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    320 kbps | 117 MB | LINKS

    Barnes enlisted an all-star cast of his notable friends, all musicians sensitive to a comedian’s aesthetics: Jimmy Vivino (Conan OBrien show) on guitar, Will Lee (David Letterman’s CBS Orchestra) on bass, Shawn Pelton (Saturday Night Live) on drums, Bette Sussman (Bette Midler’s musical director) on piano, and Steve Guyger (Jimmy Rogers Blues Band) on harmonica.

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    Repasando mi otro blog sobre carátulas me encontré con este ep y la verdad es que no está mal esta banda sonora que viene al dedillo para adentrarnos en el universo kafkiano.

    Inicialmente esta música fue encargado por la compañía de teatro Noortje Licht como una banda sonora de 'De Gedaanteverwisseling' (La metamorfosis), basado en el libro de Franz Kafka.

    El espectáculo / instalación (2010) fue una combinación perfecta de actuación, proyecciones de video extremadamente inventivos por Douwe Dijkstra y música de Bram van den Oever (Gluid). Bastante excepcional para una compañía tan pequeña de teatro. 

    Y al igual que la famosa película de suspenso psicológico de Kafka, esta música nos persigue con su belleza alucinógena.

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    Liad Abraham is an Israeli acoustic guitarist and musician. For the last few months he has formed a duo with the very talented violinist/singer Ariella Zeitlin. They have just released a beautiful Game of Thrones medley for guitar, violin and looper, and it is unlike anything you have ever heard.

    39 year old Liad Abraham was born in Israel and has studied guitar from the age of 14. He studied in Jerusalem's music academy concentrating on classical guitar and has been teaching and playing ever since, only on steel string and nylon string acoustic guitars ("no electric ones for me" he says!).

    Ariella Zeitlin was born in Baltimore and studied  violin from the age of seven. She moved to Israel at 17 and studied at the same music academy as Liad a few years after he originally did. She also participated in the last season of The Voice Israel.

    They have been working together for 4 months, building a beautiful set list and touring the country with them. They play a mixture of Irish music, folk songs, virtuosic arrangements from film music, and of course some original compositions.

    Visit Liad's FACEBOOK PAGE to read the full story of their Game of Thrones medley and to find out more about their other collaborations and Liad's music.


    Ariella's Facebook page The Inner World and Workings of Violinist Ariella

    See also their cover of "City of Stars" from the movie La La Land

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  • 07/30/17--03:32: GRITO DE CARNAVAL 196?


    LIJEPA STARA PLOČA za vaas blogere koji dolazite po mojim blogovima i skidate BESPLATNO! Elem ovo je jedna lepa ploča sa zaista starrinskim zvucima i ritmovima.

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    320 kbps | 74 MB | LINKS

    Lee describes “So Free” as sticking to her “rootsy soul sound,” implementing R&B elements into an acoustic instrumental. “I wrote ‘So Free’ at a time in my life where I was being so weighed down and consumed by worrying about what everyone else thought about me, and focusing on what others thought I should be doing with my life instead of listening to what my heart was directing me to do,” says Lee. ”’So Free’ is my anthem of that moment I decided to no longer live with the burden and to let go and be free of caring about all the petty bullshit that ultimately doesn’t matter in this life.”

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    coverFLAC | 306 MB | LINKS

    The album has been a long time in the making – some songs are approaching their 10th birthday – and it features collaborators such as Rufus Wainright, Neil Tennant, Feist, Ron Sexsmith, Bahamas, and Mary Margaret O’Hara.

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    FLAC | 450 MB | LINKS

    Billy Bragg’s albums have always contained material with the strong political slant of classic folksingers in the Woody Guthrie/Bob Dylan mold. This release shows him at his most muckrakingly fervent and angry. Only “The Marching Song of the Covert Battalions” has music actually composed by Bragg — and that selection contains a lengthy quote of the tune “When Johnny Come Marching Home.” The rest are covers of songs (some of them pre-20th century) that either overtly or covertly deal with revolution, radical politics, or pacifist sentiments. The arrangements are a real departure for Bragg, and are most unusual and effective. “I Dreamed I Saw Phil Ochs Last Night” and “Nicaragua Nicaraguita” are for unaccompanied voice. “Marching Song of the Covert Battalions” features prominent clarinet and recorder passages supported by organ, accordion, and revival-meeting bass drum/cymbals combination. “Red Flag” is an energetic reel set sparsely for voice, whistles, percussion, and minimal guitar. The title track is given a grand, traditional, all-stops-out treatment, arranged for chorus, large brass ensemble, and percussion. The album’s best selection, “My Youngest Son Came Home Today,” is a dirgelike antiwar number that is very moving and effective. This album is a committed, deeply felt manifesto well worth a listen. Original pressings of this record came with a wide-ranging and enjoyable promotional 45 containing selections by Bragg, Clea & McLeod, Caroline Trettine, and the Young Fresh Fellows.


    01. The Internationale (03:50)
    02. I Dreamed I Saw Phil Ochs Last Night (01:30)
    03. The Marching Song Of The Covert Battalions (04:00)
    04. Blake’s Jerusalem (02:32)
    05. Nicaragua Nicaraguita (01:09)
    06. The Red Flag (03:14)
    07. My Youngest Son Came Home Today (03:08)

    Live & Dubious EP – Released April 1988
    08. Introduction [Live] (00:58)
    09. Help Save The Youth Of America [Live] (02:36)
    10. Think Again [Live] (04:22)
    11. Chile Your Waters Run Red Through Soweto [Live] (03:09)
    12. Days Like These [DC Remix] (02:41)
    13. To Have And To Have Not [Live] (02:47)
    14. There Is Power In A Union [with The Pattersons] (03:28)

    Bonus Tracks
    15. Joe Hill (08:24)
    16. This Land Is Your Land (04:36)
    17. Never Cross A Picket Line (03:38)
    18. A Change Is Gonna Come (03:59)
    19. A Miner’s Life (03:02)

    Billy Bragg – acoustic guitar, electric guitar, vocals
    Cara Tivey – piano, vocals, shakuhachi
    Lorraine Bowen – clarinet, soprano recorder, piano, accordion, organ
    The Christie Tyler Cory Band – brass
    Côr Cochion Caerdydd – vocals
    Marc Duff – whistles
    Jim Sutherland – bodhran, percussion
    Dick Gaughan – vocals
    Wiggy – bass guitar, vocals
    Charlie Llewellin – drum, cymbal
    Grant Showbiz – vocals
    David Bedford – arrangement and conducting

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    Carole King - The Real... Carole King (2017)

    Artist: Carole King
    Title Of Album: The Real... Carole King
    Release Date: 2017
    Location: USA
    Label: Sony Music (88985415882)
    Genre: Rock / Folk-Rock
    Quality: FLAC | lossless (tracks+.cue+covers)
    Length: 02:43:31 min
    Tracks: 16+16+17
    Total Size: 933 Mb (+3%)
    WebSite: Home Page

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    Z320 kbps | 180 MB | LINKS

    1. That’s Alright Mama (2:49)
    2. (Now And Then There’s) A Fool Such As I (2:23)
    3. Big Hunk O’ Love (2:16)
    4. It’s Now Or Never (3:23)
    5. Fools Fall In Love (2:25)
    6. Jailhouse Rock (1:55)
    7. Young And Beautiful (2:20)
    8. Hound Dog (8:51)
    9. Little Less Conversation (1:58)
    10. Let Yourself Go (3:05)
    11. It Hurts Me (2:41)
    12. If I Can Dream (3:21)
    13. Suspicious Minds (3:22)
    14. Rubberneckin’ (2:14)
    15. Don’t Cry Daddy (2:47)
    16. C.C. Rider (2:40)
    17. Patch It Up (2:21)
    18. Burning Love (2:58)
    19. Separate Ways – Always On My Mind (3:40)
    20. American Trilogy (4:09)
    21. Raised On Rock (2:53)
    22. Hurt (2:32)
    23. Can’t Help Falling In Love (1:39)
    24. Closing Riff (2:05)

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    FLAC | 644 MB | LINKS

    Jeff Buckley was a mess of contradictions: a perfectionist who believed in spontaneity, a man who was at once humble and vain, a musician who shunned his father’s tumultuous legacy while creating one of his own. These are some of the reasons why he took his time writing and recording the material for his second album, laboring over many songs for months at a time. Given such painstaking methods, it shouldn’t have been a surprise that recording was an equally fastidious process. Buckley recorded enough material for an album with producer Tom Verlaine, but deciding that the results weren’t quite right, he scrapped them and moved to Memphis to record the album again. He reworked a few songs as home demos as he prepared to cut the album, but it was never made — Buckley died in a tragic drowning accident before entering the studio. As a way to enlarge his legacy, his mother and record label rounded up the majority of the existing unreleased recordings, releasing them as the double-disc set Sketches for My Sweetheart the Drunk. Excepting a few awkward moments and middle-eights, it’s hard to see why Buckley rejected the Verlaine productions that make up disc one. The material isn’t necessarily a progression from Grace; it’s more like a stripped-down, edgier take on the sweeping, jazz-tinged goth folk-rock that made the first album so distinctive. Neither the nearly finished first disc nor the homemade demos and re-recordings on the second disc offer any revelations, but that’s not necessarily a disappointment. Sketches adds several wonderful songs to his catalog, offering further proof of his immense talent. And that, of course, is what makes the album as sad as it is exciting.


    CD 1:
    01 – The Sky Is A Landfill
    02 – Everybody Here Wants You
    03 – Opened Once
    04 – Nightmares By The Sea
    05 – Yard Of Blonde Girls
    06 – Witches’ Rave
    07 – New Year’s Prayer
    08 – Morning Theft
    09 – Vancouver
    10 – You & I

    CD 2:
    01 – Nightmares By The Sea
    02 – New Year’s Prayer
    03 – Haven’t You Heard
    04 – I Know We Could Be So Happy Baby (If We Wanted To Be)
    05 – Murder Suicide Meteor Slave
    06 – Back In N.Y.C.
    07 – Gunshot Glitter
    08 – Demon John
    09 – Your Flesh Is So Nice
    10 – Jewel Box
    11 – Satisfied Mind

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    Armen Movsisyan (Արմեն Մովսիսյան / Армен Мовсисян) 1998-2017 discography Количество релизов (альбомов / синглов / EP/ сборников) : 6 Жанр : Folk, Singer-Songwriter Страна-производитель диска : USA, Armenia Год издания диска : 1998-2017 Издатель (лейбл) : Parseghian Records, Atlantis Records, Movsisyan GuitArt Studio Страна : USA, Armenia Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 256-320 kbps Источник : собственный рип Треклист : #77 01 - Musas (Tarakusanq) 02 - Parahandes 03 - Nvirum Em.

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    Jim Ford / The Sounds of Our Time Жанр : Roots Rock, Country-Soul Носитель : CD Страна-производитель диска (релиза) : Deutchland Год издания : 2007 Издатель (лейбл) : The Bear Family Records Номер по каталогу : BCD 16777 AR Страна исполнителя (группы) : USA Аудиокодек : FLAC (*.

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    [Track recorded by Joseph Lamont and Palmer Keen, mixed and mastered by Joseph Lamont.]

    Location: Tenro Hamlet, Bontolempangan Village, Buki District, Selayar 

    Sound: Dide’

    The island of Selayar is easy to miss on a map, dwarfed by the massive peninsulas of Sulawesi to the north. Zoom in, though, and you’ll see it clinging on to Sulawesi’s southern arm like a cleaner fish, a fifty-mile sliver on a perfect north-south axis. It’s an obscurity even to most Indonesians, but it’s known by folks in Sulawesi’s southern corners for its rich array of music found nowhere else.

    Dide' may be Selayar's most distinctive style. At first glance, it seems like nothing special: rebana frame drums and vocals, a genre found in literally every corner of Muslim Indonesia. But this first glance is deceiving, as dide’ has a wonderfully idiosyncratic aesthetic - all it takes is one listen to know that you’re in a special new world. 

    Dide’ is found in only two villages in Selayar, each with its own sound. I didn’t get a chance to hear the version in Sariahan in the island’s south, so we’ll focus on the dide’ tradition of Tenro, a small village in the mountains rising out of Selayar’s west coast. Tenro is famous for closely adhering to adat, or local traditions and customs, which may explain why dide’ continues to be played there. The music is closely tied to the annual a’dingin-dingin ceremony in which villagers splash each other with water from a holy spring and bound together the results of the corn harvest. As villagers work together to tie up the corn (pemotokan), a group of men and women ritually play dide’.

    In a typical dide’ performance, a group of women sit facing a group of men. Each musician is armed with a large rebana frame drum, resonant goat-skin heads stabled to a rounded body crafted from the trunk of the coconut palm (although, in a bit of island ingenuity, some of the rebana now being played are crafted from plastic buoys salvaged from the masses of detritus washed up on Selayar’s western shores!) Each group takes turns singing poetic verses called kelong in both the Selayar and Makassar languages, the uniquely strained pentatonic vocal lines spliced and supported by booming, unison hits on the rebana. As each verse comes to an end, rebana beats from both side merge in a strange kind of cross-rhythm until the next verse follows, often sung at a higher pitch than the one before. 

    A Chinese-manufactured plastic buoy makes for a good body for the rebana frame drum.

    A Chinese-manufactured plastic buoy makes for a good body for the rebana frame drum.

    This call and response can go on for hours as the musicians spontaneously choose a fitting sipappa’ or verse to respond to the message sung by the other group. Dide’ musicians have hundreds of these sipappa’ memorized, but the order in which they are sung is improvised in the moment: upon hearing a particular sipappa’, one side will quickly conspire and choose an appropriate verse in response, and so on. 

    These verses are known for their very specific form (four lines each, the first three with eight syllables, the last with five) and their poetic filling, full of pathos. One example goes: “I’ve wanted to leave this world behind/ but I found nobody to follow me/ no one to notice my departure.” Another: “If there’s no floating log to clutch in the middle of the sea/ I will rescue you/ As this world is sinking.” 

    Dide’ is considered one of the most asli or original of Selayar artforms, dating back at least to the Dutch colonial era, when Bugis sailing ships would pass by Selayar on the way from South Sulawesi to the Spice Islands of Maluku in the east. Starting in the 1970’s, though, it was nearly forgotten, outshined by the similar but flashier style called batti’-batti’. Today, batti’-batti’ still competes with dangdut and Western pop for the ears of Selayar people, but dide’ has been almost completely forgotten, dragged out only for the annual corn harvest and occasionally played for regional government festivals. 


    The future of this music, I’m afraid to say, is looking bleak. “Kids these days don’t want to learn dide’,” lamented one Tenro villager. “They think it’s weird. When they hear dide’, they laugh. They just want to listen to dangdut.” There’s clearly a generational gap here, a shift in culture: the younger generation often can’t even understand dide’s obtuse, literary kelong, especially when the words are stretched and strained as they are. Then there’s the issue of transmission: there are hundreds of sipappa’ to be memorized, something the older musicians managed by sheer exposure back in the days when dide’ was more commonly performed. Now, with performances rare, a new breed of musicians would have to sit down and deliberately memorize a book full of verses. Who’s got time for that?

    The key, folks insist, is in government support. In these times of decentralized government, even remote regencies have generous budgets with which to support the arts. Funding always ends up going to more cosmopolitan sanggars (“arts groups”) in Selayar’s biggest town, Benteng. Dide’s torchbearers are just ordinary folk, not professional musicians or even hobbyists, and they admit being out of their element when it comes to dealing with the government and all the bureaucracy that entails. Still, they complain, the Selayar government is busy promoting the region’s gorgeous white sand beaches and tropical reefs while ignoring the cultural riches of Selayar’s interior. Something’s got to change, they say, or within a generation this incredible music will be gone.


    The world of Selayar is turned upside down. Almost the entire island lives off of a single road spanning the north-south stretch of its western coast; when locals are following the coast south, they say they’re “going up,” and heading north is “going down.” Take the ferry north to “mainland” Sulawesi and you’re “descending” or “getting off.”

    It was in this topsy-turvy world that we drove “down” from Benteng, Selayar’s only proper town, following the coast to Tenro in the north. After a serendipitous connection with local government employees in town, my friends Jo, Logan, and I had been offered a ride in a comfy government SUV, gliding our way in air-conditioned bliss along the coastal road. As we descended, so to speak, we took in the view: wooden stilted houses and forest on the right, trash-strewn beach on the left. Selayar’s trying to become a new beach destination, but in one way it’s got its peculiar geography working against it: the island slices right through the strong ocean currents of the Flores Sea, picking up flotsam and jetsam like a sieve. Six months out of the year, each coastline gets bombarded with micro-plastics, Indomie packages, and the detritus of a thousand passing ships.


    To get to Tenro, we had to turn inland from this coastal dump and climb briefly up Selayar’s mountainous spine. The village was like many others in this part of Indonesia: lines of delapidated but regal stilted houses, goats, palm trees, and corn. Families gathered in the cool shade beneath their houses, watching this motley crew roll up in what may have been the first car of the day.

    We quickly found ourselves in a living room strewn with rebana frame drums; family portraits and a kitschy framed poster of galloping horses hung over rarely used sofas. The dide’ gang was already waiting for us: the men, Sahibo’ and Sattu, were decked out in their most formal sarongs and peci caps; the women, Marwani, Mariati, Sitti Ati, and Sulaira, were looking equally smart in their lacey kebaya blouses, flowery sarongs, and multicolored jilbab headscarves.

     Maybe they’d been waiting for hours, or maybe it was the presence of authoritative government personnel, but for whatever reason we made record time between initial smiley handshakes and music filling the room (not that I’m in any hurry!).  Despite the abundance of sofas, we set up on the floor, the four women and their rebana on one side of the room, the male duo not far away on the other. With a few strong hits to the goatskin to clear the air, we were ready to go.


    The men began with a whisper. I later learned they were choosing the first verse to sing, with Pak Sahibo’ whispering a potential first line and Pak Sattu nodding in recognition. The verse’s meaning was lost on me until later translation, but the sound of their voices hit hard, the sound rich and smokey. “Excuse me, ladies and gentlemen,” they sang, “Excuse me, lords and noblemen/ If there’s any wrong in our song/ Please forgive us.” 

    They’d clearly chosen a verse suited for greeting distinguished guests, far more distinguished than the three beardy foreigners sitting in this living room. The tone had been set, though, and the women responded with their own verse after some quick whispering of their own: “Because we’re exchanging verses/A feeling of mutual respect/ Will bring good for you/ And for us.” 

    That’s my own poor translation, based on my friend Ibu Andi’s own translation from the Selayar language into Indonesian - the original, Bu Andi assured me, was rich in nuance and metaphor. The mutualism of the lyrics was a reflection on the community spirit of the harvest ceremony in which dide’ is usually performed: dide’ benefits us all, it says, and brings us together, just as we work together to gather this year’s corn. 

    While most of the Selayar language words had washed over me as pure sound, one word had stood out in each verse: dide’. These two syllables were acting as a filler, stretching the syllable count to accommodate the rigid kelong verse form. In another way, though, the musicians were subtly repping the style like a name-dropping rapper. It’s as if they were saying: This is dide’, and don’t you forget it! 


    Huge thanks to Mawank and Pak Ben for hooking us up that day, and to Ibu Andi for the Indonesian translation and invaluable cultural insight. Also to Jo for his usual mixing mastery, and Logan for his awkward Indonesian jokes that I got to laugh at again as I played back the interviews for this session. 

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    FLAC | 239 MB | LINKS

    Cale Tyson spent his salad days in Nashville among the honky-tonks and bars of lower Broadway and East Nashville, playing countless late-night gigs where he served up a cocktail of country covers and originals steeped in the stylings of the old masters.

    But Tyson was never a country boy at heart despite his Texas pedigree. He fell in love with country music during his years at Belmont University, and learned to communicate three chords and the truth from his own pen with an adroit hand.

    Having grown up on punk, metal and Bright Eyes, Tyson soon felt the urge to expand his palette beyond country. Without fully abandoning the high lonesome sound he spent years honing, he found his way inching toward a more “soul” vibe, which found full expression in his forthcoming album Careless Soul, a project he recorded in Muscle Shoals that features guest turns from Swampers bassist David Hood and Nashville’s Caitlin Rose, among others.

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    Cale Tyson / Careless Soul Жанр : Country / Folk / Soul Страна : USA (Fort Worth, TX) Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 36:59 Треклист : 01.

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    Στο δισκορυχείονέχουμε γράψει για τα περισσότερα από τα άλμπουμ τού Brian Landrus, ξεκινώντας από το πρώτο του, το “Forward”[Cadence Jazz, 2009], και φθάνοντας μέχρι το… προτελευταίο του, το The Deep Below” [BlueLand] πρόπερσι. (Χτυπάει όποιος ενδιαφέρεται τις σχετικές keywords στο google και βρίσκει τα ανάλογα κείμενα). Τώρα, ένα καινούριο CDέρχεται να προστεθεί στη δισκογραφία τού σημαντικότατου αυτού σύγχρονου (ας τον πούμε έτσι) σαξοφωνίστα-κλαρινίστα (βαρύτονο, μπάσο κλαρίνο), ένα CD, που… και χοντρικώς και ειδικώς διαφέρει απ’ ό,τι προηγούμενο.
    Το Generations [BlueLand Records, 2017] είναι κατ’ αρχάς ένα άλμπουμ για μεγάλη ορχήστρα – την Brian Landrus Orchestra, η οποία αριθμεί πάνω από 20 μέλη (φυσικά μέλος της είναι και ο ίδιος ο Landrus, ενώ διευθυντής της είναι ο JC Sanford). Η ορχήστρα αποδίδει συνθέσεις του Landrus, ο οποίος, εκτός από το να συμμετέχει σ’ αυτήν, έχει επιμεληθεί και τις ενορχηστρώσεις. “Generations” γιατί; Κατ’ αρχάς, επειδή υπάρχουν επιρροές από διαφορετικές γενιές μουσικών-παραγωγών, τους οποίους σέβεται και υπολήπτεται ο Landrus. Στις επιρροές αυτές μπορεί εύκολα να διακρίνει κάποιος τον Duke Ellingtonκαι λιγότερο ίσως τον Berry Gordyτης Motown, τον Gerry Mulligan φυσικά και λιγότερο τους Pink Floyd κ.ο.κ. Υπάρχει λοιπόν ένα σύμπλεγμα αναφορών, φανερών και λιγότερο φανερών, που δίνουν ταυτότητα στο ακρόαμα. “Generations” επειδή –όπως ο ίδιος ο Landrus εξηγεί– υπάρχουν κομμάτια αφιερωμένα ή εμπνευσμένα από διαφορετικά μέλη της οικογένειάς του (φερ’ ειπείν το “The warrior” είναι αφιερωμένο στον πατέρα του, ενώ το “Ruby” είναι γραμμένο για την κόρη του). Τέλος “Generations”, καθότι εδώ ακούγονται διαφορετικές γενιές μουσικών, από τον 77χρονο ντράμερ Billy Hart και τον 61χρονο κοντραμπασίστα Jay Anderson, μέχρι τον 38χρονο Landrus ή και ακόμη μικρότερους.
    Πώς «κάθονται» όλα αυτά; Τέλεια, θα λέγαμε.
    Το “Jeru Concerto” με τα τέσσερα movementsκαι το ένα ιντερλούδιο, παίρνει ονομασία από τον πνευματικό πατέρα του Brian Landrus, τον θρύλο Gerry Mulligan. Πρόκειται για την πιο κλασικότροπη σύνθεση τού άλμπουμ, με αναφορές άλλοτε περισσότερο και άλλοτε λιγότερο σαφείς όχι μόνο στον Duke, μα ακόμη και στον Στραβίνσκι. Ρυθμικά, επίσης, υπάρχει μεγάλη ελευθερία, καθώς στο τέταρτο movementμπορεί ν’ ανιχνευτούν ακόμη και ελαφρές funky δομές, ενώ και μελωδικά η σύνθεση στέκει πολύ ψηλά, με το βαρύτονο (του Landrus) να… μάχεται συνεχώς. Το 3λεπτο “Orchids” είναι καταπληκτικό και σαν σύνθεση βγάζει μια πνευματικότητα (που δεν οφείλεται μόνο στην άρπα της Brandee Younger και στα vibes του Joe Locke). Η 9λεπτη “The warrior” είναι μια λυρική σύνθεση, με τα βασικά σολιστικά όργανα, το βιμπράφωνο, το βιολί, την τρομπέτα και το βαρύτονο σαξόφωνο να εκτελούν άψογα το πρόγραμμά τους, με το 3λεπτο “Arrow in the night” να επενδύει επίσης στη βαθιά μελωδία. Το “Arise” έχει «ντανσικές» αναφορές. Έτσι, πάνω σ’ ένα άριστα διαμορφωμένο groove πατάει σύσσωμη η ορχήστρα σουινγκάροντας με τρέλα. Το “Human nature” το προδίδει, ίσως, και ο τίτλος του. Τα φλάουτα έχουν, εδώ, πρωτεύοντα ρόλο, με τα strings να δημιουργούν το απαραίτητο «χαλί», προκειμένου να αναπτυχθεί αυτή η ελαφρώς exotica σύνθεση. Το “Ruby” θα έλεγα πως ξεχωρίζει για την ενορχήστρωσή του, με το έσχατο 9λεπτο “Every time I dream” να σε κερδίζει λόγω μελωδίας και ρυθμικής ακολουθίας. Ωραίο κομμάτι.
    Δεν ξέρω αν το “Generations” είναι το καλύτερο έως σήμερα άλμπουμ του Brian Landrus, σίγουρα είναι όμως, ένα ακόμη καίριο ψηφιδωτό στη δισκογραφία ενός μουσικού, που κοιτάει... μπροστά και πίσω με την ίδια πάντα αγωνία και το ίδιο πάθος.

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    Nikolya - Organic 3: The Longest Journey (2017)

    Исполнитель: Nikolya
    Альбом: Organic 3: The Longest Journey
    Год издания: 2017
    Стиль: Ethnic, New age, Native American

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    Fichier concocté en même temps que le premier album, il manquait un titre ainsi comblé. Donc, voici le deuxième  album !

     [03:42] 01. Christian Delagrange - Ne T'En Vas Pas, Ne T'En Vas Pas
    [02:34] 02. Christian Delagrange - Petite Fille
    [02:44] 03. Christian Delagrange - Celle Que J'Attendais
    [02:38] 04. Christian Delagrange - Quand je reviens ( inédit cd)
    [03:46] 05. Christian Delagrange - Sans Toi Je Suis Seul
    [03:05] 06. Christian Delagrange - Comme une Orchidée
    [02:51] 07. Christian Delagrange - La chanson
    [02:50] 08. Christian Delagrange - J'Aime Toutes Les Femmes
    [02:49] 09. Christian Delagrange - Meravigliosa
    [03:23] 10. Christian Delagrange - Rosetta

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    FLAC | 276 MB | LINKS

    Miranda Lee Richards’ fourth album, Existential Beast, follows 2016’s Echoes of the Dreamtime by just a year, a quick turnaround for a songwriter who’s gone several years between records in the past. It comes with a lusher presentation, too, edging deeper into psychedelic folk-rock while hanging onto a country influence and her distinctly Laurel Canyon-esque sound. It’s also, at least in part, a protest album, with songs motivated by the 2016 U.S. presidential election, an inherited necessity for activism (“Ashes and Seeds”), and the killing of Cecil the Lion (“The Wildwood”). The title track, which she has said was originally inspired by watching a biopic about Nelson Mandela, gets at the larger question of how to arrive at peace. A slow-drifting rumination, it has organ,gently twangy guitar, piano, and spare drums under Richards’ wispy vocal line. It picks up fuzzier guitar and, later, saxophone in the choruses but never climbs out of hazy contemplation (“And why must there be a wrong before right?/And why must it take so many lives?”). Songs like the ultra-trippy “Golden Gate” and bucolic “Oh Raven” are more concerned with self-improvement, such as learning to trust instincts. The closer, “Another World,” though, returns to protest in an epic way; it’s a 12-minute acoustic folk song that pays tribute to her home state of California while addressing a myriad of American political issues with all of the peace-loving presence of a Judy Collins or Joan Baez.

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    FLAC | 787 MB | LINKS


    01. I Looked Away [3:07]
    02. Bell Bottom Blues [5:04]
    03. Keep On Growing [6:23]
    04. Nobody Knows You When You’re Down And Out [5:00]
    05. I Am Yours [3:37]
    06. Anyday [6:37]
    07. Key To The Highway [9:39]
    08. Tell The Truth [6:41]
    09. Why Does Love Got To Be So Sad [4:44]
    10. Have You Ever Loved A Woman [6:54]
    11. Little Wing [5:36]
    12. It’s Too Late [3:52]
    13. Layla [7:06]
    14. Thorn Tree In The Garden [2:50]

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