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    FLAC | 1,3 GB | LINK

    Tracklist:

    01. (Nothing But) Flowers
    02. God’s Child
    03. And She Was
    04. Once in a Lifetime
    05. The Great Intoxication
    06. Marching Through the Wilderness
    07. The Revolution
    08. This Must Be the Place (Naïve Melody)
    09. What a Day That Was
    10. Desconocido Soy
    11. Like Humans Do
    12. Life During Wartime
    13. I Wanna Dance With Somebody


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    La Santa CeciliaSince 2013, Los Angeleno quartet La Santa Cecilia have cut a singular path through the weeds that separate Latin music from Anglo pop. They’ve covered everything from the Beatles “Strawberry Fields Forever” to Ramon Ayala’s “Tragos de Amargo Licor.” Their own songs can be exercises in pure pleasure or poignant anger. But Amar y Vivir, their debut for producer Sebastián Krys’ Rebelon Entertainment label, is unlike anything they’ve done before. It is an audio-visual album comprised almost exclusively of covers of classic songs — old and new. It was recorded live to tape on the streets, in plazas, cantinas, and theaters in and around Mexico City.
    While the music can be utterly enjoyed on its own, the visuals add context, history, depth, and…

    94 MB  320 ** FLAC

    …mystery. The title is a mournful bolero composed by Consuelo Velazquez (author of “Besame Mucho”) performed almost straight with rockers Comisario Pantera at an indie rock club. The interplay of an electric guitar’s tremolo and Pepe Carlos’ requinto urge La Marisol to dig deeper. “Odiame,” recorded in a theater, is a classic ranchera featuring Noel Schajris on piano and vocals, and offers a dazzling display of requinto playing by Carlos. On “Comos Dios Manda,” the band is supported by the great Mariachi America orchestra. The throaty longing in La Marisol’s voice, contrasted with the sweetness in the instrumentation, is breathtaking. The bolero “Mar y Cielo” is striking for its symbolism: Performed in a plaza, it’s one of first songs La Marisol ever sang in public. Celebration reins when La Santa Cecilia play the conjunto “Mexicano America” electrified — in a diner — with rockabilly act the Rebel Cats. There is a deeply moving tribute to Juan Gabriel as the band performs his oft-covered “Amor Eterno” at night in a plaza where mariachis usually play for tips. As this project unfolds, a story gets told: La Santa Cecilia have their feet in two places: in the culture and history of both Mexico and the U.S. Past and present are inseparable; so are the countries on both sides of the border: Mexico is the indelible space where Latin America meets the Anglo world; it is only together that they are Norteamérica — their histories, bloodlines, and cultures are now forever entwined. A cover of Smokey Robinson’s “You Really Got a Hold on Me,” cut in the lobby of a hotel, binds tight that notion as proof that Yanqui R&B has influenced Mexican popular music. Chilean singer Mon Laferte guests on a cover of Cafe Tacvba’s “Ingrata” from a rooftop; sung by two women, it turns the tables on the male gaze in romantic relationships. A burning read of Violeta Parra’s son jarocho classic “Volver a Los 17” rocks in a public street with El Siquisiri before the record closes with Jose Alfredo Jimenez’s “En el Ultimo Trago” with diva Eugenia Leon, the greatest living vocalist in Mexico. As duet partners, she and La Marisol are almost staggering.

    The album concludes here, but this story doesn’t end. With Amar y Vivir, La Santa Cecilia offer stunning aural and visual proof that a new chapter is being written every moment.


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  • 06/20/17--12:14: OVERLAKE FALL - 2017



  • OVERLAKE
    Overlake
    FALL - 2017





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    320 kbps | 210 MB | LINKS

    Rescued from defunct formats, prised from dark cupboards and brought to light after two decades in cold storage… OK COMPUTER: the original twelve track album, three unreleased tracks and eight B-sides, all newly remastered from the original analogue tapes.OKNOTOK will be issued on June 23rd through XL Recordings, coinciding (roughly) with the original 1997 release date(s) of Radiohead’s landmark third album OK COMPUTER.OKNOTOK features the Radiohead completist’s dream: “I Promise,” “Lift,” and “Man of War.”The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK.

    CD1

    01. Airbag
    02. Paranoid Android
    03. Subterranean Homesick Alien
    04. Exit Music (For a Film)
    05. Let Down
    06. Karma Police
    07. Fitter Happier
    08. Fitter Happier
    09. Climbing Up the Walls
    10. No Surprises
    11. Lucky
    12. The Tourist

    CD2

    01. I Promise
    02. Man of War
    03. Lift
    04. Lull
    05. Meeting in the Aisle
    06. Melatonin
    07. A Reminder
    08. Polyethylene (Parts 1 & 2)
    09. Pearly*
    10. Palo Alto
    11. How I Made My Millions


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    frontVarious Artists
    Folk Music Of Rumania From the Collection of Béla Bartók
    (Ethnic Folkways Library, 1951)
    more details


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    Ifriqiyya ElectriqueIfriqiyya Electrique
    Rûwâhîne
    (Glitterbeat, 2017)
    more details


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    320 kbps | 114 MB | LINKS

    Soul-infused southern blues from a native Texan singer/songwriter stepping out into the blues-rock arena.


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    320 kbps | 210 MB | LINKS

    Tracklist:
    01. Mary Wells – My World Is Empty Without You Babe (02:50)
    02. Wilson Pickett – You Keep Me Hangin’ on (Remastered) (04:54)
    03. Richie Havens – Going Back To My Roots (05:03)
    04. Bettye Swann – This Old Heart of Mine (04:31)
    05. Brownsville Station – Leavin’ Here (03:05)
    06. Cilia Black – Something About You (02:53)
    07. Grand Funk Railroad – Nowhere to Run (02:39)
    08. The Rascals – Mickey’s Monkey / Love Lights (04:48)
    09. Matt Monro – The Happening (02:48)
    10. Helen Shapiro – Please Mr Postman (Remastered) (02:37)
    11. Cliff Bennett & The Rebel Rousers – I’m a Road Runner (Remastered) (02:34)
    12. Dionne Warwick – (I’m) Just Being Myself (04:36)
    13. Elvis Costello – Remove This Doubt (03:52)
    14. 20th Century Steel Band – Standing In The Shadows Of Love (05:22)
    15. Carla Thomas – Forever (02:48)
    16. Gary Private – Reach Out (I’ll Be There) [Short Version] (03:51)
    17. Ben E. King – Family Jewels (03:36)
    18. Margie Joseph – All Cried Out (05:39)
    19. Modern Romance – Band Of Gold (03:54)
    20. The Forester Sisters – (That’s What You Do) When You’re In Love (03:04)
    21. Cilia Black – (Love Is Like A) Heatwave (02:08)
    22. Dionne Warwick – You’re Gonna Need Me (04:31)
    23. Louise – Never Too Late (04:05)
    24. Low Budget Blues Band – Can I Get A Witness (03:02)
    25. Zindy Kuku Boogaloo – I Can’t Help Myself (03:21)


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    With the passing of Chuck “Baba” Davis, American dance legend and father of Brooklyn Academy of Music’s annual African dance series DanceAfrica, we celebrate the legacy he has left behind for the next generation to continue. One of those legacies is the Chuck Davis Emerging Choreographer Fellowship, an opportunity for developing choreographers to conduct research and further their artistic practice by traveling to Africa to study with one or more experts in African dance. The fellowship, in partnership with BAM, is monumental, as it combines the resources of established arts institutions, reputable choreographers and companies to invest in the artisans of tomorrow, specifically those studying African dance techniques. In April, Akornefa Akyea, Afropop’s director of new media and operations, and I attended the inaugural showcase of Kwame Shaka Opare, the first beneficiary of the fellowship, presenting .theScope.theWork.theProcess: GHANA. After his presentation, Opare and I spoke on the phone to discuss his current work, the career routes he has been on and where he is planning to go next.

    Born and raised in Washington D.C. and New York, Opare has been a longstanding member of the African dance community, a connection fostered at an early age. In 1989, Opare, then 14, became a senior company member of the KanKouran West African Dance Company. Under the direction of Assane Konte, cofounder and artistic director of KanKouran, Opare transformed his passion into a career. Throughout his childhood, Opare recounted, studying West African dance was encouraged by his parents to foster a cultural connection with his heritage as a member of the African diaspora. Unlike today where there are constant budget cuts chipping away at arts programming, dance and music were part of the curriculum and pedagogical structure of his schooling. Opare explained that “[Dance] wasn’t a separate thing.” Through KanKouran, Opare was able to see and learn under master dancers and national companies touring the United States, especially through KanKouran’s National Conference and Concert featuring world-renowned African dance performers, such as Youssouf Koumbassa, Amadou Boly and Marie Basse. These visits allowed Opare to not just dance with them in a class setting but in a rehearsal setting as well. The difference in context is that rehearsal allows a student to become not just a performer, but be recognized as a practitioner and an individual who can be trusted to display the technique with integrity.

    Opare’s work took him to New York where he began dancing with Marie Basse’s company Maimouna Keita, freelance choreographing for traditional West African companies, and teaching at studios such as Bernice Johnson’s Cultural Arts CenterDjoniba, and the Harlem Bathhouse. Touring with European pop star Gala and the musical production STOMP! were Opare’s first steps into contemporary modes of West African movement, eventually leading to the founding of his own contemporary West African dance company, DishiBem Traditional Contemporary Dance Group. Instead of just being preservational, Opare frames his practice of African dance by presenting it as contemporary folklore. Whether his work is about education, women’s rights or human rights in general, Opare utilizes West African dance styles in contemporary modes of performance to tell stories based on these social commentaries.

    The showcase of Opare’s time abroad was a multimedia presentation capturing a poignant balance between the instinct to keep hold of the traditional and the urgency to lead the contemporary. The performance began with a short film of monologue updates and the progression of his studies in Ghana, funded by the fellowship grant. With a staccato editing style, Opare took us to the geographical locations through which he traveled, from Accra to the north. Shots of rehearsals with the National Dance Company of Ghana and music lessons would cut to images of young dance crews and community gatherings with men atop horses as both rider and creature swayed to drum beats.

    In our conversation, Opare explained that the video was another mode of expression that allowed him to show the cultural jumps that he went through during his time working with the National Dance Company and with his colleagues as he adjusted and pushed through research to figure out his intent.

    The video also conjured a humility in Opare’s approach, as we saw him struggle in his music lessons, at points head bowed in frustration. Nonetheless, Opare persevered until we finally heard him make sense of the music (and play in tune). During the talkback after his performance, Opare recalled the first day of rehearsals with the National Dance Company: In the middle of staging a production, the director told Opare to get up and stand in an empty space among the company members. Opare lived all of our greatest fears–yet oftentimes the best way to learn and grow–as he was thrown into the middle of the rehearsal and told to keep up. Thus began his short-term residency as member of the National Dance Company.

    As Opare filmed himself, he was able to play with the tension that his work existed both in the present, at the time it was filmed, and in the future, in anticipation of it being shared during the April performance.

    Returning to the showcase performance following the end of the video, the stage was relit to reveal a giant umbrella entering on stage right, lined with trim, presented sideways facing the audience and obscuring the bodies of the 10 pairs of feet that shuffled across stage. The umbrella was lifted up to let the drummers take position; the umbrella and its party continued to shuffle.

    The umbrella eventually closed to reveal Opare, enrobed in traditional batakari and grande bubu tied by a piece of kente cloth, flanked by four female dancers. Steadily, Opare removed two layers of garments and suddenly jumped into the rhythms the drummers struck up with his accompanying dancers.

    The dancing began with various rhythms traditionally performed for royalty: beginning with the king’s dance, Takai from the Dagomba people of the north. Takai shifted to atsiabegkor, an Ewe rhythm, into the dance of the Serakholé people, techniques both learned during his travels and decades ago. Throughout all these dances Opare masterfully interwove techniques not traditionally performed to the rhythms; laying 4/4 time over 6/8 time rhythms such as Sorsorne dances from the Baga, one could even catch Sounu, jumps from Frontofrom, Awabeko, and Djinafoly, a Malian dance for the ancestors.

    In our phone conversation, Opare talked through all the rhythms he sampled during his performance, singing the beats, switching between sounding out the instruments to counting out the steps. By switching between movements that came from not only Ghana but also Mali, and even bringing together movements with different purposes and interweaving them with others, Opare found that his research was also finding movement commonalities between dances that were not known because of colonization. Opare was able to infuse contemporary into the traditional movements by creating discreet moments, i.e., a finger snap sneaked in between the drums, to act as audible reminders that, despite the rhythms being traditional, the work as a whole was about the present.

    Every element of the stage served two purposes, to show the preserved and to simultaneously re-present these dances as contemporary dance. Throughout the show, the umbrella was spun by its bearer. Opare explained to me the spinning of the umbrella was a symbol of this performance being an opportunity to synthesize and spin out his experiences from Africa.

    The audience was privileged to witness the final piece, a sorrowful commemoration of Opare’s mother who had passed in the last year. This final piece was under debate as to whether it would be presented that night. Over the rehearsals Opare had been unable to lay down concrete movements to this piece as it still lay close to his heart. However, Opare took the stage with two of his female dancers, Maisha Morris and Sanchel Brown, and began this commemorative work to an alternative indie song entitled “Green Spandex,” by Xavier Rudd, opening and closing with projected images commemorating his late mother. Morris and Brown wore incredibly large-brimmed hats, made out of plastic bags, inspired by the hats worn by women in the Ghanaian marketplace. The women flanked Opare and all three dancers were crouched down. Due to the diameter of the hats, the women’s bodies could not be seen but shivers of their movements brought life to the hats, making them an extension of the dancers themselves. What resulted was exactly what Opare’s intent had been: a re-presentation of a masquerade dance calling upon an ancestral spirit. As the hat wearers improvised, Opare knelt, groaning and expelling wails of despair, not so much performing but presenting his process of mourning through the means he knows best, music and dance. Some initial thoughts on this piece were to have the dancers extend their arms backwards, reaching to grab something, only the elbows ever getting close to moving forward. During the showcase the dancers captured a tension, were they reaching back trying to grab at something or was something pulling them?

    From our conversation, I realized this physical enactment of reaching back versus being pulled back encompassed the paramount struggle of African dance. Both the fellowship and Opare’s work are grappling with how to preserve African dance, compel dance institutions to recognize African dance as on par with Western techniques like ballet and modern, and simultaneously employ African dance as a contemporary technique.

    Initially, Opare described the struggle throughout his dance career, “how to tell my story….[if] I’m not a ballet dancer…I’m not doing…quote on quote ‘modern,’” so the challenge became how can one tell contemporary stories, “using West African styles?”

    During the talkback, Opare vehemently expressed that the codification of African dance needs to be the priority for prominent practitioners of African dance, explaining: “In order for West African styles to be effective in this [contemporary] mode of performance, they really need to be studied at a level that gives us, as contemporary performers in Western society, gives us access to these techniques so that we can utilize them to say whatever it is we want to say and not compromise the integrity of the technique.” Opare jokingly described how the codification would be establishing something like a West African “first position,” which would be like a position found in the modern dance style of Lester Horton: back straight, pelvis tucked under and aligned with shoulders, knees slightly bent, and arms dropped to the side.

    Opare fleshed out that statement a bit more in our phone conversation, elaborating that codification is specifying the way that movements and the dancer’s body must be aligned, coordinated and articulated in order to execute the African dance technique correctly. The interaction between Western and Eastern culture makes transferable teaching techniques crucial in order to preserve the integrity of the form as it moves across borders. Opare recounted that he was never able to fully appreciate jazz technique, which he describes as North America’s original classical music, until he learned trumpet. Only when he was able to access an art form, playing trumpet, could he appreciate the cultural and technical components of jazz while still maintaining its integrity.

    We discussed that a mark of a phenomenal teacher is one who can switch between explaining a step in relation to the drum and the break, just as Opare did throughout our interview and the showcase talkback, suddenly talk-singing to explain the movement, but also able to explain the step in counts. A teacher’s ability to code-switch, to explain and teach a dance form to any student, any dancer, whether in a Western style of teaching or Eastern, is a sign of mastery. This type of code-switching is also a pedagogy that needs to be encouraged in dance studios in order to continue African dance’s recognition as both a traditional mode of dance as well as an avenue for contemporary performance.

    Kwame Opare receives the Emerging Choreographer Fellowship from the late Chuck Davis. (Photo courtesy of Kwame Opare)

    The issue of recognition and respect for African dance not only applies to the teacher and teaching style but also to the investment in choreographers like Opare and the studios that make African dance techniques accessible. I asked Opare whether he had achieved what he sought to do in taking on this fellowship and what mark he hoped to leave for future fellows. Opare explained how the fellowship is in response to the marginalization of African dance, therefore for those who wish to pursue this avenue it requires a pre-established commitment and mastery of African technique(s): “Too many people out there that have been toiling and working at this for someone who hasn’t been a part of this [African dance] to get it [the fellowship]…we don’t serve the spoken expectation of the fellowship and what Baba Chuck would want if we do that [award the fellowship to a novice of African dance].

    Opare described the showcase as akin to “an artist winning their first Grammy.” The reception of his work echoed back Opare’s intention. As he described in our conversation, an anxiety for all artists is that once an artist performs their work it no longer belongs to them. The resonance among the audience of his work in the showcase and consistency in the audience’s interpretation affirmed Opare’s mastery as well as the refinement of his style. As one audience member described the performance, “It was in a contemporary mode of performance but that it was unapologetically West African in the movement.”

    Opare is moving unapologetically forward. He will continue to work on his performance through the support of the fellowship and on fundraising efforts to further his endeavors. The showcase performance confirmed what many of his teachers had recognized in Kwame Shaka Opare since his youth, an artistry that is not only sustained by a technical mastery but is rich with nuanced creativity and innovation that is incomparable to others.

    In his closing words during our phone conversation, he shifted the urgency toward investing, a call for arts organizations to provide rehearsal space to individuals, prioritizing those who are practicing marginalized dance forms; going to local studios and local artists and learning from them. Organizations, such as the Asase Yaa Cultural Arts Foundation, usually offer affordable classes–all they need is us to take them. Shifting his gaze toward higher education, Opare reflected, “I don’t fit the mode of what people inside the dance departments look like and I really want to change that.” Opare is interested not only in increasing African dance representation in the faculty repertoire but also being a model for young people, especially boys, to show them that they should not feel pressured to fit a certain gender role in dance, i.e., that the only masculine form of dance is street dance or hip-hop. Opare wants to change the way that looks and exemplify to young people that all artistic expression is theirs for the taking, the key is being prepared to meet the challenge with commitment and respect.

    A seemingly surprising moment occurred at the end of the showcase when an audience member, moved by the performance, stood up during the applause and laid a tip down in front of the bowing performers. Emphasis on “seemingly,” tipping the artist is normal in African culture, expected especially after the type of performance Opare and his company shared. Opare’s frustration and the anomaly of a fellowship such as the Chuck Davis Emerging Choreographer Fellowship begs the question: are we really giving what is owed to not only show appreciation for the arts but also ensure its longevity in preservation and development as well as encouraging practice with integrity?

    All I know is there was cash spilling out of the hats by the time we left, I have a new list of studios and companies to check out, and there is definitely more we can expect to see from Kwame Shaka Opare in the near future.

    Chuck Davis Emerging Choreographer Fellowship Showcase Cast:

    Drummers: Yao Ababio, Opare Agyeman, Kwabena Agyeman, Kweku Amantey Opare

    Dancers: Kwame Shaka Opare, Maisha Morris, Sanchel Brown, Kofi Assane Opare, Kyra Ferguson, Candance Sumpter

    For more information on Kwame Shaka Opare, updates on his work, his TED talk on youth advocacy and his experiences in education, or for ways to support innovative choreographers like Kwame Shaka Opare, check out the links below:

     Website

    www.kwameshakaopare.com

    Twitter

    https://twitter.com/kwameshaka?lang=en

    TED Talk: “Disrupting the Miseducation of African American Youth”

    https://www.youtube.com/watch?v=gF1fJ_cTcwk


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    Traditional Vocal And Instrumental Music (Japan)

    Release Date: October 25, 1990
    Label: Nonesuch
    Artist: VARIOUS ARTISTS

    Traditional Vocal And Instrumental Music
    1. Kumoi Jishi - Kohachiro Miyata
    2. Ozatsuma - Hirokazu Sugiura
    3. Ogi No Mato ('The Folding Fan as a Target') - Ayako Handa
    4. Edo Lullaby - Kohachiro Miyata, Hirokazu Sugiura, Ayako Handa, Keiko Nosaka, Sachiko Miyamoto, Minoru Miki
    5. Godanginuta - Keiko Nosaka, Sachiko Miyamoto
    6. Esashi Oiwake ('Esashi Pack-horseman's Song') - Kohachiro Miyata
    7. Mushi No Aikata ('Insect Interlude') - Hirokazu Sugiura
    8. Azuma Jishi ('Azuma Lion Dance') - Ayako Handa, Kohachiro Miyata, Hirokazu Sugiura, Keiko Nosaka

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    Nightwish - Endless Forms Most Beautiful (Limited Edition) (2015) FLAC (image + .cue)
    Artist: Nightwish | Album: Endless Forms Most Beautiful | Released: 2015 | Label: Nuclear Blast | Catalog # NB 3464-0 | Genre: Symphonic Metal, Metal | Country: Finland | Duration: 02:37:51

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    John Powell - The Bourne Ultimatum (2007) FLAC (image+.cue)
    Artist: John Powell | Album: The Bourne Ultimatum | Released: 2007 | Label: Decca Label Group | Genre: Score, Soubdtrack

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    FLAC | 1,1 GB | LINKS

    Tracklist:

    01. Keep My Motor Runnin’
    02. You Win Again
    03. Sweet Little 16
    04. 39 And Holding
    05. Think About It Darlin’
    06. Rock & Roll Over (Teenage Queen)
    07. Boogie Woogie Country Man
    08. C C Rider
    09. Chantilly Lace
    10. I’ll Find It Where I Can
    11. In The Garden
    12. No Headstone On My Grave
    13. What’d I Say
    14. Great Balls Of Fire
    15. Whole Lotta Shakin’ Goin’ On


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    Ottmar Liebert with Luna Negra - Up Close (Binaural Recording) (2008) FLAC (tracks)
    Artist: Ottmar Liebert with Luna Negra | Album: Up Close (Binaural Recording) | Released: 2008 | Label: Sprial Subwave Records International | Genre: Fusion, Jazz

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    320 kbps | 119 MB | LINKS

    With Last Forever, songwriter/composer Dick Connette released four albums based on American folk and popular traditions. His new project, Too Sad For The Public, expands upon his earlier work with Vol.1 – Oysters Ice Cream Lemonade, featuring vocals by Suzzy Roche, Ana Egge, Rachelle Garniez, and Gabriel Kahane. The new album has 6 originals, 2 covers (Carole King and Van Morrison), and tributes to Jaco Pastorius and go-go superstar Chuck Brown. The ensemble of 17 musicians includes Rayna Gellert, Chaim Tannenbaum, Erik Friedlander, Steve Elson, and Astral Weeks guitarist Jay Berliner. and orchestrated pop. His songs are beautifully crafted, highly melodic and full of memorable lyrics.” According to fRoots, “Dick Connette’s vision of Americana seemingly encompasses jazz, vaudeville, minstrelsy, the New Deal classical composers and orchestrated pop. His songs are beautifully crafted, highly melodic and full of memorable lyrics.”

    Tracks:
    01. Prelude
    02. Liberty City, Pt. 1
    03. Black River Falls (feat. Suzzy Roche)
    04. All Along (feat. Suzzy Roche)
    05. Liberty City, Pt. 2
    06. He’s a Bad Boy (feat. Suzzy Roche)
    07. Kind of Dumb (feat. Rachelle Garniez)
    08. Liberty City, Pt. 3
    09. Old Alabama (feat. Ana Egge)
    10. Young Loves to Love (feat. Ana Egge)
    11. Orphee in Opelousas (feat. Gabriel Kahane)
    12. Chuck Baby
    13. Then Go Home (feat. Suzzy Roche)


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    FLAC | 492 MB | LINK

    Tracklist:

    01. Okie from Muskogee’s Comin’ Home
    02. Texas
    03. Thank You for Keeping My House
    04. What Am I Gonna Do (With the Rest of My Life)
    05. Mama Tried
    06. Misery
    07. Take Me Back To Tulsa
    08. I Knew the Moment I Lost You
    09. Silver Wings
    10. Misery and Gin
    11. Ida Red
    12. Place To Fall Apart
    13. I Wish Things Were Simple Again
    14. Amber Waves of Grain
    15. I Think I’ll Just Stay Here and Drink


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    Πριν λίγες μέρες (18/6/2017) δημοσιεύτηκε στο kathimerini.gr άρθρο του καθηγητή Πολιτικής Επιστήμης στο Πανεπιστήμιο Yale Στάθη Ν. Καλύβα υπό τον τίτλο «Μια παράδοξη κληρονομιά». Το άρθρο του καθηγητή Καλύβα ξεκινούσε ως εξής:
    «Η​​ επέτειος πενήντα χρόνων από το πραξικόπημα της 21ης Απριλίου προσφέρεται ως ευκαιρία για αναστοχασμό. Είτε μας αρέσει είτε όχι, η σημερινή πραγματικότητα είναι σε κάποιο, μάλλον όχι ασήμαντο, βαθμό προϊόν και της δικτατορίας. Ποιες όμως ήταν οι μακροχρόνιες επιπτώσεις της για τη χώρα μας; Σε τι θα διέφερε η Ελλάδα σήμερα εάν δεν είχε γίνει το πραξικόπημα τότε; Τι ακριβώς μας κληροδότησε; Τι κουβαλάμε πάνω μας απ’ αυτό το ιστορικό παρελθόν; Πρόκειται προφανώς για δύσκολα και μάλλον αναπάντητα ερωτήματα, που δεν μπορούμε όμως και δεν πρέπει να αποφεύγουμε».
    Όντως τα ερωτήματα αυτά είναι δύσκολα και δεν μπορεί να απαντηθούν χωρίς κάποιες μικρές ή και μεγαλύτερες αυθαιρεσίες. Ίσως, μάλιστα, δεν έχει και νόημα πια ν’ απαντηθούν, καθότι τα χρόνια έχουν περάσει –μισός αιώνας είναι αυτός– και λίγοι πλέον ενδιαφέρονται, στις μέρες μας, για την πρακτική ουσία τέτοιων «αγωνιών».
    Αν υπάρχει, τώρα, ένα βασικό πρόβλημα στο άρθρο του καθηγητή Καλύβα αυτό έχει να κάνει με το γεγονός πως είναι γραμμένο από την υπερατλαντική και ακροκεντρώα μεριά. Και εξηγούμαι…
    a%2BLIFO%2Bjunta%2B1.jpg
    Ο Καλύβας αγνοεί παντελώς (θέλει ν’ αγνοεί δηλαδή) το γεγονός πως το στελεχικό φάσμα της χούντας περιελάμβανε και μια τρανή εγκληματική «περιοχή», την οποίαν αποτελούσαν απομεινάρια των Χιτών και των δοσιλόγων της Γερμανικής Κατοχής και των στηριγμένων από την Αμερική «νικητών» τού Εμφυλίου, καθώς και της επακόλουθης αντικομμουνιστικής υστερίας, της βίας και της τρομοκρατίας τής πρώτης περιόδου του Καραμανλή (Οκτώβριος ’55 – Ιούνιος ’63). Ήταν, δηλαδή, ένα καθεστώς ακραίο και δολοφονικά «μακαρθικό», που στόχο είχε την πλήρη πάταξη των ηττημένων στον Εμφύλιο – όσων ακόμη, τέλος πάντων, διανοούνταν να δραστηριοποιούνται στην Ελλάδα και δεν είχαν καταφύγει, κυνηγημένοι, στις χώρες του λεγόμενου «παραπετάσματος».
    Η χούντα ήταν, με άλλα λόγια, ο εξτρεμιστικός αντικομμουνισμός (υπήρχε και ο «επιστημονικός» φυσικά τού Γεωργαλά), τα βασανιστήρια, οι φυλακίσεις, τα εγκλήματα και οι διώξεις, όλων εκείνων –μερικών δεκάδων χιλιάδων τέλος πάντων– που δεν υπέκυψαν στην άνωθεν τρομοκρατία και που επιχείρησαν εντός των συνόρων (μα και στο εξωτερικό) την ανατροπή ενός σφόδρα αντιδημοκρατικού καθεστώτος με δράσεις άλλοτε χαμηλού και άλλοτε υψηλότερου κοινωνικού προφίλ. Γιατί όλοι οι υπόλοιποι, όπως είχε πει ευφυώς κάποτε και ο Τάσος Φαληρέας, είχαν απλά αντικαταστήσει το βουλευτή με το λοχαγό.

    Η συνέχεια εδώ…
    http://www.lifo.gr/articles/opinions/149560

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    VA - D J  Hits 52 (1996) (APE)
    VA - D.J. Hits 52 (1996) (APE)
    Released: 1996 | Track: 18 | Country: International | APE | Time: 01:10:50 | Label: Not On Label - 15041996-5 | Artwork Included | 3% Recovery Added | 495 MB
    Genre: Electronic, Hip Hop, Latin, Pop


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    320 kbps | 394 MB | LINKS

    The Broadcast Archive – 3CD boxed set CONTAINING LIVE RECORDINGS FROM THE 1970s & 1980s Featuring live broadcast recordings from the 70s and 80s, this triple disc set provides a superb illustration of the power of David Crosby in concert. Kicking off with an in-studio appearance when David was joined by members of the Grateful Dead way back in December 1970 – shortly before the release of his first solo album If I Could Only Remember My Name – and the set continues with a fine 1986 performance recorded on New Year s Eve that year when Crosby opened for the Dead at their traditional Hogmanay bash. Concluding the set, the third CD contains the great man s majestic 1989 show from the Tower Theatre in Philadelphia, recorded while out promoting his second solo record, Oh Yes I Can.

    CD1:
    1. Drop Down Mama (Live At The Matrix, San Francisco 1970) ( 4:20)
    2. Cowboy Movie (Live At The Matrix, San Francisco 1970) ( 9:45)
    3. Triad (Live At The Matrix, San Francisco 1970) ( 9:48)
    4. The Wall Song (Live At The Matrix, San Francisco 1970) ( 7:51)
    5. Bertha (Live At The Matrix, San Francisco 1970) ( 4:14)
    6. Deep Elem Blues (Live At The Matrix, San Francisco 1970) ( 7:14)
    7. Motherless Children (Live At The Matrix, San Francisco 1970) ( 9:00)
    8. Laughing (Live At The Matrix, San Francisco 1970) (10:38)

    CD2:
    1. Introduction (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (0:41)
    2. The Lee Shore (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (9:58)
    3. Triad (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (8:16)
    4. Almost Cut My Hair (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (5:00)
    5. Drive My Car (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (3:16)
    6. Compass (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (7:06)
    7. Guinnevere (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (6:09)
    8. Wooden Ships (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (6:07)
    9. Long Time Gone (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (5:40)
    10. Interview 1986 (Live At The Henry J. Kaiser Convention Center, Oakland 1986) (3:23)

    CD3:
    1. Tracks In The Dust (Live At The Tower Theater, Upper Darby, Pa 1989) (6:11)
    2. Guinnevere (Live At The Tower Theater, Upper Darby, Pa 1989) (5:32)
    3. In My Dreams (Live At The Tower Theater, Upper Darby, Pa 1989) (5:10)
    4. Drive My Car (Live At The Tower Theater, Upper Darby, Pa 1989) (4:05)
    5. Lady On The Harbour (Live At The Tower Theater, Upper Darby, Pa 1989) (3:35)
    6. Deja Vu (Live At The Tower Theater, Upper Darby, Pa 1989) (7:56)
    7. Wooden Ships (Live At The Tower Theater, Upper Darby, Pa 1989) (8:02)
    8. Almost Cut My Hair (Live At The Tower Theater, Upper Darby, Pa 1989) (5:22)
    9. Long Time Gone (Live At The Tower Theater, Upper Darby, Pa 1989) (5:40)


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    320 kbps | 406 MB | LINKS

    The most iconic and respected country music performer of all time, the late Johnny Cash had no equal in the field and remains among the most influential musicians of the 20th Century. This superb 3 x CD collection features radio broadcast recordings from the 1970s which illustrate not just the unmatched musicality of Cash, but additionally his character, decency and humour. Including the full Johnny Cash performance from his 40th birthday concert given in Amsterdam in 1972, his Jamboree show from 1976 in West Virginia which also included a plethora of friends and relatives backing the great man, plus an additional CD of media interviews which display Johnny s dry wit, enormous intelligence and wholehearted compassion, among other attributes. In completion this set provides a delightful, entertaining and informative selection of Johnny Cash at his live best and a top drawer collectable that will surely find a place in Cash collections the world across.

    1. I Walk The Line (Instrumental) (Live At The Amsterdam Rai, Netherlands 1972) (0:46)
    2. A Boy Named Sue (Live At The Amsterdam Rai, Netherlands 1972) (3:28)
    3. Ramblin’ Around Sunday Mornin’ Comin’ Down (Live At The Amsterdam Rai, Netherlands 1972) (4:46)
    4. Man In Black (Live At The Amsterdam Rai, Netherlands 1972) (3:23)
    5. I Still Miss Someone (Live At The Amsterdam Rai, Netherlands 1972) (3:21)
    6. Five Feet High And Rising (Live At The Amsterdam Rai, Netherlands 1972) (3:27)
    7. Pickin’ Time Detroit City (Live At The Amsterdam Rai, Netherlands 1972) (3:34)
    8. These Hands (Live At The Amsterdam Rai, Netherlands 1972) (3:22)
    9. Me And Bobby Mcgee (Live At The Amsterdam Rai, Netherlands 1972) (2:34)
    10. Wreck Of The Old 97 Orange Blossom Special (Live At The Amsterdam Rai, Netherlands 1972) (5:16)
    11. The Prisoner’s Song (Live At The Amsterdam Rai, Netherlands 1972) (2:25)
    12. Cocaine Blues (Live At The Amsterdam Rai, Netherlands 1972) (2:26)
    13. Folsom Prison Blues (Live At The Amsterdam Rai, Netherlands 1972) (1:13)
    14. I Walk The Line (Live At The Amsterdam Rai, Netherlands 1972) (1:43)
    15. Jackson (Live At The Amsterdam Rai, Netherlands 1972) (2:53)
    16. If I Were A Carpenter (Live At The Amsterdam Rai, Netherlands 1972) (1:48)
    17. It’s Very Nice To Be In Holland (June Carter) (Live At The Amsterdam Rai, Netherlands 1972) (1:18)
    18. Help Me Make It Through The Night (Live At The Amsterdam Rai, Netherlands 1972) (0:56)
    19. June Carter Speaks (Live At The Amsterdam Rai, Netherlands 1972) (0:51)
    20. No Need To Worry (Live At The Amsterdam Rai, Netherlands 1972) (2:41)
    21. Can The Circle Be Unbroken (By And By) (Live At The Amsterdam Rai, Netherlands 1972) (2:00)
    22. Daddy Sang Bass (Live At The Amsterdam Rai, Netherlands 1972) (2:07)
    23. Children Go Where I Send Thee (Live At The Amsterdam Rai, Netherlands 1972) (7:05)

    1. Help Me (Live At The Amsterdam Rai, Netherlands 1972) (2:42)
    2. Jesus Hold My Hand (Live At The Capitol Music Hall, Wheeling, Wv 1976) (3:45)
    3. Wabash Cannonball Worried Man Blues (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:27)
    4. Ring Of Fire (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:50)
    5. Folsom Prison Blues (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:41)
    6. Pickin’ Time (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:55)
    7. Big River (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:23)
    8. There You Go (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:26)
    9. Sunday Mornin’ Comin’ Down (Live At The Capitol Music Hall, Wheeling, Wv 1976) (3:52)
    10. One Piece At A Time (Live At The Capitol Music Hall, Wheeling, Wv 1976) (4:15)
    11. Give My Love To Rose (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:42)
    12. A Boy Named Sue (Live At The Capitol Music Hall, Wheeling, Wv 1976) (3:08)
    13. Ragged Old Flag (Live At The Capitol Music Hall, Wheeling, Wv 1976) (3:58)
    14. Comedy Act (Live At The Capitol Music Hall, Wheeling, Wv 1976) (5:24)
    15. Yodel Song (Live At The Capitol Music Hall, Wheeling, Wv 1976) (1:29)
    16. Jackson (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:53)
    17. I Still Miss Someone (Live At The Capitol Music Hall, Wheeling, Wv 1976) (2:16)
    18. Hey Porter (Live At The Capitol Music Hall, Wheeling, Wv 1976) (1:22)
    19. Wreck Of The Old 97 (Live At The Capitol Music Hall, Wheeling, Wv 1976) (1:41)
    20. Casey Jones (Live At The Capitol Music Hall, Wheeling, Wv 1976) (1:16)
    21. Orange Blossom Special (Live At The Capitol Music Hall, Wheeling, Wv 1976) (3:42)
    22. I Walk The Line (Live At The Capitol Music Hall, Wheeling, Wv 1976) (3:13)

    1. Learning From My Mistakes (6:23)
    2. Originality (3:53)
    3. Away From Cotton Fields (5:35)
    4. Early Days (7:44)
    5. Meet June Carter-Cash (6:54)
    6. Man In Black (4:33)
    7. Happy Together (5:51)
    8. Hard Life (4:18)
    9. The Roots (1:26)


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