Dannie Marie • Anything I Wanna Be Жанр : Country/Pop Страна : USA Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:30:40 Наличие сканов в содержимом раздачи : нет Источник релиза : Lossless 01.
(Country/Pop) Dannie Marie - Anything I Wanna Be - 2017, MP3, 320 kbps
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The Offspring - Rise And Fall, Rage And Grace (2008) FLAC (tracks)
Artist: The Offspring | Album: Rise And Fall, Rage And Grace | Released: 2008 | Genre: Rock
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Royal Republic - We Are The Royal (2010) FLAC (tracks+.cue)
Artist: Royal Republic | Album: We Are The Royal | Released: 2010 | Genre: Rock, Hard Rock
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Royal Republic - Weekend Man (2016) FLAC (tracks)
Artist: Royal Republic | Album: Weekend Man | Released: 2016 | Label: Royal Republic (Vertigo/Capitol) | Genre: Hard Rock
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Ariana Grande - Dangerous Woman (Target Deluxe Edition) (2016) FLAC (tracks+.cue)
Artist: Ariana Grande | Album: Dangerous Woman (Target Deluxe Edition) | Released: 2016 | Label: Republic Records | Catalog #: B0024909-02 | Genre: Pop, RnB
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Alanis Morissette - Jagged Little Pill Acoustic (2005, 2014) FLAC (tracks+.cue)
Artist: Alanis Morissette | Album: Jagged Little Pill Acoustic | Released: 2005, 2014 | Label: Music On Vinyl | Catalog #: MOVLP1229 | Genre: Alternative Rock, Pop Rock
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Pink Floyd - The Early Years 1968: Germin/ation (2017) FLAC (tracks)
Artist: Pink Floyd | Album: The Early Years 1968: Germin/ation | Released: 2017 | Label: Pink Floyd Records, Parlophone | Genre: Rock, Psychedelic Rock
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70s School Days - The Ultimate Collection 5CD (2017)
Artist: Various Performers
Title: 70s School Days - The Ultimate Collection
Label: Union Square Music, BMG Company
Style: Funk, Dance, R&B, Disco, Soul, Rock, Country
Release Date: 02-06-2017
Format: CD, Compilation
Quality: M4A/Joint Stereo/44100Hz
Tracks: 100 Tracks
Size: 2220 Mb / 05:45:54 Min
Title: 70s School Days - The Ultimate Collection
Label: Union Square Music, BMG Company
Style: Funk, Dance, R&B, Disco, Soul, Rock, Country
Release Date: 02-06-2017
Format: CD, Compilation
Quality: M4A/Joint Stereo/44100Hz
Tracks: 100 Tracks
Size: 2220 Mb / 05:45:54 Min
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Cosmic Touch - Reconnection (EP) (2017)
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TO NEO ROCK
N’ ακούσουμε και να γράψουμε τα σχετικά για μερικά σύγχρονα rockάλμπουμ, που έφθασαν πρόσφατα στα χέρια μας. Πολλά τα ενδιαφέροντα…
![ajazz%2Bneo%2Brock%2B1.jpg]()
Το “Batteri” είναι το τέταρτο άλμπουμ των Γερμανών Nihiling (έδρα τους το Αμβούργο), το οποίο κυκλοφορεί σε 2LP και βεβαίως σε CD. Οκτώ… κάπως ευμεγέθη κομμάτια περιλαμβάνονται εδώ, έχοντας διάρκειες από 5:18 έως 8:58 λεπτά, και τα οποία κινούνται στο χώρο του σύγχρονου rock – εκείνου που, χοντρικά, αποκαλείται post-rock. Χωρίς εμφανείς αναφορές στο παρελθόν (εμφανείς λέω…) και με την κιθάρα σε πρώτο ρόλο, οι Nihiling τα καταφέρνουν μια χαρά στα τραγούδια τους, αν και αρκετές φορές μού δημιουργήθηκε η βεβαιότητα πως θα ήταν ακόμη καλύτερα τα πράγματα αν δεν υπήρχαν τραγούδια και υπήρχαν μόνον ορχηστρικά. Δεν είναι τόσο η γυναικεία φωνή (που αποδίδει στα αγγλικά με γερμανική προφορά), όσο κυρίως το γεγονός πως στα οργανικά τους έχουν, ώρες-ώρες, μερικά έξοχα ξεπετάγματα τα οποία φρενάρονται από το λόγο (στο “Power rangers” αναφέρομαι). Γενικά, θα έλεγα πως οι Nihiling είναι ένα σχήμα, που ξέρει να παρουσιάζει καλές μουσικές, ακόμη και όταν οι διάρκειες ξεφεύγουν, με μεγαλύτερη επιτυχία, πάντως, όταν κινούνται συγκεντρωμένοι προς το έπος, παρά «χαμένοι» προς τον λυρισμό. Αν και, ενίοτε, το ένα δεν αποκλείει το άλλο (“Cellardoor”). ![ajazz%2Bneo%2Brock%2B2.jpg]()
Το Κράσνογιάρσκ είναι μια μεγάλη πόλη, με περισσότερο από ένα εκατομμύριο ανθρώπους, χαμένη κάπου στην κεντρική-νότια Σιβηρία. Απ’ αυτή την πόλη προέρχονται οι Below the Sun, ένα «μεταλλικό» συγκρότημα, που κυκλοφορεί τώρα το δεύτερο CD του. Το “Alien World” μπορεί ως τίτλος να παραπέμπει στο Σολάρις, του Στάνισλαβ Λεμ, όμως το συγκρότημα δεν είναι από ηχητικής πλευράς ένα space όχημα – και το λέμε τούτο παρά το γεγονός πως ορισμένες φορές το «κοσμικό» στοιχείο (και οι Pink Floyd) δεν απουσιάζουν από τις αναφορές του. Παίζουν καλά οι Ρώσοι και ωραίες συνθέσεις έχουν και σωστά τις αναπτύσσουν, όταν όμως αρχίζουν να τραγουδούν μ’ αυτά τα… σατανικά, βοθρώδη, doomy, φωνητικά, κάπου με ωθούν στο να μην τους πάρω στα σοβαρά. Ενώ, το πιστεύω αυτό, δεν είναι τέτοια η… επιδίωξή τους. Το συγκρότημα, εννοώ, στέκεται πολύ καλά, και έξω από τη μυθολογία του «μαύρου μετάλλου», καθώς ακόμη και το στόρι του (έτσι όπως το προβάλλουν) με τον «Τυφλό ωκεανό» και την «Αυγή για κανέναν» είναι σωστά ενταγμένο μέσα στη… σοβιετική φουτουριστική παράδοση. ![ajazz%2Bneo%2Brock%2B3.jpg]()
Δεν έχω πολλά πράγματα να πω για τους «σκοτεινούς» Pù και για το mini-CD τους “Tunguska: Last Transmission” με τα τέσσερα κομμάτια (και τη συνολική διάρκεια περί τα 18 λεπτά). Δεν ξέρω αν είναι Ρώσοι οι Pù (μ’ ένα πρώτο ψάξιμο δεν εντόπισα κάτι), Τουνγκούσκα όμως είναι ποτάμι και περιοχή της Σιβηρίας, κοντά στο Κράσνογιάρσκ (πατρίδα των Below the Sun, για του οποίους γράψαμε πιο πάνω), γνωστό (το όνομα) από την κοσμική έκρηξη που ξεπάστρεψε μια δασώδη περιοχή σε ακτίνα δεκάδων χιλιομέτρων, το 1908. Πιθανώς οι Pù να είχαν κατά νου ένα σάουντρακ για ’κείνο το γεγονός, κάτι που ως ιδέα θα μπορούσε να λειτουργήσει, αλλά ως “Tunguska: Last Transmission” δεν ξέρω αν λειτουργεί και τόσο. Διατηρώ επιφυλάξεις θέλω να πω. Τα τέσσερα κομμάτια του mini-CD δεν είναι ακριβώς γραμμικά / αφηγηματικά –καθώς αφήνουν ελεύθερους χώρους για την «έκπληξη»– αν και στην ουσία το trackπου ξεχωρίζει, πραγματικά, είναι μόνο το τελευταίο, το “Eastern western”, με τις ωραίες κιθάρες και την αργά αναπτυσσόμενη μελωδία του. ![ajazz%2Bneo%2Brock%2B4%2Bcantenac.jpg]()
Δύο Γάλλοι είναι οι Cantenac Dagar, που χειρίζονται ηλεκτρονικά, κρουστά, μπάντζο, παίζοντας με κασετόφωνο και πιάνοντας ρυθμούς με το στόμα. Το “Stilletonne” κυκλοφορεί σε LP και CD, έχει μόλις δύο κομμάτια (21 και 27 λεπτών), που καταλαμβάνουν τις δύο πλευρές του βινυλίου, και γενικά θα το περιγράφαμε ως ένα electro/ experimental/ progressive άλμπουμ, που θα μπορούσε να ανήκει σ’ εκείνη τη μουσική οικογένεια, που ξεκίνησε από τους Silver Applesστα sixties, πέρασε στους Suicide στα seventies και τα eighties, πριν καταλήξει… και στους Cantenac Dagar. Φυσικά και γαλλικές αναφορές μπορεί να αναζητηθούν εδώ π.χ. από Heldon μέχρι και Ghédalia Tazartès (χωρίς τις φωνές), αν και τούτοι εδώ οι Γάλλοι (ο Aymeric Hainauxκαι ο Stéphane Barascud) είναι οι περισσότερο «χαμένοι» απ’ όσους δικούς τους μπορώ να σκεφτώ. Πολύ καλοί!!![ajazz%2Bneo%2Brock%2B5.jpg]()
Πίσω από τους Soundbyte βρίσκεται ο συνθέτης και κιθαρίστας Trond Engum, μέλος ενός ακρογωνιαίου γκρουπ τού νορβηγικού doom metal, των The 3rd and the Mortal. Από το 2004 κινεί το συγκεκριμένο πρότζεκτ ο Engum, φθάνοντάς το σ’ ένα σημείο αρκετά υψηλό και πάντως πέραν εκείνου τού συγκροτήματός του. Τι είναι οι Soundbyte; Ένας μελετημένος συνδυασμός ιδιόμορφου «μετάλλου» (ας το πούμε κάπως πειραματικό-progressive) και παγανιστικού φολκ, από ’κείνο που πάντα θα ευδοκιμεί στη Βόρεια Ευρώπη. Υπάρχουν ακόμη γυναικεία φωνητικά, ωραία λυρικά guitar passages, καθώς και μια άπλα μελωδική που επιτείνει το αίσθημα του λυρισμού και της… απώλειας. Βαρύ άκουσμα, που είναι σωστά «δεμένο» και αναπτύσσεται με τον πρέποντα τρόπο. ![ajazz%2Bneo%2Brock%2B6.jpg]()
Amantra είναι έναalter ego του Γάλλου Thierry Arnal. Ο Arnalόμως έχει κι άλλα «εγώ», καθώς ως Fragment ηχογραφεί από το 2008, έχοντας κυκλοφορήσει αρκετό υλικό. Προς ποια κατεύθυνση; Ένα κάπως παράταιρο μίγμα σκληρού ροκ (ας το πούμε και ελαφρώς «μεταλλικό»), pop-shoegaze αφέλειας και κάποιων επίσης ελαφρών ηλεκτρονικο-πειραματισμών. Το πράγμα δουλεύει, δίχως, πάντως, να καταφέρνει να αρθεί και του αναμενόμενου.
NIHILING: Batteri [Kapitan Platte, 2107]
BELOW THE SUN: Alien World [Temple of Torturous, 2017]
PÙ: Tunguska: Last Transmission [Atypeek Music, 2017]
CANTENAC DAGAR: Stilletonne [Atypeek Music/ SK Records/ Isola Records, 2017]
THE SOUNDBYTE: Solitary IV [Temple of Torturous, 2017]
AMANTRA: As it Should Have Been [Atypeek Music/ Avalanche Recordings, 2017]
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Jeff Tweedy – Together At Last (2017)
320 kbps | 108 | LINKS
“I shake like a toothache when I hear myself sing,” Jeff Tweedy confesses on “Ashes of American Flags”. Those sound like the words of a man who wouldn’t entertain the idea of releasing a solo acoustic record. Maybe when the song was first released 15 years ago, they were true. Nonetheless, here the track is, smack in the center of a record capturing the Wilco frontman all by his lonesome.
Together at Last, which promises to be the first in a series of solo efforts from the singer, assembles 11 tracks from across Tweedy’s expansive back catalog and strips them down to their bare acoustic bones. With no one to turn or pass the spotlight to (save for longtime Wilco engineer Tom Schick), Tweedy settles in for some quality time with his own songs, including some originally recorded with side projects Loose Fur and Golden Smog. Never has Tweedy been this introspective on record, letting his words and feelings hang wide out in the open. Whether or not that’s a good thing depends on which side of the singer appeals to you: the experimental wunderkind or the moody troubadour.
Tweedy’s always been a little bit of both, even if it’s the former that typically grabs the attention of fans and critics. Yankee Hotel Foxtrot, released in 2002, made Tweedy a household name in rock circles, and his reputation as one of his generation’s great songwriters only grew on the back of equally adventurous Wilco efforts that followed. A Ghost Is Born was a complicated, drug-addled opus. The Whole Love marked the band’s full-circle return to experimentalism after two comparatively straightforward releases. Star Wars, released in 2015, is full of moments as sonically out of bounds as its title implies. The beat on Tweedy is that of a playful, wily musical maverick backed by one of the most prodigiously talented bands in the land.
But to focus solely on this is to ignore what kind of songwriter he truly is at heart. Uncle Tupelo, Golden Smog, and early Wilco records revealed Tweedy to be a boozy, heartbroken balladeer. That side of him never left, even as Wilco won the world’s ear as one of the most exciting American rock bands of the 2000s. Together at Last gives more focus and attention to that quieter side of Tweedy’s musical persona, one influenced more by a singer-songwriter approach than a desire to break down rock and roll barriers. By stripping away the instrumental bulk and studio touches that defined records like Yankee Hotel Foxtrot, A Ghost Is Born, and Summerteeth, Tweedy actually makes his songs sound even more human and personal.
That’s no small feat when you’re dealing with some of the best tunes in the Tweedy songbook. But the singer’s attempts at pulling back and letting the core of his songs do the work mostly succeed on Together at Last. “Via Chicago”, as done on Summerteeth, is as sublime a song as Tweedy’s written, but pared down to nothing more than a guitar, harmonica, and his voice, the song sounds even more fragile and despondent than its predecessor. He employs the same “less is more” approach to the record’s remaining 10 tracks. Tweedy ditches the ambient strangeness that defines Loose Fur’s “Laminated Cat” in favor of his quiet, semi-stoned voice and an acoustic guitar. “Dawned on Me” and “I’m Always in Love”, two of Wilco’s more upbeat numbers, are equally well-serviced when left to Tweedy’s own devices. As gorgeously ornate as his songs can be, many of Tweedy’s songs crave intimacy, and he affords them that much here.
What you see is exactly what you get on Together at Last. It’s Tweedy perched up in is Chicago loft giving his own songs the coffee house treatment. It’s hardly his most sexy or dazzling effort, and that’s admittedly by design. But even without the willful innovation, the record is important evidence to just how strong and poignant his songs are in skeletal form. Wilco is nowhere to be found here, but Together at Last is still a very good Jeff Tweedy record that should hold over fans until his band’s next musical flight of fancy.
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Joe Bonamassa – Live at Carnegie Hall An Acoustic Evening (2017)
320 kbps | 123 MB | LINKS
On January 21st and 22nd of 2016, world-renowned platinum-selling and Grammy nominated Blues-rock singer-songwriter and guitarist Joe Bonamassa performed two unique all-acoustic shows at the iconic Carnegie Hall in New York City. Both performances were filmed and made into Joe Bonamassa Live At Carnegie Hall – An Acoustic Evening. An evening of extraordinary music with new arrangements of favorite songs as well as brand new, never-before-heard songs all housed in this deluxe 2CD set. The concert was part of a special all-acoustic tour and featured an all-star ensemble of world-class musicians. Acclaimed Chinese cellist and erhuist Tina Guo, whose repertoire stretches from classical to heavy metal; and Hossam Ramzy, the Egyptian percussionist and composer, who has performed on dozens of film soundtracks and records, including on Jimmy Page and Robert Plant s No Quarter: Unledded Tour. Reese Wynans (piano), Anton Fig (Drums) Eric Bazilian (mandolin, hurdy-gurdy, saxophone, acoustic guitar, vocals), and three Australian backing vocalists, Mahalia Barnes, Juanita Tippins, and Gary Pinto round out the band. Everyone knows the old saying about how to get to Carnegie Hall, but Bonamassa has truly lived that advice. His entire life and musical career had been practice for this moment, and a young blues-boy finally made good on a childhood dream of playing one of the most hallowed stages in the world. This stripped down, all-acoustic show allowed his fans a glimpse into his soul and presented a thrilling and musically dangerous spectacle akin to walking a tightrope without a net.
CD1
01. This Train
02. Drive
03. The Valley Runs Low
04. Dust Bowl
05. Driving Towards The Daylight
06. Black Lung Heartache
07. Blue and Evil
08. Livin’ Easy
09. Get Back My Tomorrow
CD2
01. Mountain Time
02. How Can a Poor Man Stand Such Times and Live?
03. Song of Yesterday
04. Woke Up Dreaming
05. Hummingbird
06. The Rose
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Quantic & Nidia Góngora – Curao (2017)
Curao es el lugar en el que se encuentra el sonido ancestral del folclor Pacífico mezclado con sutiles tintes de arreglos electrónicos. Un espacio sonoro donde la marimba de chonta (piano de la selva) se hermana con el downtempo, donde el currulao convive con el dub, donde la chirimía y los aires de drum&bass se cruzan, se mezclan.
"Nidia tiene una historia muy especial, y como cantante encarna el espíritu y los tesoros ancestrales de su origen", dice Quantic de la cantante, que ha prestado su energía y talento únicos a algunos de sus lanzamientos más populares (como, por ejemplo, Ondatrópica). Nidia Góngora, considerada una de las principales artistas de la música típica de la marimba de la región del Pacífico Sur y guardiana de la tradición oral, lidera los principales conjuntos regionales, como Grupo Canalon, y juega un papel clave como mentora de grupos más jóvenes. Actualmente afincada en la ciudad de Cali, Góngora nació en una familia musical en el remoto pueblo fluvial de Timbiquí, una comunidad afrocolombiana cuya ubicación y contrastes culturales proporcionan una inspiración sin fin.
El disco arranca con una intro de sonidos de lluvia, tambores y rituales, que lo sitúan a uno en aquellos paisajes propios de la Costa Pacífica colombiana, al igual que todos los interludios que hacen parte del disco. En su primera parte canciones como "E Ye Ye" y "Dub del Pacífico" reflejan los sabores y los sonidos de esta zona del país. Mientras "Que me duele?", "Se lo ví" y "Muévelo negro", revelan historias vivenciales de la cotidianidad, desde los dolores que aquejan el cuerpo, hasta el baile y la jodedera.
El disco continúa con "Amor en Francia", "Ojos vicheros" y "Ñanguita", canciones en las que el folclor Pacífico y detalles de la electrónica se hacen más fuertes. Más adelante canciones como "Dios promete", "María no me llevó" y "Maldito muchacho", son los lugares en los que la tradición religiosa se convierte en arrullo redentor y súplica, mientras "No soy del Valle" y "Un canto a mi tierra", son la apropiación de la tierra y el empoderamiento de las raíces.
Este es, en últimas, un viaje a lo ancestral con un sonido moderno en el que queda claro que la unión Quantic-Góngora siempre nos va a traer magia sonora para abstraernos en selvas profundas y místicas. (Fuente: Noisey)
Página web oficial: Quantic
tracks list:
01. Intro
02. E Ye Ye
03. Que me duele?
04. Dub del Pacifico
05. Interludio I
06. Se lo ví
07. Muévelo Negro
08. Amor en Francia
09. Ojos Vicheros
10. Ñanguita
11. Dios promete
12. Interludio II
13. María no me llevo
14. Interlucio III
15. Un canto a mi tierra
16. No soy del Valle
17. Interludio IV
18. Maldito muchacho
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Prince & The Revolution – Purple Rain [Expanded Deluxe Edition] (2017)
320 kbps | 435 MB | LINKS
Purple Rain remains one of history’s most important, indisputable, and influential albums, but you’ve never heard it like this before. Purple Rain Deluxe boasts the official 2015 Paisley Park Remaster of the original tapes overseen by Prince himself in addition to a new “From The Vault & Previously Unreleased” disc with 11 unheard gems from the storied vault. This is Prince’s final word on his definitive masterpiece.
This 3-CD Expanded Edition is a true collector’s item and the ultimate vision of Purple Rain. In addition to the 2015 Paisley Park Remaster and “From The Vault & Previously Unreleased,” it includes “Single Edits & B-Sides” .
Disc One: Original Album (2015 Paisley Park Remaster)
1. Let’s Go Crazy
2. Take Me With U
3. The Beautiful Ones
4. Computer Blue
5. Darling Nikki
6. When Doves Cry
7. I Would Die 4 U
8. Baby I’m A Star
9. Purple Rain
Disc Two: From The Vault & Previously Unreleased
1. The Dance Electric
2. Love And Sex
3. Computer Blue (“Hallway Speech” version)
4. Electric Intercourse (studio)
5. Our Destiny / Roadhouse Garden
6. Possessed (1983 version)
7. Wonderful Ass
8. Velvet Kitty Cat
9. Katrina’s Paper Dolls
10. We Can Fuck
11. Father’s Song
Disc Three: Single Edits & B-Sides
1. When Doves Cry (edit)
2. 17 Days
3. Let’s Go Crazy (edit)
4. Let’s Go Crazy (Special Dance Mix)
5. Erotic City
6. Erotic City (“Make Love Not War Erotic City Come Alive”)
7. Purple Rain (edit)
8. God
9. God (Love Theme From Purple Rain)
10.Another Lonely Christmas
11. Another Lonely Christmas (extendedversion)
12. I Would Die 4 U (edit)
13. I Would Die 4 U (extended version)
14. BabyI’m A Star (edit)
15.Take Me With U (edit)
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(Native American, Flute, World, Folk) Ojibway People - Native American Flute - 2016, MP3, 320 kbps
Ojibway People / Native American Flute Жанр : Native American, Flute, World, Folk Лейбл : ARC Год издания : 2016 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 01:08:18 01.
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Bugalú!
We honor the late Joe Cuba with this encore portrait of “Bugalú,” produced for Afropop Worldwide by Ned Sublette. Bugalú is the Spanish spelling of boogaloo, and was also known as “Latin soul.” It hit the scene in 1966 with the original and organic concept of combining black and Puerto Rican music. The dance club crowd went crazy and then the fad quickly faded. But what a ride along the way! Joe Cuba was one of bugalú’s most popular artists, best known for the major hit “Bang Bang” that his band created on the spot one night at a club. Joe was a mesmerizing storyteller, and we’ll hear some of the major bugalú stars tell their stories, including Johnny Colon (“Boogaloo Blues”) and Tony Pabón (lead singer with Pete Rodriguez of “I Like It Like That” fame), and of course Joe Cuba himself.
Ray Barretto
Though Barretto was not a bugalú artist per se, he had an important Latin soul hit with 1962’s “El Watusi.” Born to Puerto Rican parents living in Spanish Harlem, Barretto was raised on a steady diet of his mother’s favorite American jazz artists, Duke Ellington and Count Basie. During a stint in the military he met Fats Sadi, a Belgian vibist who introduced him to Dizzy Gillespie’s collaborations with Cuban percussionist Chano Pozo. Barretto was inspired and dedicated himself to mastering the congas, and ultimately became one of the bandleaders most identified with the glory years of the salsa boom.
Pete Rodriguez
Hailing from the Bronx, Rodriguez scored his biggest hit with the tracks “I Like It Like That.” To read more about his music, check out this excellent article on Pete Rodriguez and Ozzie Torrens.
Joe Cuba
Joe Cuba (Gilberto Calderón), the Big Daddy of bugalú, had a breakthrough pop hit with “El Pito (I’ll Never Go Back To Georgia),” though none of the members had ever been to that state. Cuba’s sextet, featuring future Puerto Rican singing idol José “Cheo” Feliciano on lead vocals and Jimmy Sabater on timbales, was at the forefront of the bugalú movement and scored its biggest pop hit, 1966’s “Bang Bang.”
Johnny Colon:
Johnny Colon’s “Boogaloo Blues” was an enormous hit, branding the style of music with its name. A dedicated educator, he opened the East Harlem Music School in 1968, which has many well-known alumni and is still open today.
Richie Ray
Born to Pacífico Maldonado, an accomplished guitarist from Puerto Rico, Richie Ray’s musical education started early and lasted long. Ray began piano lessons at the age of seven, started playing in bands at twelve, and attended both the High School of Performing Arts and Juilliard School of Music. After recording a group of singles for Fonseca Records, Ray moved his band to Alegre Records, the same label that released many of Pete Rodriguez’s records. Ray was enormously popular on the island of Puerto Rico. His biggest hits, including “Mr. Trumpet Man,” were in partnership with Bobby Cruz. Both of them are still active today, though they both became evangelical ministers and dedicated their subsequent music to that work.
For more information- and to hear more classic bugalu- you should check out Oliver Wang’s writing on NPR– as well as the Soul Sides Blog.
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The Deslondes – Hurry Home (2017)
320 kbps | 102 MB | LINKS
The Deslondes are a five-piece band from New Orleans. In the time between the release of their self-titled debut and new sophomore album, Hurry Home, The Deslondes have toured the world and drawn critical acclaim for their studied and inventive take on New Orleans country and R&B. Hurry Home represents a sonic shift from the country-folk of their debut to a sometimes-psychedelic, electrified gospel-soul sound, with a stronger emphasis on organ and electric guitar. The band split up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. The sound may continue to draw comparisons to the country-funkiness of The Band, but The Deslondes were equally inspired by the sound of early Sun Records, the punchy rock and roll of VU-era Velvet Underground and the experimental pop of Joe Meek. Perhaps most importantly, Hurry Home is the sound of a band that understands the history of American music, but is deftly finding their own contemporary approach.
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AGE OF MAN ABOUT TIME - 2015
AGE OF MAN
ABOUT TIME - 2015
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ARROWHEAD DESERT CULT RITUAL - 2016
ARROWHEAD
DESERT CULT RITUAL - 2016
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Algiers – The Underside of Power (2017)
320 kbps | 102 MB | LINKS
This is the musical response that dark times demand, one that not only shakes its fist but deploys it. Locally-informed global citizens, Algiers refuse to sit idly by while most contemporary artists appear perfectly content to sit out the revolution. Not only do Algiers harbor a purposeful sense of obligation in what they do on their latest resistance record The Underside Of Power, but they recognize the roots and thorns of precedent in said resistance. Beyond the technical necessities living their respective lives both in and outside of music, Algiers’ continued deviation from a more traditional band approach created a more versatile sound, one that better incorporates a collective and respective panoply of influences and styles. Some of this is informed by their choice of collaborators in this process, a crew that includes Adrian Utley [Portishead], Ben Greenberg [Uniform, The Men], Randall Dunn [Sunn 0)))], among others. Pick any track off The Underside of Power and the reference points expand exponentially, a dizzying and thrilling Recommended-If-You-Like list that would consume a series of afternoons. Poke at the seasoned members’ bruised flesh, and out come wafting touchpoints as disparate and intriguing as Big Black, Wendy Carlos, John Carpenter, Cybotron, The Four Tops, Portishead, Public Image Limited, Steve Reich, and Nina Simone, to name but a few. Deep echoes of Black Lives Matter and its 20th century forbears gather, surge, and subside in their often soulful work, a form of principled, acute dissent more interested in learning from the past than in evoking nostalgia.
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