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- 07/10/17--05:32: _Casse-Croute – �l�p...
- 07/10/17--05:32: _Steve Forbert – Mor...
- 07/10/17--06:01: _(Folk) Jeff - Rue D...
- 07/10/17--07:00: _(Folk) Mailhe - Mey...
- 07/10/17--07:41: _Luciano Pavarotti -...
- 07/10/17--08:00: _(Folk) Tia Blake An...
- 07/10/17--08:14: _Marimba del Pacifico
- 07/10/17--08:14: _Field Report: India...
- 07/10/17--09:28: _John Pizzarelli fea...
- 07/10/17--10:14: _Sons Of The Palomin...
- 07/10/17--10:29: _VA – Welcome to Zam...
- 07/10/17--10:52: _Porter Nickerson – ...
- 07/10/17--11:59: _(National Folk, Arm...
- 07/10/17--13:14: _Chris Murphy – The ...
- 07/10/17--13:25: _323 Música sin usur...
- 07/10/17--13:29: _VA – Welcome to Zam...
- 07/10/17--13:31: _Ocora
- 07/10/17--13:46: _Jethro Tull - Minst...
- 07/10/17--13:59: _THEO VERNEY ONE SM...
- 07/10/17--14:11: _United Bottles – Th...
- 07/10/17--05:32: Casse-Croute – �l�phant Rose (2017)
- 07/10/17--05:32: Steve Forbert – More Young, Guitar Days (2002)
- 07/10/17--06:01: (Folk) Jeff - Rue Du Moulin Rompu (Vinyl Rip) - 1978, MP3, V2
- 07/10/17--08:14: Marimba del Pacifico
- 07/10/17--08:14: Field Report: Indian Ocean Music Market and Sakifo Festival
- 07/10/17--09:28: John Pizzarelli featuring Daniel Jobim – Sinatra & Jobim @ 50 (2017)
- 07/10/17--10:14: Sons Of The Palomino – Sons Of The Palomino (2017)
- 07/10/17--10:52: Porter Nickerson – Bonfire to Ash (2017)
- 07/10/17--13:14: Chris Murphy – The Tinker’s Dream (2017)
- 07/10/17--13:25: 323 Música sin usura 10-07-2017 Reflexiones en Mi bemol menor III
- 07/10/17--13:31: Ocora
- 07/10/17--13:59: THEO VERNEY ONE SMALL PIECE - 2017
- 07/10/17--14:11: United Bottles – The Spirit And The Legacy (2017)
Title: �l�phant Rose
Year Of Release: 2017
Genre: French Hip-Hop
Quality: m4a 256 kbps
Total Time: 00:42:56
Total Size: 101 mb
02. Quand j’�tais kid
04. Soleil noir
07. Ben ou�
08. Champion (Amigo)
Title: More Young, Guitar Days
Year Of Release: 2002
Label: Rolling Tide Records
Genre: Folk-Rock, Pop-Rock, Singer-Songwriter
Quality: MP3 320 Kbps
Total Time: 01:00:49
Total Size: 156 Mb
01. Listen To Me (Slow Version) (05:00)
02. Everybody Needs A Real Good Friend (02:34)
03. Smoky Windows (Piano Version) (04:27)
04. Witch Blues (Alternate Take) (04:50)
05. You Gotta Go (02:51)
06. No Use Running From The Blues (03:12)
07. The Oil Song (Original Version) (06:18)
08. Down By The Sally Gardens (Live) (02:28)
09. Young, Guitar Days (Demo) (04:53)
10. Romeo’s Tune (Live) (04:06)
11. Grand Central Station (Live) (04:39)
12. Oh, Camille (Live) (02:55)
13. Get That Vagabond Feeling (Country Version) (03:29)
14. It’s Wrong (Room 286 Rehearsal) (03:23)
15. Comedy Heights (05:46)
Most artists attempt to make a comeback after their star has faded. Some succeed, but most don’t. Steve Forbert has found critical favor by returning to outtakes and extras from earlier sessions, releasing music that sits comfortably beside his best work. More Young, Guitar Days follows its 2001 companion piece by issuing alternative versions originating from studio and live work between 1975 to 1982. Oddly, guitar-driven songs like "Witch Blues," "The Oil Song," and "Listen to Me" sound a whole lot like alternative country in 2002. John Leventhal’s guitar adds a real kick to "You Gotta Go," while legendary harmonica player Sonny Terry sits in on "No Use Running From the Blues." There are live versions of "Romeo’s Tune," "Grand Central Station," "Oh, Camille," and "Down by the Sally Gardens" and a nice country take on "Get That Vagabond Feeling." Historically speaking, good guitar music like this must have created an odd impression in the midst of disco madness. More Young, Guitar Days shows that rock & roll didn’t die in 1975, but continued to thrive in small enclaves that refused to recognize that the world had moved on. For fans, this trip to the vault delivers another fine cache of fine material from Forbert’s glory days.
Jeff / Rue Du Moulin Rompu (Vinyl Rip) Жанр : Folk Страна исполнителя (группы) : France Год издания : 1978 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : V2 Продолжительность : 00:32:04 Наличие сканов в содержимом раздачи : нет Треклист : 01 Le Potier 02 Je Marche 03 L'Etier 04 Mas Des Combes Hauts 05 Rue Du Moulin Rompu 06 Les Couleurs Du Ciel 07 A Kerouac 08 Albertine 09 Le Drap Blanc 10 Le Hamac 11 L'alcool Triste Доп.
Mailhe - Meyer / Le Bateau Ivre (Vinyl Rip) Жанр : Folk Страна исполнителя (группы) : France Год издания : 1979 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:31:50 Наличие сканов в содержимом раздачи : нет Треклист : 01 Gilles Elbaz - Les mots sont de la musique (musique Soleil) 02 Guy Demaysoncel - Femme de longtemps - Tentative de poeme (musique Catherine M) 03 Jacques Brel - Ces gens-la (musique J.
Artist: Luciano Pavarotti | Album: The Love Album | Genre: Classical, Opera | Country: Italy | Released: 2001 | Duration: 02:26:16
Tia Blake And Her Folk-Group / Folksongs And Ballads Жанр : Folk Год издания : 1971 (2011) Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:54:46 Наличие сканов в содержимом раздачи : нет Треклист : 01 Betty & Dupree 02 Black Is the Color 03 Wish I Was a Single Girl Again 04 I Am a Man of Constant Sorrow 05 Jane, Jane 06 Lost Jimmi Whalen 07 The Rising of the Moon 08 Hangman 09 Turtle Dove 10 Plastic Jesus 11 Polly Vaughn 12 My Father Is a Lonely Man [CBC Recording] 13 Yellow Hair [CBC Recording] 14 Country Boy [CBC Recording] 15 Betty & Dupree [Rehearsal] 16 Hangman [Rehearsal] 17 White Bird [Rehearsal] 18 Wish I Was a Single Girl Again [Rehersal Take 1] 19 Wish I Was a Single Girl Again [Rehersal Take 2] Доп.
Rivers only have an illusion of permanence, something the Greek philosopher Heraclitus pointed out when he said you never put your foot in the same river twice. They can be named, mapped, talked about like any solid object, but rivers are, in fact, always being replenished. Likewise, notes from a hit of the marimba last only for a moment. It takes a steady stream of notes to fill sonic space, but when the marimba players of Rio Mira really get going they build something that sounds almost static even as it flickers and flows, with eddies of melodies that build into full-on waves of call and response.
Marimba del Pacifico is Rio Mira‘s new full-length album, out July 14 on AYA Records. It is a record of folkloric music that immediately welcomes listeners in, and rewards them with each play, revealing its subtle charms slowly. There are moments of trance-inducing repetition and playful runs that wouldn’t sound terribly out of place on a Lionel Hampton record.
Rio Mira’s namesake is a river that begins in Ecuador and flows into Colombia, a metaphor the band seems to find particularly apt. Their music is not exclusively Ecuadorian or Colombian—it is Afro-Pacific. Enslaved people of African descent, who escaped from nearby plantations or from shipwrecks, settled in the area and brought their music with them. The marimba, an African instrument, found a place in the nascent culture in the 16th century.
The group is based out of Esmeraldas, Ecuador on the country’s northwestern coast. Although UNESCO declared the marimba music of the South Pacific Colombia and Esmeraldas Province, Ecuador to be Intangible Cultural Heritage in 2015, Afro-Ecuadorian music hasn’t enjoyed the local acclaim that Afro-Colombian music has recently. It’s unfair to expect any one album to reverse all of that, but behind their charismatic lead singer Karla Kanora, it’s easy to imagine Rio Mira winning some fans.
The reference points definitely sound Colombian more often than Ecuadorian to my ears. “Guarapo” has a bit of a Caribbean feel and “Aguacerito” has the call and response like Colombian bailes cantados, or “sung dances.” Lest you think it’s just marimba, both songs prove that this group can really sing.
The marimbas mostly create the substrata for the sung melodies to bound over, but on “Patacore” the mallets really loosen up, with Cuban-inflected little hooks and builds that rise for a moment only to come tumbling down like Lincoln Log cabins.
“Nina Elena” has that flickering interplay between the marimba and the congas and shakers, perhaps best exemplifying the way this music is both intensely physical while being playful and laid back.
The first single is called “Roman Roman” and it is an ode to the intimate connection the El Pacífico communities have with the rivers. The driving marimbas gather like storm clouds, but never break. The river carries all the way out to the sea.
Feature image above: Pachibaba, photo credit Fabien-Tressaille.
Every year at the end of May/early June, the tropical island of Réunion (in French: La Réunion), a French overseas department located east of Madagascar in the middle of the Indian Ocean, is home to the IOMMA (Indian Ocean Music Market) and the Sakifo festival. Although Réunion is more than a 10-hour flight from Paris, it is a part of France. The official language is French, although most of the islanders speak Réunion Creole. In cafés you can order a petit dejeuner with croissants and chocolat chaud (hot chocolate). You pay with euros. But even though French culture is everywhere on Réunion, the island is actually a fascinating mix of European, African and Indian cultures.
Initially uninhabited, Réunion was colonized by the French in the latter part of the 17th century. When discovered, the island was uninhabited so there was no local population and thus no indigenous language. When settlement began, it was initially by people from France and Madagascar, and later by slaves from East Africa, who were forced to work on the sucarcane plantations. Slavery was abolished on Dec. 20, 1848 (a date celebrated yearly on the island), after which indentured workers were brought from South India, among other places. The present-day population of 800,000 is a mix of French, African, Chinese, Malays and Indians. This modern and prosperous rainbow nation, blessed with beautiful beaches, a spectacular mountain range and an active volcano, Piton de la Fournaise, is largely dependent on tourism and financial support from la métropole (mainland France).
The goal of IOMMA is to showcase the musical diversity of the countries that border the Indian Ocean, and promote exchanges, meetings and opportunities between artists and music industry professionals of the Indian Ocean, as well as connecting with professionals coming from Europe, Australia, America and Asia. The sixth edition of this leading platform for the Indian Ocean took place from May 29 to June 1. Over three days, more than 300 local and international delegates (festival organizers, promoters, artists, managers and journalists ) from South Africa, Madagascar, Mauritius, the Seychelles, India, Tanzania, Australia, China, Taiwan and (of course) France convened for panel discussions, workshops, and music showcases presenting bands from traditional to urban. Daytime at IOMMA was restricted to delegates while the evening showcases at were open to the public.
Réunion’s signature music style, maloya, could be heard in many variations. It dates back to the days of slavery, mixing African and Indian rhythms. Originally this great dance music was discouraged, controlled and sometimes even banned by French authorities because it was considered to be protest music. The Communist Party made use of maloya in the 1970s, when it was fighting for greater autonomy from France. Maloya was seen by the French as a threat to the state and maloya concerts had to be reported to the authorities, and the song lyrics submitted to the authorities beforehand. Many maloya artists performed without being discovered by the French authorities by constantly changing their tactics, organizing shows in different private residence. Other musicians were not so lucky and were jailed for playing maloya.
Life for maloya artists changed dramatically in 1981 when Francois Mitterand, leader of the Socialist Party, became the French president. He did not just legalize the music, allowing it to be played on the radio, but provided funds to help cultural projects. Since then quite a few Réunion artists began rediscovering their musical roots, mixing maloya with such other genres as sega, zouk, reggae, jazz and rock. Nowadays the leading exponent of maloya is singer and poet Danyèl Waro, who has enriched the trance-inducing rhythms with poetic lyrics and political messages. In 2009 maloya was deemed to have met the UNESCO criteria for inscription on France’s Representative List of the Intangible Cultural Heritage of Humanity.
Pure maloya was demonstrated by the Réunion group, Kiltir, whose name derives from the Creole word for culture. Kiltir plays “speed maloya” with fast rhythms and creative texts about social justice and the maloya culture. Formed in 1996, Kiltir is essentially a family group consisting of brothers and cousins who have been practicing maloya together since their childhood. Maloya accompanies every moment of their life, the good ones as well as the bad ones, in family gatherings and the service kabaré, a ceremony in tribute to the ancestors organized each year by their grandmother. Leader and frontman is the super-energetic singer Jeannick Gino, using only vocals and typical maloya percussion instruments such the roulèr, the pikèr, the bobre, and the kayamb. Kiltir’s primary goal is safeguarding and passing on maloya to future generations.
Another highlight of the IOMMA was Pachibaba, the new project of singer Olivier Araste from the Réunion maloya group Lindigo, accordeon player Fixi (Java, Winston McAnuff, Tony Allen) and drummer Cyril Atel ( M, Bumcello, Congopunq), who brought an energetic mix of maloya, dub, Afrobeat and electro. Currently they are recording their first album in La Réunion and next year they will light up many festivals in Europe.
Actress, storyteller and author of two collections of poems in Creole and French, Judith Profil, better known as Kaloune, is one of the most interesting artists in Réunion. She is passionate about words, and sings about memory, the sacred and the feminine and accompanies herself on the mbira (thumb piano) used in Zimbabwean rituals, mixing poetry with electro beats. But just before Kaloune’s performance, she was was confronted with a dead computer. Instead of cancelling the show she choose to do an improvised acoustic concert, with only voice, mbira and percussion, and a lot of energy and humor. The crowd in the packed Karbadock reacted with great enthusiasm, joining her handclaps, singing and dancing. A few days later Kaloune performed at the Sakifo festival, this time with Electro Wizard. It was a complete different concert, but Kaloune impressed again.
Singer Elida Almeida is the new rising star of the music in Cape Verde. This protege of entrepreneur José da Silva, the man who made Cesaria Evora world famous, spent her childhood years with some difficulty in the mountains of Santiago. At age17, she sang at church, she listened to the radio, she said that she grew up on a place without electricity or necessities. Now at 24 she has released an album, Ora Doci, Ora Margos, and has everything she needs to become the new African superstar: a great, emotive voice, energetic stage performance and the right mix of melodious ballads and uptempo dance songs.
Composer, dancer and singer Eusebia, talented daughter of the Madagascar superstar Jaojoby, has been touring with her father and now also performs on her own. This charming and energetic performer uses the Malagasy rhythms to sing the strong values of her country. What a joy to see this always-smiling lady performing!
Immediately following IOMMA was the 13th edition of Sakifo ( Creole for “This is what you need”), a four-night public festival held in a four-and-a-half-acre park on the beautiful beaches of the seaside resort Saint-Pierre. This festival, spread across six stages, is directed by Romu Requena and was attended by approximately 30,000 people.
Requena commented, “ I’m really proud of all those newcomers that we managed to program. We still have a programmation with more unknown artists than headliners. It means that we have an audience ready to come to Sakifo to discover new artists. And our mission is to propose them good shows if we want to keep their loyalty. Another important thing for me is the focus on our natural area, the Indian Ocean. Nearly 50 percent of the artists of the programmation are coming from Indian Ocean. It’s also a way to show the liveliness of the music in our region.”
The music ranged from international acts, including Bob Marley’s youngest son Damian Marley, Nigerian soul and hip-hop artist Keizah Jones, and German reggae star Patrice, to local maloya artists. My favorite hangout was the very cozy Salle Verte (Green Room), a simple hut of bamboo, where local maloya musicans came together for hours-long jam sessions. Pure maloya was also produced by the Réunion band Mélanz Nayson, led by the energetic singer Stéphane Grondin, who is “living maloya, even dreaming maloya,” as he told me. The band’s name means “Mixed Nation,” referring to the African, Indian, Chinese and European origin of the Réunion people. Formed by friends in a rough neighbourhood, Mélanz Nasyon demonstrated what maloya is all about: tight percussive rhythms, strong call-and-response vocals and Réunion Creole lyrics.
One of the revelations was the young Mozambican singer-guitarist Deltino Guerreiro, gifted with an impressive voice. In his radio-friendly compositions, sung fluently in Portuguese, English and Macua, this charming performer blends traditional music with soul, pop and contemporary urban fusion, creating danceable Afro-soul. Of course he performed his hit song “Sonho,” which makes you want to get up and boogie along.
More great African music could be heard by the Belgian rapper, MC and hip-hop artist of Congolese origin, Baloji; veteran South African jazz, fusion and mbaqanga singer Ray Phiri (Stimela, Paul Simon’s Graceland ); and the South African singer, songwriter and guitarist Bongoziwe Mabandla, who is hailed as the new face of Afro-folk.
Sakifo’s highlight took place on Sunday morning at the Risofé, the annual free concert on a stage right next to the Indian Ocean. The locally famous band Ousanousava, French Creole for “Where are we going to” attracted more than 1,000 mainly Réunionnais, who, under a lovely morning sun, danced, sang along and shouted their heart out to a joyful blend of maloya, sega, reggae and chanson créole. What a party it was!
After hearing maloya for nearly a whole week, its good to know that maloya, once barely hanging on as a half-remembered folk tradition, is clearly more alive than ever.
Réunion, mi aime a ou ( Réunion, I love you!)
Bastiaan Springer is producer for Radio 5 and The Concert Radio in the Netherlands, and a world music journalist.
Sinatraphiles consider the 1967 album Francis Albert Sinatra & Antonio Carlos Jobim one of Frank’s greatest, a meeting that found Frank in an out-of-character setting. Yet he delivered a commanding and understated performance over Jobim’s gentle rhythms and Claus Ogerman’s strings. With Sinatra & Jobim @ 50, Pizzarelli pays tribute to those original recordings, enhancing that collection with two originals, Michael Frank’s ode to Jobim and songs that Sinatra and Jobim recorded at a 1969 session.
Jobim’s grandson, Daniel Jobim, is John’s duet partner on the Jobim classics Sinatra and Jobim recorded together: “Agua de Beber,” “Bonita,” “This Happy Madness (Estrada Branca)” and “Dindi,” plus a medley of “Meditation” and…
…“Quiet Night of Quiet Stars.” They also cover the standards from the 1967 LP, “Baubles, Bangles & Beads” and a medley of “Change Partners” with Jobim’s “If You Never Come to Me” plus Cole Porter’s “I Concentrate on You,” which is paired with Jobim’s “Wave.”
Pizzarelli & company also perform Jobim’s “Two Kites,” Michael Frank’s song about Daniel’s grandfather, “Antonio’s Song” and two Pizzarelli-Jessica Molaskey originals, “She’s So Sensitive” and “Canto Casual.”
The idea for Sinatra & Jobim @ 50 sprang up after Pizzarelli and his quartet had a successful string of shows in Brazil in June 2016. One of those shows fell on the birthday of guitarist João Gilberto, whose legendary recording of “The Girl from Ipanema” with Stan Getz made bossa nova a global sensation in 1964. John says his 2004 record Bossa Nova was in many ways a tribute to Gilberto.
“Over the period of one week, with Daniel in the Brazilian rain forest and the rest of us bearing the cold weather of a New York January winter, we put these duets together that honor the original Sinatra/Jobim collaboration, along with some of our own songs, adding the help of the great Brazilian musicians Duduka Da Fonseca and Helio Alves (who also appeared on Midnight McCartney) with my fine U.S. cohorts, bassist Mike Karn and saxophonist supreme Harry Allen.” – John Pizzarelli
01. Baubles, Bangles and Beads (3:09)
02. Aqua de Beber (feat. Daniel Jobim) (4:07)
03. Meditation / Quiet Nights of Quiet Stars (Medley) (feat. Daniel Jobim) (3:59)
04. Dindi (feat. Daniel Jobim) (3:53)
05. I Concentrate On You / Wave (Medley) (feat. Daniel Jobim) (5:33)
06. Antonio’s Song (feat. Daniel Jobim) (5:05)
07. Two Kites (feat. Daniel Jobim) (4:34)
08. She’s So Sensitive (4:20)
09. Bonita (feat. Daniel Jobim) (4:53)
10. If You Never Come To Me / Change Partners (Medley) (feat. Daniel Jobim) (5:50)
11. Canto Casual (6:02)
320 kbps | 111 MB | LINKS
Sons of the Palomino was founded on the spirit and love of authentic country music. The 60’s/70’s era classic country band is helmed by hit songwriter and artist, Jeffrey Steele. Sons of the Palomino pays homage to Steele’s beginnings in the Los Angeles honky tonk scene and features an all-star line up of musicians including: Jerry Roe on drums, Brad Albin on Bass, Paul Franklin on Steel Guitar, James Mitchell & Brandon Hood on guitar, Tony Harrell on Piano and Larry Franklin on Fiddle.
Recently liberated from British rule but suffering from the growing pains of its autocratic first president, the Republic of Zambia found itself on hard times in the early ’70s. Landlocked, isolated, and poor, Zambia somehow managed to avoid war while conflicts raged in surrounding countries.
From this environment emerged the hard rock scene that became known as Zamrock. Taking heavy influence from American and British rock bands, Zamrock fused psychedelic sounds, traditional elements, and the overriding social themes of the day into a powerful if sometimes ragtag brand of African rock that was far different from the popular Afro-beat of so many Northern nations. Now-Again’s excellent Welcome to Zamrock! Vol. 1 offers 16 tracks by the scene’s…
…primary movers and shakers — like Ngozi Family, Witch, and Musi-O-Tunya — spanning the years 1972-1977. At times hard and funky (Ngozi Family’s cosmic thumper “Hi Babe”), political (the soulful “Fwe Bena Zambia” by Five Revolutions), and occasionally heartbreaking (Chrissy Zebby Tembo’s riffy race jam “Born Black”), this set sheds light on a unique and previously overlooked branch of Africa’s rich musical heritage.
FLAC | 299 MB | LINKS
When Midwest based guitarist / singer-songwriter Willy Porter started out, the success of the single ‘Angry Words’ (from his 1994 album Dog-Eared Dream) led to touring slots with the like of Tori Amos, Rickie Lee Jones, The Cranberries, Sting, Paul Simon, and Jeff Beck.
But over the years, and 10 albums in, he’s evolved into a gifted finger-style guitarist focused more on acoustic based songs.
With vocalist Carmen Nickerson having contributed cameos on his last couple of releases, Bonfire To Ash finds him teaming up with her for their first collaborative release, produced by Grammy Award-winning producer Ben Wisch (Marc Cohn).
The result is an easy on the ear album that blends well with the Crosby, Stills & Nash generation of songwriters and performers. Lead vocals are shared, and the album never settles into a single groove, instead skipping from the jazz infused opener ‘There Goes Rhyming Simon’, ‘Old Red Barn’ and ‘Echo Of Love’, though the mildly funky ‘Plant A Garden’ and ‘In Bloom’, to the plaintive folk/country ‘Living Proof’ and ‘Loving On Her Mind’, and rock ‘n’ roll, Lou Reed influenced, ‘Earthquake’.
Nersik Ispiryan (Нерсик Испирян / Ներսիկ Իսպիրյան) 1992-2017 discography Количество релизов (альбомов / синглов / EP/ сборников) : 13 Жанр : National Folk, Armenian Patriotic Songs Страна-производитель диска : Armenia, USA Год издания диска : 1992-2017 Издатель (лейбл) : Parseghian Records, Karen Studio, Reco Records Страна : Armenia Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 128-320 kbps Продолжительность : 08:52:30 Источник : скачано с Наличие сканов в содержимом раздачи : нет Треклист : #77 01 - Araj Nahatak 02 - Kuzim Ertam 03 - Dzyun Kuga Sarun 04 - Nzhdeh 05 - Garun Bacvec 06 - Yelir Gevorg 07 - Hayoc Aghunak 08 - Mayisi 28 09 - Gurgeni Hishatakin 10 - Leran Lanjin 11 - Smbat Zoravar 12 - Haracheq Hoghmer 13 - Hay Qajer 14 - Mer Hayreniq #77 01 - Artsiv, Slacir 02 - Gharabagh 03 - Bekori Hishatakin 04 - Aghbyur Serobin 05 - Khaghagh Andorr 06 - Bantarkyalnerin 07 - Gogo Salipa 08 - Taroni Harsner 09 - Serzh Tovmasyanin #77 01 - Yerablur 02 - Hrayr Marukhyan 03 - Masis Nayec 04 - Sasna Ahegh Krvin 05 - Taroni Voghb@ 06 - Qaj Nzhdeh 07 - Es Mi Tsar Em Tsirani 08 - Nikol Duman 09 - Yerg Qaj Hamazaspi Masin 10 - Talvoriki Qaj Ktritch 11 - Kikoyin #77 01 - Hayoc Yerkir #77 01 - Yerg Kamavori 02 - Im Chqnagh Zhoghovurd 03 - Yerdman Tsaghkepunj 04 - Karoyin 05 - Serob Pashayin 06 - Meruzhin 07 - Sev Amper 08 - Gevorg Chaushin 09 - Merik Shpe 10 - Pstik Tghan #77 01 - Vrezh 02 - Hzor Banak 03 - Surb Мayrer 04 - Piti Gnanq 05 - Zeytunciner 06 - Dzhokhq Hrayrin 07 - Garegin Garnecin 08 - Hayrenyac Sirun Hamar 09 - Anmah Jahagirner 10 - Avarayri Kriv@ #77 01 - Dzon Dashnakcutyan 02 - Hrant Dink 03 - Antog Tsovasar 04 - Sarkis Zetlyan 05 - @nker Makarin 06 - Hayastan 07 - Soskumn Ahavor 08 - Sebastaci Muradin 09 - Mez Miacnogh@ Dashnakcutyunn E 10 - Karkut Teghac #77 01 - Gevorg Chaushin 02 - Heros Qajerin 03 - Es Msheci 04 - Arshavanqi Yelan 05 - Galis En Byur-Byur / Mer Hayreniq 06 - Karmir, Kapuyt, Narnjaguyn 07 - Karotel Em Jrerud 08 - Serobn Yelav 09 – Sharan 10 - Tsaghkats Yergir 11 - Yereq Tari #77 01 - Dashnakcakan Karo / Shahen Meghryan 02 - Kaynir Khorot 03 - Gharabagh 04 - Dashnakcakan Qaj Zinvor 05 - Kuzim Ertam / Artsiv Slacir 06 - Leran Lanjin 07 - Menak Em Molor 08 - Sasna Sharan 09 - Barov Ekar Krunk 10 - Oy Oy Oy 11 - Gevorg Chaush / Anun Ar Anun (feat.
320 kbps | 116 MB | LINKS
No one can accuse Chris Murphy of being a slacker. In the last year, Murphy’s released three full length studio albums solidifying his standing as one of the finest purveyors of Americana working today. The latest of these trio of albums, The Tinker’s Dream, stands to be ranked as the best of the lot. This release, unlike the previous two, relies a little more on instrumentals, but the songwriting coherence and unity of purpose demonstrated over the course of these dozen songs is quite a bit stronger than the two very sturdy albums preceding it. There’s a decidedly sprightly and Celtic spin to a lot of these songs, particularly the aforementioned instrumental tracks, but Murphy doesn’t follow one track. He, instead, varies his approach at key points and has clearly built this album with considerable thought to its running order and song placement.
The opener, “Connemara Ponies”, starts things off beautifully. This is the big screen sort of epic that you’d hope Murphy delivers on this sort of release and he doesn’t disappoint. It isn’t difficult, with its upbeat tempo and layered instrumentation, to imagine flying over some pastoral setting and watching wild horses running free below. Murphy’s violin playing, in particular, has the fluency and melodic command to suggest such things. The album’s title song is likewise propelled by his violin with understated percussion and acoustic guitar buttressing those efforts. The tempo shifts slightly and slows down in the second half of the song with the acoustic guitar assuming more of an equal footing with Murphy’s playing, but the tempo surges again for a rousing finale. “Wicklow” is the album’s first song with lyrics and Murphy’s clear vocal delivery ties in nicely with the musical backing. He has unquestionable skill as a songwriter for co-opting the language and musical tropes of traditional music while branding it with his own personality – this succeeds in revamping those traditional elements for a modern audience without ever losing the older spirit informing his art.
“Gibraltar 1988” has a much darker, melancholic air that the earlier songs. Murphy’s violin plays some very melodic lines and benefits from some keen interplay with woodwind instruments and well-timed percussion flourishes. The album’s first single, with an accompanying video, shares some slight lyrical similarities with the earlier track “Wicklow”, but there’s more humor factoring in to this track than the earlier number. It returns listeners to the same jaunty tempos heard on the earlier cuts and speeds along without ever feeling rushed. The tempo remains lively, but a little tempered in comparison, on “Small Wonder”. The vocal melody is a little weaker than some listeners might like, but it’s equally obvious that this is simply just a very different sort of song than the earlier lyric driven songs. There’s even a hint of pensiveness peeking through some of the music and words alike that gives “Small Wonder” a slant not present in those previous tunes. The instrumental “Maritime Jig” depends on how well Murphy’s violin playing and the song’s secondary instruments work together for its success and it scores on every count in that area. There are some interesting tempo variations in the song that give listeners a brief glimpse into the heart of their interplay and those moments help make for one of the album’s late and most satisfying gems.
The album’s conclusion, “The Hayloft Waltz”, doesn’t go to any great pains in stressing its signature tempo and sounds very natural, like it was cut in a single take with little preparation going in/ Listeners should strongly suspect that the effort to realize this song was probably much greater, but it’s a measure of Murphy’s magic that the fruits of his labor sound so organic and relaxed. The Tinker’s Dream is a first class release in every respect and shows no truly meaningful weaknesses – it is always a mild thrill, at very least, to encounter a musical artist and songwriter working near or at the peak of his powers.
Cuando el recuerdo persiste.
Recorremos la geografía y sus músicas.
Para más detalles:
TIME AND PLAY LIST
01.-00:00:00 ólafur arnalds & nils frahm - four
02.-00:04:01 john lucas - this will be our home
03.-00:09:00 ólafur arnalds and nils frahm - 23:52
04.-00:15:27 olafur arnalds - dalur (feat basstrio mosfellsdals)
05.-00:20:45 drew holcomb and the neighbors - you will always be my girl
06.-00:23:28 night ark - heru mertar (tributo a lana)
07.-00:28:43 nina simone - the way i love you
08.-00:34:29 terje rypdal - topplue, votter & skjerf
09.-00:38:08 bugge wesseltoft - 3 reasons
10.-00:48:10 johann johannsson - kangaru
11.-00:50:53 alexander balanescu - to the hills
12.-00:56:55 roses & revolutions - down
13.-01:01:48 geoffrey louis koch - colorblind
14.-01:06:29 handel - lascia la spina (feat. cecilia bartoli)
15.-01:13:44 wilco - sunken treasure
16.-01:21:53 triana - en el lago
17.-01:29:58 goran bregovic - kalasnjikov
18.-01:36:28 tbt - check out all about that bass (with haley reinhart & casey abrams)
The popular music coming out of the South African nation of Zambia in the mid-’70s was loud, edgy, guitar-based, and often a far cry from the more festive Afrobeat sounds emerging out of countries like Nigeria and Ghana. Zambia’s liberation from British rule had resulted in a tenuous government that brought its people into hard and impoverished times, leaving the landlocked nation quite isolated. The influence of imported American and British music remained strong, and the scene that emerged in the early ’70s combined elements of hard guitar, psych, funk, and soul into a distinctive genre eventually coined Zamrock.
On Welcome to Zamrock, Vol. 2, archival label Now-Again continues their exploration of Zamrock’s major players including bands like…
…Born Free, Salty Dog, and Witch. With lyrics frequently sung in English and reflecting social and political strife, tracks like Rikki Ililonga’s dark bluesy “Stop Dreaming Mr. D,” Ngozi Family’s rallying cry “Hold On,” and Chrissy Zebby Tembo’s “I’m Not Made of Iron” are prime examples of Zamrock grit.
On Wednesday, July 12, from 7-10 PM EDT, join Bodega Pop Live on WFMU's Give the Drummer Radio for a three-hour celebration of the great Radio France record label specializing in field recordings founded 60 years ago by Charles Duvelle and Pierre Schaeffer.
Bookmark the page and see you Wednesday night!
Artist: Jethro Tull
Title Of Album: Minstrel in the Gallery [Japanese Edition, 1-st press]
Release Date: 1975/1993
Label: Toshiba-EMI (TOCP-7817)
Genre: Progressive Rock / Folk Rock
Quality: WavPack | lossless (image+.cue)
Length: 45:17 min
Total Size: 259 Mb (+3%)
WebSite: Home Page
Minstrel in the Gallery - восьмой студийный альбом британской рок-группы Jethro Tull.
ONE SMALL PIECE - 2017
320 kbps | 105 MB | LINKS
02. Big Left Hook
03. Working Class Victims
04. Brother And A Friend
05. Born And Bred
06. Poor Mans Wage
08. Last Note
09. Truth Will Out
10. United Bottles
11. The Spirit And The Legacy
12. Ghosts Along The Gangland
13. Pickin’ Sides