. It’s very special, his special way of doing things. It’s very important. When you make music, you have to have your own signature. It’s very important.
Vieux Farka Touré
What is your own signature sound?
Ah, when you hear the guitar you know that it’s Vieux Farka because it doesn’t resemble anyone. I don’t copy anyone. I play only what comes from the heart and that’s it. That’s what it is.
For sure. You’ve worked with Sidiki Diabate as well.
Yes, on my last album, Mon Pays, Sidiki did two tracks on the kora.
Yes and he plays the kora just like…
Like his dad [Toumani Diabate]! Of course.
Right! Plus, he also makes hip-hop.
Well yes, he makes other music but, me, I prefer his kora side, in fact. Because for me, I don’t use any programming – it’s something that I don’t do in my projects. So, O.K., in music everyone has something that they want. All in all, often it’s good to use programming, but it’s not my genre. [Sidiki], he creates something for him and there you go, it’s like that.
So, the next generation of Malian musicians – what do you think about that generation? Are there musicians that are learning from the style of Vieux Farka?
Yes, there are the people that learn and there are people that want to play like me; it’s like that. You should know that Malian music is not like it used to be. There was a moment when Malian music was very, very strong; very, very respected. But not these days, you know? Because, I think about the time of Ami Koita, the time of Kandia Kouyate, the time of Ali Farka [Touré], the time of Habib [Koite], the time of Toumani Diabate, all of them. The music isn’t like that now. It used to be an education, a form of education that the people did, but today, it’s not that. Today, Malian music, it’s mostly the youth, you see? They say whatever, they do whatever…One says it’s Malian music, though it mars the name of this culture. For me, that reality is my big problem with it. You can make music, but not from a negative attitude, you know? You should make it with a positive attitude and that’s what’s good.
Vieux Farka Touré
Interesting. So what is happening now, what is life like now in Niafunké, in Bamako, in Mali in general?
You should know that now, the reality is that it is only poverty. The people are poor, the people don’t have anything. You have to say it like it is because that’s the reality of things. There are many problems in Mali today – many, many, many problems. We pray only that God truly helps us. It’s not good. That’s it. Mali is really, really doing badly. That’s how it is. So I am not proud of it right now, not at all. It worries me a lot. All of these problems truly worry me a lot but I’m not afraid of anything. All we can tell the people is to be calm. As a Malian musician, all I can tell people is to stay calm. That’s all. Because, I swear, I know Malian people well. The day it all goes, it’ll all be ruined. That’s Mali’s problem. Malians are very positive, but the day things go to shit, it’s going to get real bad. That’s the real problem. But, we don’t want it, because of all of those who passed the last time, all those who lived, those whose parents lived…I think that the people should reflect and say O.K., we cannot fall into the same horror. They will not fall into the same horror. One must just try to fall on the good side. That’s it.
Thank you for sharing that, that’s real, that’s very real. We’re always praying for Mali too. O.K., I have a question about Innov Gnawa [who opened for him earlier this night]. Do you see a relationship between Gnawa music and your music?
Songhai music and Gnawa music are the same thing [Laughs]. It’s the same, man, the Gnawa music and the music from the north of Mali–the real same, no difference. Just these people playing with the ngoni [guembri] and we’re playing the guitar, but it’s the same man, very same. They are just very original, playing the original sounds from where they are. It’s very good.
When I first heard Gnawa I thought of the donsow music, the music of the Malian hunters.
Yes, the donsow of Mali. It’s very important.
Maalem Hassan Ben Jaffer of Innov Gnawa
So there are deep connections between those kinds of music. You also work with many musicians from other places and who play many kinds of music, like the album with Julia Easterlin [Touristes], Idan [Raichel], Derek Trucks…
Yes, John Scofield, Eric Krasno too. It’s normal!
No! Because the music doesn’t have borders, you know, it doesn’t have any borders. Music is like a highway, it’s like…
Touré’s friend: “Like air! Like water!”
Vieux Farka: Yeah like air, you can just play with everybody. It’s what I love, I just love to play with everybody…So we have to create; to create you have to play with people and, you know, learn with everybody. It’s very important. But people think, “No, no, no, we just know what we know and we’re fine.” It’s not like this. You know what you know, but you need more. This is why I’m playing with everybody and I’m learning…It’s very important.
Friend: Music is like a food; every day you have to taste it.
Right on. Then this album, Samba. What is its story? How did it get made and where was it recorded?
It got recorded in Woodstock [New York], but it took a very long time to get made. It started with the song, “Samba [Si Kaidi].” I played it like four years back, maybe, before I made the album Mon Pays, you know? It’s not an album that you make quick just like that, you know? It has been a long time. So we were recording in Woodstock, live. Because sometimes, Eric [Herman, my manager] tells me, “When you are on the stage, you have this energy – it’s what I love and you’re going to put it on an album.” I say, “O.K., let’s see.” So, in Woodstock we go in and do this album live, with everybody listening. We took this album live and people, they say, “Oh my goodness, you have this energy, it sounds like you did this album live.” And you say, “Sure, it is live, yes.” But you know, it’s not everybody that can make an album live. It’s very difficult to make an album live, because it’s not possible to change anything, you know? When you play, it’s one way, you take and it’s finished.
No doubt. Are you happy with it?
I’m very glad, I’m very happy to do this album, Samba, like this.
It’s the real deal, it’s an excellent album. Thanks so much for your time, Vieux.
All right man, thank you.
320 kbps | 198 MB | LINKS
Stiff Little Fingers are back! No Going Back (Reissue 2017) released in the course of the bands 40th anniversary tour, comes with 12 exclusive demo songs, an acoustic version of “My Dark Places” and a live version of “When We Were Young.”
Stiff Little Fingers were formed in 1977 in Belfast, Ireland. Along with the likes of The Clash, Sex Pistols, The Jam, Buzzcocks, Undertones, Sham 69, The Stranglers – Stiff Little Fingers were at the forefront of the punk movement. They wrote initially about their own lives, growing up at the height of The Troubles in Northern Ireland, in songs like “Suspect Device” and “Wasted Life.” In November of ’77, they released those two songs on their own Rigid Digits label, and sent a copy to BBC Radio One DJ John Peel, who started playing it every night.
These were the first of what became SLF’s signature style: lyrics that meld the personal and political, music that combines the energy of punk with infectious hooks, and delivery that rings of honesty and commitment.
‘No Going Back’ was originally released in March 2014. With song titles like “Trail of Tears,” “My Dark Places” and “Liar’s Club,” covering topics such as the recent economic collapse, Jake’s personal struggle with depression, and continuing racism in the west.
Jake has said, “You’ve probably worked out by now, I don’t do ‘comedy’ songs!” But the songs continue to inspire fans old and new. Countless people have already contacted Jake to say that “My Dark Places” gave them the strength to tell others about their own bouts with depression.
ROCK N ROLL CONSCIOUSNESS - 2017