All reviews from Amazon entry unless otherwise indicated.
"By 2000 trumpeter Dave Douglas had etched himself as one of the most versatile, intriguing, and important players and composers on the scene. By leading several groups that successfully focus on particular styles, Douglas had been able to be not only one of the best but also one of the most recorded. A Thousand Evenings was his second album for BMG and his third release of that year. A Thousand Evenings features his Charms of the Night Sky group (also the name of the quartet's 1998 Winter & Winter label debut) with Mark Feldman on violin, Greg Cohen on bass, and the marvelous Guy Klucevsek playing accordion. As with the initial Charms of the Night Sky release, the set list is comprised of flowing chamber jazz pieces that lend themselves to a strange mix of tango, Eastern European folk, and klezmer, all in the framework of the New York downtown jazz scene. The title song is a beautiful engaging opening number that floats along with Douglas blowing right on top. Highlighting one of the most important factors of this group is Klucevsek's accordion playing: He adds a great deal to the density and also to the rhythm of this music. "Variety," a solo accordion piece, clearly demonstrates that fact. There's also an entertaining reworking of the James Bond theme "Goldfinger." A Thousand Evenings is an example of great musicians keeping their ideals straight in the oft-murky landscape of major-label contemporary jazz, and is highly recommended." - Jack L. V. Isles
"Constellations was the second album that Dave Douglas recorded with his Tiny Bell Trio, which excluded piano and bass and united the experimental trumpeter with electric guitarist Brad Schoeppach (subsequently changed to Shepik) and drummer Jim Black. Douglas described the trio as a "jazz-Balkan improv" group, and to be sure, East European music is a strong influence on abstract inside/outside originals like "Unhooking the Safety Net," "Hope Ring True," and the probing "Scriabin." Some of Douglas' writing is inspired by sociopolitical situations. "Taking Sides" is an emotional piece that was influenced by the bloody fighting that, in the 1990s, took place in the former Yugoslavia, while "Maquiladora" takes its name from a Spanish word for American-operated factories along the U.S./Mexican border -- the infamous maquiladoras are known for their low pay and dangerous working conditions, and the song's somber mood paints a depressing picture of such an environment. Another high point of the CD is Douglas' interpretation of Herbie Nichols' "The Gig"; the late Nichols is among the unsung heroes of jazz pianism, and Douglas deserves credit for embracing his work. Constellations isn't easy to absorb on the first listen; like a lot of avant-garde jazz, this is music that reveals more and more of its power with each listen." - Alex Henderson
"Fans of the acclaimed trumpeter Douglas should take refuge in the fact that this recording is not based on a concept, a tribute, or a particular etched-in-stone, long-time working group. This is Douglas with friends -- tenor saxophonist Chris Potter, bassist James Genus and drummer Ben Perowsky -- simply making some of the leader's most challenging original music yet. Each selection is unique unto itself; each is boldly italicized, chameleonic in nature, and completely unpredictable. "Caterwaul" sets this amazing tone with staggered phrases that stop, start, stop again, rev up swing, and stop -- quirky like a telegram's format. Time shifts and constantly changing motifs and themes identify "Guido's High Note," settling into a midtempo swing on the bridge, but apt to change directions on a second's notice. A scattered melody for "Igenous" (note the edited "n") leads to harder bop and back, while the solid, abject, abstracted free bop of "Euro Disney" suggests "Three Blind Mice" scurrying about. Douglas perfectly expresses his dour side in "Another Country," while an implied tango informs "Mistaken Identity." On "Continental Divide" everything remains under the surface until a much more pronounced ending where the foursome meet at a counterpoint. This band can improvise as exhaustively and exhilaratingly as some listeners prefer: the quick, hard swing of the title cut; the trumpet squawking and chattering back and forth in conversational modes; the cowbell rattles and tenor pokes on the shorty (just over one minute) "Emmenthaler"; and the funky underpinnings and palpable urgency on "Millennium Bug" all give evidence to their improvisational skills. They can also go the patient, soulful route, as they do with the hymnal waltz shades of "Western Haiku," where a little humor goes a long way, especially from Douglas tickling the quote from Monk's "I Mean You" in a Lester Bowie-like fashion. Listeners with attention spans that allow them to focus on this heady brand of creative modern jazz will easily hear this as one of many triumphs concocted by Douglas in the '90s. This collaboration is among his better team efforts. Highly recommended." - Michael G. Nastos
"This intriguing quartet consisting of trumpeter Dave Douglas, tenor saxophonist Chris Potter, bassist James Genus and drummer Ben Perowsky features free bop, some sound explorations, and straight-ahead sections in its music (nine originals by Douglas). Where detractors were able to question the musicianship of some of the mid-1960s avant-gardists, there is no doubt that these four young masters are powerful and technically skilled players. In fact, some listeners will probably be surprised to hear Potter (formerly with Red Rodney's Quintet and a leader on his own dates for the Concord label) in this setting. It is fortunate that Douglas is as strong a player as he is, for otherwise he might have been overshadowed by Potter. Bassist Genus and drummer Perowsky not only offer stimulating support, but constant commentary that inspires the lead voices. Falling between hard bop and avant-garde jazz, the music tugs and pushes at the boundaries of the modern mainstream. Douglas varies the tempos and moods from piece to piece, giving listeners not only expertly played performances but a constantly flowing program. Although none of the individual selections have themes that will stay in one's mind after the CD has ended, the solos are consistently strong, the musicians blend together well, and the ensembles are colorful. Well worth exploring." - Scott Yanow
"Trumpeter Dave Douglas is attracting attention among fans and critics on the underground and avant-garde/free music trail. He shows what the hype is all about on this session with some surging solos, high-note explosiveness and impressive playing. But Douglas doesn't merely spew unconnected lines or flashy solos; his playing is a vital part of several originals that feature an intriguing violin/cello/bass backing section. The compositions range from loose, spacy tunes to animated, fierce ones. This isn't another hard bop outing or a completely free-wheeling session; instead, it's got elements of both, and a departure as well. It requires close scrutiny and a completely open mind, because Dave Douglas is following no direction except his own." - Ron Wynn
"Trumpeter Dave Douglas's New World CD is consistently intriguing, the type of music that gains in interest with each listening. Douglas is quick to acknowledge the influence of Booker Little (the early-'60s trumpeter who was among the first to emerge from Clifford Brown's shadow) and on this set he performs three of Little's tunes plus his suite of Four Miniatures After Booker Little ("Sappho," "At Dawn," "Shred," and "Rapid Ear Movement"). However, it is the two lengthier pieces, "In Our Lifetime" and "Bridges" (the latter over 17 minutes long), that are of greatest interest. Douglas's originals, which are episodic and avant-garde (but not afraid to swing) while expertly mixing together improvisation with composition, are consistently colorful. His flexible band (Chris Speed on tenor and clarinet, trombonist Josh Roseman, pianist Uri Caine, bassist James Genus, drummer Joey Baron and guest bass clarinetist Marty Ehrlich on the title cut) is able to switch grooves quickly and interpret the frequently dramatic music with sensitivity and wit." - Scott Yanow
"From the first moments when Dexter Gordon sails into the opening song full of brightness and confidence, it is obvious that Go! is going to be one of those albums where everything just seems to come together magically. A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines. Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance. Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all." - Stacia Proefrock
total 102M 4.0K Diana Krall Concert Montreal File INFO.txt 13M Diana Krall Live Montreal 2004 - 01. All or Nothing at All.mp3 6.7M Diana Krall Live Montreal 2004 - 02. Stop This World.mp3 5.9M Diana Krall Live Montreal 2004 - 03. The Girl in the other Room.mp3 7.6M Diana Krall Live Montreal 2004 - 04. Abandoned Masquerade.mp3 5.6M Diana Krall Live Montreal 2004 - 05. I'm Coming Through.mp3 6.5M Diana Krall Live Montreal 2004 - 06. Temptation.mp3 6.9M Diana Krall Live Montreal 2004 - 07. East of the Sun.mp3 8.4M Diana Krall Live Montreal 2004 - 08. Devil may Care.mp3 5.4M Diana Krall Live Montreal 2004 - 09. Almost Blue with Elvis Costello.mp3 7.8M Diana Krall Live Montreal 2004 - 10. Black Crow.mp3 4.5M Diana Krall Live Montreal 2004 - 11. Narrow Daylight.mp3 9.5M Diana Krall Live Montreal 2004 -12. Love Me Like A Man.mp3 7.5M Diana Krall Live Montreal 2004 - 13. Departure Bay.mp3 7.8M Diana Krall Live Montreal 2004 - 14. Drown In My Own Tears with Elvis Costello.mp3
"Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train -- Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry -- touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller's even-toned trombone, which bops throughout the title track as well as the frenetic "Moments Notice." Other solos include Paul Chambers' subtly understated riffs on "Blue Train" as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during "Locomotion." The track likewise features some brief but vital contributions from Philly Joe Jones -- whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad "I'm Old Fashioned" is the only cover tune in the stack. In terms of unadulterated sentiment, this version is arguably untouchable. Fuller's rich tones and Drew's tastefully executed solos cleanly wrap around Jones' steadily languid rhythms. This is sheer jazz nirvana. In the spring of 1997, the Ultimate Blue Train CD was released, boasting 20-bit remastered audio as well as one alternate take of both "Blue Train" and "Lazy Bird." Additionally, the disc includes "At Least Listen" -- an interactive CD-ROM program featuring video clips and interview clips with Fuller circa 1995, as well as many brilliant photographs taken during the recording sessions. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane's career, but of the entire genre of jazz music as well." - Lindsay Planer
"Three of the four lengthy performances on this CD are taken from one of the John Coltrane Quartet's greatest performances: the 1963 Newport Jazz Festival. With pianist McCoy Tyner, bassist Jimmy Garrison and drummer Roy Haynes (filling in for an absent Elvin Jones), Coltrane performs what is arguably his greatest version of "My Favorite Things" along with memorable renditions of "Impressions" and "I Want to Talk About You." Two of those selections originally appeared on the LP Selflessness while "Impression" was included in a later collection. This set is rounded out by "Chasin' Another Trane," the only recording from 'Trane's famous Nov. 1961 engagement at the Village Vanguard that had Roy Haynes sitting in for Elvin Jones; altoist Eric Dolphy is also heard from on that heated selection." - Scott Yanow
"Film Works 8 contains the scores for two films. First is music for The Port of Last Resort, a documentary about the Jewish refugees who fled to Shanghai from 1930s Nazi Germany. The music is a continuation of the Masada Chamber project, elegant klezmer jazz of as high a worth as Bar Kokhba or Circle Maker (the other two releases drawing from the Masada songbook that are not performed by the quartet). The Masada String Trio -- violinist Mark Feldman, cellist Erik Friedlander, and bassist Greg Cohen -- is joined by guitarist Marc Ribot, pianist Anthony Coleman, and pipa virtuoso Min Xiao Fen. The second half of this release is film music for Latin Boys Go to Hell, whose final edit, incidentally, barely used the music heard here. The low-key music of this score, with wind chime trances and pieces with a subtle tribal low-end, is performed entirely by the excellent percussionists Cyro Baptista and Kenny Wolleson. The sophisticated music of Film Works 8 stands apart for its cosmopolitan assuredness, high level of musicianship, and beauty." - Joslyn Layne
"The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [The Contemporary re-release appends three bonus tracks, all of them alternate takes.]" - Scott Yanow
"1991 release. Mulgrew Miller (p) ups the stakes." - Ron Wynne
"Sex, America, Cheap Trick is a classic example of a botched box set. Spanning four discs and 64 songs, the box contains nearly all of the group's hit singles and an amazing amount of rarities -- a grand total of 30 outtakes, live tracks, demos, single versions, soundtrack songs, and B-sides. Despite all of the abundance of material, there are still a lot of essential items missing, as well as several odd inclusions. Many of the group's biggest hits and concert staples are present, but Cheap Trick classics like "He's a Whore," "Downed," "Come On, Come On," "Taxman, Mr. Thief," "California Man," and several others are inexplicably absent. Furthermore, the final two discs bog down with slick radio-ready pop, even though they rescue all the highlights from the band's decidedly uneven '80s recordings. Still, the rarities -- particularly single versions of early tracks like "Oh, Candy" and "Southern Girls," demos like "Fan Club," and a ripping live set -- are usually worthy, even if they might have been better showcased on a double-disc rarities set." - Stephen Thomas Erlewine
"The evolution from blues to rock accelerated with the Rolling Stones' second American LP. They turned soul into guitar rock for the hits "It's All Over Now" and "Time Is on My Side" (the latter of which was their first American Top Ten single). "2120 South Michigan Avenue" is a great instrumental blues-rock jam; "Around and Around" is one of their best Chuck Berry covers; and "If You Need Me" reflects an increasing contemporary soul influence. On the other hand, the group originals (except for the propulsive "Empty Heart") are weak and derivative, indicating that the band still had a way to go before it could truly challenge the Beatles' throne.
[The Rolling Stones' London/ABKCO catalog was reissued in August of 2002, packaged in digipacks with restored album artwork, remastered, and released as hybrid discs that contain both CD and Super Audio CD layers. The remastering -- performed with Direct Stream Digital (DSD) encoding -- is a drastic improvement, leaping out of the speaker yet still sounding like the original albums. This is noticeable on the standard CD layer but is considerably more pronounced on the SACD layer, which is shockingly realistic in its detail and presence yet is still faithful to the original mixes; Keith Richards' revved-up acoustic guitar on "Street Fighting Man" still sends the machine into overdrive, for instance. It just sounds like he's in the room with you. Even if you've never considered yourself an audiophile, have never heard the differences between standard and gold-plated CDs, you will hear the difference with SACD, even on a cheap stereo system without a high-end amplifier or speakers. And you won't just hear the difference, you'll be an instant convert and wish, hope, and pray that other artists whose catalog hasn't been reissued since the early days of CD -- Bob Dylan, Bruce Springsteen, Neil Young, especially the Beatles -- are given the same treatment in the very near future. SACD and DSD are that good. The reissue of 12 X 5 includes a notable bonus by using the "long" version of the great instrumental "2120 South Michigan Avenue," which runs for a good minute and a half longer (including a fiery guitar solo) than the version used on the original LP, and was previously available only on a German LP and bootlegs.]" - Richie Unterberger
"The Rolling Stones recorded Black and Blue while auditioning Mick Taylor's replacement, so it's unfair to criticize it, really, for being longer on grooves and jams than songs, especially since that's what's good about it. Yes, the two songs that are undeniable highlights are "Memory Motel" and "Fool to Cry," the album's two ballads and, therefore, the two that had to be written and arranged, not knocked out in the studio; they're also the ones that don't quite make as much sense, though they still work in the context of the record. No, this is all about groove and sound, as the Stones work Ron Wood into their fabric. And the remarkable thing is, apart from "Hand of Fate" and "Crazy Mama," there's little straight-ahead rock & roll here. They play with reggae extensively, funk and disco less so, making both sound like integral parts of the Stones' lifeblood. Apart from the ballads, there might not be many memorable tunes, but there are times that you listen to the Stones just to hear them play, and this is one of them." - Stephen Thomas Erlewine
"Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and country, Exile doesn't try anything new on the surface, but the substance is new. Taking the bleakness that underpinned Let It Bleed and Sticky Fingers to an extreme, Exile is a weary record, and not just lyrically. Jagger's vocals are buried in the mix, and the music is a series of dark, dense jams, with Keith Richards and Mick Taylor spinning off incredible riffs and solos. And the songs continue the breakthroughs of their three previous albums. No longer does their country sound forced or kitschy -- it's lived-in and complex, just like the group's forays into soul and gospel. While the songs, including the masterpieces "Rocks Off," "Tumbling Dice," "Torn and Frayed," "Happy," "Let It Loose," and "Shine a Light," are all terrific, they blend together, with only certain lyrics and guitar lines emerging from the murk. It's the kind of record that's gripping on the very first listen, but each subsequent listen reveals something new. Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones' best records, but sets a remarkably high standard for all of hard rock." - Stephen Thomas Erlewine
"Sliding out of perhaps the greatest winning streak in rock history, the Stones slipped into decadence and rock star excess with Goats Head Soup, their sequel to Exile on Main St. This is where the Stones' image began to eclipse their accomplishments, as Mick ascended to jet-setting celebrity and Keith slowly sunk deeper into addiction, and it's possible hearing them moving in both directions on Goats Head Soup, at times in the same song. As Jagger plays the devil (or, dances with Mr. D, as he likes to say), the sex and sleaze quotient is increased, all of it underpinned by some genuinely affecting heartbreak, highlighted by "Angie." This may not be as downright funky, freaky, and fantastic as Exile, yet the extra layer of gloss brings out the enunciated lyrics, added strings, wah-wah guitars, explicit sex, and violence, making it all seem trippily decadent. If it doesn't seem like there's a surplus of classics here, all the songs work well, illustrating just how far they've traveled in their songcraft, as well as their exceptional talent as a band -- they make this all sound really easy and darkly alluring, even when the sex'n'satanism seems a little silly. To top it all of, they cap off this utterly excessive album with "Star Star," a nasty Chuck Berry rip that grooves on its own mean vulgarity -- its real title is "Starf*cker," if you need any clarification, and even though they got nastier (the entirety of Undercover, for instance), they never again made something this dirty or nasty. And, it never feels more at home than it does at the end of this excessive record." - Stephen Thomas Erlewine
"It's uneven, but at times It's Only Rock 'n Roll catches fire. The songs and performances are stronger than those on Goats Head Soup; the tossed-off numbers sound effortless, not careless. Throughout, the Stones wear their title as the "World's Greatest Rock & Roll Band" with a defiant smirk, which makes the bitter cynicism of "If You Can't Rock Me" and the title track all the more striking, and the reggae experimentation of "Luxury," the aching beauty of "Time Waits for No One," and the agreeable filler of "Dance Little Sister" and "Short and Curlies" all the more enjoyable." - Stephen Thomas Erlewine
"In the world of comedy, there are many artists you'd consider classic, but many fewer you'd call classical. Anna Russell is one of the latter, gifted with an amazing classically trained voice and a wicked sense of humor, which she uses to good effect on two albums, Anna Russell Sings? and Anna Russell Sings! Again?; those two albums were later compiled into this two-album set, The Anna Russell Album?. On these two albums she is the funniest classical music teacher you'd ever want to hear, taking you through topics like how to write your own Gilbert & Sullivan opera, what to do if you're a singer with only one or two strong notes in your range, and how to approach your art if your aesthetic sense is brilliant but your voice is not. Russell proves here that Richard Wagner is the most amusing of all of the opera composers, by giving a demonstration of how a "buzzsaw" soprano voice is better than a good voice for cutting through the music itself. The pièce de résistance, however, is a run-through of the entire four-opera Der Ring des Nibelungen cycle, in which she compresses all 20 hours down to just over 20 minutes and demonstrates just how absurd the entire plot is. (She also gives the best tip there is about Der Ring: Since there's a recap at the beginning of the fourth opera, you may as well just skip the first three if you want to save yourself 15 hours or so.) While Russell is obviously very knowledgeable about her subject matter, she never makes it feel like she's looking down on you if you're not, and consequently this album is enjoyable whether you're a longtime classical music fan or just merely curious." - Sean Carruthers
total 71M 7.5M Anna Russell - 01 - Introduction to the Concert.mp3 15M Anna Russell - 02 - How to Write your own Gilbert and Sullivan Opera.mp3 7.6M Anna Russell - 03 - Coloratura Aria ''Canto Dolciamente Pipo''.mp3 3.5M Anna Russell - 04 - British - Pure But Dull--''I Love the Spring''.mp3 2.7M Anna Russell - 05 - Russian Folk Song - ''Da, Nyet, Da, Nyet''.mp3 3.4M Anna Russell - 06 - For Loud Singers with no Brains - ''Ah, Lover!''.mp3 5.4M Anna Russell - 07 - For Singers with Tremendous Artistry but no Voice - ''Schlumph Je N'ai Pas la Plume de ma Tante''.mp3 6.3M Anna Russell - 08 - For the Dramatic Soprano - ''Schreechenrauf''.mp3 20M Anna Russell - 09 - The Ring of the Nibellungs (An analysis).mp3
CD 1 total 96M 148K Conception Corporation - Complete Conception (Disc 1) - 01 - The Secret Word.mp3 3.2M Conception Corporation - Complete Conception (Disc 1) - 02 - Searchin'.mp3 444K Conception Corporation - Complete Conception (Disc 1) - 03 - To Be Announced.mp3 1.6M Conception Corporation - Complete Conception (Disc 1) - 04 - Dial A Dirty Joke.mp3 300K Conception Corporation - Complete Conception (Disc 1) - 05 - To Be Announced.mp3 1.2M Conception Corporation - Complete Conception (Disc 1) - 06 - Sunday Sunday.mp3 1.8M Conception Corporation - Complete Conception (Disc 1) - 07 - Astronaut On Mars.mp3 300K Conception Corporation - Complete Conception (Disc 1) - 08 - To Be Announced.mp3 3.3M Conception Corporation - Complete Conception (Disc 1) - 09 - The Disease Broker.mp3 2.1M Conception Corporation - Complete Conception (Disc 1) - 10 - Market Report.mp3 392K Conception Corporation - Complete Conception (Disc 1) - 11 - To Be Announced.mp3 6.2M Conception Corporation - Complete Conception (Disc 1) - 12 - Love Of Grass.mp3 792K Conception Corporation - Complete Conception (Disc 1) - 13 - Acid Rescue Service.mp3 300K Conception Corporation - Complete Conception (Disc 1) - 14 - To Be Announced.mp3 6.7M Conception Corporation - Complete Conception (Disc 1) - 15 - Black For A Day.mp3 772K Conception Corporation - Complete Conception (Disc 1) - 16 - Confession.mp3 2.4M Conception Corporation - Complete Conception (Disc 1) - 17 - Mulatto Joe.mp3 3.2M Conception Corporation - Complete Conception (Disc 1) - 18 - Your Teacher And Your Friend.mp3 988K Conception Corporation - Complete Conception (Disc 1) - 19 - The Comedian.mp3 312K Conception Corporation - Complete Conception (Disc 1) - 20 - Next Week On Our Show.mp3 3.8M Conception Corporation - Complete Conception (Disc 1) - 21 - The First Atheist Congregational Church.mp3 4.2M Conception Corporation - Complete Conception (Disc 1) - 22 - The Pope.mp3 328K Conception Corporation - Complete Conception (Disc 1) - 23 - To Be Announced.mp3 5.9M Conception Corporation - Complete Conception (Disc 1) - 24 - Rock And Roll Classroom.mp3 1.2M Conception Corporation - Complete Conception (Disc 1) - 25 - The All-Night Obituary Of The Air.mp3 2.8M Conception Corporation - Complete Conception (Disc 1) - 26 - An Open Letter To The Youth Of America.mp3 2.9M Conception Corporation - Complete Conception (Disc 1) - 27 - The Late News.mp3 1.4M Conception Corporation - Complete Conception (Disc 1) - 28 - The Famous Judges School.mp3 660K Conception Corporation - Complete Conception (Disc 1) - 29 - The Obituary Continues.mp3 2.3M Conception Corporation - Complete Conception (Disc 1) - 30 - Abortion.mp3 5.0M Conception Corporation - Complete Conception (Disc 1) - 31 - The Wholesome Prison Blues.mp3 812K Conception Corporation - Complete Conception (Disc 1) - 32 - The Obituary Continues.mp3 5.2M Conception Corporation - Complete Conception (Disc 1) - 33 - Love Of Grass, Chapter Two.mp3 492K Conception Corporation - Complete Conception (Disc 1) - 34 - Conceptionland_ Introduction.mp3 1.2M Conception Corporation - Complete Conception (Disc 1) - 35 - The Ego Trip.mp3 556K Conception Corporation - Complete Conception (Disc 1) - 36 - The Great Predicto.mp3 2.8M Conception Corporation - Complete Conception (Disc 1) - 37 - Swedish Orgy.mp3 228K Conception Corporation - Complete Conception (Disc 1) - 38 - The Photographer.mp3 4.0M Conception Corporation - Complete Conception (Disc 1) - 39 - The Voyage Of The Titanic.mp3 248K Conception Corporation - Complete Conception (Disc 1) - 40 - Announcement.mp3 140K Conception Corporation - Complete Conception (Disc 1) - 41 - The Mendicant.mp3 132K Conception Corporation - Complete Conception (Disc 1) - 42 - The Hot Dog Stand.mp3 100K Conception Corporation - Complete Conception (Disc 1) - 43 - The Mendicant Returns.mp3 320K Conception Corporation - Complete Conception (Disc 1) - 44 - The Accident.mp3 152K Conception Corporation - Complete Conception (Disc 1) - 45 - Again The Mendicant.mp3 1.3M Conception Corporation - Complete Conception (Disc 1) - 46 - The Wax Museum.mp3 292K Conception Corporation - Complete Conception (Disc 1) - 47 - A Warning.mp3 1.1M Conception Corporation - Complete Conception (Disc 1) - 48 - The Amazind Dope-A-Matic.mp3 188K Conception Corporation - Complete Conception (Disc 1) - 49 - A Passerby.mp3 388K Conception Corporation - Complete Conception (Disc 1) - 50 - Announcement.mp3 752K Conception Corporation - Complete Conception (Disc 1) - 51 - Welcome To Bummerland.mp3 2.6M Conception Corporation - Complete Conception (Disc 1) - 52 - The Downer.mp3 160K Conception Corporation - Complete Conception (Disc 1) - 53 - Refreshment Stand.mp3 804K Conception Corporation - Complete Conception (Disc 1) - 54 - Dunk the Cop.mp3 132K Conception Corporation - Complete Conception (Disc 1) - 55 - Announcement.mp3 196K Conception Corporation - Complete Conception (Disc 1) - 56 - Refreshment Stand.mp3 2.5M Conception Corporation - Complete Conception (Disc 1) - 57 - The Side Show.mp3 924K Conception Corporation - Complete Conception (Disc 1) - 58 - The Flea Circus.mp3 140K Conception Corporation - Complete Conception (Disc 1) - 59 - Announcement.mp3 180K Conception Corporation - Complete Conception (Disc 1) - 60 - Refreshment Stand.mp3 1.1M Conception Corporation - Complete Conception (Disc 1) - 61 - The Mad Doctor.mp3 136K Conception Corporation - Complete Conception (Disc 1) - 62 - Cotton Candy.mp3 1.3M Conception Corporation - Complete Conception (Disc 1) - 63 - The Auction (Part One).mp3 CD 2 total 94M 932K Conception Corporation - Complete Conception (Disc 2) - 01 - The Auction (Part Two).mp3 208K Conception Corporation - Complete Conception (Disc 2) - 02 - Refreshment Stand.mp3 368K Conception Corporation - Complete Conception (Disc 2) - 03 - The Wizard Of Conceptionland.mp3 316K Conception Corporation - Complete Conception (Disc 2) - 04 - More Auction.mp3 1.6M Conception Corporation - Complete Conception (Disc 2) - 05 - The Shooting Gallery.mp3 176K Conception Corporation - Complete Conception (Disc 2) - 06 - Announcement.mp3 1.1M Conception Corporation - Complete Conception (Disc 2) - 07 - Test Your Weakness.mp3 484K Conception Corporation - Complete Conception (Disc 2) - 08 - More Auction.mp3 3.1M Conception Corporation - Complete Conception (Disc 2) - 09 - The First Poets.mp3 676K Conception Corporation - Complete Conception (Disc 2) - 10 - Ending.mp3 1.2M Conception Corporation - Complete Conception (Disc 2) - 11 - Rubber Ducky Massage Parlor.mp3 2.2M Conception Corporation - Complete Conception (Disc 2) - 12 - Mr. Amazing.mp3 204K Conception Corporation - Complete Conception (Disc 2) - 13 - Lassie Anti-Drug Message.mp3 1.5M Conception Corporation - Complete Conception (Disc 2) - 14 - Omaha Music Art Peace Sex & Badminton Festival.mp3 760K Conception Corporation - Complete Conception (Disc 2) - 15 - My Sweet Lord.mp3 1.7M Conception Corporation - Complete Conception (Disc 2) - 16 - The Singing Whales.mp3 1.4M Conception Corporation - Complete Conception (Disc 2) - 17 - Friendly John The Bail Bond Man.mp3 2.6M Conception Corporation - Complete Conception (Disc 2) - 18 - National Association For The Protection Of Native American Wildlife.mp3 1.4M Conception Corporation - Complete Conception (Disc 2) - 19 - Underwear East.mp3 1.5M Conception Corporation - Complete Conception (Disc 2) - 20 - Chariots Of The gods.mp3 1.4M Conception Corporation - Complete Conception (Disc 2) - 21 - Bernie.mp3 3.7M Conception Corporation - Complete Conception (Disc 2) - 22 - Let's Make A Deal.mp3 2.0M Conception Corporation - Complete Conception (Disc 2) - 23 - The Sensuous Housewife.mp3 2.3M Conception Corporation - Complete Conception (Disc 2) - 24 - Two Irishment.mp3 1.2M Conception Corporation - Complete Conception (Disc 2) - 25 - Peyote.mp3 5.3M Conception Corporation - Complete Conception (Disc 2) - 26 - Love Of Grass, Chapter Three.mp3 420K Conception Corporation - Complete Conception (Disc 2) - 27 - Milk Commercial.mp3 4.2M Conception Corporation - Complete Conception (Disc 2) - 28 - Spectacle Of The Week.mp3 2.8M Conception Corporation - Complete Conception (Disc 2) - 29 - Roll Another Reefer Polka.mp3 1.8M Conception Corporation - Complete Conception (Disc 2) - 30 - AMCE Artificial Limbs.mp3 3.6M Conception Corporation - Complete Conception (Disc 2) - 31 - Voice Of the People.mp3 1.9M Conception Corporation - Complete Conception (Disc 2) - 32 - Orphanage.mp3 3.0M Conception Corporation - Complete Conception (Disc 2) - 33 - Officer Muldowney.mp3 2.9M Conception Corporation - Complete Conception (Disc 2) - 34 - Everybody Liked Him.mp3 488K Conception Corporation - Complete Conception (Disc 2) - 35 - Gold Diggers of 1974.mp3 4.3M Conception Corporation - Complete Conception (Disc 2) - 36 - P.O.W.mp3 920K Conception Corporation - Complete Conception (Disc 2) - 37 - Massage.mp3 2.4M Conception Corporation - Complete Conception (Disc 2) - 38 - Marijuana Farm.mp3 2.7M Conception Corporation - Complete Conception (Disc 2) - 39 - Violence.mp3 3.1M Conception Corporation - Complete Conception (Disc 2) - 40 - Paranoids Anonymous.mp3 2.3M Conception Corporation - Complete Conception (Disc 2) - 41 - Baby Talk.mp3 4.9M Conception Corporation - Complete Conception (Disc 2) - 42 - M.T.C.mp3 1.4M Conception Corporation - Complete Conception (Disc 2) - 43 - Race Jokes.mp3 4.5M Conception Corporation - Complete Conception (Disc 2) - 44 - I Am Woman.mp3 972K Conception Corporation - Complete Conception (Disc 2) - 45 - 'London Britches' Spot #1.mp3 956K Conception Corporation - Complete Conception (Disc 2) - 46 - 'London Britches' Spot #2.mp3 1.1M Conception Corporation - Complete Conception (Disc 2) - 47 - 'Lemon Up' Spot.mp3 736K Conception Corporation - Complete Conception (Disc 2) - 48 - 'Subaru' Spot #1.mp3 684K Conception Corporation - Complete Conception (Disc 2) - 49 - 'Subaru' Spot #2.mp3 1.2M Conception Corporation - Complete Conception (Disc 2) - 50 - 'A Pause In The Disaster' Spot #1.mp3 1.2M Conception Corporation - Complete Conception (Disc 2) - 51 - 'A Pause In The Disaster' Spot #2.mp3 456K Conception Corporation - Complete Conception (Disc 2) - 52 - 'A Pause In The Disaster' Spot #3.mp3 1.3M Conception Corporation - Complete Conception (Disc 2) - 53 - 'Conceptionland' Spot.mp3 196K Conception Corporation - Complete Conception (Disc 2) - 54 - Hot Flash.mp3
total 28M 2.4M Doug Clark & The Hot Nuts - Homecoming - 01 - Hot Konomi.mp3 2.2M Doug Clark & The Hot Nuts - Homecoming - 02 - Chris Colombo.mp3 6.7M Doug Clark & The Hot Nuts - Homecoming - 03 - Two Old Maids.mp3 2.4M Doug Clark & The Hot Nuts - Homecoming - 04 - Limmericks (Part 1).mp3 772K Doug Clark & The Hot Nuts - Homecoming - 05 - Kuri (Part 1).mp3 592K Doug Clark & The Hot Nuts - Homecoming - 06 - Kuri (Part 2).mp3 3.1M Doug Clark & The Hot Nuts - Homecoming - 07 - Limmericks (Part 2).mp3 1.7M Doug Clark & The Hot Nuts - Homecoming - 08 - The Amsterdam Maid.mp3 7.6M Doug Clark & The Hot Nuts - Homecoming - 09 - Saga Of Rex.mp3 496K Doug Clark & The Hot Nuts - Homecoming - 10 - Hot Konomi.mp3
total 33M 3.0M Doug Clark & The Hot Nuts - Nuts To You - 01 - Let's Have A Party.mp3 788K Doug Clark & The Hot Nuts - Nuts To You - 02 - Old And Feeble.mp3 3.1M Doug Clark & The Hot Nuts - Nuts To You - 03 - Gay Caballero.mp3 1.8M Doug Clark & The Hot Nuts - Nuts To You - 04 - A Soldier.mp3 4.0M Doug Clark & The Hot Nuts - Nuts To You - 05 - Hot Nuts (Part 1).mp3 1.1M Doug Clark & The Hot Nuts - Nuts To You - 06 - When I Was Young.mp3 3.4M Doug Clark & The Hot Nuts - Nuts To You - 07 - The Whole World.mp3 3.7M Doug Clark & The Hot Nuts - Nuts To You - 08 - Can't Sit Down.mp3 1.4M Doug Clark & The Hot Nuts - Nuts To You - 09 - Ding-A-Ling.mp3 3.6M Doug Clark & The Hot Nuts - Nuts To You - 10 - Two Old Maids.mp3 7.7M Doug Clark & The Hot Nuts - Nuts To You - 11 - Hot Nuts (Part 2).mp3
total 37M 37M Monty Python Documentary (CBC).mp3
"In 1969, Jack S. Margolis wrote a book called A Child's Garden of Grass. Two years later, an album based on that book surfaced on Elektra Records. If you're looking for a silly comedy album in which the entire theme is on marijuana, and its affects, then you should go get a copy. I am not certain the album is available on CD, as far as I know, it's only available on LP.
Each subject of the album starts off with some strange electronic effects before the narrator gets on with the subject. Example is "Listening to Music". This cut tells you what kind of music you can listen to while being stoned (classical, folk, acid rock, jazz, electronic music). He warns you never listen to Myron Florin (accordion player for the Lawrence Welk Show), as well as several other polka players while stoned, unless they were being played all together at once.
Another example is "Creativity" where the narrator seems to suggest when you're stoned, you begin to overestimate your "artistic" talents. By the end of that cut, you start hearing some really bad rock and roll, played and sung by the person being stoned. Of course an album dealing with this subject should never be without "Physical Effects" and "Psychological Effects", as well as how to acquire marijuana (which seems to suggest any manner possible, even stealing). "Psychological Effects" really cracks me up, because you hear a conversation between a man and a woman, and the person totally forgot what he was saying, and didn't care. There was also a lot of giggling as they listen to some really crappy music.
You can be very certain that this album would not be in the hands of the "Just Say No" crowd, or conservatives in general. This is one silly album and a great period piece. If you're looking for comedy about the affects of weed, this is the album to get." - Ben Miler
total 72M 1.9M 01 - Jack Margolis & Jere Alan Brien-The History of Marijuana.mp3 5.5M 02 - Jack Margolis & Jere Alan Brien-Acquiring Marijuana- General Effects.mp3 3.1M 03 - Jack Margolis & Jere Alan Brien-Creativity.mp3 3.3M 04 - Jack Margolis & Jere Alan Brien-Physical Effects.mp3 3.6M 05 - Jack Margolis & Jere Alan Brien-Psychological Effects.mp3 3.2M 06 - Jack Margolis & Jere Alan Brien-Time and Space.mp3 3.4M 07 - Jack Margolis & Jere Alan Brien-Getting Hung-Up.mp3 2.4M 08 - Jack Margolis & Jere Alan Brien-Funniness.mp3 4.4M 09 - Jack Margolis & Jere Alan Brien-Meditation.mp3 1.8M 10 - Jack Margolis & Jere Alan Brien-Eating Food.mp3 3.0M 11 - Jack Margolis & Jere Alan Brien-Listening To Music.mp3 9.2M 12 - Jack Margolis & Jere Alan Brien-Making Love.mp3 7.0M 13 - Jack Margolis & Jere Alan Brien-Physical and Intellectual Games.mp3 6.6M 14 - Jack Margolis & Jere Alan Brien-A Presidential Trip.mp3 7.3M 15 - Jack Margolis & Jere Alan Brien-Have a Marijuana.mp3
total 314M 27M 1995-11-23~s01e01~Welcome to Hell.mp3 27M 1995-11-30~s01e02~Corruption.mp3 27M 1995-12-07~s01e03~Hero Worship.mp3 27M 1995-12-14~s01e04~Appearances.mp3 27M 1995-12-21~s01e05~Rebellion.mp3 27M 1995-12-28~s01e06~Redemption.mp3 26M 1998-04-07~s02e01~Assistant.mp3 26M 1998-04-14~s02e02~Chuckles.mp3 26M 1998-04-21~s02e03~Nero.mp3 26M 1998-04-28~s02e04~Computers.mp3 26M 1998-05-05~s02e05~Grand Unified Theory.mp3 26M 1998-05-12~s02e06~Too Far.mp3
total 6.7M 428K 150 years of peace, if you skip over Pearl Harbour.mp3 196K 911 - Remembering things that didnt happen_ bad pilot.mp3 136K Achieve those hurdles.mp3 200K A compassionate American for every citizen.mp3 156K A though weeks.mp3 316K Bad Spanish grammar.mp3 96K Beyond the Immediate.mp3 124K Bomb a buildings.mp3 104K Bring 'em on.mp3 212K Comiserate.mp3 392K Condi's an un-sticker.mp3 140K Desire to conflict.mp3 196K Dictatorship.mp3 124K Food on the Familly.mp3 156K Hold this nation hostile, or our allies hostile.mp3 172K If a hard word doesnt work, try an easy one.mp3 164K I'm the person who gets to decide, not you.mp3 132K Incarcenated.mp3 280K Ingranable.mp3 432K In my state of the Union speech.. or whatever you want to call it.mp3 168K Insticated.mp3 148K It must of couldnt pass security.mp3 264K No, that's your question.mp3 384K Nucular weapons, once, twice, three times.mp3 200K Peance, freance.mp3 124K Restore chaos and order.mp3 204K Subliminable II.mp3 248K The frankly mood of the world.mp3 208K Ticket counters and airplanes will fly....mp3 128K Un-alieniable.mp3 136K Weapons of mass production.mp3 292K We hit the Trifecta.mp3 136K We're conscience.mp3
total 59M 1.2M 01-Welcome.mp3 6.7M 02-War in Iraq.mp3 4.6M 03-Deep Thoughts (Part 1).mp3 3.7M 04-Peeance Freeance.mp3 6.7M 05-4,000 Hours.mp3 3.8M 06-She's An Unsticker.mp3 6.8M 07-Embetterment! Ingrinable!.mp3 1.5M 08 (Al Capone Safe).mp3 6.3M 08-Nucular.mp3 7.2M 09-Commiserate, Not Commiserate.mp3 5.9M 10-In Tennessee.mp3 4.4M 11-Deep Thoughts (Part 2).mp3
total 133M 2.8M 01 - Nick Danger is hired to find a sober republican (61688).mp3 2.6M 02 - The Firesign Theatre's Nick Danger (62388).mp3 2.7M 03 - Nick Danger, Third Eye (63088).mp3 2.8M 04 - A sober republican (7788).mp3 2.8M 05 - Nick Danger, Third Eye (71488).mp3 2.5M 06 - Nick Danger, Third Eye (72188).mp3 2.7M 07 - Nick Danger sober republican (72888).mp3 2.6M 08 - Nick Danger, Third Eye (8488).mp3 3.4M 09 - Nick Danger (81188).mp3 3.4M 10 - Nick Danger's private dude ranch (81888).mp3 2.4M 11 - Nick Danger - under the weather (92588).mp3 2.7M 12 - Nick Danger - still under the influence of last week's episode (9188).mp3 2.7M 13 - Nick Danger on Dan Quayle.mp3 2.6M 14 - Nick Danger investigates Bush's other personalities (92288.mp3 2.7M 15 - Nick Danger on global interconnectedness (102088).mp3 2.8M 16 - Nick Danger on fairness (102788).mp3 3.0M 17 - Nick Danger on our control by aliens (11388).mp3 2.5M 18 - Nick Danger on what we are electing (11888).mp3 3.2M 19 - Nick Danger takes a case for the holidays (111788).mp3 2.7M 20 - Nick Danger in Hawaaiitown (112488).mp3 3.0M 21 - Nick Danger on the spirit of giving (12188).mp3 2.4M 22 - Nick Danger attends a holiday office party (121588).mp3 2.9M 23 - Nick Danger's holiday message (122088).mp3 2.6M 24 - Nick Danger's latest encounter with a dame (122988).mp3 2.7M 25 - Nick Danger and the dame (1589).mp3 2.8M 28 - Nick Danger on working with a tough guy (2-2-89).mp3 2.9M 29 - Nick Danger on reading between the lines (2-9-89).mp3 2.9M 30 - Nick Danger searches out painting for his walls (2-16-89).mp3 2.1M 31 - Nick Danger (model trains) (3-3-89).mp3 2.5M 32 - Nick Danger continues on model trains (3-9-89).mp3 2.7M 33 - Nick Danger and the model train dame (3-16-89).mp3 2.9M 34 - Nick Danger - model train (4-13-89).mp3 2.6M 35 - Nick Danger's blow-up with his client in model trainland (4-20-89).mp3 2.7M 36 - Nick Danger wraps model trainland (4-28-89).mp3 2.5M 37 - Nick Danger on trash TV (5-11-89).mp3 2.5M 38 - Nick Danger on George Bush (5-18-89).mp3 2.5M 39 - Bush calls on Nick Danger (5-25-89).mp3 2.9M 40 - Nick Danger avoids his own merchandising (6-29-89).mp3 3.1M 41 - Nick Danger wakes up to the facts of merchandising (7-6-89).mp3 3.6M 42 - Nick Danger's Bush theory (7-14-89).mp3 3.1M 43 - Nick Danger on food 97-21-89).mp3 1.9M 44 - Nick Danger's read on the news (9-28-89).mp3 2.0M 45 - Nick Danger's classsified information (10-19-89).mp3 1.9M 46 - Nick Danger's spirited journalism (10-19-89).mp3 2.3M 47 - Nick Danger on the comics page (11-2-89).mp3 2.3M 48 - Christmas (12-15-89).mp3 1.7M 49 - Nick Danger on Holidays (1-5-90).mp3 1.8M 50 - Nick Danger on the news (1-10-90).mp3 2.3M 51 - Football - Superbowl (1-16-90).mp3 2.0M 52 - Nick Danger on dinosaurs and mail order catalogs (2-7-90).mp3 2.7M 53 - Nick Danger reviews journalism (2-14-90).mp3 156K nick danger back label.jpg 136K nick danger front covers.jpg 144K nick danger inside cover.jpg 4.0K The Daily Feed Tapes - Reel One_copy_2.m3u 4.0K The Daily Feed Tapes - Reel One.m3u 4.0K The Daily Feed Tapes - Reel Two.m3u
total 85M 5.3M AFord_1965_1_16k.mp3 5.2M AFord_1965_2_16k.mp3 5.2M AFord_1965_3_16k.mp3 7.8M Blessed_Family_Life_1.mp3 7.7M Blessed_Family_Life_2.mp3 6.6M CainAbel_1.mp3 6.6M CainAbel_2.mp3 16K Faith_1.mp3 4.6M Keijo22feb04.mp3 3.9M Krista_2May04.mp3 5.1M MadisonSquareGarden1974_1_16k.mp3 4.6M MadisonSquareGarden1974_3_16k.mp3 6.9M Prayer_1.mp3 7.6M Relationship_with_TP_1.mp3 7.6M Relationship_with_TP_2.mp3
"This is where it all began for the Houston troubadour: 43 solo sides, as evocative and stark as any he ever did, from 1946-1948. The first 13 sides find the guitarist in tandem with pianist Wilson "Thunder" Smith (who handles the vocals on a few tracks), but after that, old Lightnin' Hopkins went the solo route. "Katie May," "Short Haired Woman," "Abilene," "Shotgun" -- all these and more rate with his seminal performances." - Bill Dahl
"This sex-based set of early blues-oriented recordings has 19 double entendre songs and a humorous (and quite profane) "alternate" version of Lucille Bogan's "Shave 'Em Dry" that still could not be played on the radio. Among the performers are Lil Johnson, Lonnie Johnson, Barrel House Annie, Bo Carter and Buddy Moss. With titles such as "Sam The Hot Dog Man," "The Best Jockey In Town," "If It Don't Fit, Don't Force It," "Banana In Your Fruit Basket" and "You Got To Give Me Some Of It," the subject matter is easy to figure out." - Scott Yanow
total 72M 3.6M Raunchy Business- Hot Nuts & Lollypops - 01 - Lil Johnson - Sam-The Hot Dog Man.mp3 3.5M Raunchy Business- Hot Nuts & Lollypops - 02 - Lil Johnson - My Stove's in Good Condition.mp3 3.9M Raunchy Business- Hot Nuts & Lollypops - 03 - Lonnie Johnson - Wipe It Off.mp3 3.5M Raunchy Business- Hot Nuts & Lollypops - 04 - Lonnie Johnson - The Best Jockey in Town.mp3 3.4M Raunchy Business- Hot Nuts & Lollypops - 05 - Lucille Bogan - Shave 'Em Dry, No. 1.mp3 3.7M Raunchy Business- Hot Nuts & Lollypops - 06 - Lucille Bogan - Shave 'Em Dry, No. 2.mp3 3.3M Raunchy Business- Hot Nuts & Lollypops - 07 - Lillie Mae Kirkman - He's Just My Size.mp3 3.4M Raunchy Business- Hot Nuts & Lollypops - 08 - Barrel House Annie - If It Don't Fit (Don't Force It).mp3 3.7M Raunchy Business- Hot Nuts & Lollypops - 09 - Lonnie Johnson - Victoria Spivey - Furniture Man Blues, Pt. 1.mp3 3.7M Raunchy Business- Hot Nuts & Lollypops - 10 - Lonnie Johnson - Victoria Spivey - Furniture Man Blues, Pt. 2.mp3 3.5M Raunchy Business- Hot Nuts & Lollypops - 11 - Bo Carter - My Pencil Won't Write No More.mp3 3.7M Raunchy Business- Hot Nuts & Lollypops - 12 - Bo Carter - Banana in Your Fruit Basket.mp3 3.7M Raunchy Business- Hot Nuts & Lollypops - 13 - Lil Johnson - Get 'Em from the Peanut Man (The New Hot Nuts).mp3 3.5M Raunchy Business- Hot Nuts & Lollypops - 14 - Lil Johnson - Get 'Em from the Peanut Man (The New Hot Nuts).mp3 4.0M Raunchy Business- Hot Nuts & Lollypops - 15 - Mississippi Sheiks - Driving That Thing.mp3 3.8M Raunchy Business- Hot Nuts & Lollypops - 16 - Mississippi Sheiks - Bed Spring Poker.mp3 3.5M Raunchy Business- Hot Nuts & Lollypops - 17 - Hunter and Jenkins - Lollypop.mp3 3.5M Raunchy Business- Hot Nuts & Lollypops - 18 - Hunter and Jenkins - Meat Cuttin' Blues.mp3 3.7M Raunchy Business- Hot Nuts & Lollypops - 19 - Buddy Moss - You Got to Give Me Some of It.mp3 3.6M Raunchy Business- Hot Nuts & Lollypops - 20 - Bernice Edwards - Butcher Shop Blues.mp3 348K Raunchy Business Hot Nuts & Lollypops Back.jpg 688K Raunchy Business Hot Nuts & Lollypops Front.jpg
total 101M 4.0K Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 000 nfo.txt 56K Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 001 front.jpg 84K Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 002 back.jpg 12M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 01 Jam.mp3 7.2M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 02 I Won't Shed a Tear.mp3 6.4M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 03 Dealer's Blues.mp3 5.3M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 04 Glad For Your Sake.mp3 7.4M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 05 She's About a Mover.mp3 8.6M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 06 Bad Boy.mp3 12M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 07 Reconsider Baby.mp3 5.1M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 08 The Things I Used To Do.mp3 11M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 09 I Ain't Got Nothin' Yet.mp3 8.7M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 10 Don't Let The Sun Catch You Cryin'.mp3 4.5M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 11 Texas Tornado.mp3 5.5M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 12 Crossroads.mp3 9.0M Doug Sahm - Gypsy Tea Room - Dallas, Tx 5-9-98 - 13 You're Gonna Miss Your Baby.mp3
"Pulled from performances at the Chicago Blues Festival, Buddy Guy's Legends club with a couple of strays recorded in Lincoln, NE, that were too good not to include, this two-disc set captures Allison at the absolute peak of his powers. Disc one is the Chicago Blues Festival in its entirety with a bonus track of Luther jamming on the finale with Otis Rush and Eddie C. Campbell on a medley of two B.B. King tunes. Disc two is equally potent, a combination of performances pulled from Buddy Guy's Legends club and the Zoo Bar in Lincoln, NE. Luther simply played his heart and spirit out right to the end and these recordings spotlight it in a very fine manner. One of the label's best." - Cub Koda
"Another easy access point for Charles' seminal Atlantic catalog. This two-disc set is evenly split between his bluesiest sides on the first disc and a selection of his greatest jazz sides on disc two (gorgeously showcasing the sax work of David "Fathead" Newman on several pieces). Charles was a masterful blues purveyor; his "I Believe to My Soul" is simultaneously invested with heartbreak and humor, while the earlier "Sinner's Prayer," "The Sun's Gonna Shine Again," and the gospel-based "A Fool for You" emanate both hope and deep pain." - Bill Dahl
"The title isn't just hype -- this absolutely essential three-disc box is where soul music first took shape and soared, courtesy of Ray Charles' church-soaked pipes and bedrock piano work. Brother Ray's formula for inventing the genre was disarmingly simple: he brought gospel intensity to the R&B world with his seminal "I Got a Woman," "Hallelujah I Love Her So," "Leave My Woman Alone," "You Be My Baby," and the primal 1959 call-and-response classic "What'd I Say." There's plenty of brilliant blues content within these 53 historic sides: Charles' mournful "Losing Hand," "Feelin' Sad," "Hard Times," and "Blackjack" ooze after-hours desperation. No blues collection should be without this boxed set, which comes with well-researched notes by Robert Palmer, a nicely illustrated accompanying booklet, and discographical info aplenty." - Bill Dahl
"Down-home, anguished laments and moody ballads were turned into triumphs by Ray Charles. He sang these songs with the same conviction, passion, and energy that made his country and soul vocals so majestic. This has not turned up in the reissue bins." - Ron Wynn
total 82M 4.0K 00 - 1999 - Albert King With Stevie Ray Vaughan - In Session.m3u 4.0K 00 - 1999 - Albert King With Stevie Ray Vaughan - In Session.nfo 4.0K 00 - 1999 - Albert King With Stevie Ray Vaughan - In Session.sfv 12M 01 - Call It Stormy Monday.mp3 1.4M 02 - Old Times.mp3 7.2M 03 - Pride And Joy.mp3 6.7M 04 - Ask Me No Questions.mp3 880K 05 - Pep Talk.mp3 19M 06 - Blues At Sunrise.mp3 1.1M 07 - Turn It Over.mp3 9.9M 08 - Overall Junction.mp3 11M 09 - Match Box Blues.mp3 824K 10 - Who Is Stevie .mp3 11M 11 - Don't Lie To Me.mp3 4.0K In Session.LOG 3.5M SRV&AlbertKingInSessionCovers.zip
total 163M 1.4M 000 - scans _ Nashville 1978 ~ The Legendary Lost First Stevie Ray Vaughan Album (1979).zip 6.7M 101 - You Can Have My Husband _Lou Ann Barton (v).mp3 7.9M 102 - Rude Mood (instrumental).mp3 6.9M 103 - Pride And Joy _Stevie Ray Vaughan(v).mp3 7.0M 104 - Oh, Yeah _Lou Ann Barton (v).mp3 4.8M 105 - Love Struck, Baby _Stevie Ray Vaughan(v).mp3 6.4M 106 - Ti-Ni-Nee-Ni-Nu _Lou Ann Barton (v).mp3 5.5M 107 - Gonna Miss Me _Stevie Ray Vaughan(v).mp3 13M 108 - I Wonder Why (Will My Man Be Home Tonight) _Lou Ann Barton (v).mp3 8.1M 109 - I'm Crying _Stevie Ray Vaughan(v).mp3 7.8M 110 - Sugar Coated Loving _Lou Ann Barton (v).mp3 8.5M 201 - Natural Born Lover _Lou Ann Barton (v).mp3 6.7M 202 - Ti-Ni-Nee-Ni-Nu _Lou Ann Barton (v).mp3 9.2M 203 - Scratch My Back _Lou Ann Barton (v).mp3 7.4M 204 - I'll Change _Lou Ann Barton (v).mp3 11M 205 - Shake A Hand, Shake A Hand _Lou Ann Barton (v).mp3 8.3M 206 - Oh, Baby _Lou Ann Barton (v).mp3 8.5M 207 - Sugar Coated Love _Lou Ann Barton (v).mp3 11M 208 - Love In Vain _Stevie Ray Vaughan(v).mp3 13M 209 - You Can Have My Husband _Lou Ann Barton (v).mp3 6.7M 210 - My Baby's Gone (Oh, Yeah) _Lou Ann Barton (v).mp3
total 127M 6.7M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 01 - Hideaway.mp3 6.3M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 02 - Love Me Darlin'.mp3 15M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 03 - Tin Pan Alley.mp3 4.5M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 04 - Love Struck Baby.mp3 6.0M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 05 - I'm Crying.mp3 15M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 06 - Texas Flood.mp3 9.4M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 07 - I'm Leavng You (Commit A Crime).mp3 6.1M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 08 - Little Wing.mp3 8.5M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 1) - 09 - Drivin' South.mp3 7.0M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 01 - Don't Lose Your Cool.mp3 3.6M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 02 - Tell Me.mp3 7.3M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 03 - The Sky Is Crying.mp3 5.3M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 04 - Guitar Hurricane.mp3 4.6M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 05 - Slide Thing.mp3 5.4M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 06 - Crosscut Saw.mp3 5.2M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 07 - I Tried Pretty Baby.mp3 9.5M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 08 - Dirty Pool.mp3 3.3M Stevie Ray Vaughan - Kings Head Bay Inn Norfolk VA. 7-22-80 (Disc 2) - 09 - Shake For Me.mp3
total 75M 1.7M nashville_scans.zip 6.7M Stevie Ray Vaughan - 1st Unreleased Album - 01 - You Can Have My Husband (1978).mp3 7.9M Stevie Ray Vaughan - 1st Unreleased Album - 02 - Rude Mood (1978).mp3 7.0M Stevie Ray Vaughan - 1st Unreleased Album - 03 -Oh Yeah (1978).mp3 6.9M Stevie Ray Vaughan - 1st Unreleased Album - 04 - Pride and Joy (1978).mp3 4.8M Stevie Ray Vaughan - 1st Unreleased Album - 05 - Love Struck Baby (1978).mp3 6.4M Stevie Ray Vaughan - 1st Unreleased Album - 06 - Ti-Ni-Nee-Ni-Nu (1978).mp3 5.5M Stevie Ray Vaughan - 1st Unreleased Album - 07 - Gonna Miss Me (1978).mp3 13M Stevie Ray Vaughan - 1st Unreleased Album - 08 - I Wonder Why (1978).mp3 8.1M Stevie Ray Vaughan - 1st Unreleased Album - 09 - I´m Crying (1978).mp3 7.8M Stevie Ray Vaughan - 1st Unreleased Album - 10 - Sugar Coated Loving (1978).mp3
"In the summer of 1998, Sony repackaged and re-released Stevie Ray Vaughan & Double Trouble's first three albums -- Texas Flood, Couldn't Stand the Weather, and Soul to Soul -- as a slip-cased box set. It's not a bad way to acquire the albums if you don't already own them, but since there are no bonus tracks, new packaging, or remastering, the package is of marginal interest to hardcore fans and collectors. [This is not true of the expanded version of this same set, which offers quite a few rarities. There are five bonus tracks on Texas Flood: an unreleased version of "Tin Pan Alley," an interview, and live versions of "Testify," "Mary Had a Little Lamb," and "Wham!" There are also five bonus tracks on Couldn't Stand the Weather: unreleased versions of "Hide Away," "Look at Little Sister," "Give Me Back My Wig," and "Come on, Pt. 3," and another interview. Finally, there are three bonus tracks on Soul to Soul: another interview, "Slip Slidin' Slim," and a powerhouse Hendrix medley.]" - Stephen Thomas Erlewine
total 86M 4.0K 00 - 1983 - Stevie Ray Vaughan And Double Trouble - Texas Flood (1999 reissue, bonus tracks).m3u 4.0K 00 - 1983 - Stevie Ray Vaughan And Double Trouble - Texas Flood (1999 reissue, bonus tracks).nfo 4.0K 00 - 1983 - Stevie Ray Vaughan And Double Trouble - Texas Flood (1999 reissue, bonus tracks).sfv 3.4M 01 - Love Struck Baby.mp3 5.2M 02 - Pride And Joy.mp3 8.4M 03 - Texas Flood.mp3 4.2M 04 - Tell Me.mp3 5.5M 05 - Testify.mp3 6.5M 06 - Rude Mood.mp3 3.8M 07 - Mary Had A Little Lamb.mp3 7.4M 08 - Dirty Pool.mp3 5.7M 09 - I'm Cryin'.mp3 6.9M 10 - Lenny.mp3 704K 11 - SRV Speaks.mp3 8.5M 12 - Tin Pan Alley (aka Roughest Place In Town).mp3 5.2M 13 - Testify (Live).mp3 4.8M 14 - Mary Had A Little Lamb (Live).mp3 6.5M 15 - Wham! (Live).mp3 3.4M SRVTexasFloodCovers.zip
total 43M 2.5M SRV & Cobras-01-Instrumental Slide.mp3 2.4M SRV & Cobras-02-I Try Pretty Baby.mp3 3.8M SRV & Cobras-03-Boilermaker.mp3 3.9M SRV & Cobras-04-Carlos Jazzo.mp3 3.9M SRV & Cobras-05-Hambone's Tune.mp3 2.9M SRV & Cobras-06-Texas Clover.mp3 3.5M SRV & Cobras-07-Betters Days.mp3 3.2M SRV & Cobras-08-Today, Tomorrow, Yesterday.mp3 4.2M SRV & Cobras-09-So Many Times.mp3 1.2M SRV & Cobras-10-Instrumental Shorts.mp3 2.7M SRV & Cobras-11-Lonely, Lonely Nights.mp3 3.1M SRV & Cobras-12-St. James Infirmary.mp3 3.3M SRV & Cobras-13-Further on up the Road.mp3 2.4M SRV & Cobras-14-Thunderbird.mp3
"New Jersey-born blues-rocker Walter Trout spent decades as an ace sideman, playing guitar behind the likes of John Lee Hooker, Big Mama Thornton and Joe Tex; in 1981, he was also tapped to replace the late Bob Hite in Canned Heat, remaining with the venerable group through the middle of the decade. While filling in one night for an ailing John Mayall, Trout (also a Bluesbreaker for some five years) was spotted by a Danish concert promoter who agreed to finance a solo tour; assembling his own backing band, in 1990 he released his debut LP Life in the Jungle, trailed a year later by Prisoner of a Dream. Albums including 1992's Live (No More Fish Jokes), 1994's Tellin' Stories and 1997's Positively Beale Street followed before Trout signed to A&M to release his self-titled major label debut in 1998; Livin' Everyday appeared the next year, trailed by Live Trout: Recorded at the Tampa Blues Fest March 2000." - Jason Ankeny
"Albums that combine live and studio tracks can, in some cases, be inconsistent. Some artists are so reliant on studio technology that they fall apart in a live setting; they sound stiff and awkward the minute they take the stage. And on the other hand, some artists are so fond of playing live that they become inhibited in the studio. But there is nothing inconsistent or uneven about Walter Trout's debut album, Life in the Jungle, a collection of live and studio recordings from 1989; on this release, the blues-rocker is as focused and inspired on-stage as he is in the studio. All of the tracks were recorded in Scandinavian countries; the live performances are from an appearance at the Midtfyn Festival in Denmark on July 2, 1989, while the studio material is from a session in Stockholm, Sweden, on June 21 and July 9 of that year. And in both settings, Trout really shines -- the singer/guitarist has no problem going that extra mile on original tunes (including the title song and "Good Enough to Eat"), as well as passionate versions of Jimi Hendrix's "Red House," Buddy Guy's "She's out There Somewhere," and John Lee Hooker's "Serves Me Right to Suffer." On the latter, Trout shows his appreciation of Canned Heat without allowing his own personality to become obscured. Life in the Jungle, which the German Ruf label reissued on CD in 2002, is blues-rock the way it should be: tough, gritty, rugged, and heartfelt. Not all of Trout's releases are strong or as consistent as Life in the Jungle, but this is one Trout album that blues-rock enthusiasts will be happy to get their hands on." - Alex Henderson
"Blues-rocker Walter Trout struts his stuff on Livin' Every Day, the follow-up to his self-titled 1998 major-label debut. Overall, it's another fine outing for rabid blues guitar fans, full of gritty, gutsy playing and well-executed band support. Although songwriting isn't the album's primary focus, there are a number of tough survivor's tales here that resonate pretty well. On the other side of the coin, his balladry tries to be sincere yet leans toward sentimentality, which can dissipate the fire of the harder-rocking tracks. Still, Livin' Every Day is an entirely worthy effort by one of contemporary blues-rock's most underrated instrumentalists." - Steve Huey
"No, this mammoth nine-disc compilation -- 205 tracks in all -- isn't actually complete, since alternate takes have since turned up of a couple of items. Further, the sound quality is decidedly spotty, and Charly's legal right to put Chess material on the market at all has long been in question. But this is the only place CD enthusiasts are currently going to find more than a few indispensable 1950s sides that MCA hasn't gotten around to releasing quite yet. And the final disc holds some enlightening alternate takes (including a whopping eight runthroughs of "Woman Wanted" and nine versions of "Read Way Back") that may never see domestic light of day. For aficionados only, make no mistake!" - Bill Dahl
"N'Awlinz: Dis Dat or d'Udda is a very good record, but it could have been a great one. One has to wonder if the idea of having all these high-profile guest vocalists was Dr. John's, Blue Note's, or producer Stewart Levine's, in order to follow the 21st century trendiness of having "celebrity" guests on a session. This is Mac Rebennack's homeboy album, a tribute to his city and its players. He's recorded some in New Orleans, to be sure, but never has he been able to make use of the Crescent City's greatest arranger, Wardell Quezergue, to such an extent. In addition, the great Doctor was able to enlist Earl Palmer, Smokey Johnson, Nicholas Payton, Dave Bartholemew, Eddie Bo, Walter Wolfman Washington, Snooks Eaglin, the Dirty Dozen Brass Band, Alfred "Uganda" Roberts, Willie Tee, and a huge slew of players to help him out on canonical N.O. repertoire. The sheer number of percussionists on this set is staggering and welcome. On nuggets like "When the Saints Go Marching In," sung funeral style, the Davell Crawford Singers and the Quezergue horns kick it with the rhythm section and front line. "St. James Infirmary" has Bo second-lining the band as he duets with Mac. The Cousin Joe (Pleasant Joseph) tunes like "Life's a One Way Ticket," Bartholomew's "The Monkey," and Mac's own brilliant "Shango Tango" smolder with that strutting, finger-poppin' R&B. So what's the problem? The lame, completely lifeless vocals of Randy Newman, a track with B.B. King and Willie Nelson, and Nelson on his own on three tracks that will remain nameless mar something so beautifully done that it otherwise might have been one of the finest New Orleans records since the early '60s. There are other guest vocalists who bring home the bacon on duets with Dr. John -- Mavis Staples on "Lay My Burden Down," Cyril Neville on the amazing read of Robert Gurley's "Marie Laveau," and Rebbenack's closer, "I'm Goin" Home," are stellar. And King even rises to the occasion on his duet with Mac on "Hen Layin' Rooster." Dr. John is in amazing voice here, his piano playing is knife-edge tough and funky, and his performances are so inspired that they are perhaps career-defining. Three out of 18 cuts is minuscule after all, and the rest of this set is so badass that it should be purchased regardless. After all, what is the remote control for? It's a contender to be sure, but it could have been a champion." - Thom Jurek
"This album's title derives from a famous Washington, D.C., music scene in-joke from when aspiring guitar players would play the original bootleg tape for their peers: "You think you're pretty good? Listen to this." Before long, the featured player, Danny Gatton, would be nicknamed "the Humbler" for his fearsome combination of technique and finesse. The nickname came from fellow guitarist Amos Garrett, who was in the audience for this performance with frenetic rockabilly frontman Robert Gordon. In keeping with Gordon's '50s and '60s stance, up-tempo early rock & roll is the game here, with Gatton supplying the finger- popping coloration that the music demands. Even as a sideman, he knew the secret of backing a singer: play only what the song requires. Gatton reaches some inspired lickety-split peaks on "You Got Heart Like a Rock" and "Cruisin'." On other tracks -- like the smoldering R&B territory of "Fire" or the fatalistic weeper "There Stands the Glass" -- he simply drops terse atmospheric fills to bolster the mood. Guitar freaks will also enjoy the bonus soundcheck romp with drummer Shannon Ford through the echo-laden "Fingers on Fire," which starts slowly and builds to a frenzied climax. The liner notes provide a vivid description of the gig (although the date is curiously omitted). This album's more of a diversion to Gatton's back catalog, but stands up as an unpretentious snapshot of guys having fun before an audience who appreciates the goods being delivered. That's enough reason to listen, whether you're a Gatton or Gordon fan." - Ralph Heibutzki
total 96M 6.2M 00 - scans _The Humbler (1996).zip 4.2M 01 - Ubangi Stomp.mp3 7.4M 02 - The Way I Walk.mp3 6.4M 03 - Good Rockin' Tonight.mp3 4.9M 04 - There Stands The Glass.mp3 5.2M 05 - Drivin' Wheel.mp3 6.0M 06 - Fire.mp3 6.8M 07 - Loverboy.mp3 5.0M 08 - You Got A Heart Like A Rock.mp3 5.8M 09 - Cruisin'.mp3 5.1M 10 - Red Cadillac And A Black Moustache.mp3 6.5M 11 - Love My Baby.mp3 5.1M 12 - Twenty Flight Rock.mp3 5.3M 13 - Black Slacks.mp3 5.2M 14 - Red Hot.mp3 12M 15 - Fingers On Fire.mp3
total 302M 5.9M Angela Brown - Stagger Lee.mp3 2.6M Archibald - Stack A Lee (1950).mp3 4.5M Beck - Stagolee.mp3 4.4M Bert Garvin (with Danielle Fraley) - Stackolee_copy_2.mp3 4.4M Bert Garvin (with Danielle Fraley) - Stackolee.mp3 2.4M Bill Haley & His Comets - Stagger Lee.mp3 4.8M Blue Grass Alliance - Stagolee.mp3 7.4M Champion Jack Dupree - Stack-O-Lee.mp3 2.6M Cliff Edwards (aka Ukulele Ike) - Stack O'Lee - (Part 1 of 2).mp3 2.4M Cliff Edwards (aka Ukulele Ike) - Stack O'Lee - (Part 2 of 2).mp3 3.4M Dave Van Ronk - Stagger Lee.mp3 5.6M Detroit Junior - Staggerlee.mp3 2.9M Dion & the Belmonts - Stagger Lee.mp3 332K !Discography and stories of Stagger Lee.zip 3.7M Doc Watson - Stack O' Lee.mp3 4.3M Dr Hook - Stagger Lee.mp3 4.5M Dr. John - Stack a Lee.mp3 2.0M Elvis Presley - Stagger Lee.mp3 5.6M Fabulous Thunderbirds - Stagger Lee.mp3 2.6M Fats Domino - Stack & Billy.mp3 3.0M Fats Domino - Stagger Lee.mp3 7.2M Fillmore Slim - Stagger Lee.mp3 3.5M Frank Hutchison - Stackalee.mp3 4.9M Fred Waring's Pennsylvanians - Stack O' Lee Blues (193VBR S 3.32).mp3 4.6M Fruit Jar Guzzlers - Stack-O-Lee.mp3 8.5M Grateful Dead - Stagger Lee.mp3 6.7M Henry Gray - Stagger Lee.mp3 3.7M Huey Lewis & the News - Stagger Lee.mp3 3.8M Ike & Tina Turner - Stagger Lee.mp3 3.9M James Brown - Stagger Lee.mp3 3.7M Jerry Lee Lewis - Stagger Lee.mp3 3.8M Jimmy Barnes - Stagger Lee.mp3 4.4M John Fogerty & Lloyd Price - Stagger Lee (Live 1998).mp3 3.0M Johnny Rivers - Stagger Lee.mp3 5.5M Lloyd Price - Stagger Lee (Big Band Version).mp3 5.5M Lloyd Price - Stagger Lee (original uncensored).mp3 1.9M Long 'Cleve' Reed, Little Harvey Hull - Stack O'Lee Blues.mp3 1.3M Lucious Curtis and Willie Ford - Stagolee.mp3 2.1M Ma Rainey - 1923_1928 -16-Stack O'Lee Blues.mp3 7.0M Max Creek - Stagger Lee.mp3 1.4M Mickey Gilley - Stagger Lee.MP3 8.3M Mike Bloomfield- Stagger Lee.mp3 3.5M Mississippi John Hurt - (1927) Stack O'Lee Blues.mp3 2.9M Mississippi John Hurt - D.C. Blues - Disc 1 - 13 - Stackolee.mp3 7.8M Mississippi John Hurt - Staggerlee.mp3 6.7M Mississippi John Hurt - Stagolee (live).mp3 3.8M Neil Diamond - Stagger Lee.mp3 9.4M New Lost City Ramblers - Stackerlee.mp3 7.4M Nick Cave - Stagger Lee 192 kbps.mp3 4.7M Professor Longhair - stagger lee (longer).mp3 4.0K !!README.nfo 3.3M Robert Hunter - Stagger Lee.mp3 7.3M Satan & Adam - Stagga Lee.mp3 4.2M Sir Douglas Quintet - Stagger Lee - Doug Sahm.mp3 2.1M Sol Hoopii - Stack O'Lee Blues (1).mp3 4.7M Sol Hoopii - Stack O Lee Blues (2).mp3 4.2M Southside Johnny - Stagger Lee (Live).mp3 6.4M Southside Johnny & the Asbury Jukes - Stagger Lee (Live).mp3 5.6M Stagger Lee - Lloyd Price Original.MP3 3.9M Tab Benoit - Stackolina.mp3 5.3M Taj Mahal - Stagger Lee (live).mp3 5.3M Taj Mahal - Stagger Lee.mp3 4.0M The Beach Boys (probably not, but who) - Stagger Lee.mp3 4.4M The Clash - Wrong em Boyo.mp3 1.9M The Down Home Boys - Original Stack O'Lee Blues.mp3 1.9M The Down Home Boys - Original Stack O'Lee Blues_noise reduced.mp3 2.1M The Journeymen - Stackolee.mp3 4.3M Tommy Roe - Stagger Lee.mp3 2.0M Ventures - Stagger Lee.mp3 5.4M who is the artist - Stagger Lee.mp3 3.9M Wilson pickett - Stagger lee 224 kbps.mp3 2.6M Woody Guthrie - Stack A Lee.mp3
"Between 1986 and 1987, Mercury launched its first effort to chronicle Hank Williams' complete recorded works, releasing a series of eight double albums/single CDs which were later collected as a box set. Both the individual compilations and the box set were pulled from the market in the '90s, clearing the way for The Complete Hank Williams, a ten-disc box set which purported to contain all of Williams' recordings. Mercury, however, played it a little loose with their terms, deciding that "complete" covers the studio recordings, demos, and selected live performances, leaving overdubbed tracks and many live cuts (including much of The Health and Happiness Shows, which was released as a separate collection) in the vaults. This is bound to frustrate some collectors, but it makes for a better listen, actually. Instead of piling all the recordings into an impenetrable chronological trawl through Williams' recording life, the compilers logically devoted specific discs to the studio sessions, live cuts, and demos. In particular, the studio discs are quite compelling, but for hardcore fans, the previously unheard live performances (including several songs that Williams only performed in concert) are the real treasures. Then again, only hardcore fans will invest in such a lavish, extensive box set as The Complete Hank Williams, and there's little question that they'll be quite pleased with it." - Stephen Thomas Erlewine
"The single most influential album of Western songs in post-World War II American music, Gunfighter Ballads and Trail Songs touched a whole range of unexpected bases in its own time and has endured extraordinarily well across the ensuing four decades. The longevity of the album's appeal is a result of Marty Robbins' love of the repertory at hand and the mix of his youthful dynamism and prodigious talent that he brought to the recordings, and the use of the best music production techniques of the era. Add to that the presence of a pair of killer original songs that were ready-made singles, "El Paso" and "Big Iron," and a third, "The Master's Call," that was startlingly personal, and the results are well-nigh irresistible. The range of material on this album is extraordinary, from love songs to spirituals, songs so old they have no known author, and originals by the singer, all of which seamlessly fit together. Robbins' subject is mostly the west of myth and movie, which benefits from his ability as a storyteller -- "Big Iron" or "El Paso" may tell tales heard or seen 100 times onscreen, but he makes listeners feel like this is the first time they're hearing them, complete with excitement and anticipation of a poet in the middle of a spellbinding recital. The guitars, played by Robbins, Grady Martin, and Jack Pruett, and Bob Moore's upright bass all have a crisp sound, and the Glaser Brothers' understated vocal accompaniment embellishes the singing in key spots without intruding on the spell cast by Robbins' singing. Gunfighter Ballads and Trail Songs has been reissued several times on CD, paired with its follow-up, More Gunfighter Ballads and Trail Songs, as part of Bear Family Records' Under Western Skies box, and in an expanded edition in 1999 with three bonus tracks. "The Hanging Tree," written for the 1959 movie of the same name, was actually Robbins' first commercial recording of a cowboy song, predating the album by six months. Meanwhile, "Saddle Tramp" was a Robbins original recorded eight months after the album -- their presence adds another significant dimension to the album and its scope. There was a reason why the Western movies and television shows started to be called "horse operas" -- at their best, they had a sense of drama and were driven by charismatic leads. "Saddle Tramp" and "The Hanging Tree" both show Robbins as a kind of cowboy heldentenor creating two beautifully wrought vestpocket Western dramas that significantly add to the appeal of the original album, with the chorus on "Saddle Tramp" among Robbins' most beautiful moments on record." - Bruce Eder
total 60M 2.1M Marty Robbins - Gunfighter Balads And Trail Songs - Back - Inside.jpg 1.7M Marty Robbins - Gunfighter Balads And Trail Songs - Front.jpg 2.1M Marty Robbins - Gunfighter Balads And Trail Songs - Inside1.jpg 2.1M Marty Robbins - Gunfighter Balads And Trail Songs - Inside2.jpg 1.7M Marty Robbins - Gunfighter Balads And Trail Songs - Inside3.jpg 1.7M Marty Robbins - Gunfighter Balads And Trail Songs - Inside.jpg 5.5M Marty Robbins - Gunfighter Ballads And Trail Songs - 01 - Big Iron.mp3 4.5M Marty Robbins - Gunfighter Ballads And Trail Songs - 02 - Cool Water.mp3 3.3M Marty Robbins - Gunfighter Ballads And Trail Songs - 03 - Billy The Kid.mp3 2.4M Marty Robbins - Gunfighter Ballads And Trail Songs - 04 - A Hundred And Sixty Acres.mp3 4.3M Marty Robbins - Gunfighter Ballads And Trail Songs - 05 - They're Hanging Me Tonight.mp3 4.8M Marty Robbins - Gunfighter Ballads And Trail Songs - 06 - The Strawberry Roan.mp3 6.0M Marty Robbins - Gunfighter Ballads And Trail Songs - 07 - El Paso.mp3 2.6M Marty Robbins - Gunfighter Ballads And Trail Songs - 08 - In The Valley.mp3 4.4M Marty Robbins - Gunfighter Ballads And Trail Songs - 09 - The Master's Call.mp3 3.1M Marty Robbins - Gunfighter Ballads And Trail Songs - 10 - Running Gun.mp3 3.5M Marty Robbins - Gunfighter Ballads And Trail Songs - 11 - Little Green Valley.mp3 4.5M Marty Robbins - Gunfighter Ballads And Trail Songs - 12 - Utah Carol.mp3
total 31M 3.4M Beatles MFSL vinyl CD1 - 05 - Please Please Me (STEREO!) - 05 - Boys.mp3 3.4M Beatles MFSL vinyl CD1 - 06 - Please Please Me (STEREO!) - 06 - Ask Me Why.mp3 2.8M Beatles MFSL vinyl CD1 - 07 - Please Please Me (STEREO!) - 07 - Please Please Me.mp3 3.3M Beatles MFSL vinyl CD1 - 08 - Please Please Me (STEREO!) - 08 - Love Me Do.mp3 2.9M Beatles MFSL vinyl CD1 - 09 - Please Please Me (STEREO!) - 09 - P.S. I Love You.mp3 3.7M Beatles MFSL vinyl CD1 - 10 - Please Please Me (STEREO!) - 10 - Baby It's You.mp3 2.7M Beatles MFSL vinyl CD1 - 11 - Please Please Me (STEREO!) - 11 - Do You Want To Know A Secret.mp3 2.9M Beatles MFSL vinyl CD1 - 12 - Please Please Me (STEREO!) - 12 - A Taste Of Honey.mp3 2.6M Beatles MFSL vinyl CD1 - 13 - Please Please Me (STEREO!) - 13 - There's A Place.mp3 3.6M Beatles MFSL vinyl CD1 - 14 - Please Please Me (STEREO!) - 14 - Twist & Shout.mp3
Vol. 1 total 61M 5.8M The Beatles - Ultra Rare Trax, Vol. 1 - 01 - I Saw Her Standing There.mp3 5.5M The Beatles - Ultra Rare Trax, Vol. 1 - 02 - One After 909 [Take 2].mp3 6.1M The Beatles - Ultra Rare Trax, Vol. 1 - 03 - She's a Woman.mp3 5.9M The Beatles - Ultra Rare Trax, Vol. 1 - 04 - I'm Looking Through You.mp3 4.4M The Beatles - Ultra Rare Trax, Vol. 1 - 05 - If You've Got Troubles.mp3 3.7M The Beatles - Ultra Rare Trax, Vol. 1 - 06 - How Do You Do It-.mp3 5.8M The Beatles - Ultra Rare Trax, Vol. 1 - 07 - Penny Lane.mp3 6.2M The Beatles - Ultra Rare Trax, Vol. 1 - 08 - Strawberry Fields Forever.mp3 3.5M The Beatles - Ultra Rare Trax, Vol. 1 - 09 - From Me to You.mp3 4.7M The Beatles - Ultra Rare Trax, Vol. 1 - 10 - Besame Mucho.mp3 5.1M The Beatles - Ultra Rare Trax, Vol. 1 - 11 - The Fool on the Hill.mp3 4.9M The Beatles - Ultra Rare Trax, Vol. 1 - 12 - Paperback Writer.mp3 Vol. 2 total 50M 4.2M Beatles - Ultra Rare Trax Vol. 2 - 01 - Can't Buy Me Love.mp3 392K Beatles - Ultra Rare Trax Vol. 2 - 02 - There's A Place (Take 3).mp3 3.6M Beatles - Ultra Rare Trax Vol. 2 - 03 - There's A Place (Take 4).mp3 4.5M Beatles - Ultra Rare Trax Vol. 2 - 04 - Thats Means A Lot.mp3 924K Beatles - Ultra Rare Trax Vol. 2 - 05 - Day Tripper (1).mp3 5.8M Beatles - Ultra Rare Trax Vol. 2 - 06 - Day Tripper (2).mp3 8.1M Beatles - Ultra Rare Trax Vol. 2 - 07 - I Am The Walrus.mp3 3.5M Beatles - Ultra Rare Trax Vol. 2 - 08 - Misery (Take 1).mp3 5.3M Beatles - Ultra Rare Trax Vol. 2 - 09 - Leave My Kitten Alone.mp3 4.1M Beatles - Ultra Rare Trax Vol. 2 - 10 - We Can Work It Out.mp3 4.8M Beatles - Ultra Rare Trax Vol. 2 - 11 - A Hard Day's Night.mp3 4.6M Beatles - Ultra Rare Trax Vol. 2 - 12 - Norwegian Wood (This Bird Has Flown) (Take 4).mp3 Vol. 3 total 61M 5.4M The Beatles - Ultra Rare Trax vol. 3 - 01 - Ob-La-Di,Ob La Da.mp3 5.5M The Beatles - Ultra Rare Trax vol. 3 - 02 - Tomorrow Never Knows.mp3 9.5M The Beatles - Ultra Rare Trax vol. 3 - 03 - A Day in the Life.mp3 5.8M The Beatles - Ultra Rare Trax vol. 3 - 04 - Yes It Is.mp3 5.6M The Beatles - Ultra Rare Trax vol. 3 - 05 - I Saw Her Standing There.mp3 3.8M The Beatles - Ultra Rare Trax vol. 3 - 06 - Norwegian Wood.mp3 6.0M The Beatles - Ultra Rare Trax vol. 3 - 07 - Not Guilty.mp3 7.0M The Beatles - Ultra Rare Trax vol. 3 - 08 - Across the Universe.mp3 6.4M The Beatles - Ultra Rare Trax vol. 3 - 09 - While My Guitar Gently Weeps.mp3 6.3M The Beatles - Ultra Rare Trax vol. 3 - 10 - Ticket To Ride.mp3 Vol. 4 total 60M 6.1M The Beatles - Ultra Rare Trax, Vol. 4 - 01 - One After 909.mp3 4.3M The Beatles - Ultra Rare Trax, Vol. 4 - 02 - A Taste of Honey.mp3 5.2M The Beatles - Ultra Rare Trax, Vol. 4 - 03 - I Feel Fine.mp3 7.5M The Beatles - Ultra Rare Trax, Vol. 4 - 04 - Yer Blues.mp3 7.0M The Beatles - Ultra Rare Trax, Vol. 4 - 05 - Blues Jam.mp3 8.2M The Beatles - Ultra Rare Trax, Vol. 4 - 06 - Not Guilty.mp3 4.3M The Beatles - Ultra Rare Trax, Vol. 4 - 07 - Get Back.mp3 3.5M The Beatles - Ultra Rare Trax, Vol. 4 - 08 - Mailman, Bring Me No More Blues.mp3 5.1M The Beatles - Ultra Rare Trax, Vol. 4 - 09 - Do You Want to Know a Secret.mp3 9.2M The Beatles - Ultra Rare Trax, Vol. 4 - 10 - All You Need Is Love.mp3 Vol. 5 total 67M 2.3M The Beatles - Ultra Rare Trax, Vol. 5 - 01 - Christmas Time Is Here Again.mp3 4.3M The Beatles - Ultra Rare Trax, Vol. 5 - 02 - Because.mp3 6.2M The Beatles - Ultra Rare Trax, Vol. 5 - 03 - Revolution.mp3 3.3M The Beatles - Ultra Rare Trax, Vol. 5 - 04 - I Me Mine.mp3 5.8M The Beatles - Ultra Rare Trax, Vol. 5 - 05 - Strawberry Fields Forever [Take 1].mp3 11M The Beatles - Ultra Rare Trax, Vol. 5 - 06 - Hey Jude (Rehearsal Take 9).mp3 4.9M The Beatles - Ultra Rare Trax, Vol. 5 - 07 - Magical Mystery Tour.mp3 12M The Beatles - Ultra Rare Trax, Vol. 5 - 08 - What's the New Mary Jane-.mp3 4.2M The Beatles - Ultra Rare Trax, Vol. 5 - 09 - Lady Madonna.mp3 5.5M The Beatles - Ultra Rare Trax, Vol. 5 - 10 - One After 909.mp3 6.6M The Beatles - Ultra Rare Trax, Vol. 5 - 11 - Ob-La-Di, Ob-La-Da-Christmas Time Is Here Again.mp3 560K The Beatles - Ultra Rare Trax, Vol. 5 Imagine Back.jpg 1.4M The Beatles - Ultra Rare Trax, Vol. 5 Imagine Front.jpg Vol. 6 total 76M 4.7M The Beatles - Ultra Rare Trax, Vol. 6 - 01 - Come and Get It.mp3 4.9M The Beatles - Ultra Rare Trax, Vol. 6 - 02 - Hold Me Tight.mp3 3.8M The Beatles - Ultra Rare Trax, Vol. 6 - 03 - I'll Be on My Way.mp3 7.6M The Beatles - Ultra Rare Trax, Vol. 6 - 04 - Strawberry Fields Forever [Take 7].mp3 4.6M The Beatles - Ultra Rare Trax, Vol. 6 - 05 - It's All Too Much.mp3 7.2M The Beatles - Ultra Rare Trax, Vol. 6 - 06 - 12-Bar Original.mp3 2.0M The Beatles - Ultra Rare Trax, Vol. 6 - 07 - I Hate to See.mp3 13M The Beatles - Ultra Rare Trax, Vol. 6 - 08 - She's a Woman [Take 7].mp3 13M The Beatles - Ultra Rare Trax, Vol. 6 - 09 - What's the New Mary Jane-.mp3 16M The Beatles - Ultra Rare Trax, Vol. 6 - 10 - Dig It.mp3 432K The Beatles - Ultra Rare Trax, Vol. 6 Imagine Back.jpg 1.2M The Beatles - Ultra Rare Trax, Vol. 6 Imagine Front.jpg Vol. 7 total 76M 5.9M The Beatles - Ultra Rare Trax Vol. 7 - 01 - I Saw Her Standing There.mp3 3.8M The Beatles - Ultra Rare Trax Vol. 7 - 02 - Too Much Monkey Business.mp3 4.7M The Beatles - Ultra Rare Trax Vol. 7 - 03 - This Boy.mp3 5.1M The Beatles - Ultra Rare Trax Vol. 7 - 04 - If I Needed Someone.mp3 11M The Beatles - Ultra Rare Trax Vol. 7 - 05 - She's A Woman.mp3 4.9M The Beatles - Ultra Rare Trax Vol. 7 - 06 - I'm A Loser.mp3 3.7M The Beatles - Ultra Rare Trax Vol. 7 - 07 - Yesterday.mp3 4.0M The Beatles - Ultra Rare Trax Vol. 7 - 08 - Crying,Waiting,Hoping.mp3 4.4M The Beatles - Ultra Rare Trax Vol. 7 - 09 - Everybody's Trying To Be My Baby.mp3 3.8M The Beatles - Ultra Rare Trax Vol. 7 - 10 - Shout.mp3 7.4M The Beatles - Ultra Rare Trax Vol. 7 - 11 - Yer Blues.mp3 4.5M The Beatles - Ultra Rare Trax Vol. 7 - 12 - Nowhere Man.mp3 5.6M The Beatles - Ultra Rare Trax Vol. 7 - 13 - Anna ( Go To Him ).mp3 6.1M The Beatles - Ultra Rare Trax Vol. 7 - 14 - Twist & Shout.mp3 500K The Beatles - Ultra Rare Trax Vol. 7 Imagine Back.jpg 872K The Beatles - Ultra Rare Trax Vol. 7 Imagine Front.jpg Vol. 8 total 73M 4.8M The Beatles - Ultra Rare Trax, Vol. 8 - 01 - Track 01.mp3 5.8M The Beatles - Ultra Rare Trax, Vol. 8 - 02 - Track 02.mp3 5.1M The Beatles - Ultra Rare Trax, Vol. 8 - 03 - Track 03.mp3 5.2M The Beatles - Ultra Rare Trax, Vol. 8 - 04 - Track 04.mp3 4.8M The Beatles - Ultra Rare Trax, Vol. 8 - 05 - Track 05.mp3 6.6M The Beatles - Ultra Rare Trax, Vol. 8 - 06 - Track 06.mp3 8.4M The Beatles - Ultra Rare Trax, Vol. 8 - 07 - Track 07.mp3 4.9M The Beatles - Ultra Rare Trax, Vol. 8 - 08 - Track 08.mp3 4.3M The Beatles - Ultra Rare Trax, Vol. 8 - 09 - Track 09.mp3 4.2M The Beatles - Ultra Rare Trax, Vol. 8 - 10 - Track 10.mp3 4.2M The Beatles - Ultra Rare Trax, Vol. 8 - 11 - Track 11.mp3 15M The Beatles - Ultra Rare Trax, Vol. 8 - 12 - Track 12.mp3 188K Ultra Rare Trax Vol 8 - back.jpg 296K Ultra Rare Trax Vol 8 - front.jpg
"Although perhaps a little too similar to volume two of the highly regarded Nuggets series, Acid Drops, Spacedust, & Flying Saucers, compiled by the fine folks at Britain's (in fact, the world's) finest music magazine, Mojo, is the perfect introduction to the rise and fall of British psychedelia. Rather than chart the influence of British music on its surroundings and colonies (as done by Nuggets) Acid Drops takes an easier route. The Nuggets collection focused on all manner and strains of the old empire's R&B, freakbeat, mod, and psychedelic scenes, whilst Acid Drops dissects and inspects the solely British mutation from beat/pop (signified by the Kinks' quasi-raga "See My Friends") into full-blown psychedelia (from the most commercial to most underground of guises). For the hardened collector and avid fanatic, Space Dust will bring few surprises. There's a hefty weight of British hits and a delve through the type of major-label material that missed the mark at the time but has since become legendary through contributor Phil Smee's '80s psychedelic compilation series, Rubbles, that anyone bitten by the bug will be familiar with. What will make purchase of this -- it must be said, rather cheaply packaged box -- essential is the superior sound quality (all tracks have been remastered at Abbey Road) and the interesting liner booklet, which if not a little skimpy, features a superb essay in which Jon Savage chronicles the evolution and devolution of British music's most quirky, imaginative, and brief of genres.
Alongside the short running time (why the hell have EMI held back to only 18 tracks per CD, whilst Rhino made the effort to fill their Nuggets set to spilling point?) and minor quips, like the edited beginning of the Smoke's tremolo-infused classic "My Friend Jack" and the inclusion of the pretty much non-psychedelic "Granny Takes a Trip" by jug band the Purple Gang, this is still a very decent set which takes into account the different sides of U.K. psych. And as said, although rather preliminary for those seeking new thrills, this holds the very essence of the cause and effect the genre had on the changing face of the British music scene from 1965-1969. Practically none of this music has aged badly, and for some reason, however pompous and ridiculous a lot is, it still sounds as invigorating as the day it was recorded. Timeless." - Jon 'Mojo' Mills
Vol. 1 total 134M 9.3M 01 - McGough And McGear - So Much In Love.mp3 7.9M 02 - Aquarian Age - 10,000 Words In A Cardboard Box.mp3 7.6M 03 - The Nice - Flower Ring Of Flies.mp3 7.9M 04 - Rupert's People - Dream On My Mind.mp3 8.2M 05 - Shy Limbs - Reputation.mp3 7.2M 06 - Tintern Abbey - Vacuum Cleaner.mp3 6.6M 07 - The David - Light Of Your Mind.mp3 8.5M 08 - The Misunderstood - I Can Take You To The Sun.mp3 5.7M 09 - Grapefruit - Dear Deliah.mp3 8.2M 10 - Procol Harum - Shine On Brightly.mp3 6.6M 11 - Bamboo Shoot - The Fox Has Gone To Ground.mp3 7.4M 12 - The Who - Armenia City In The Sky.mp3 5.3M 13 - Focus Three - 10,000 Years Behind My Mind.mp3 8.6M 14 - Timebox - Gone Is The Sad Man.mp3 6.8M 15 - World Of Oz - Peter's Birthday.mp3 6.2M 16 - The Tickle - Subway (Smokey Pokey World).mp3 9.6M 17 - Felius Andromeda - Meditations.mp3 6.9M 18 - Warm Sounds - Nite Is A-Comin'.mp3 Vol. 2 total 132M 6.2M 01 - Kaleidoscope - Flight From Ashiya.mp3 9.8M 02 - July - The Way.mp3 5.9M 03 - Incredible String Band - Witches Hat.mp3 9.6M 04 - Donovan - Celeste.mp3 6.2M 05 - Ramases & Selket - Mind's Eye.mp3 6.2M 06 - The End - Shades Of Orange.mp3 5.6M 07 - The Virgin Sleep - Love.mp3 7.3M 08 - Barclay James Harvest - Pools Of Blue.mp3 7.8M 09 - Tales Of Justine - Monday Morning.mp3 7.7M 10 - Billy Nichols - Girl From New York.mp3 7.5M 11 - The Accent - Red Sky At Night.mp3 5.8M 12 - Mick Softley - Am I The Red One.mp3 7.5M 13 - Orange Bicycle - Laura's Garden.mp3 7.6M 14 - Caleb - Baby Your Phrasing Is Bad.mp3 7.8M 15 - Amazing Friendly Apple - Magician.mp3 11M 16 - The Moles - We Are The Moles.mp3 5.6M 17 - 23rd Turnoff - Michael Angelo.mp3 7.9M 18 - Bill Fay - Screams In The Ears.mp3 Vol. 3 total 137M 6.0M 01 - The Purple Gang - Granny Takes A Trip.mp3 7.2M 02 - The Smoke - My Friend Jack.mp3 5.3M 03 - The Idle Race - Imposters Of Life's Magazine.mp3 8.6M 04 - The Pretty Things - Talkin' About The Good Times.mp3 7.4M 05 - Donovan - Hurdy Gurdy Man.mp3 6.6M 06 - Spencer Davis Group - Time Seller.mp3 7.3M 07 - Denny Laine - Say You Don't Mind.mp3 6.8M 08 - The Move - I Can Hear The Grass Grow.mp3 6.3M 09 - The Kinks - See My Friends.mp3 6.4M 10 - Peter Cook & Dudley Moore - The L.S. Bumble Bee.mp3 6.8M 11 - The Yardbirds - Happenings Ten Years Time Ago.mp3 6.3M 12 - The Small Faces - Green Circles.mp3 7.2M 13 - The Hollies - King Midas In Reverse.mp3 6.0M 14 - David McWilliams - The Days Of Pearly Spencer.mp3 7.6M 15 - The Herd - From The Underworld.mp3 18M 16 - Eric Burdon And The Animals - Sky Pilot.mp3 9.7M 17 - Traffic - Paper Sun.mp3 8.6M 18 - Simon Dupree And The Big Sound - Kites.mp3 Vol. 4 total 123M 5.8M 01 - The Attack - Colour Of My Mind.mp3 7.6M 02 - Allen Pound's Get Rich - Searchin' In The Wilderness.mp3 5.9M 03 - Fire - Father's Name Is Dad.mp3 7.0M 04 - The Orange Machine - Dr. Crippen's Waiting Room.mp3 6.7M 05 - Penny Peeps - Model Village.mp3 5.8M 06 - The Fairytale - Run And Hide.mp3 7.4M 07 - Mandrake Paddle Steamer - Strange Walking Man.mp3 6.5M 08 - The Status Quo - When My Mind Is Not Live.mp3 5.9M 09 - The Poets - In Your Tower.mp3 8.7M 10 - Sands - Listen To The Sky.mp3 8.7M 11 - Syd Barrett - Octopus.mp3 7.6M 12 - The Apple - The Otherside.mp3 6.2M 13 - The Flies - I'm Not Your Stepping Stone.mp3 4.8M 14 - Herbal Mixture - Machines.mp3 8.8M 15 - Tomorrow - Revolution.mp3 4.6M 16 - The Sorrows - You've Got What I Want.mp3 8.9M 17 - The Koobas - Royston Rose.mp3 6.6M 18 - Sam Gopal - Escalator.mp3
"The Toronto, Ontario, psychedelic rock band Bent Wind got its sporadic start in 1969. Original members way back then were drummer Eddie Thomas, bassist Sebastian Pelaia, and singers and guitarists Marty Roth and Gerry Gibas. The skilled group managed to record one double-sided single together, "Sacred Cows" and "Castles Made of Man," and one full-length album, Sussex Drive, before a long dry spell. Both offerings came out under the Trend Records label on black vinyl. Most of the early works from Bent Wind were marketed in small amounts, which have made the albums not only interesting to listen to, but very hard to find, and worth big bucks if you happen to locate one your mom or dad stored away in the attic.
Two lengthy decades after that debut album appeared, guitarist Marty Roth took the reins and brought the long forgotten Bent Wind back to life -- with the help of some new artists. The group, with its innovative lineup, recorded a second album, The Fourth Line Is...You Will, in 1989. It was independently released in a limited amount, just like the debut.
It took less than a decade for a third album to finally show up, Shadows on the Wall. Roth was in on the recording again, and brought along musicians like guitarists Michael George Jones and Bill Miller, along with drummer Wilson Laurencin, and a number of others." - Charlotte Dillon
"Hard rock excess, complete with blues-mauling guitar riffs, fight it out with some nice haunting harmonies and occasional delicate, folky melodies on this interesting (if inessential) release, one of the last gasps of garage-psychedelia (in fact, the hard rock factor is so prominent that it probably couldn't be comfortably classified as such). The release listed is a vinyl reissue of the mid-'80s, though has been reissued on CD since then." - Richie Unterberger
total 76M 5.8M 01-Sacred Cows.mp3 8.6M 02-Riverside.mp3 5.1M 03-Mystify.mp3 4.0M 04-Going To The City.mp3 5.6M 05-Look At Love.mp3 7.5M 06-Hate.mp3 4.5M 07-Touch Of Red.mp3 7.5M 08-The Lions.mp3 8.7M 09-Riverside (Live rehearsal 1996).mp3 5.5M 10-Bent Wind (Live rehearsal 1996).mp3 5.1M 11-The Chant (Live rehearsal 1996).mp3 4.8M 12-Castles Made of Man (B-side single 1969).mp3 3.3M 13-Sacred Cows (A-side single 1969.mp3 4.0K bent wind info.txt 176K sussex back.JPG 224K sussex front.JPG 212K sussex inside.JPG
"One of the great rock vocalists of the 1960s, Tim Buckley drew from folk, psychedelic rock, and progressive jazz to create a considerable body of adventurous work in his brief lifetime. His multi-octave range was capable of not just astonishing power, but great emotional expressiveness, swooping from sorrowful tenderness to anguished wailing. His restless quest for new territory worked against him commercially: By the time his fans had hooked into his latest album, he was onto something else entirely, both live and in the studio. In this sense he recalled artists such as Miles Davis and David Bowie, who were so eager to look forward and change that they confused and even angered listeners who wanted more stylistic consistency. However, his eclecticism has also ensured a durable fascination with his work that has engendered a growing posthumous cult for his music, often with listeners who were too young (or not around) to appreciate his music while he was active.
Buckley emerged from the same '60s Orange County, CA, folk scene that spawned Jackson Browne and the Nitty Gritty Dirt Band. Mothers of Invention drummer Jimmy Carl Black introduced Buckley and a couple of musicians Buckley was playing with to the Mothers' manager, Herbie Cohen. Although Cohen may have first been interested in Buckley as a songwriter, he realized after hearing some demos that Buckley was also a diamond in the rough as a singer. Cohen became Buckley's manager, and helped the singer get a deal with Elektra.
Before Buckley had reached his 20th birthday, he'd released his debut album. The slightly fey but enormously promising effort highlighted his soaring melodies and romantic, opaque lyrics. Baroque psychedelia was the order of the day for many Elektra releases of the time, and Buckley's early folk-rock albums were embellished with important contributions from musicians Lee Underwood (guitar), Van Dyke Parks (keyboards), Jim Fielder (bass), and Jerry Yester. Larry Beckett was also an overlooked contributor to Buckley's first two albums, co-writing many of the songs.
The fragile, melancholic, orchestrated beauty of the material had an innocent quality that was dampened only slightly on the second LP, Goodbye and Hello (1967). Buckley's songs and arrangements became more ambitious and psychedelic, particularly on the lengthy title track. This was also his only album to reach the Top 200, where it only peaked at number 171; Buckley was always an artist who found his primary constituency among the underground, even for his most accessible efforts. His third album, Happy Sad, found him going in a decidedly jazzier direction in both his vocalizing and his instrumentation, introducing congas and vibes. Though it seemed a retreat from commercial considerations at the time, Happy Sad actually concluded the triumvirate of recordings that are judged to be his most accessible.
The truth was, by the late '60s Buckley was hardly interested in folk-rock at all. He was more intrigued by jazz; not only soothing modern jazz (as heard on the posthumous release of acoustic 1968 live material, Dream Letter), but also its most avant-garde strains. His songs became much more oblique in structure, and skeletal in lyrics, especially when the partnership with Larry Beckett was ruptured after the latter's induction into the Army. Some of his songs abandoned lyrics almost entirely, treating his voice itself as an instrument, wordlessly contorting, screaming, and moaning, sometimes quite cacophonously. In this context, Lorca was viewed by most fans and critics not just as a shocking departure, but a downright bummer. No longer was Buckley a romantic, melodic poet; he was an experimental artiste who sometimes seemed bent on punishing both himself and his listeners with his wordless shrieks and jarringly dissonant music.
Almost as if to prove that he was still capable of gentle, uplifting jazzy pop-folk, Buckley issued Blue Afternoon around the same time. Bizarrely, Blue Afternoon and Lorca were issued almost simultaneously, on different labels. While an admirable demonstration of his versatility, it was commercial near-suicide, each album canceling the impact of the other, as well as confusing his remaining fans. Buckley found his best middle ground between accessibility and jazzy improvisation on 1970's Starsailor, which is probably the best showcase of his sheer vocal abilities, although many prefer the more cogent material of his earliest albums.
By this point, though, Buckley's approach was so uncommercial that it was jeopardizing his commercial survival. And not just on record; he was equally uncompromising as a live act, as the posthumously issued Live at the Troubadour 1969 demonstrates, with its stretched-to-the-limit jams and searing improv vocals. For a time, he was said to have earned his living as a taxi driver and chauffeur; he also flirted with films for a while. When he returned to the studio, it was as a much more commercial singer/songwriter (some have suggested that various management and label pressures were behind this shift).
As much of a schism as Buckley's experimental jazz period created among fans and critics, his final recordings have proved even more divisive, even among big Buckley fans. Some view these efforts, which mix funk, sex-driven lyrical concerns, and laid-back L.A. session musicians, as proof of his mastery of the blue-eyed soul idiom. Others find them a sad waste of talent, or relics of a prodigy who was burning out rather than conquering new realms. Neophytes should be aware of the difference of critical opinion regarding this era, but on the whole his final three albums are his least impressive. Those who feel otherwise usually cite the earliest of those LPs, Greetings from L.A. (1972), as his best work from his final phase.
Buckley's life came to a sudden end in the middle of 1975, when he died of a heroin overdose just after completing a tour. Those close to him insist that he had been clean for some time and lament the loss of an artist who, despite some recent failures, still had much to offer. Buckley's stock began to rise among the rock underground after the Cocteau Twins covered his "Song for the Siren" in the 1980s. The posthumous releases of two late-'60s live sets (Dream Letter and Live at the Troubadour 1969) in the early '90s also boosted his profile, as well as unveiling some interesting previously unreleased compositions. His son Jeff Buckley went on to mount a musical career as well before his own tragic death in 1997." - Richie Unterberger
"Often cited as the ultimate Tim Buckley statement, Goodbye and Hello is indeed a fabulous album, but it's merely one side of Tim Buckley's enormous talent. Recorded in the middle of 1967 (in the afterglow of Sgt. Pepper), this album is clearly inspired by Pepper's exploratory spirit. More often than not, this helps to bring Buckley's awesome musical vision home, but occasionally falters. Not that the album is overrated (it's not), it's just that it is only one side of Buckley. The finest songs on the album were written by him alone, particularly "Once I Was" and "Pleasant Street." Buoyed by Jerry Yester's excellent production, these tracks are easily among the finest example of Buckley's psychedelic/folk vision. A few tracks, namely the title cut and "No Man Can Find the War," were co-written by poet Larry Beckett. While Beckett's lyrics are undoubtedly literate and evocative, they occasionally tend to be too heavy-handed for Buckley. However, this is a minor criticism of an excellent and revolutionary album that was a quantum leap for both Tim Buckley and the audience." - Matthew Greenwald
total 232M 4.0K 00 - 2004 - Michael Nesmith - Rarities 1963-2001.m3u 4.0K 00 - 2004 - Michael Nesmith - Rarities 1963-2001.nfo 4.0K 00 - 2004 - Michael Nesmith - Rarities 1963-2001.sfv 2.5M 01 - Wanderin'.mp3 2.4M 02 - Well, Well.mp3 1.4M 03 - Jump Down, Turn Around (live 1963) .mp3 2.5M 04 - Pretty Little Princess (home demo).mp3 1.6M 05 - Pretty Little Princess.mp3 1.4M 06 - Looks Like Rain.mp3 2.8M 07 - Color Of A Skin.mp3 3.7M 08 - Sleep, My Child.mp3 1.9M 09 - Don't Call On Me.mp3 1.5M 10 - One And Twenty.mp3 2.4M 11 - All The King's Horses.mp3 2.5M 12 - I've Been Searchin'.mp3 6.0M 13 - I've Been Searchin' (backing track).mp3 2.8M 14 - How Can You Kiss Me.mp3 2.6M 15 - Just A Little Love.mp3 2.0M 16 - Curson Terrace.mp3 2.8M 17 - The New Recruit.mp3 2.5M 18 - A Journey With Michael Blessing.mp3 2.8M 19 - Until It's Time For You To Go.mp3 2.0M 20 - What Seems To Be The Trouble, Officer.mp3 2.1M 21 - Go Somewhere & Cry (w-Denny Ezba).mp3 6.5M 22 - Don't Cry Now (single mix).mp3 2.8M 23 - The First National Dance.mp3 2.2M 24 - Rose City Chimes.mp3 3.6M 25 - Silver Moon (extended quad mix).mp3 2.2M 26 - Contata And Fugue In C&W.mp3 2.9M 27 - Smoke Smoke Smoke.mp3 6.3M 28 - Joanne - Interview (American Bandstand 1971).mp3 3.3M 29 - Joanne (Country Suite Show 1972).mp3 2.5M 30 - The Candidate (Country Suite Show 1972).mp3 6.9M 31 - Roll With The Flow (alt mix).mp3 5.6M 32 - The World Is Golden Too.mp3 6.2M 33 - The World Is Golden Too (single edit).mp3 3.1M 34 - Rio (alt mix 1).mp3 11M 35 - Rio (alt mix 2)_copy_2.mp3 11M 35 - Rio (alt mix 2).mp3 13M 36 - Rio (alt mix 3).mp3 7.9M 37 - Rio (alt mix 4).mp3 9.6M 38 - Roll With The Flow (alt live mix).mp3 8.8M 39 - Propinquity (alt live mix).mp3 3.3M 40 - Rollin'.mp3 2.9M 41 - Walking In The Sand.mp3 596K 42 - Rodan (Elephant Parts 1980).mp3 720K 43 - As Time Goes By (Elephant Parts 1980).mp3 652K 44 - Funny (Elephant Parts 1980).mp3 708K 45 - Dancing In The Dark (Elephant Parts 1980).mp3 4.7M 46 - Flying (live 1981).mp3 13M 47 - Joanne (KPFK Folk Scene 1984).mp3 1.3M 48 - Baby Called (TV Parts 1985).mp3 684K 49 - What's So Dusty About The Dustbowl (TV Parts 1985).mp3 1.1M 50 - One Ton Tomato - Ratt Buoy (TV Parts 1985).mp3 3.6M 51 - Dr Duck's Super Secret All-Purpose Sauce.mp3 3.8M 52 - Tapeheads Promo.mp3 2.6M 53 - Some Of Shelly's Blues (Later 1994).mp3 4.3M 54 - Hills Of Time (UK Radio Edit).mp3 1.8M 55 - KPIG Videoranch Ad.mp3 23M 56 - January (unreleased track 2001).mp3
"It could be argued that, in its most basic form, Traffic was a vehicle for the songs of Steve Winwood and Jim Capaldi, who wrote most of the material and on some tracks were the only musicians performing. But the question of whether Winwood and Capaldi could validly constitute Traffic by themselves was not addressed until 1994, 20 years after the group disbanded, when the two surprisingly announced they would be recording and touring under their old band name. The album they made together sounded for the most part like a Winwood solo album. He played most of the instruments and sang (Capaldi drummed and sang occasional backup vocals), and he didn't show much interest in the lengthy instrumental passages that characterized Traffic in its heyday. Winwood, the composer, had simply moved on from that old style, and since the new Traffic wasn't a band in any real sense, its sound reflected his contemporary concerns. But if you listened to the lyrics, written by Capaldi, you did hear traces of the old Traffic. Granted, lyrics were not among Traffic's strong suits, but Capaldi, in his sometimes roundabout way, did have certain continuing concerns -- a generalized sense of spirituality, a tendency to give advice, and a rejection of the negative aspects of modern society. Winwood may have wished to return to music of greater substance, and if so, he got what he wanted; Far from Home certainly explored weightier topics than a Steve Winwood album. But Capaldi hadn't really improved as a writer over the years, and the final product still worked better musically than lyrically, and, to most ears, didn't really sound like a Traffic album. The resulting confusion kept the album from having much commercial impact." - William Ruhlmann
"In January 1968, United Artists Records released a reconfigured American version of Traffic's debut album Mr. Fantasy under the new title Heaven Is in Your Mind, but after the first pressing reverted to calling it Mr. Fantasy. In 2000, Island reissued two CD versions, one titled Mr. Fantasy containing the British track listing in mono, the other titled Heaven Is in Your Mind with the U.S. track listing in stereo. Both albums contained bonus tracks, making their contents similar (but not quite identical). Actually, the album originally called Heaven Is in Your Mind was the superior version even before this development brought the two editions into stark comparison, since the changes actually improved the record by adding strong singles. But just as important as the substitutions was the sequencing, which banished the British-flavored novelty songs to the middle of Side Two; "Dear Mr. Fantasy," which would turn out to be the best-remembered song on the album, was moved to a climactic position as the penultimate cut on Side Two. The result de-emphasized Traffic's pop-psychedelic style (a hangover from the influence of Sgt. Pepper) and promoted its abilities as a jamming blues-rock outfit, talents that were abetted by Jimmy Miller's production and that helped launch them as an album act in the U.S. The 2000 reissue includes as bonus tracks the two deleted Dave Mason songs and two songs from the Here We Go 'Round the Mulberry Bush soundtrack. Island's decision to reissue both versions could easily confuse consumers; the U.S. stereo version, once again known as Heaven Is in Your Mind, is really the one to own if you're only buying one." - William Ruhlmann
"At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn. The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the 5 ½ minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk- and jazz-derived riffs. Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became Traffic's first gold album." - William Ruhlmann
"Since Traffic originally planned its self-titled second album as a double LP, the group had extra material left over, some of which saw release before the end of 1968 (there was a new, one-off single released in December, "Medicated Goo"/"Shanghai Noodle Factory"). In January 1969, Steve Winwood announced the group's breakup. That left Island Records, the band's label, in the lurch, since Traffic had built up a considerable following. As far as Island was concerned, it was no time to stop, and the label quickly set about assembling a new album. The non-LP B-side "Withering Tree," "Medicated Goo," and "Shanghai Noodle Factory" were pressed into service, along with "Just for You," the B-side of a solo single by on-again, off-again member Dave Mason that had been released originally in February 1968 and happened to feature the rest of the members of Traffic as sidemen; a short, previously unreleased instrumental; and two extended jams on cover songs from a 1968 live appearance at the Fillmore West. It all added up to more than half an hour of music, and that was enough to package it as the posthumous Traffic album Last Exit. Actually, Last Exit isn't bad as profit-taking products go. "Just for You" is one of Mason's elegant folk-pop songs, including attractive Indian percussion. "Medicated Goo" has proven to be one of Traffic's more memorable jam tunes, despite its nonsense lyrics, and the equally appealing "Shanghai Noodle Factory" is hard not to interpret as Winwood's explanation of the band's split. And while the cover material seems unlikely, the songs are used as platforms for the band to jam cohesively. So, Traffic's third album, thought at the time of its release to be the final one, has its isolated pleasures, even if it doesn't measure up to its two predecessors." - William Ruhlmann
"Since Traffic's debut album Mr. Fantasy has been issued in different configurations over the years, a history of those differences is in order. In 1967, the British record industry considered albums and singles separate entities; thus, Mr. Fantasy did not contain the group's three previous Top Ten U.K. hits. Just as the album was being released in the U.K., Traffic split from Dave Mason. The album was changed drastically for U.S. release, both because American custom was that singles ought to appear on albums, and because the group sought to diminish Mason's presence; on the first pressing only, the title was changed to Heaven Is in Your Mind. In 2000, Island reissued Mr. Fantasy in its mono mix with the U.K. song list and five mono singles sides as bonus tracks; it also released Heaven Is in Your Mind, the American lineup in stereo with four bonus tracks. Naturally, the mono sound is punchier and more compressed, but it isn't ideal for the album, because Traffic was fashioned as an unusual rock band. Steve Winwood's primary instrument was organ, though he also played guitar; Chris Wood was a reed player, spending most of his time on flute; Mason played guitar, but he was also known to pick up the sitar, among other instruments. As such a mixture suggests, the band's musical approach was eclectic, combining their background in British pop with a taste for the comic and dance-hall styles of Sgt. Pepper, Indian music, and blues-rock jamming. Songs in the last category have proven the most distinctive and long-lasting, but Mason's more pop-oriented contributions remain winning, as do more light-hearted efforts. Interest in the mono mix is likely to be restricted to longtime fans; anyone wishing to hear Traffic's first album for the first time is directed to Heaven Is in Your Mind." - William Ruhlmann
"After two exemplary releases, Shoot Out at the Fantasy Factory marked a fall-off in quality for Traffic. The problems lay in both composition and performance. Beginning with the title track, based on a guitar riff reminiscent of the recent Deep Purple hit "Smoke on the Water," and continuing through the lengthy "Roll Right Stones," the folkish ballad "Evening Blue," reed player Chris Wood's instrumental "Tragic Magic," and the uncertain self-help song "(Sometimes I Feel So) Uninspired," the material was far from the group's best. Lyricist Jim Capaldi was co-credited with Steve Winwood as the album's producer, and he may have contributed to the cleaner mix that made his words easier to understand. Easier, that is, in the technical sense, since the musing about a sort of minor-league Stonehenge "Roll Right Stones" didn't do much with the image, and, though it struggled for a more positive outlook, "(Sometimes I Feel So) Uninspired" seemed to come out on the side of despair. Winwood's music seemed to recycle his own ideas when it didn't borrow from others. Meanwhile, the rhythm section had been replaced by Muscle Shoals studio aces David Hood and Roger Hawkins, who proved proficient but not as kinetic as their predecessors, so that the playing often seemed mechanical. Capaldi sang no songs here, and Wood's flute and saxophone, so often the flavoring of Traffic songs, were largely absent. What was left was a competent, if perfunctory effort in the band's familiar style. They had built up enough of a following through touring that the album was a commercial success, but it sounds like an imitation of earlier triumphs." - William Ruhlmann
"The Low Spark of High Heeled Boys marked the commercial and artistic apex of the second coming of Traffic, which had commenced in 1970 with John Barleycorn Must Die. The trio that made that album had been augmented by three others (Ric Grech, Jim Gordon, and "Reebop" Kwaku Baah) in the interim, though apparently the Low Spark sessions featured varying combinations of these musicians, plus some guests. But where their previous album had grown out of sessions for a Steve Winwood solo album and retained that focus, Low Spark pointedly contained changes of pace from his usual contributions of midtempo, introspective jam tunes. "Rock & Roll Stew" was an uptempo treatise on life on the road, while Jim Capaldi's "Light up or Leave Me Alone" was another more aggressive number with an unusually emphatic Capaldi vocal that perked things up on side two. The other four tracks were Winwood/Capaldi compositions more in the band's familiar style. "Hidden Treasure" and "Rainmaker" bookended the disc with acoustic treatments of nature themes that were particularly concerned with water, and "Many a Mile to Freedom" also employed water imagery. But the standout was the 12-minute title track, with its distinctive piano riff and its lyrics of weary disillusionment with the music business. The band had only just fulfilled a contractual commitment by releasing the live album Welcome to the Canteen, and they had in their past the embarrassing Last Exit album thrown together as a commercial stopgap during a temporary breakup in 1969. But that anger had proven inspirational, and "The Low Spark of High Heeled Boys" was one of Traffic's greatest songs as well as its longest so far. The result was an album that quickly went gold (and eventually platinum) in the U.S., where the group toured frequently." - William Ruhlmann
"After dispensing with his services in December 1967, the remaining members of Traffic reinstated Dave Mason in the group in the spring of 1968 as they struggled to write enough material for their impending second album. The result was a disc evenly divided between Mason's catchy folk-rock compositions and Steve Winwood's compelling rock jams. Mason's material was the most appealing both initially and eventually: the lead-off track, a jaunty effort called "You Can All Join In," became a European hit, and "Feelin' Alright?" turned out to be the only real standard to emerge from the album after it started earning cover versions from Joe Cocker and others in the 1970s. Winwood's efforts, with their haunting keyboard-based melodies augmented by Chris Wood's reed work and Jim Capaldi's exotic rhythms, work better as musical efforts than lyrical ones. Primary lyricist Capaldi's words tend to be impressionistic reveries or vague psychological reflections; the most satisfying is the shaggy-dog story "Forty Thousand Headmen," which doesn't really make any sense as anything other than a dream. But the lyrics to Winwood/Capaldi compositions take a back seat to the playing and Winwood's soulful voice. As Mason's simpler, more direct performances alternate with the more complex Winwood tunes, the album is well-balanced. It's too bad that the musicians were not able to maintain that balance in person; for the second time in two albums, Mason found himself dismissed from the group just as an LP to which he'd made a major contribution hit the stores. Only a few months after that, the band itself split up, but not before scoring their second consecutive Top Ten ranking in the U.K.; the album also reached the Top 20 in the U.S., breaking the temporarily defunct group stateside." - William Ruhlmann
"Following the success of John Barleycorn Must Die, Traffic planned a concert album for the fall of 1970, and it got as far as a test pressing before being canceled. A recording was necessary to satisfy the terms of British label Island records' licensing deal with American label United Artists, which had provided for five albums, of which four had been delivered. With Island starting to release its own albums in the U.S., the UA contract had to be completed, and hopefully not with the potentially lucrative studio follow-up to John Barleycorn Must Die. Thus, Traffic tried again to come up with a live album by recording shows on a British tour in July 1971. Joining for six dates of the tour was twice-dismissed Traffic singer/guitarist Dave Mason, who had subsequently scored a solo success with his Alone Together album. The resulting collection, Welcome to the Canteen (which was technically credited to the seven individual musicians, not to Traffic), proved how good a contractual obligation album could be. Sound quality was not the best (and it still isn't on the 2002 remastered CD reissue, though it's better), with the vocals under-recorded and stray sounds honing in, but the playing was exemplary, and the set list was an excellent mixture of old Traffic songs and recent Mason favorites. "Dear Mr. Fantasy" got an extended workout, and the capper was a rearranged version of Steve Winwood's old Spencer Davis Group hit "Gimme Some Lovin'." Welcome to the Canteen's status as only a semi-legitimate offering was emphasized by the release, after a mere two months, of a new Traffic studio album on Island (The Low Spark of High Heeled Boys) that undercut its sales. But that doesn't make it any less appealing as a summing up of the Winwood/Mason/Traffic musical world." - William Ruhlmann
"In its second manifestation, Traffic displayed an affection for jazz-like improvisation over shuffling rhythms, and that tendency was never more indulged than on When the Eagle Flies. Having dispensed with the trio of session musicians who had accompanied them on tour, the remaining band members, led by Steve Winwood, jammed over long-lined musical structures. Still, this was nominally a rock album, with lyrics and vocals, and Winwood often seemed to be improvising his melodies over the music, paying little heed to the meaning of the words, especially on the title track. Jim Capaldi's lyrics touched on the ups and downs of romance and the vicissitudes of capitalism and politics, and warning of apocalypse. But he sounded most assured reflecting on his past and future in "Memories of a Rock 'n Rolla." The most intriguing lyric was a blank-verse effort from the Bonzo Dog Band's Vivian Stanshall, "Dream Gerrard," which took off from 19th-century French poet Gérard de Nerval's speculations about the relationship between dreams and reality. But Winwood treated the words and his singing as another musical element rather than fashioning the songs to emphasize them, so that When the Eagle Flies, not unlike previous Traffic albums, was really a mostly instrumental collection that happened to have vocals. That wouldn't have mattered if the music had been more compelling and effectively played, but rather than seeming like a fresh start for the band, the album was listless and remote. Although it became Traffic's fourth consecutive studio album to reach the Top Ten and go gold in the U.S., the group broke up following the American promotional tour in the fall of 1974." - William Ruhlmann
"Four-CD box including all five of their albums and various non-LP singles, rarities, and solo efforts. Of most interest to anyone who's enough of a Bonzo nut to invest in this, naturally, are the rare items, which comprise about half of the third disc (which also includes the Let's Make Up and Be Friendly album). There are the two 1966 singles for Parlophone, predating their first album, which find them at their most 1920s vaudevillian-influenced (even on the cover of "Alley Oop"). "Mr. Apollo" appears in its German version (which actually isn't German, except for a spoken passage by Vivian Stanshall), and its non-LP B-side, "Ready Mades," is a gentle folky tune that sounds like a Keynsham outtake. There's also one early solo item apiece from Vivian Stanshall (his 1970 single "Labio-Dental Fricative," on which Eric Clapton plays), Neil Innes (his 1974 single "Re-Cycled Vinyl Blues"), and Roger Ruskin Spear's "Trouser Freak" (from his 1971 EP). As an extra incentive, there are also lengthy historical liner notes. For all its length, however, it doesn't have everything by the Bonzos: BBC sessions are on Unpeeled, outtakes and rehearsals on Anthropology, and the 1966 outtake "On Her Doorstep Last Night" is on the By Jingo It's... British Rubbish compilation." - Richie Unterberger
Vol. 1 total 101M 4.0K Cornology Vol. 1 - The Intro.m3u 1.4M The Bonzo Dog Band - 01 - Cool Britannia.mp3 3.8M The Bonzo Dog Band - 02 - The Equestrian Statue.mp3 3.5M The Bonzo Dog Band - 03 - Jollity Farm.mp3 1.5M The Bonzo Dog Band - 04 - I Left My Heart In San Francisco.mp3 4.0M The Bonzo Dog Band - 05 - Look Out, There's A Monster Coming.mp3 4.4M The Bonzo Dog Band - 06 - Jazz, Delicious Hot, Disgusting Cold.mp3 4.1M The Bonzo Dog Band - 07 - Death Cab For Cutie.mp3 548K The Bonzo Dog Band - 08 - Narcissus.mp3 4.3M The Bonzo Dog Band - 09 - The Intro And The Outro.mp3 3.8M The Bonzo Dog Band - 10 - Mickey's Son And Daughter.mp3 4.8M The Bonzo Dog Band - 11 - Big Shot.mp3 2.5M The Bonzo Dog Band - 12 - Music For The Head Ballet.mp3 4.3M The Bonzo Dog Band - 13 - Piggy Bank Love.mp3 4.3M The Bonzo Dog Band - 14 - I'm Bored.mp3 2.0M The Bonzo Dog Band - 15 - Th Sound Of Music.mp3 6.7M The Bonzo Dog Band - 16 - We Are Normal.mp3 6.1M The Bonzo Dog Band - 17 - Postcard.mp3 3.4M The Bonzo Dog Band - 18 - Beautiful Zelda.mp3 3.9M The Bonzo Dog Band - 19 - Can Blue Men Sing The Whites.mp3 3.9M The Bonzo Dog Band - 20 - Hello Mabel.mp3 932K The Bonzo Dog Band - 21 - Karma Sutra.mp3 4.3M The Bonzo Dog Band - 22 - Humanoid Boogie.mp3 3.3M The Bonzo Dog Band - 23 - Trouser Press.mp3 5.0M The Bonzo Dog Band - 24 - My Pink Half Of The Drainpipe.mp3 4.9M The Bonzo Dog Band - 25 - Rockaliser Baby.mp3 4.7M The Bonzo Dog Band - 26 - Rhinocratic Oaths.mp3 5.3M The Bonzo Dog Band - 27 - 11 Mustachioed Daughters.mp3 Vol. 2 total 102M 4.0K Cornology Vol. 2 - The Outro.m3u 4.3M The Bonzo Dog Band - 01 - Hunting Tigers Out In 'INDIAH'.mp3 6.2M The Bonzo Dog Band - 02 - Shirt.mp3 3.3M The Bonzo Dog Band - 03 - Tubas In The Moonlight.mp3 3.7M The Bonzo Dog Band - 04 - Dr. Jazz.mp3 4.2M The Bonzo Dog Band - 05 - Monster Mash.mp3 3.3M The Bonzo Dog Band - 06 - I'm The Urban Spaceman.mp3 4.9M The Bonzo Dog Band - 07 - Ali Baba's Camel.mp3 5.2M The Bonzo Dog Band - 08 - Laughing Blues.mp3 4.4M The Bonzo Dog Band - 09 - By A Waterfall.mp3 6.0M The Bonzo Dog Band - 10 - Mr. Apollo.mp3 4.3M The Bonzo Dog Band - 11 - Canyons Of Your Mind.mp3 2.4M The Bonzo Dog Band - 12 - You Done My Brain In.mp3 3.3M The Bonzo Dog Band - 13 - Keynsham.mp3 5.0M The Bonzo Dog Band - 14 - Quiet Talks And Summer Walks.mp3 4.3M The Bonzo Dog Band - 15 - Tent.mp3 3.5M The Bonzo Dog Band - 16 - We Were Wrong.mp3 2.0M The Bonzo Dog Band - 17 - Joke Shop Man.mp3 3.7M The Bonzo Dog Band - 18 - The Bride Stripped Bare By 'Bachelors'.mp3 2.5M The Bonzo Dog Band - 19 - Look At Me I'm Wonderful.mp3 4.5M The Bonzo Dog Band - 20 - What Do You Do -.mp3 3.4M The Bonzo Dog Band - 21 - Mr. Slater's Parrot.mp3 4.9M The Bonzo Dog Band - 22 - Sport (The Odd Boy).mp3 3.2M The Bonzo Dog Band - 23 - I Want To Be With You.mp3 2.7M The Bonzo Dog Band - 24 - Noises For The Leg.mp3 8.0M The Bonzo Dog Band - 25 - Busted.mp3 Vol. 3 total 106M 4.0K Cornology Vol. 3 - Dog Ends.m3u 4.2M The Bonzo Dog Band - 01 - My Brother Makes The Noises For The Talkies.mp3 2.9M The Bonzo Dog Band - 02 - I'm Going To Bring A Watermelon To My Girl Tonight.mp3 3.5M The Bonzo Dog Band - 03 - Alley Oop.mp3 4.0M The Bonzo Dog Band - 04 - Button Up Your Overcoat.mp3 5.8M The Bonzo Dog Band - 05 - Mr. Apollo (Single Version) (German Version).mp3 4.4M The Bonzo Dog Band - 06 - Ready Mades.mp3 4.7M The Bonzo Dog Band - 07 - The Strain.mp3 3.0M The Bonzo Dog Band - 08 - Turkeys.mp3 6.9M The Bonzo Dog Band - 09 - King Of Scurf.mp3 3.9M The Bonzo Dog Band - 10 - Waiting For The Wardrobe.mp3 4.3M The Bonzo Dog Band - 11 - Straight From The Heart.mp3 10M The Bonzo Dog Band - 12 - Rusty (Champion Thrust).mp3 13M The Bonzo Dog Band - 13 - Rawlinson End.mp3 6.8M The Bonzo Dog Band - 14 - Don't Get Me Wrong.mp3 6.2M The Bonzo Dog Band - 15 - Fresh Wound.mp3 7.7M The Bonzo Dog Band - 16 - Bad Blood.mp3 3.3M The Bonzo Dog Band - 17 - Slush.mp3 4.4M The Bonzo Dog Band - 18 - Labio-Dental Fricative - Vivian Stanshall Sean Head Showband.mp3 4.9M The Bonzo Dog Band - 19 - Re-Cycled Vinyl Blues - Neil Innes.mp3 3.2M The Bonzo Dog Band - 20 - Trouser Freak - Roger Ruskin Spear & His Giant Orchestral Wardrobe.mp3
"Caravan followed up their eponymous debut with the cryptically titled If I Could Do It All Over Again I'd Do It All Over You in the fall of 1970. The album has been reissued with remastered sound, copious bonus material, and an expanded liner notes booklet containing memorabilia as well as an historical essay. If I Could Do It All Over Again contains significant progressions over the first album. These include the intricacy with which compositions are sculpted around some of the finest instrumental improvisation in British rock at the time -- or arguably since. Caravan's uncanny ability to create a montage that effortlessly maneuvers through acoustic folk and electric progressive rock is best exemplified on the "With an Ear to the Ground" suite. The extended instrumental passages weave in and out of each other, creating a hypnotic and otherwise psychedelic soundscape that would become a trademark of the European progressive rock movement. Another epic, "For Richard" quickly found solid standing as the Caravan live performance closer for decades after first appearing on this album. Juxtaposed against these pieces are several shorter works, which in essence clear the palette for the longer ones. The title track, as well as "Hello, Hello" are perfect examples of how Caravan was able to one-up many of their progressive contemporaries, creating shorter and more accessible songs for radio airplay -- resulting in a guest appearance on BBC TV's Top of the Pops program. The remastered disc contains four bonus tracks: "A Day in the Life of Maurice Haylett" -- which first appeared on the Where, but for Caravan Would I CD compilation -- as well as three demos for tracks found on the If I Could Do It All Over Again album." - Lindsay Planer
total 149M 7.2M Caravan (remastered) - If I Could Do It All Over Again - 01 - If I Could Do It all over Again, I'd Do it all over You.mp3 20M Caravan (remastered) - If I Could Do It All Over Again - 02 - And I Wish I were Stoned - Don't Worry.mp3 12M Caravan (remastered) - If I Could Do It All Over Again - 03 - As I Feel I Die.mp3 23M Caravan (remastered) - If I Could Do It All Over Again - 04 - With an Ear to the Ground You Can Make It - Martinian - Only Cox - Reprise.mp3 8.7M Caravan (remastered) - If I Could Do It All Over Again - 05 - Hello Hello.mp3 3.2M Caravan (remastered) - If I Could Do It All Over Again - 06 - Asforteri.mp3 33M Caravan (remastered) - If I Could Do It All Over Again - 07 - Can't Be Long Now - Francoise - For Richard - Warlock.mp3 3.7M Caravan (remastered) - If I Could Do It All Over Again - 08 - Limits.mp3 12M Caravan (remastered) - If I Could Do It All Over Again - 09 - A Day in the Life of Maurice Haylett (bonus).mp3 11M Caravan (remastered) - If I Could Do It All Over Again - 10 - Why_ (And I Wish I were Stoned) (demo bonus).mp3 7.4M Caravan (remastered) - If I Could Do It All Over Again - 11 - Clipping the 8th (Hello Hello demo bonus).mp3 11M Caravan (remastered) - If I Could Do It All Over Again - 12 - As I Feel I Die (demo bonus).mp3
"The threesome of Jack Bruce, Ginger Baker, and legendary guitarist Eric Clapton forming the band Cream was a monumental effort of jazz, blues, and psychedelic rock during the British rock period of the late 1960s. Cream, with their raw fury of intense sound, was renowned for their rare talent of taking songs of complex arrangements and making them an act of spontaneous beauty during live shows. Disraeli Gears, their second release, was an essential landmark recording that brought listeners to the direction they were soon to take with Wheels of Fire. Taking on a circus-spinning arsenal of sounds and effects, Cream's fashionable art is a blend of highly sustained drenched distortion, rampant percussion, and a kaleidoscope of various musical textures and colors, both in melody and rhythm. Each of Disraeli Gears' list of 11 tunes is original in format, containing it own unique brands of dashing blues-laden guitar riffs by Clapton, as well as thick bass lines and smashing drum leads. Highlights of the record feature Clapton's awe-inspiring and soul-gripping guitar leads, including hits such as "Sunshine of Your Love" and "Tales of Brave Ulysses." The latter is a magical poem laced into a line of mesmerizing chordal changes. Disraeli Gears is a definitive staple of early British rock and a sensational addition to the avid classic rock listener." - Shawn Haney
"In 1973, at the height of David Bowie's Ziggy-shaped excess, a small, smirking skeleton came creeping out of his closet, paused to adjust its merry pointy hat, then rocketed to number eight on the U.K. chart. It was, of course, "The Laughing Gnome," a reminder of his days directionlessly drifting through the '60s, and a cause for ribald amusement wherever it played. Today, of course, Bowie is no stranger to embarrassment...nor to "The Laughing Gnome." What, after all, was his role in the Labyrinthe movie but a twisted reprise of the Gnome's naughtier excesses, while his Earthling album even offered its own return to the same kind of basics, including the varispeed vocals that made the Gnome laugh. But Bowie still remains acutely aware of the nature of his musical roots. Initial intentions for this compilation included a second disc packed with outtakes and oddities; these plans were abandoned at Bowie's own request (the bootleg The Forgotten Songs of David Robert Jones celebrates his demands), and Anthology suffers accordingly. Of its 27 tracks, a mere handful can be missing from even a disinterested Bowie collection -- the Love You Till Tuesday soundtrack version of "Ching A Ling," and a handful of re-recordings made for 45 release. Everything else has now been repackaged so many times that even fresh remastering at first seems academic. And then you play the album. And then you play "The Laughing Gnome." Though Bowie plotted a similar course through the mundane backwaters of nostalgic Englishness as fired Ray Davies' best contemporary efforts, it's not difficult to understand why this work was doomed to commercial failure. He was, at this time, targeting most of his energy directly into the heart of the Hip Easy Listening Intelligentsia -- without pausing to wonder whether that crowd actually existed. Of course it didn't, and Bowie was doomed before he got started. Too twee for mainstream rock tastes, and way too heavy for the Anthony Newley crowd with which subsequent critics have most gleefully allied him, Bowie's subject matter was essentially little different to anything he has written about in the decades since then. If anything, in fact, it was even darker -- child abuse ("Little Bombardier"), cannibalism (the magnificently apocalyptic "We Are Hungry Men"), and infanticide ("Please, Mr. Gravedigger") vied with what might now be called the more characteristic themes of transvestism ("She's Got Medals") and sci-fi inflected utopia ("There Is a Happy Land"). Rearrange the songs a little and, thematically, "The London Boys" -- a tale of betrayed modishness that takes the Kinks' similarly themed "Big Black Smoke" to its inevitable, lonely conclusion -- would not have been out of place on Bowie's own Pin-Ups. The soaring, soulful "When I Live My Dream" could easily have lived with Young Americans, while the impulsive "Let Me Sleep Beside You" still demands a modern reprise. Elsewhere, "Ching A Ling" lent part of its melody line to the subsequent "Saviour Machine"; "Karma Man" was still appearing in Bowie's live set into the early '70s; and "Space Oddity," present here in early demo form, would of course become one of his most enduring hits ever. But in allying all this incipient brilliance to a distinctly MOR soundtrack of piano, strings, and orchestral arrangements, Bowie was shooting himself in the foot, and today, excellent liner notes and a topnotch remastering job do not disguise the sheer unconventionality of this material. Even now, with his subsequent reputation as a musical chameleon firmly a part of his legend, "Silly Boy Blue," "Maid of Bond Street," and "There Is a Happy Land" remain disconcerting members of his canon. At the time, they were positively alien, and even Bowie would take another five years before he learned to understand that." - Dave Thompson
total 109M 4.0K 00. David Bowie - The Deram Anthology 1966-1968.m3u 4.0K 00. David Bowie - The Deram Anthology 1966-1968.nfo 2.9M 01 - Rubber Band (single version).mp3 4.7M 02 - The London Boys.mp3 4.3M 03 - The Laughing Gnome.mp3 4.0M 04 - The Gospel According To Tony Day.mp3 3.0M 05 - Uncle Arthur.mp3 4.2M 06 - Sell Me A Coat.mp3 3.2M 07 - Rubber Band.mp3 4.5M 08 - Love You Till Tuesday.mp3 4.5M 09 - There Is A Happy Land.mp3 4.2M 10 - We Are Hungry Men.mp3 4.7M 11 - When I Live My Dream.mp3 4.8M 12 - Little Bombardier.mp3 5.4M 13 - Silly Boy Blue.mp3 3.0M 14 - Come and Buy My Toys.mp3 3.2M 15 - Join The Gang.mp3 3.4M 16 - She's Got Medals.mp3 2.5M 17 - Maid Of Bond Street.mp3 3.7M 18 - Please Mr. Gravedigger.mp3 4.2M 19 - Love You Till Tuesday (Single Version).mp3 3.0M 20 - Did You Ever Have A Dream.mp3 4.3M 21 - Karma Man.mp3 4.8M 22 - Let Me Sleep Beside You.mp3 4.2M 23 - In The Heat Of The Morning.mp3 2.9M 24 - Ching A Ling.mp3 4.0M 25 - Sell Me A Coat (version 2).mp3 5.4M 26 - When I Live My Dream (version 2).mp3 5.3M 27 - Space Oddity.mp3 608K David Bowie - Deram back.jpg 352K David Bowie - Deram front.jpg 344K David Bowie - Deram label.jpg
"Everybody who hasn't been sleeping under an umbrella on some beach in the Greek Islands or on some rock off the coast of New Zealand has heard by now of the Lifehouse Chronicles. Lifehouse was a rock opera Pete Townshend worked on feverishly and then abandoned -- due to outside tinkering and betrayal -- between the issues of Tommy and Quadrophenia. According to legend, Townshend couldn't get anybody interested in his allegedly disjointed ideas. The truth was all wrapped up in music and film-biz politics. Townshend's Lifehouse was to be a rock opera all right, but it was to be a musical for screen with footage of the Who performing the story's soundtrack. This desire of Townshend's to move into film had a practical purpose: in part, it was to get the Who off the endless slogging of the road for sometimes years at a time. It was also Townshend attempting to move himself into other areas like fiction and theater and away from the constrictions placed on him as a "rock musician." This contradicted the ambitions of the Who's then-manager Kit Lambert, who wanted to make a film of Tommy by any means necessary -- even without the approval and participation of Townshend -- as his first feature, a project Townshend wanted nothing to do with. In short, according to Townshend, who had made contact with Universal about Lifehouse, Lambert made his own film, the disastrous Tommy by derailing the Lifehouse project using his influence with people at the band's label and elsewhere by telling them the entire thing was too big and unruly for pop music, that Lifehouse was unworkable. The project was abandoned, but never let go of. The Who recorded a number of the songs for Lifehouse, produced by Glyn Johns, who talked them out of a concept album and into a strong pop album. Those sessions, minus the classic "Pure and Easy" also recorded then, resulted in the record Who's Next.
Townshend eventually became obsessed with telling the story of his greatest failure, the same great failure that gave us Who's Next, "Pure and Easy," and other Lifehouse ideas such as "Sister Disco" and "Who Are You?" Even later, when Townshend's radio play Psychoderelict was released in 1993 as an album, it contained ideas that had been adapted from the Lifehouse sessions. In 1999, Townshend worked with collaborators to create a two-hour BBC radio play for Lifehouse. The box set tells the story of the failure and presents the evidence for what he believed was possible in 1970 and up until the time Who's Next was recorded and released in 1971.
Lifehouse is the story set in a "near distant" future, where government was no longer interested in interpersonal relationships between humans; their interest was the complete dependence of the individual on the power structure. To that end, they manufactured a story of a pollution crisis so bad, everyone was required to wear "lifesuits." Lifesuits were articles of clothing that simulated all experiences so the person wearing it wouldn't have to leave her or his dwelling place if he or she didn't want to. They were designed, programmed, and plugged into a huge mainframe grid by a media mogul named Jumbo, who was more powerful than the government who appointed him to head this project. His media company provided medicine, sleeping gas, food, and programming so intense and compressed it would allow, according to Townshend's notes, "an individual to live out tens of thousands of lifetimes in a very short period." It also did away with any need for art. (Yep, virtual reality 15 years before William Gibson's novel Neuromancer.)
The story begins when a dropout farming family in a remote part of Scotland hears about a subversive rock concert in London that their daughter runs away from home to attend. The farmers don't wear lifesuits because they live far to the north and are supposedly out of the pollution's range. They are tolerated by the power structure because the farmers grow produce the government is only too happy to buy. Bobby is the story's hero. He hacks into the grid and discovers its fatal flaw. He plans to stage a concert called the Lifehouse in which each individual will be able to become a unique, blueprinted part of a piece of music, a song that hacks into the mainframe of the grid, distorts its data, and short circuits its fictions, allowing everyone to shed their suits and start living again. That song would have the power of liberating not only their minds, but also their bodies as well from the lifesuits -- all through the power of rock & roll -- which would have been supplied by the Who, of course. His experiment succeeds better than he could have ever dreamed with totally unexpected results -- I'll leave the rest to those of you actually interested enough to purchase the set.
The Lifehouse Chronicles are six CDs of all the material associated with the project, past and present, including the original demos for the songs Townshend planned to include as he was developing it. It is divided into two CDs of demos of songs such as "Teenage Wasteland" -- that later evolved into "Baba O' Riley" -- with somewhat different lyrics -- at one time an instrumental conceived as a different song altogether. Others include virtually every song from Who's Next, and "Slip Kid," "Let's See Action," "Relay," as well as "Sister Disco" and "Who Are You?" among many, many others.
The first two discs are worth the price of admission alone. There isn't a weak second on either of them, and the sound is pristine, professionally recorded from the jump, and remastered for CD. Perhaps nothing is more revelatory about Townshend that hearing his sketch "Teenage Wasteland" become the "Baba O'Riley" we know -- a nine-minute instrumental version of "Riley" is on the demos, and it's awe inspiring. The song's lyrics and the tune's melody set out the story of a transition so profound it changes everything. It's the story of people moving into something from outside, having no idea what awaits them on the other side of "teenage wasteland." The instrumental track is more anthemic than anything the Who ever recorded. "Pure and Easy," "The Song Is Over," "Behind Blue Eyes," and others are not sketches, but fully realized versions of songs before they were given to the Who. Hearing Townshend sing them sends chills down the spine as the songs take on even deeper meanings. "Sister Disco" is radically different than the one the Who recorded -- the later one served the aims of a pop song far better than Townshend's original -- but in his hands, it's a novel.
Disc three is full of experiments and themes Townshend worked and reworked as he revisited the Lifehouse material years later. There is a remixed version of "Who Are You," and redone versions of "Baba M1" and "M5" as well as a redone "Pure and Easy" that is far superior to the originally released version. All of the material here was recorded in 1998 and 1999 when Townshend was conceiving and working on the radio play.
The fourth disc consists entirely of orchestral themes and arrangements employed both in the original concept and augmented in the radio play. The works are not only by Townshend, but by classical composers Henry Purcell, Corette, and Domenico Scarlatti as well. This CD might seem a stretch as interesting to some, but given Townshend's vision and sense of drama, it fits perfectly inside it. The emotional and dynamic range of the pieces, their colors and textural elegance in this particular sequence make for a deep -- and rousing -- listening experience.
Finally, there are the last two discs that comprise the radio play. These are what everyone is wondering about, if they're "worth it" for the price tag; if it is possible in the "sound and word byte" age to sustain listening to an almost two-hour bit of aural theater. Make no mistake, the radio play is brilliant, an essential addition to the literature of Townshend and the Who. Concept goes out the window when the voice of a young boy introduces the work, and gives way to a short orchestral reading of "Baba O'Riley." What replaces it is pure drama, worthy not only of a radio play, but if reworked slightly, for stage as well, and perhaps even a film. Whoops, been there already, better to let sleeping dogs lie. But the work is so compelling it would be wonderful as a film, with only one catch, finding the proper vintage footage of the Who performing the soundtrack, and melding it in, because it wouldn't work with any other band performing the material. Lifehouse is a chilling vision of a future where control and individuality no longer have a place in everyday life. This is the film the Matrix without the special effects or kung fu, and as a result, Lifehouse is far more subversive and instructive.
The Lifehouse Chronicles is a bit of rock history that finally gets its proper hearing and as a result begs the question in capital letters, "What if?" It's fitting that it's only available from Townshend's own web site, www.petetownshend.com. The price is a bit steep, but the package was far from cheap to assemble and is a lavishly designed wonder. The set comes in a 12 by 12 box, with a corrugated impressed sleeve with and folds into a triptych. The CDs are laid out in individually colored and lettered glossy sleeves, four on the left panel, two on the right (the play), and a handsome 50-page book slips into its own spot in the middle bridging them. The book, with a long, no-holds-barred introduction by Townshend also contains Matt Kent's own, somewhat more objective history of the project, contains complete lyrics to all the songs, and the script for the radio play. Everything printed lavishly on different colored pages with no regard for expense.
There isn't another item on the rock or pop market that resembles The Lifehouse Chronicles or even comes close to its vision or integrity." - Thom Jurek
CD 1 total 145M 13M 01 - Teenage Wasteland.mp3 7.8M 02 - Going Mobile.mp3 14M 03 - Baba O'Riley.mp3 6.3M 04 - Time Is Passing.mp3 2.8M 05 - Love Ain't For Keeping.mp3 8.3M 06 - Bargain.mp3 11M 07 - Too Much Of Anything.mp3 8.6M 08 - Music Must Change.mp3 5.7M 09 - Greyhound Girl.mp3 7.9M 10 - Mary.mp3 6.4M 11 - Behind Blue Eyes.mp3 19M 12 - Baba O'Riley (instrumental version).mp3 13M 13 - Sister Disco.mp3 CD 2 total 146M 11M 01 - I Don't Know Myself.mp3 11M 02 - Put The Money Down.mp3 16M 03 - Pure and Easy.mp3 7.5M 04 - Getting In Tune.mp3 12M 05 - Let's See Action.mp3 7.3M 06 - Slip Kid.mp3 7.9M 07 - Relay.mp3 14M 08 - Who Are You.mp3 12M 09 - Join Together.mp3 16M 10 - Won't Get Fooled Again.mp3 11M 11 - Song Is Over.mp3 CD 4 total 155M 2.7M 01 - Townshend- One Note.mp3 1.9M 02 - Purcell- Fantasia Upon One Note.mp3 18M 03 - Townshend- Baba O'Reilly.mp3 7.9M 04 - Scarlatti- Sonata K.212.mp3 8.1M 05 - Townshend- Tragedy.mp3 5.0M 06 - Corette- No.4 Aria.mp3 4.5M 07 - Corette- No.2 Giga.mp3 4.8M 08 - Corette- No.6 in D Minor.mp3 8.3M 09 - Corette- No.3 Adagio & Allegro.mp3 6.6M 10 - Townshend- Hinterland Rag.mp3 8.2M 11 - Scarlatti- Sonata.213.mp3 6.2M 12 - Purcell- Gordion Knot - Overture.mp3 3.7M 13 - Purcell- Gordion Knot - Allegro.mp3 1.8M 14 - Purcell- Gordion Knot - Air.mp3 3.4M 15 - Purcell- Gordion Knot - Rondeau Minuet.mp3 2.3M 16 - Purcell- Gordion Knot - Air.mp3 2.6M 17 - Purcell- Gordion Knot - Jig.mp3 4.7M 18 - Purcell- Gordion Knot - Chaconne.mp3 1.5M 19 - Purcell- Gordion Knot - Air.mp3 2.5M 20 - Purcell- Gordion Knot - Minuet.mp3 6.4M 21 - Purcell- Gordion Knot - Overture (reprise).mp3 12M 22 - Townshend- Tragedy Explained.mp3 2.5M 23 - Townshend- One Note - Epilogue.mp3 5.2M 24 - Purcell- Fantasia Upon One Note.mp3 CD 5 total 126M 6.4M 01 - Lifehouse- Radio Play #1.mp3 8.8M 02 - Lifehouse- Radio Play #2.mp3 13M 03 - Lifehouse- Radio Play #3.mp3 15M 04 - Lifehouse- Radio Play #4.mp3 11M 05 - Lifehouse- Radio Play #5.mp3 13M 06 - Lifehouse- Radio Play #6.mp3 7.7M 07 - Lifehouse- Radio Play #7.mp3 9.3M 08 - Lifehouse- Radio Play #8.mp3 14M 09 - Lifehouse- Radio Play #9.mp3 10M 10 - Lifehouse- Radio Play #10.mp3 CD 6 total 110M 8.2M 01 - Lifehouse- Radio Play #1.mp3 11M 02 - Lifehouse- Radio Play #2.mp3 12M 03 - Lifehouse- Radio Play #3.mp3 12M 04 - Lifehouse- Radio Play #4.mp3 9.5M 05 - Lifehouse- Radio Play #5.mp3 8.6M 06 - Lifehouse- Radio Play #6.mp3 9.2M 07 - Lifehouse- Radio Play #7.mp3 8.4M 08 - Lifehouse- Radio Play #8.mp3 16M 09 - Lifehouse- Radio Play #9.mp3
total 150M 5.7M 01 - Baba M1.mp3 17M 02 - Who Are You - 1998 Gateway Remix.mp3 7.3M 03 - Behind Blue Eyes (1999).mp3 6.1M 04 - Baba M2.mp3 17M 05 - Pure and Easy.mp3 5.0M 06 - Vivaldi (Baba M5 on Psychoderelict).mp3 24M 07 - Who Are You (live 1998).mp3 5.2M 08 - Hinterland Rag (1999).mp3 8.8M 09 - Pure and Easy (1999).mp3 9.4M 10 - Can You Help The One You Really Love (1999).mp3 22M 11 - Won't Get Fooled Again (Live 1998).mp3
"Crossroads was a box set that appealed to both beginners and fanatics. Crossroads 2 (Live in the Seventies) only appeals to fanatics. Spanning four discs and consisting almost entirely of live material (there are a handful of studio outtakes), this is music that will only enthrall completists and archivists. For those listeners, there is a wealth of fascinating, compelling performances here, as well as a fair share of mediocre, uninspired tracks. The key word for the entire album is detail -- it is an album for studying the intricacies of Clapton's playing and how it evolved. For example, it's easy to hear the differences and progressions between the four versions of Robert Johnson's "Rambling on My Mind." And it is Clapton that evolves, not his supporting band -- although they are proficient, they are hardly exciting. However, their static, professional support provides a nice bed to chart Slowhand's growth over the course of the decade, simply because he is always the focal point. Crossroads 2 may only be for a collector, but for those collectors, it is a treasure, even if some of the tracks are fool's gold." - Stephen Thomas Erlewine
Vol. 1 total 101M 7.3M 01 - Walkin' Down the Road.mp3 11M 02 - Have You Ever Loved a Woman.mp3 17M 03 - Willie and the Hand Jive-Get Ready.mp3 7.4M 04 - Can't Find My Way Home.mp3 16M 05 - Driftin' Blues-Rambling on My Mind.mp3 13M 06 - Presence of the Lord.mp3 12M 07 - Rambling on My Mind-Have You Ever Loved a Woman.mp3 9.3M 08 - Little Wing.mp3 11M 09 - The Sky Is Crying-Have You Ever Loved a Woman-Rambling on My Mind.mp3 Vol. 2 total 87M 7.8M 01 - Layla.mp3 6.3M 02 - Further on up the Road.mp3 15M 03 - I Shot the Sheriff.mp3 15M 04 - Badge.mp3 9.7M 05 - Driftin' Blues.mp3 34M 06 - Eyesight to the Blind-Why Does Love Got to Be So Sad-.mp3 Vol. 3 total 98M 13M 01 - Tell the Truth.mp3 7.4M 02 - Knockin' on Heaven's Door.mp3 18M 03 - Stormy Monday.mp3 7.5M 04 - Lay Down Sally.mp3 13M 05 - The Core.mp3 4.1M 06 - We're All the Way.mp3 9.2M 07 - Cocaine.mp3 19M 08 - Goin' Down Slow-Rambling on My Mind.mp3 8.2M 09 - Mean Old Frisco.mp3 Vol. 4 total 84M 6.1M 01 - Loving You Is Sweeter Than Ever.mp3 8.3M 02 - Worried Life Blues.mp3 6.3M 03 - Tulsa Time.mp3 8.8M 04 - Early in the Morning.mp3 8.9M 05 - Wonderful Tonight.mp3 7.4M 06 - Kind Hearted Woman.mp3 16M 07 - Double Trouble.mp3 7.4M 08 - Crossroads.mp3 7.3M 09 - To Make Somebody Happy.mp3 4.2M 10 - Cryin'.mp3 4.2M 11 - Water on the Ground.mp3
total 100M 4.4M Mungo_Jerry_-_Tims_Mixes_-_01_-_Lady_Rose.mp3 4.1M Mungo_Jerry_-_Tims_Mixes_-_02_-_Long_Legged_Woman_In_A_Black_Dress.mp3 6.0M Mungo_Jerry_-_Tims_Mixes_-_03_-_Maggie.mp3 5.8M Mungo_Jerry_-_Tims_Mixes_-_04_-_Movin_On.mp3 3.7M Mungo_Jerry_-_Tims_Mixes_-_05_-_My_Friend.mp3 4.2M Mungo_Jerry_-_Tims_Mixes_-_06_-_My_Girl_And_Me.mp3 4.4M Mungo_Jerry_-_Tims_Mixes_-_07_-_Peace_In_The_Country.mp3 4.0M Mungo_Jerry_-_Tims_Mixes_-_08_-_Sad_Eyed_Joe.mp3 4.5M Mungo_Jerry_-_Tims_Mixes_-_09_-_She_Rowed.mp3 4.2M Mungo_Jerry_-_Tims_Mixes_-_10_-_Somebody_Stole_My_Wife.mp3 4.9M Mungo_Jerry_-_Tims_Mixes_-_11_-_The_Man_Behind_The_Piano.mp3 7.0M Mungo_Jerry_-_Tims_Mixes_-_12_-_Tramp.mp3 5.7M Mungo_Jerry_-_Tims_Mixes_-_13_-_You_Better_Leave_That_Whiskey_Alone.mp3 4.6M Mungo_Jerry_-_Tims_Mixes_-_14_-_You_Dont_Have_To_Be_In_The_Army.mp3 5.8M Mungo_Jerry_-_Tims_Mixes_-_15_-_Baby_Jump.mp3 4.0M Mungo_Jerry_-_Tims_Mixes_-_16_-_Baby_Lets_Play_House.mp3 5.0M Mungo_Jerry_-_Tims_Mixes_-_17_-_In_The_Summertime.mp3 4.2M Mungo_Jerry_-_Tims_Mixes_-_18_-_Johnny_B_Badde.mp3 4.8M Mungo_Jerry_-_Tims_Mixes_-_19_-_Open_Up.mp3 5.4M Mungo_Jerry_-_Tims_Mixes_-_20_-_See_Me.mp3 3.9M Mungo_Jerry_-_Tims_Mixes_-_21_-_Mother_Cusser_Boogie.mp3
total 146M 3.0M 01 - Everybody Loves a Nut.mp3 4.0M 02 - The One on the Right Is on the Left.mp3 6.6M 03 - A Cup of Coffee.mp3 4.1M 04 - The Bug That Tried to Crawl Around The World.mp3 4.2M 05 - The Singing Star's Queen.mp3 3.0M 06 - Austin Prison.mp3 3.0M 07 - Dirty Old Egg Sucking Dog.mp3 3.8M 08 - Take Me Home.mp3 4.1M 09 - Please Don't Play Red River Valley.mp3 2.5M 10 - Boa Constrictor.mp3 4.4M 11 - Joe Bean.mp3 4.1M Bonus - Bad News.mp3 4.9M Bonus - Concerning Your New Song.mp3 3.4M Bonus - Dirty Old Egg Sucking Hound.mp3 2.9M Bonus - Flushed from the Bathroom of Your Heart.mp3 3.7M Bonus - The Sound of Laughter.mp3 7.0M Crazy Country - A Boy Named Sue.mp3 5.5M Crazy Country - Look At Them Beans.mp3 7.5M Crazy Country - One Piece At A Time.mp3 5.7M Crazy Country - Oney.mp3 3.9M Crazy Country - Smiling Bill McCall.mp3 5.5M Crazy Country - The Chicken In Black.mp3 4.0K Everybody Loves a Nut.txt 3.7M Extra - 25 Minutes to Go.mp3 3.8M Extra - Sam Hall.mp3 3.6M Extra - Shrimpin' Sailin'.mp3 4.6M Extra - Sweet Betsy from Pike.mp3 5.5M Johnny_Cash_-_A_Cup_Of_Coffee.mp3 2.0M johnny_cash_-_austin_prison.mp3 2.1M Johnny_Cash-Boa_Constrictor.mp3 2.5M Johnny_Cash_-_Dirty_Old_Egg_Sucking_Dog.mp3 2.5M Johnny_Cash_-_Everybody_Loves_a_Nut.mp3 2.3M johnny_cash_-_joe_bean.mp3 3.4M johnny_cash_-_Please_Don_t_Play_Red_River_Valley.mp3 3.2M johnny_cash_-_take_me_home.mp3 3.4M Johnny_Cash-The_Bug_That_Tried_to_Crawl_around_the_World_.mp3 2.7M Johnny_Cash_-_The_One_On_Right_Is_On_The_Left.mp3 3.5M johnny_cash_-_the_singing_star_s_queen.mp3 952K nut1.jpg 652K nut2.jpg
"Drummer Style Scott joined Adrian Sherwood's influential On-U Sound dub label in the late '70s and played on Sherwood's influential releases as the New Age Steppers (with vocalist Bim Sherman, horn player Deadly Headley, melodica player Dr. Pablo, and a large guest lineup). Scott later formed his own band, Dub Syndicate, which soon became -- with the possible exception of African Headcharge -- On-U Sound's most popular act. Though not a group per se, Style Scott and producer Sherwood explore reggae, dub and dancehall by collaborating with some of reggae and dub's greatest talents, including Lee "Scratch" Perry, Skip McDonald, U-Roy and, in a bit of posthumous sampling of an old friend, Prince Far I (on 1990's Stoned Immaculate).
Debut album Pounding System (1982) and the following year's One Way System were both reissued in America by ROIR. A project with Dr. Pablo titled North of the River Thames didn't earn a domestic release, but 1985's Tunes from the Missing Channel was licensed to EMI. An import-ony project with Lee "Scratch" Perry called Time Boom 'De Devil Dead followed in 1986, but 1990's Strike the Balance appeared on the Island subsidiary Mango. On-U Sound, in conjunction with the American label Restless, began an ambitious reissue effort with three volumes of the Classic Selection series (similar to African Headcharge's Great Vintage series) but continued to make new Dub Syndicate projects such as From the Secret Laboratory and Stoned Immaculate available only on import. Restless, though, did eventually give Stoned Immaculate and 1994's Echomania domestic releases. In 1996, Dub Syndicate released both an album of new material (Ital Breakfast), and the remix album Research & Development, with reworkings of tracks from the entire Dub Syndicate catalogue by Zion Train, Soundclash, Iration Steppas and the Rootsman. Four years later, the performance album Live at the Maritime Hall was released. The next album, Acres of Space was recorded in Jamaica and mixed by long-time collaborator, Adrian Smith." - John Bush
"The second collaboration between Perry and his acolyte Adrian Sherwood, and, as was their first meeting (Time Boom X De Devil Dead), it's a perfect mixture of Perry's manic toasting and singing and the sinuous beat supplied by the Sherwood-led Dub Syndicate and the Roots Radics band. Money and attacks on capitalism (specifically the World Bank) fuel Perry's ire on this disc, but just when the going gets heavy, Scratch pulls out a tribute to cartoon detective Inspector Gadget, as well as a great cover of Leroy Sibbles' "Party Time." As with their earlier release, Perry and Sherwood work well together, perhaps due to Sherwood's fondness for psychedelicizing his dub mixes and Perry's preference for flat-out weirdness. In any event, this collaboration between pupil and teacher is one of the better releases of Perry's recent vintage." - John Dougan
"Mellow & Colly is essentially a collaboration between Style Scott and Scientist; it's only half of the project, as Adrian Sherwood mixed his own version and released it as Fear of a Green Planet. In addition to drummer Scott, featured musicians include guitarist/sitarist Nicky Skopelitis and tabla player Bill Buchan." - Steve Huey
"Sharp-eyed Dub Syndicate fans will notice that about eight of this album's 17 tracks duplicate material found on earlier albums and singles and on the two Classic Selection compilations from 1989 and 1991. However, the rest of the program appears to be previously unreleased and is said to have been recorded during a lull between the sessions that produced Echomania and Stoned Immaculate. Even the previously released material has been remastered for this collection. Among the new selections are a very fine dub version of Bim Sherman's roots classic "Red Sea" and a vocal cameo by the notorious Lee "Scratch" Perry on "Let the Spirit Rise." The psychedelic dub remix of Prince Far I's "African Landing" appears to be new as well. New or old, everything in this collection shimmers and thuds with all the energy and inventiveness that made Dub Syndicate the favorite band of avant-roots reggae fans the world over ever since its first record 20 years ago. In a way it's sad that the best Dub Syndicate album in five years is a compilation of older material, but on the other hand it's great to have this stuff available again. Hopefully it will inspire bandleader Style Scott to move up to the next level on his future releases." - Rick Anderson
"Though this outing suffers from the absence of regular bassist Flabba Holt (instead, all basslines are played by keyboardist Noel Brownie, and keyboard bass just doesn't cut it for roots reggae), it still provides significant amounts of pleasure both traditional (Prince Far I's stentorian pronouncements, "Style" Scott's martial drumbeats) and experimental (Adrian Sherwood's typically over-the-top production). The found vocal snippets are sometimes more anonymous (that could be anyone saying "Watch, operatah -- jus' lick back de riddim fi I, seen?") and sometimes more specific (that has to be Jim Morrison intoning "Out here we're stoned...immaculate"). The rhythms themselves sometimes sound a bit generic, but not objectionably so. All in all, a slightly more restrained but still rewarding album from this consistently fine band." - Rick Anderson
"For those familiar with the work of British dubmeister and producer extraordinaire Adrian Sherwood, the thought of he and Scratch working together sets off fits of near-Pavlovian salivating. This collaboration is excellent, and Perry and Sherwood (both of whom traffic in an idiosyncratic sound and approach to production) sound perfectly suited as collaborators. What helps considerably is the effectiveness of Sherwood's band the Dub Syndicate, who rock a little harder than the Upsetters and create edgier, more brittle soundscapes for Perry to romp through and Sherwood to produce (although it should be noted that Perry had a hand in the production too). Perry's toasting and singing are not as manic as on Battle of Armagideon, but he delivers the goods on tracks like "S.D.I" and "Allergic to Lies." Out of print on vinyl, this is a Perry recording deserving of a CD reissue if it hasn't been already." - John Dougan
"This 1985 release may have been On-U Sound's first mainstream release, yet the hardcore innovations of Adrian Sherwood and Style Scott's future Dub project remain as uncompromisingly heavy as their debut Pounding System. Essential stuff for the Dub crazed, featuring Jah Wobble and Keith Levine of Public Image Ltd. fame and Steve Beresford, among many others in the lineup." - Skip Jansen
Vol. 1 total 60M 8.8M 01 - All Nation Rockers - Talking Dubheadz.mp3 3.8M 02 - Armagideon - Victory Dub.mp3 3.9M 03 - Blue & Red - Lessons of Old.mp3 3.8M 04 - The Bush Chemists - Light Up Your Spliff.mp3 3.3M 05 - Dub Plate Vibes Crew - Dub Zone.mp3 3.4M 06 - Centry - Before Christmas.mp3 4.2M 07 - Henry & Louis - More Love.mp3 4.2M 08 - The Rootsman - Dub of the Fellaheen.mp3 3.8M 09 - Alpha & Omega - Jerusalem.mp3 3.7M 10 - Disciples - Blazing Dub.mp3 3.9M 11 - East Meets West - Prophet Lives.mp3 4.9M 12 - Aba-Shanti - Free The Nation.mp3 4.6M 13 - Iration Steppas vs D Rootical - Running Away (Hard Mix).mp3 3.5M 14 - Jah Warrior - Righteous Children.mp3 Vol. 2 total 118M 8.8M 01 - Iration Steppas Vs D. Rootical - Way Down In A Babylon.mp3 9.0M 02 - Disciples - Heartland Dub.mp3 6.6M 03 - Mixman Ft. D. Maximillian - Truth Dub.mp3 11M 04 - Fish & Goat At The Controls - Dub Warming.mp3 8.8M 05 - Tassilli Players - Lunar Module.mp3 5.3M 06 - Hi-Tech Roots Dynamics - Tokyo Dub.mp3 5.2M 07 - Armagideon - Praising Dub.mp3 6.7M 08 - Hughie Izachaar - Sound System Dub.mp3 6.1M 09 - Manasseh Meets The Equalizer - Shining Dub (Version 96).mp3 6.7M 10 - Dub Crusaders - Rootsman Chant (Version Ii).mp3 8.9M 11 - Prince Green - Slave Dub.mp3 6.1M 12 - Earthquake - The Storm.mp3 7.3M 13 - Bush Chemists - Third Eye.mp3 8.0M 14 - Dub Specialist - Live In Harmony.mp3 14M 15 - Power Steppers - Discipline.mp3 4.0K Various Artists - Dubhead Vol 2.m3u 4.0K Various Artists - Dubhead Vol 2.nfo Vol. 3 total 63M 6.8M 01 - Iration Steppas Vs D. Rootical - Wicked Melt Away.mp3 3.3M 02 - Mad Professor And Jah Shaka - Slave Rebellion.mp3 4.7M 03 - The Disciples Meets The Rootsman - Rebirth.mp3 6.2M 04 - Roots Control - Inner Version.mp3 5.2M 05 - Blue And Red - Amid The Ether.mp3 3.7M 06 - East Meets West - Valva Dub.mp3 4.3M 07 - Alpha & Omega - Ancient Of Days.mp3 4.1M 08 - Earthquake - Jah Fire.mp3 3.8M 09 - Hi Tech Roots Dynamics - Strange Stepper.mp3 4.9M 10 - Dub Ghecko - Asunder.mp3 3.6M 11 - Riz All Stars Featuring Lucy V - Joyfull Dub.mp3 4.4M 12 - The Truth - Strickly Roots.mp3 3.6M 13 - Armagideon Meets Stryka Dread - Travelling Dub.mp3 4.4M 14 - Twilight Circus - Lowell And Nine.mp3 Vol. 4 total 61M 3.6M 01 - Dub Organizer - Mountain Kings.mp3 4.4M 02 - Armagideon - Spontaneous Combustion.mp3 4.1M 03 - Basque Dub Foundation - Ministerio Del Dub.mp3 5.0M 04 - Respected Men - War Song.mp3 4.0M 05 - Shades of Black - Freeman Dub.mp3 3.6M 06 - The Messenjah - Kunte Kinte.mp3 4.0M 07 - Vibronics - Blessed Is He.mp3 3.5M 08 - Hydroponics - Here Comes The Judge.mp3 4.0M 09 - Dub Specialists - Lone Star.mp3 4.2M 10 - Jah Free - Dub One Another.mp3 5.2M 11 - Drumhead feat Spee - 16 Holes Dub.mp3 4.6M 12 - Dub Ghecko - In A Wolfs Clothing.mp3 5.4M 13 - Bud Alzir - Return Dub.mp3 5.8M 14 - The Truth - Garage Dub.mp3
"The last of Trojan's three-record (two-CD) collections of Perry's crucial Black Ark production work of the '70s. And, as was the case with the previous collections (The Upsetter Box and Open the Gate), there's absolutely no good reason not to own this collection too. If you're thinking that three double-CD sets of Lee Perry starts to sound like overkill, look at it this way -- that's like saying you've breathed enough air, and now you don't need any more. As with recordings of Sun Ra, there's always a reason (like amazing music, for a start) to add more Lee Perry to your collection. And with this release you will be able to get your hands on Junior Murvin's amazing "Cross Over" (nearly as good as "Police and Thieves"), Winston Heywood's "Long, Long Time," and Eric Donaldson's "Freedom Street." This is the sound of Black Ark at its most exciting and prolific, and remains a testament to Perry's genius as a producer, mixer, and arranger. A heavy groove indeed." - John Dougan
Vol. 1 total 125M 14M 01 - Leo Graham - My Little Sandra.mp3 11M 02 - Upsetters - Dubbing Sandra.mp3 7.1M 03 - Sharon Isaacs - Feelings.mp3 7.0M 04 - Upsetters - Version.mp3 5.8M 05 - Winston heywood - Long Long Time.mp3 6.0M 06 - Upsetter - Long Time Dub.mp3 6.0M 07 - Junior Dread - A Wah Dat.mp3 6.2M 08 - Upsetter - Dub Dat.mp3 8.2M 09 - Lee Perry - White Belly Rat.mp3 8.3M 10 - Upsetters - Judas De White Belly Rat.mp3 6.6M 11 - Jah Lloyd - White Belly Rat.mp3 6.8M 12 - Eric Donaldson - Freedom Street.mp3 6.7M 13 - Upsetters - Freedom Dub.mp3 6.1M 14 - Shaumark & Robinson - Peace & Love.mp3 6.5M 15 - Upsetters - Peace A Dub.mp3 6.7M 16 - Sons Of Light - Land Of Love.mp3 6.7M 17 - Upsetters - Land Of Dub.mp3 Vol. 2 total 112M 6.6M 01 - The Meditatations - Think So.mp3 7.1M 02 - Upsetters - Dub So.mp3 6.4M 03 - Junior Murvin - Cross Over.mp3 6.3M 04 - Upsetters - Cross Over Dub.mp3 6.8M 05 - The Congos - At The Feast.mp3 7.0M 06 - Debra Keese & The Black Five - Travelling.mp3 7.0M 07 - Upsetters - Nyambie Dub.mp3 6.9M 08 - Peter & Paul Lewis - Ethiopian Land.mp3 6.9M 09 - Upsetters - Landmark Dub.mp3 7.1M 10 - Lord Sassafrass - Green Bay Incident.mp3 6.5M 11 - Upsetters - Green Bay Version.mp3 5.7M 12 - The Shadows - Brother Noah.mp3 5.4M 13 - Upsetters - Noah Dub.mp3 6.1M 14 - Junior Ainsworth - Thanks & Praise.mp3 6.1M 15 - Upsetters - Dub & Praise.mp3 7.3M 16 - Danny Hensworth - Mr Money Man.mp3 6.9M 17 - Upsetters - Dub Money.mp3
total 153M 6.9M Big Fight (aka Joe Frazier).mp3 9.2M Black Superman (Muhammad Ali).mp3 8.0M Black Superman (Muhammad Ali) Version.mp3 7.8M Cassius Clay.mp3 6.6M Fight.mp3 6.1M Foreman Versus Frazier.mp3 6.6M (Foreman Versus Frazier) Round Two.mp3 9.1M George Foreman.mp3 9.8M George Foreman Version.mp3 7.6M Joe Frazier Round Two.mp3 6.6M Joe Louis.mp3 8.6M Knock Out Punch.mp3 8.2M Muhammad Ali (Blackbeard version).mp3 9.1M Muhammad Ali (Joe Gibbs version).mp3 12M Muhammad Ali.mp3 9.5M Natty Champion.mp3 7.4M Sunshine Showdown.mp3 6.9M Superchamp.mp3 8.1M The Great Musical Battle.mp3
"Crisis Time not only ranks among the classic DJ albums of its era, but is also notable for its appearance on Virgin, which assiduously promoted reggae to British audiences. That move paid off handsomely by allowing the label to expand beyond its original progressive rock constituency, and gave the artists a foothold outside of their Jamaican origins. Throughout the '70s, I-Roy flourished as one of reggae's top DJs beside equally jive-talkin' brethren like Big Youth, Dillinger, and U-Roy. This album is one of the definitive showcases for those abilities, in which his yowls, bays, and screams become as critical an element as the pulsing dub rhythms over which they bounce. Half the fun is hearing how I-Roy avoids painting himself into a verbal corner with his scattershot delivery; anything's grist for the verbal mill, such as using traditional nursery rhymes to underscore the title track's impatient urgency. Part toaster, part town crier, I-Roy moves from celebrating the joys of music ("Musical Injection") to simple sermons ("Love Your Neighbor") and pointed political comment ("Hypocrite Blackout"). "African Tak" and "African Herbsman" explicitly acknowledge the Rasta movement's pan-African nationalist roots, while "Don't Touch I Man Locks" warns outsiders not to disturb the dreadlocked hairstyles that remain its most visible manifestation. Although changing times and tastes would render his style obsolete, few stars burned as brightly as I-Roy at his peak, and here's the proof." - Ralph Heibutzki
"In a crowded field, Junior Delgado stands out amongst Jamaica's consummate roots performers, one whose distinctively expressive, and slightly husky, vocals have seen his popularity remain undiminished, even after styles changed and his original forte was pushed away by dancehall. Born August 25, 1958, in Kingston, Jamaica, Delgado began singing in his teens as Junior Hibbert, with the vocal group Time Unlimited. In 1973, the quartet came under the wing of the seminal producer Lee Perry, who both groomed the group and recorded them. Unfortunately, little of this material was released, but eventually Time Unlimited did score a hit with "Reaction."
A higher profile brought more opportunities, and the group recorded singles for producers Rupie Edwards and Tommy Cowan, although none of these enjoyed the success of "Reaction." The group moved on to work with Bunny Lee, but these sessions went nowhere, and in frustration Hibbert quit the quartet in 1975 to pursue a solo career, changing his moniker to Junior Delgado at the same time. Delgado was his longtime nickname, taken from the Spanish word for skinny.
Initially, Delgado remained in the shadows. Sessions with producer Niney Holness proved equally futile, as did a momentary name change to Jooks. Success only came after the singer moved to Dennis Brown's DEB label and set to work with producer Earl "Chinna" Smith. Their first collaboration, "Tition," bore fruit and set the stage for a string of further hits, including "Famine" and "Devil's Throne," which culminated in Delgado's 1978 debut album, Taste of the Young Heart. The following year, the singer started his own label, Incredible Jux, on which he released his follow-up full-length, Effort.
At the same time, Delgado continued recording singles with other noted producers, including Prince Jammy and Joe Gibbs, and with Augustus Pablo, for whom he cut the crucial "Blackman's Heart Cries Out" and "Away With You Fussing and Fighting" singles. The artist spent the early '80s splitting his time between recording and touring Britain, where he proved as popular as in Jamaica. The More She Love It and Disco Style Showcase albums both appeared in 1981 and found the singer experimenting with the new dancehall style. However, Delgado had not entirely deserted his roots stylings. Reuniting with Perry, Delgado recorded the magnificent "Sons of Slaves" single, Sly & Robbie oversaw the production and laid down the rhythms for the classic "Fort Augustus," while the singer self-produced the equally seminal "Rich Man Poor Man." The latter track was a highlight, alongside "Bush Master M16," of 1982's Bushmaster Revolution album. After a forced hiatus, during which time Delgado spent 18 months in prison, in 1985 he recorded "Broadwater Farm" in London, a fiery single inspired by the crime-ridden and poverty stricken north London housing estate of the same name. Coincidentally enough, soon after the record's release, the estate itself made national headlines, upon suffering the most violent and vicious rioting England had ever experienced in then recent times. Sisters & Brothers was released later that year. More singles quickly followed, most notably "Raggamuffin Year," which reunited Delgado and Augustus Pablo for a celebration of the new raggamuffin style which had emerged from the digital revolution. The song would also title the singer's next album, which was released in 1986.
Delgado and Pablo continued recording together throughout the rest of the '80s, across a string of hit singles and the One More Step album. Delgado self-produced his next full-length, It Takes Two to Tango, as well as several more chart-stomping singles, including "Bus I Skull" and "We a Blood." During this period, the singer also played mentor to White Mice and Yami Bolo, co-producing hits by both artists alongside Pablo. As a new decade dawned, Delgado finally slowed down, releasing only two albums during the '90s. An excellent dub companion to Ragamuffin Year done in collaboration with Pablo appeared early in the decade, while 1998's Fearless proved the singer was precisely that. Featuring a diverse clutch of guest stars, running the musical gamut from the Specials' Jerry Dammers to Faithless rapper Maxi Jazz, trip-hop practitioners Smith & Mighty to top-notch remixers the Jungle Brothers, it was apparent that Delgado's interest in new sounds had not flagged over the years. 1999 brought Reasons, recorded in London under the aegis of seminal On-U producer Adrian Sherwood.
Following the death of longtime friend Dennis Brown, Delgado recorded his own personal tribute to this great singer, simply titled Junior Delgado Sings Dennis Brown. During this time, the singer continued performing live to appreciative crowds on both sides of the Atlantic. Delgado has spent over 25 years in the business, yet his music still resonates with today's youth; in 1999 he appeared at the Glasonbury and Roskilde festivals to widespread adulation." - Jo-Ann Greene
"A roots reggae singer who has never gotten the level of international recognition he deserved, Junior Delgado is not primarily known as the object of producers' dubwise affections. But one significant dub album was released under Delgado's name in 1978, in an extremely limited edition of just 500 copies. Those sold out quickly and the album dropped from sight for almost 20 years, finally reappearing in CD format on the Big Cat label in 1997. The album is something of a mixed bag, featuring songs originally released on Delgado's Effort album and remixed by such top-notch studio talents as Sylvan Morris, King Tubby, and King Jammy. Not surprisingly, the most exciting versions are those that bear King Tubby's unique signature, chief among them "Mister Dub," "Crack a Dub," and "Downs," the last of which also benefits from the tasteful inclusion of well-chosen shreds of Delgado's vocal. Not an essential purchase, but most dub fans will find much to enjoy here." - Rick Anderson
"A disciple of Lee "Scratch" Perry, Mad Professor was one of the leading producers in dub reggae's second generation. His Dub Me Crazy albums helped dub make the transition into the digital age, when electronic productions started to take over mainstream reggae in the '80s. His space-age tracks not only made use of new digital technology, but often expanded dub's sonic blueprint, adding more elements and layers of sound than his forebears typically did. In the mid-'90s, he returned to the basics, debuting a more retro-sounding style on the Black Liberation Dub series. Additionally, he ran his own studio and label, Ariwa, which was home to a stable of vocalists (with an emphasis on lovers rock and conscious roots reggae) and some of the finest British reggae productions of the era. As his reputation grew, he became a remixer of choice for adventurous rock and techno acts, most notably revamping Massive Attack's entire second album under the new title No Protection.Mad Professor was born Neal Fraser (or Neil Fraser) circa 1955 in Guyana, a small country in the northern part of South America. He earned his nickname as a preteen, thanks to his intense interest in electronics; he even built his own radio. At age 13, his family moved to London, and around age 20, he started collecting recording equipment: reel-to-reel tape decks, echo and reverb effects, and the like. In 1979, he built his own mixing board and opened a four-track studio in his living room in the south London area of Thornton Heath. Calling it Ariwa, after a Nigerian word for sound or communication, he began recording bands and vocalists for his own label of the same name, mostly in the lovers rock vein: Deborahe Glasgow, Aquizim, Sergeant Pepper, Tony Benjamin, Davina Stone, and Ranking Ann, among others. Amid complaints from his neighbors, he moved the studio to a proper facility in Peckham, South London. In 1982 he recorded his first album, Dub Me Crazy, Pt. 1, and quickly followed it with a second volume, the successful Beyond the Realms of Dub. 1983 brought two more volumes, The African Connection (often acclaimed as one of his best) and the fairly popular Escape to the Asylum of Dub.The Ariwa studio was moved to a better neighborhood in West Norwood during the mid-'80s, and upgraded for 24-track capability, making it the largest black-owned studio in the U.K. From there, Mad Professor really started to make an impact on the British reggae scene. He produced major hit singles for Ariwa mainstay Pato Banton and Sandra Cross, and also helmed the breakthrough album for conscious reggae toaster Macka B, 1986's Sign of the Times. At the same time, the ragga era was dawning, and all-digital productions began to take over reggae. As the ragga sound grew more and more dominant, Mad Professor's brand of dub got spacier and weirder; while ragga detractors complained that Mad Professor's work sounded sterile compared to the dub of old, many praised his otherworldly effects and inventive arrangements. The Dub Me Crazy albums reached the height of their experimentalism during the latter part of the '80s, although by the early '90s they were showing signs of creative burnout. The 12th and final volume in the series, Dub Maniacs on the Rampage, was released in 1993.Meanwhile, Ariwa continued to prosper as a label, with further hits by the likes of Macka B, Pato Banton, Sandra Cross, female singer Kofi, Intense, Jah Shaka, John McLean, the Robotics, Sister Audrey, Peter Culture, Johnny Clark, and others. Additionally, he began to collaborate with some of reggae's better-known figures; most crucially, he teamed up with main influence Lee "Scratch" Perry for the first time on the 1989 set Mystic Warrior. In 1991, he produced the first of several albums for the groundbreaking veteran DJ U-Roy, the acclaimed True Born African; he also went on to work with the likes of Yabby You and Bob Andy. He switched his focus to touring in 1992 and released the 100th album on Ariwa not long after.With his high-profile collaborators, Mad Professor started to make a name for himself outside of the reggae community, and soon found himself in demand as a remixer for rock, R&B, and electronica acts. Over the course of the '90s and into the new millennium, he would remix tracks by Sade, the Orb, the KLF, the Beastie Boys, Jamiroquai, Rancid, Depeche Mode, and Perry Farrell, among others. His best-known project, however -- and the one that truly established his credentials -- was 1995's No Protection, a completely reimagined version of trip-hop collective Massive Attack's second album, Protection. Perhaps creatively refreshed, Mad Professor's own albums started to regain their consistency in the mid-'90s. Mixing electronics with rootsier, more organic sounds indebted to the earliest days of dub, he left behind the Dub Me Crazy moniker to launch a new series, the subtly Afrocentric Black Liberation Dub. The first volume was released in 1994, and others followed steadily into the new millennium, albeit at a less prolific pace than the Dub Me Crazy installments. More collaborations with Perry and U-Roy followed as well." - Steve Huey
""This album is for all peoples of all colors who are working for a positive image of black people," announces the voice at the beginning of "Pressure Zone Dub." Finishing the Dub Me Crazy series with Dub Maniacs on the Rampage in 1993, the Mad Professor launched his Black Liberation imprint the following year. On albums like Afrocentric Dub, the producer can be credited with expanding the sonic palette of his genre, while maintaining its fundamental structures and feeling at the same time. A more difficult task than it may seem, especially when you try mixing roots reggae with heavily synthesized studio elements. Afrocentric Dub is more than successful, finding the Mad Professor deeply immersed in the music's traditions. The album's aural textures sound truly inspired as drums are reduced to crumbling structures, horns turn to ghosts, and bass lines morph into dirty electronic melodies, only to be brought back to life in their original incarnations. Elements change shape so often that it becomes difficult to distill the essence of any single track. There are numerous highlights however. "Afrocentric Dub" itself emerges in three different forms. "Version 2" heavily reshapes the song's slow, stuttering march rhythm, converting it into electronic pitter-patter. The rhythms for songs like "Confa Dance" and "Digital Delight" (one of the best electronic reggae tunes the Mad Professor has created) convey an infectiousness that seemed lost by the end of the Dub Me Crazy series. The album only loses its momentum at the finish line. "Studio 54 Dub," which incorporates a cover of Blondie's "Rapture," feels out of place. While the light melodies of "Motor Town Dub" do little to restore the balance, these are two exceptions on an album of top-notch dub." - Nathan Bush
"With the release of Evolution of Dub, Neil "Mad Professor" Fraser's Black Liberation series was quickly eclipsing its predecessor, Dub Me Crazy, for sure consistency and quality. Though it was becoming clear that the new volumes weren't going to be as stylistically adventuresome as the sets of old, for solid, computerized roots, they were hard to beat. Keeping with the loose theme of African elevation, Fraser incorporates speech fragments from controversial Nation of Islam leader Louis Farrakhan on a number of the tracks. There's also a smattering of vocal snippets from guests Horace Andy, Lee "Scratch" Perry, and Kofi. Despite all this, the underlying rhythms are Evolution of Dub's greatest strength. Ariwa session guitarist Black Steel in particular is given room to shine on excellent cuts like "Harder Than Babylon" and "Cultural Explosion." The latter is a typically full and lively mix with snare shots lashing out and beats bubbling from the depths like primordial lava. "Gringo Dread" sports one of the album's heaviest bass lines, leading a pared-down mix that could be described as dub-noir. "Village Gossip" is laced with dissonant, cinematic string scratches, while "Atonement Dub" incorporates the violin on dub's terms to great effect, like some bizarre update on Augustus Pablo's trademark melodica. Surprises may be few, but after the dearth of inspiration behind Dub Me Crazy sets like Hijacked to Jamaica and Dub Maniacs on the Rampage, Fraser's constant attention to detail on Evolution of Dub renders the familiar fresh once again." - Nathan Bush
"Under the Spell of Dub touches base with many of the Mad Professor's influences, complete with rhythms courtesy of the Robotics and guest vocals from the likes of Lee "Scratch" Perry, Macka B and Dennis Nolan. Another strong outing." - Jason Ankeny
CD 2 total 141M 5.4M A It Mek.mp3 6.4M Beautiful And Dangerous.mp3 5.7M Bongo Gal.mp3 7.9M Coconut Water.mp3 5.5M Don't Blame Me.mp3 7.6M Fu Man Chu.mp3 5.1M Gimme Gimme.mp3 6.9M Hanging Tree.mp3 6.4M Hey Grandma.mp3 6.3M Intensified.mp3 6.9M It Pays.mp3 5.0M It's Not Easy.mp3 6.9M I've Got The Blues.mp3 5.4M Mother Pepper.mp3 6.5M My Precious Love (aka A Woman's World).mp3 5.0M Nincompoop.mp3 5.8M Pretty Africa.mp3 6.3M Sabotage.mp3 5.2M Shing A Ling.mp3 7.9M Tips Of My Fingers.mp3 7.1M To Sir With Love (aka My Lonely World).mp3 5.2M Writing On The Wall.mp3 4.9M Young Generation.mp3
"Rudy Got Soul: The Complete Early Years 1963-1968 chronicles Desmond Dekker's first single from 1963, "Honour Your Father and Mother," through his enormously successful Jamaican hits recorded in the mid- to late '60s with the Aces. The disc highlights the outset of rocksteady with the tracks "Hey Grandma," "Music Like Dirt," "Rudie Got Soul," "Sabotage," "Rude Boy Train," and the James Bond-inspired "007." These are the tracks that initially made him a star in Jamaica, then the U.K., and finally emerging as an internationally celebrated artist who hit it big in the U.S. with the Israelites in 1969. Highly recommended." - Al Campbell
CD 1 total 136M 5.8M 007 (Shanty Town).mp3 6.5M Dracula.mp3 6.0M Get Up Edina.mp3 5.5M Honour Your Mother And Father.mp3 5.5M It's A Shame.mp3 6.8M It Was Only A Dream.mp3 6.1M Jeserine.mp3 4.6M Keep A Cool Head.mp3 6.2M King Of Ska.mp3 5.9M Labour For Learning.mp3 6.0M Madgie.mp3 4.9M Mother Long Tongue.mp3 6.7M Mother's Young Gal.mp3 6.2M Mount Zion.mp3 5.7M Parents.mp3 6.7M Personal Possession.mp3 5.2M Rude Boy Train.mp3 6.4M Rudy Got Soul.mp3 5.8M Sweet Music.mp3 5.8M This Woman.mp3 5.4M Unity.mp3 5.1M Wise Man.mp3 7.4M You've Got Your Troubles.mp3
"A master of both hard-hitting political commentary and apolitical "lover's rock" (reggae love songs), Gregory Isaacs has recorded many five-star albums over the years. Boom Shot, however, isn't one of them. Decent but certainly not breathtaking, this is a CD that should be acquired only by his more devoted followers (of which there are many). Isaacs' singing isn't nearly as confident or inspired as it so often was in the past, and only a few of the songs are memorable. The reggae veteran does have fairly strong compositions in "Rude Boy Saddam" (a commentary on the early-'90s Persian Gulf War slamming both George Bush and Saddam Hussein) and the anti-crime number "Petty Robber." Unfortunately, none of the lover's rock songs are in a class with a gem like his 1980s mega-hit "Night Nurse."" - Alex Henderson
"Ah, yes, those halcyon early days of embryonic ragga; Sly & Robbie, "Under Me Sleng Teng," and those rhythms that fueled dancehall hits over and over (and over) again. But why stop there, when with the push of a button you can reinvigorate veteran vocalists via this hip new style. It's easy. And Gregory Isaacs, like many other established singers, was keen to have a go, entering the studio with every notable producer of the age. Tad and Peter Dawkins, unlike most of the ragga producers of the time, had more of an interest in the synthesizer as a musical instrument, rather than as a percussive tool. So, while their beats didn't have the power of the competition, the musical arrangements tended to be far more interesting. In contrast to most of what was going on in the dancehall, Easy sounded very much like easy listening, but only because the producers had a light touch and a penchant for upbeat music. Isaacs reacted accordingly, and delivered up a set of silky performances, whose very warmth will be ever more evident in hindsight. Many of the songs are remodels of past hits, "Love Is Overdue" and "Tear Drops" included; also of note is a surprisingly original take on Jacob Miller's "Tenement Yard." All of Easy is very understated, but that's its true beauty. A charming little record, and, while not a classic by any standard, a totally enjoyable experience." - Jo-Ann Greene
"Although his 1981 album, More Gregory, was picked up for international distribution, Gregory Isaacs' 1982 release, Night Nurse, was his first to be designed for an audience outside Jamaica. Accordingly, Island Records head Chris Blackwell upgraded the overall sound quality, making this Isaacs' most professional-sounding record yet, and he brought in synthesizer player Wally Badarou to overdub keyboard parts on the tracks, making them less spare and distinguishing the arrangements more. Isaacs and his backup band, the Roots Radics, had a tendency to set up a groove and play, with only minor differences from one track to the next, but Badarou brought a different flavor to each song. Isaacs responded to his greater opportunity with a strong collection of compositions, starting with the title song, which pleaded for erotic medication with as much urgency as Marvin Gaye's "Sexual Healing." For the most part, romantic concerns occupied him, but "Hot Stepper," in which he sang of being wanted by the authorities, unfortunately anticipated the incarceration that would derail his career shortly, and "Material Man" was a savage denunciation of the wealthy, even if it was rendered in Isaacs' characteristically even-toned voice over the medium-tempo track. Night Nurse had just enough variety to make it a cohesive album and not just a collection of singles, and with Island's promotional muscle it brought Isaacs deserved recognition, rising into the U.K. Top 40 and attracting accolades in the U.S. The 2002 reissue adds more than 22 minutes' worth of bonus material, all of it dub versions of Isaacs' songs, including an eight-minute instrumental extension of "Cool Down the Pace," a song in which the unhurried Isaacs asks his companion not to dance so fast. The result is to make one of the 1980s' best reggae albums that much better." - William Ruhlmann
"Gregory Isaacs' resumé is one of the most impressive in all of reggae. His list of past collaborations include recordings under Gussie Clarke, Joe Gibbs, the Channel One crew, Glen Brown, and Alvin Ranglin, as well as occasional forays into self-production. Examples of the last form the potent core of Exworks' Rasta Business set. Though Isaacs' voice was always perfectly suited for lovers material, he would occasionally turn his attention to more troubling concerns for great results. Recorded during the mid-'70s, reality numbers like "Black Against Black" (aka "Black a Kill Black"), the title track, and "My Religion" all feature the singer himself at the helm. Along with "Mr. Cop," a product of Lee "Scratch" Perry's Black Ark circa 1976 that's also included, the songs represent some of the finest conscious material of his career. A portrait of the Cool Ruler's work wouldn't be complete without a few examples of his exquisite lovers style however, and Rasta Business delivers with "If I Don't Have You," "Loving Pauper," and "Permanent Lover." "Substitute" (with its admonishments of a former lover's "smoking cigarettes by the pack" and "drinking liquor") and "Dreadlocks" (a tale of a girl's forbidden love for a Rasta), though also in this category, manage to cut deeper than usual. Complaints with Rasta Business are minimal. The sound quality occasionally slips, with the odd cut sounding like it was mastered from a vinyl release rather than a master tape. Though the track listing isn't comprehensive enough to be a hits collection, nor specific enough to hold a particular place in Isaacs' catalog, the material is of a consistently high quality, making for a satisfying package." - Nathan Bush
"On the one hand, anyone could be forgiven for wondering if yet one more collection of dub mixes by the late, great King Tubby is really needed. It's not like his stuff is hard to find. On the other hand, anyone could be forgiven for smacking someone in the head who asks such a fool question and shrieking "Of course it is!" It's not like it's possible to get too much Tubby. Universally regarded as the greatest of the first-generation dub producers, King Tubby was a true virtuoso of the mixing desk, a man who made it his business to know everything there was to know about sound manipulation, and who applied his knowledge with a combination of musical taste and sonic adventurousness that has yet to be matched. 100% of Dub is not necessarily head-and-shoulders above the best of its competition (most notably the exquisite collections released on the Blood & Fire label in the mid-'90s), but it certainly can stand with the best of them. Notable tracks here include "Real Gone Crazy Dub" (a remixed DJ cut of Johnny Clarke's rendition of "Crazy Baldheads"), the brilliant "Stalawatt Dub," and "Declaration of Dub," which takes the Abyssinians' classic "Declaration of Rights" and runs it through the patented King Tubby wringer, drawing out individual instrumental parts and leaving wisps of the vocal track floating around in the background. Highly recommended." - Rick Anderson
total 268M 3.8M Devo - Are You Ready (Power Rangers).mp3 4.6M Devo - Baby Doll 01 - Baby Doll (Single Mix).mp3 8.1M Devo - Baby Doll 02 - Baby Doll (Extended Mix).mp3 5.0M Devo - Baby Doll 03 - Baby Doll (Instrumental Single Mix).mp3 5.2M Devo - Baby Doll 04 - Baby Doll (Percapella).mp3 4.9M Devo - Baby Doll 05 - Baby Doll (Devo Single Mix).mp3 7.9M Devo - Baby Doll 06 - Agitated (Hyperextended Mix).mp3 4.2M Devo - Baby Doll (sung in swedish).mp3 1.5M DEVO - Disc 1 - 01 - We're All Devo!.mp3 2.5M DEVO - Disc 2 - 01 - General Boy Visits Apocalypse Now.mp3 3.8M DEVO - Disc 2 - 05 - One Dumb Thing.mp3 4.5M DEVO - Disc 2 - 10 - I Wouldn't Do That To You.mp3 3.5M DEVO - Disc 2 - 11 - Bread And Butter.mp3 3.8M DEVO - Disc 2 - 12 - Let's Talk.mp3 3.1M DEVO - Disc 2 - 13 - Itsy Bitsy Teenie Weenie Yellow Polka-D.mp3 6.8M DEVO - Disc 2 - 20 - Head Like A Hole.mp3 4.6M DEVO - Disc 2 - 21 - Thanks To You.mp3 3.8M DEVO - Disc 2 - 22 - Communication Break-Up.mp3 720K DEVO - Disc 2 - 23 - Duty Now For The Future!.mp3 3.9M DEVO - Disc 2 - 24 - The Words Get Stuck In My Throat.mp3 5.8M Devo - Disco Dancer - 01 - Disco Dancer (7-inch Version).mp3 9.0M Devo - Disco Dancer - 02 - Disco Dancer (12-Inch Version).mp3 6.1M Devo - Disco Dancer - 03 - Disco Dancer (Bonus Beat).mp3 5.9M Devo - Disco Dancer - 04 - Disco Dancer (Karaoke Version).mp3 8.2M Devo - Dr. Detroit - 01 Theme From Doctor Detroit (dance mix.mp3 4.9M Devo - Dr. Detroit - 02 Luv-Luv (vinyl).mp3 4.2M Devo - Dr. Detroit - 03 Theme From Doctor Detroit (single CD.mp3 4.4M Devo - Go Monkey Go (Powerpuff Girls).mp3 3.9M Devo - Huboon Stomp.mp3 8.8M Devo - My My, Hey Hey (Out of the Blue) (w-Neil Young).mp3 4.6M Devo - Ohio.mp3 8.3M Devo - Post Post-Modern Man 01 Post Post Post-Modern Edit LP.mp3 3.8M Devo - Post Post-Modern Man 02 PrePostPost-ModernInstLP.mp3 4.0M Devo - Post Post-Modern Man 03 Album Version.mp3 4.6M Devo - Post Post-Modern Man 04 Macro Post-Modern Mix.mp3 9.2M Devo - Post Post-Modern Man 05 Sub Post-Modern Mix LP.mp3 9.3M Devo - Post Post-Modern Man 06 Neo Post-Modern Mix.mp3 8.6M Devo - Post Post-Modern Man 07 Ultra Post-Modern Dub.mp3 4.3M Devo - Social Fools (CD from Virgin Are We Not Men).mp3 4.6M Devo - Stiff EP - 01 - Jocko Homo.mp3 4.1M Devo - Stiff EP - 02 - (I Can't Get No) Satisfaction.mp3 3.6M Devo - Stiff EP - 03 - Be Stiff.mp3 5.0M Devo - Stiff EP - 04 - Mongoloid.mp3 4.2M Devo - Stiff EP - 05 - Sloppy (I Saw My Baby Gettin') (Vinyl.mp3 5.0M Devo - Stiff EP - 06 - Social Fools (Vinyl).mp3 4.9M Devo - Supercop.mp3 7.1M Devo - Tank Girl U Want (1995).mp3 3.5M Devo - Theme From Adventures of the Smart Patrol (192).mp3 4.6M Devo - The Spirit of JFK.mp3 3.1M Devo - Uncontrollable Urge (Urgh! A Music War).mp3 7.1M Devo - Whip It (HMS n M mix).mp3 4.6M devo - Whip it (Prime Cuts version).mp3 4.1M Devo - Witch Doctor.mp3
total 184M 6.9M Acrimony - The Bud Song.mp3 5.3M Alice In Chains - God Smack.mp3 7.1M Alice In Chains - Junkhead.mp3 6.0M Black Sabbath - Behind The Wall Of Sleep.mp3 9.9M Black Sabbath - Hand Of Doom.mp3 7.7M Black Sabbath - Snowblind.mp3 7.0M Black Sabbath - Sweet Leaf.mp3 7.4M Blue Oyster Cult - Flaming Telepaths.mp3 6.5M Bob Dylan - Rainy Day Women #12 & 35.mp3 4.7M Brewer And Shipley - One Toke Over The Line.mp3 5.2M Buffalo Springfield - Expecting to Fly.mp3 5.5M Capt. Beefheart - Ah Feel Like Ahcid.mp3 7.4M Country Joe And The Fish - Bass Strings.mp3 13M Country Joe And The Fish - Section 43.mp3 3.7M Cypress Hill - Hits From The Bong.mp3 4.1M Cypress Hill - I Wanna Get High.mp3 7.9M David Bowie - All The Madmen.mp3 8.2M Deep Purple - Speed King.mp3 4.4M Donovan - Hurdy Gurdy Man.mp3 3.9M Dr Hook And The Medicine Show - Freakin' At The Freakers Bal.mp3 1016K Dwarves - Fuck You Up and Get High.mp3 26M Electric Wizard - Burnout.mp3 9.0M Faith No More - Epic.mp3 3.6M Fraternity Of Man - Don't Bogart Me (AKA Don't Bogart That J.mp3 15M Funkadelic - Maggot Brain.mp3
"While No New York, the definitive collection documenting no wave, remains out of print, N.Y. No Wave will satisfy those waiting for its re-release and give the curious an idea of what this musical assault was all about. No repeat tracks from Brian Eno's 1978 production appear, but the main insitgators of the genre are represented: Lydia Lunch, James Chance, Suicide, and Mars, along with rare ZE tracks from Lizzy Mercier Descloux and Rosa Yemen. Individually the artists involved applied funk, free jazz, and wailing garage rock and were collectively connected by passionate, nihilistic frenzy. Unfortunately, one missing track that defined this short-lived outbreak of discord has been omitted -- "Red Alert" by Teenage Jesus & the Jerks. Under a minute long, it summed up the beginning and end of no wave. It's not everyone's cup of poison, but N.Y. No Wave will appeal to those with ears of steel and an open mind toward the Theatre of the Absurd." - Al Campbell
total 99M 3.0M 00 - Cover.zip 5.1M 01 - James White & The Blacks - Contort Yourself.mp3 3.9M 02 - Lizzy Mercier Descloux - Wawa.mp3 5.3M 03 - Lydia Lunch - Lady Scarface.mp3 8.4M 04 - Suicide - Mister Ray.mp3 4.8M 05 - Mars - 3E.mp3 4.7M 06 - Teenage Jesus & The Jerks - The Closet.mp3 2.9M 07 - Rosa Yemen - Rosa Vertov.mp3 4.1M 08 - Arto-Neto - Pini,Pini.mp3 2.9M 09 - Lizzy Mercier Descloux - Torso Corso.mp3 5.4M 10 - James White & The Blacks - Almost Black.mp3 5.6M 11 - Mars - 11 000 Volts.mp3 4.5M 12 - Lydia Lunch - Mechanical Flattery.mp3 2.3M 13 - Rosa Yemen - Decryptated.mp3 2.7M 14 - Teenage Jesus & The Jerks - Empty Eyes.mp3 4.5M 15 - The Contortions - Designed To Kill.mp3 5.5M 16 - Arto-Neto - Malu.mp3 2.7M 17 - Teenage Jesus & The Jerks - Less Of Me.mp3 2.7M 18 - Rosa Yemen - Larousse Baron Bic.mp3 5.5M 19 - James Chance & Pill Factory - That's When Your Heartaches Begin.mp3 3.4M 20 - Rosa Yemen - Herpes Simplex.mp3 5.0M 21 - The Contortions - Twice Removed.mp3 4.9M 22 - Suicide - Radiation.mp3
total 105M 3.4M Salute to Bonzo - Accelerators - Reaganland.mp3 568K Salute to Bonzo - Accelerators - Reaganomics Fuck Off.mp3 3.7M Salute to Bonzo - Austin Lounge Lizards - Ballad Of Ronald Reagan.mp3 2.4M Salute to Bonzo - Celebrity Jeopardy - Reagan-Bush-Clinton.mp3 56K Salute to Bonzo - Cover art.jpg 4.2M Salute to Bonzo - Dead Kennedys - Weve Got A Bigger Problem Now.mp3 2.0M Salute to Bonzo - Di - Reagan Der Fuhrer.mp3 656K Salute to Bonzo - D.R.I. - Reaganomics.mp3 6.4M Salute to Bonzo - Firesign Theatre - Reagan blasts rat.mp3 2.2M Salute to Bonzo - George Carlin - Reagan's Gang.mp3 1.5M Salute to Bonzo - Hackfittle and Dr Hemp - Since My Horse Died.mp3 3.9M Salute to Bonzo - Hunter S. Thompson - Bush-Nixon-Reagan.mp3 1.1M Salute to Bonzo - Inferno - Ronald Reagan.mp3 12M Salute to Bonzo - Jello Biafra - What Reagan Didn't Know.mp3 2.0M Salute to Bonzo - Nofx-Reagan Sucks.mp3 7.7M Salute to Bonzo - Opie and Anthony - Brokaw-Reagan.mp3 6.8M Salute to Bonzo - Opie and Anthony - Reagan Loses It.mp3 5.1M Salute to Bonzo - Opie And Anthony - Reagan's Defense System.MP3 3.2M Salute to Bonzo - Opie and Anthony - Ronald Reagan Prank Calls.mp3 2.1M Salute to Bonzo - Opie and Anthony - Ronald Reagan's 48th Anniversary.mp3 4.5M Salute to Bonzo - Ramones - Bonzo Goes To Bitburg.mp3 544K Salute to Bonzo - Rappin' Ronnie Reagan.mp3 2.3M Salute to Bonzo - Rattus - Reagan In Joululahja..mp3 4.0M Salute to Bonzo - Robin Williams - Reagan.mp3 1.7M Salute to Bonzo - Ronald and Nancy Reagan - Pro-Marijuana PSA.mp3 3.1M Salute to Bonzo - Shattered Faith - Reagan Country.mp3 4.6M Salute to Bonzo - Shattered Faith - Reagan In 1981.mp3 2.6M Salute to Bonzo - Suicidal Tendencies - I Shot The Devil.mp3 392K Salute to Bonzo - Teenage Depression - Reagan's Gestapo.mp3 2.8M Salute to Bonzo - The Complete Wit and Wisdom of Ronald Reagan.mp3 2.1M Salute to Bonzo - The Fartz - Battle Hymn Of Ronnie Reagan.mp3 2.4M Salute to Bonzo - The First Family - Reaganomics.mp3 1.2M Salute to Bonzo - The Minutemen - If Reagan Played Disco.mp3 2.1M Salute to Bonzo - Tom Leykis Show - June 11 2004 - Ronald Reagan.mp3 848K Salute to Bonzo - Wasted Youth - Reagan's In.mp3
"Reggae fans overlook this one at their peril. Originally released as two separate albums on Bunny Wailer's own Solomonic label, this CD brings together the dub versions of songs from Blackheart Man, his solo debut, and Bunny Wailer Sings the Wailers, his tribute to the band he originally founded with Peter Tosh and Bob Marley. Blackheart Man, in particular, is generally regarded as one of the best reggae albums ever made, and the dub versions (produced by Bunny himself, which is unusual) complement its original contents perfectly. Bunny has a surprisingly adventurous approach to dub -- the sound is wet, warm and crowded, with lots of atmospheric reverb and generous splashes of vocals fluttering in and out through the mix. Bunny Wailer Sings the Wailers wasn't as important a record as Blackheart Man, but it was still a fine album, and the inclusion of both titles in dub versions makes this disc a great bargain as well as a musical revelation. Highlights include headbusting versions of "Battering Down Sentence" and "Dreamland," the latter featuring a gloriously cheesy outer-space synth line. Essential." - Rick Anderson
total 93M 12K Bunny Wailer - 00. Dub-D'sco (1999).jpg 4.0K Bunny Wailer - 00. Dub-D'sco (1999).m3u 16K Bunny Wailer - 00. Dub-D'sco (1999).PAR2 4.0K Bunny Wailer - 00. Dub-D'sco (1999).sfv 6.2M Bunny Wailer - 01. Roots Raddics Dub.mp3 6.7M Bunny Wailer - 02. Battering Down Dub.mp3 8.9M Bunny Wailer - 03. Armageddon Dub.mp3 4.3M Bunny Wailer - 04. Dub Tree.mp3 6.9M Bunny Wailer - 05. Burning Dub (Love Fire).mp3 5.2M Bunny Wailer - 06. Rasta Dub.mp3 3.7M Bunny Wailer - 07. Dub Dreams (Dreamland).mp3 6.9M Bunny Wailer - 08. Burial Dub.mp3 4.8M Bunny Wailer - 09. Predominately Dub.mp3 5.2M Bunny Wailer - 10. Dub The Proud Land.mp3 4.3M Bunny Wailer - 11. Rule This Dub.mp3 4.7M Bunny Wailer - 12. The Toughest Dub.mp3 5.0M Bunny Wailer - 13. Dancing Dub.mp3 5.3M Bunny Wailer - 14. Mellow Dub.mp3 5.4M Bunny Wailer - 15. Keep On Dubbing.mp3 4.9M Bunny Wailer - 16. Hypocritical Dub.mp3 5.4M Bunny Wailer - 17. Worly Girly Dubby.mp3
"Although not as well known as Studio One, Treasure Isle or Black Ark, Joseph and Wayne Hookim's Channel One Studio has played an equally strong role in the history of Jamaican reggae, first as a last blast of roots material at the close of the 1970s, and then as a cornerstone of the emerging dancehall scene in the mid-1980s. These two periods correspond neatly to the house bands in residence at Channel One, with the Revolutionaires providing the rhythms behind the first phase, and the Roots Radics powering the second. This two- disc history of the studio shows that whatever the differences were between early and later Channel One releases, a crisp, clear sound was the constant, and the hits here from the Mighty Diamonds ("I Need a Roof," "Right Time"), Barrington Levy ("Dances Are Changes"), Delroy Wilson ("Sharing the Night Together"), the Jays (a cover of "Queen Majesty" by the Impressions), John Holt ("Up Park Camp") and Sugar Minott ("Babylon") all feature that same sharp, fresh feel and tone, making this a wonderful introduction to a vital Jamaican institution." - Steve Legett
Vol. 1 total 295M 10M Babylon.mp3 7.4M Ballistic Affair.mp3 9.6M Burial.mp3 6.0M CB 200.mp3 8.5M Cokane In My Brain.mp3 8.0M Dances Are Changing.mp3 7.7M Death In The Arena.mp3 7.9M Don't Smoke The Seed.mp3 7.0M Fade Away.mp3 6.8M Far East.mp3 6.5M Hard To Confess.mp3 6.7M Herbman Smuggling.mp3 7.8M I Know Myself.mp3 6.4M I Need A Roof.mp3 7.7M M. 16.mp3 6.1M M.P.L.A..mp3 7.7M Natty Burial.mp3 8.3M Natty Dread Have Credentials.mp3 7.3M Prima Balerina.mp3 16M Queen Majesty.mp3 7.2M Ragnampiza.mp3 7.3M Right Time.mp3 8.1M Roach Killer.mp3 7.5M Road Block.mp3 8.6M Satisfaction.mp3 7.6M Sharing The Night Together.mp3 7.6M Show Me That You Love Me Girl.mp3 7.6M Smoke Ganja Hard.mp3 7.7M Things & Time.mp3 14M Truly (DJ mix).mp3 7.0M Truly.mp3 8.3M Up Park Camp.mp3 10M Welding.mp3 6.6M Without Love.mp3 6.8M Woman Is Like A Shadow.mp3 8.1M Worries In The Dance.mp3 8.3M Yaho.mp3
"If Dread Beat An' Blood brought Johnson and initial flush of notoriety, then Forces of Victory was the record that cemented his growing reputation as a major talent. Bovell and the Dub Band swing hard on this set, especially on the album's opening track "Want Fi Goh Rave." This contains some of Johnson's most memorable songs/poems, such as the heartfelt prison saga "Sonny's Lettah" and the confrontational "Fite Dem Back," which he delivers in his trademark sing-song Jamaican patois. Dramatic and intense to the point of claustrophobia, Forces of Victory is not simply one of the most important reggae records of its time, it's one of the most important reggae records ever recorded." - John Dougan
total 78M 8.1M 01 - Want fi goh rave.mp3 7.0M 02 - It noh funny.mp3 7.4M 03 - Sonny's lettah (anti-sus poem).mp3 8.3M 04 - Independant intavenshan.mp3 8.5M 05 - Fite dem back.mp3 9.1M 06 - Reality poem.mp3 9.4M 07 - Forces of viktry.mp3 6.6M 08 - Time come.mp3 2.4M FOV_cdbook-inside.jpg 2.4M FOV_cdbook-outside.jpg 1.3M FOV_inlaybox.jpg 24K FOV_thumbnail.jpg
"Borrowing his stage name from the popular TV Western hero of the same name, the Lone Ranger was one of Jamaica's most influential early dancehall DJs. He helped pioneer a newly rhythmic, on-the-beat rhyming style that led DJ toasting into the modern age, and punctuated his lyrics with bizarre exclamations and sound effects ("bim" and "ribbit" were his favorites) that made him perhaps the most imaginative stylist of his time. The Lone Ranger was born Anthony Waldron and spent a good portion of his childhood in the U.K., later moving to Kingston. He first recorded in tandem with Welton Irie at Clement "Coxsone" Dodd's famed Studio One, but soon went solo, toasting over the rhythm tracks of past Studio One hits from the rocksteady and roots reggae eras. He also became the top DJ for the Virgo Hi Fi Sound System, resulting in its being voted the top sound system in Jamaica in 1980.The Lone Ranger's breakout hit was "Love Bump," a Dodd-produced version of the rhythm from Slim Smith's "Rougher Yet." His signature song, however, was "Barnabas Collins," an ode to the vampiric main character of the TV series Dark Shadows. Produced by Alvin "GG" Ranglin, "Barnabas Collins" was a massive hit in 1980, topping charts in both Jamaica and the U.K. An album of the same name (aka Barnabas in Collins Wood) followed on Ranglin's label, and established him as one of the top recording DJs of the time. Over the next two years, the Lone Ranger recorded prolifically for Studio One, issuing albums like On the Other Side of Dub, Badda Dan Dem, and what many regarded as his strongest LP, M-16. M-16 featured further hits in the title track, "Natty Burial," and "Fist to Fist." He also recorded with other producers, including Channel One's Winston Riley (1981's Rosemarie) and himself, in tandem with Clive Jarrett (1982's Hi Yo Silver Away).With the ascent of Yellowman and the recording debuts of other prominent early DJs (Brigadier Jerry, Josey Wales, Charlie Chaplin, etc.), the Lone Ranger found his popularity challenged; he also found some of his signature gimmicks appropriated by imitators. After his initial burst of activity, his pace had slowed considerably by the mid-'80s. He cut another album, DJ Daddy, for Winston Riley in 1984, and followed it with Learn to Drive, a low-profile album for Bebo Phillips' label, in 1985. He subsequently dropped out of sight." - Lone Ranger
"One of the first and finest of the dancehall toasters, Lone Ranger came to prominence in the early '80s with a series of hits sporting vintage Studio One rhythms from the rocksteady and early reggae eras (this, of course, was a practice followed by a majority of dancehall singers and DJs during the first half of the '80s). Hooking up with producer Clement "Coxsone" Dodd, Lone Ranger cut this debut for Dodd's Studio One label in 1981. Featuring the big dancehall smash "Barnabus Collins" (this homage to the most popular vampire of the '60s features the well-traveled rhythm from Slim Smith's late-'60s hit, "My Conversation"), The Other Side of Dub finds the masked man in his inimitable bimming and ribbiting mode, deftly tossing off phrases full of wit and social observations. With regard to the dub end of things alluded to in the title, the album features a handful of dub versions of the toasts Lone Ranger delivers in the first half of the set. A tasty slice of early dancehall mic work." - Stephen Cook
total 43M 3.6M 01 - Barnabbas_Collins.mp3 3.6M 02 - Noah_and_the_Ark.mp3 2.8M 03 - Apprentice_Dentist.mp3 4.1M 04 - Quarter_Pound_Ishen.mp3 4.5M 05 - Everything_She_Want.mp3 3.2M 06 - Natty_Dread_On_the_Go.mp3 3.1M 07 - Grave_Yard_Skank.mp3 3.6M 08 - Where_Eagles_Dwell.mp3 2.8M 09 - Dentist_Dub.mp3 4.1M 10 - Collie_Rock.mp3 4.7M 11 - Dub_a_Natty_Dread.mp3 2.9M 12 - Roots_Style.mp3
"The remarkable thing about reggae legend Lee "Scratch" Perry and production mastermind Mad Professor is not the sheer volume of their recorded output, but the relative consistency of its quality. This album is no exception, as Mad Professor remixes tracks from Perry's Who Put the Voodoo 'Pon Reggae? in typical dubadelic style. As insane as Perry normally sounds, being awash in the psychedelic soundwaves of dub suits his raving-madman vocal style even more perfectly. Here, his chicken squawks, nonsense utterances, and babblin'-in-Babylon ramblings are matched by a host of appropriately trippy, echoing, reverberating sounds. Pure, unadulterated dub genius." - Bret Love
total 36M 16K Mad Professor & Lee Perry - 00. Dub Take The Voodoo Out Of Reggae (1996).jpg 4.0K Mad Professor & Lee Perry - 00. Dub Take The Voodoo Out Of Reggae (1996).m3u 4.0K Mad Professor & Lee Perry - 00. Dub Take The Voodoo Out Of Reggae (1996).sfv 3.2M Mad Professor & Lee Perry - 01. Cheerful Dub.mp3 5.1M Mad Professor & Lee Perry - 02. Drummer Boy Dub.mp3 3.6M Mad Professor & Lee Perry - 03. Bounce Boy Dub.mp3 3.1M Mad Professor & Lee Perry - 04. Dub Voodooo.mp3 3.5M Mad Professor & Lee Perry - 05. Shadaw Of Dub.mp3 3.8M Mad Professor & Lee Perry - 06. Mystic Powers Of Dub.mp3 3.3M Mad Professor & Lee Perry - 07. Arkwell Dub.mp3 3.5M Mad Professor & Lee Perry - 08. Mr. Dubfire.mp3 3.7M Mad Professor & Lee Perry - 09. Dub Connection.mp3 3.2M Mad Professor & Lee Perry - 10. Messy Dub Apartment.mp3
CD 1 total 78M 4.0K 100-va-rare_roots_reggae-cd1-2004-jah.m3u 4.0M 101-the_chosen_few-shaft-jah.mp3 4.1M 102-delroy_williams-little_less_talking-jah.mp3 5.7M 103-the_meditations-justice-jah.mp3 3.6M 104-hugh_mundell-dont_stay_away-jah.mp3 6.0M 105-knowledge-fools_and_their_money-jah.mp3 2.6M 106-hugh_mundell-oh_how_i_love_h.i.m_(feat_m_edwards)-jah.mp3 5.6M 107-the_meditations-rome-jah.mp3 3.1M 108-hugh_mundell-live_in_love-jah.mp3 11M 109-knowledge-let_us_all_(extended_version)-jah.mp3 4.3M 110-earl_sixteen-dreadlocks_unite-jah.mp3 4.4M 111-hugh_mundell-time_has_come-jah.mp3 7.3M 112-knowledge-hail_dread_(extended_version)-jah.mp3 5.1M 113-delroy_williams-heathen_valley-jah.mp3 5.4M 114-the_meditations-play_i-jah.mp3 3.7M 115-keith_and_tex-stop_that_train-jah.mp3 3.3M 116-hugh_mundell-great_tribulation-jah.mp3 CD 2 total 71M 4.0K 200-va-rare_roots_reggae-cd2-2004-jah.m3u 3.6M 201-derrick_harriot-message_from_a_blackman-jah.mp3 4.7M 202-the_meditations-woman_piabba-jah.mp3 2.5M 203-horace-lonely_woman-jah.mp3 3.3M 204-hugh_mundell-hey_mr_richman_(feat_m_edwards)-jah.mp3 3.8M 205-big_youth-cool_breeze-jah.mp3 4.3M 206-the_meditations-there_must_be_a_first_time-jah.mp3 3.9M 207-derrick_harriot-loser-jah.mp3 7.5M 208-knowledge-population_(extended_version)-jah.mp3 3.7M 209-delroy_williams-mountain_top-jah.mp3 4.1M 210-junior_murvin-rescue_the_children-jah.mp3 3.9M 211-the_meditations-senorita-jah.mp3 4.6M 212-delroy_williams-idrens_feel_nice-jah.mp3 3.2M 213-dennis_brown-lips_of_wine-jah.mp3 5.0M 214-knowledge-senty-jah.mp3 4.4M 215-winston_mcanuff-ugly_days-jah.mp3 4.7M 216-delroy_williams-your_mind-jah.mp3 4.7M 217-the_meditations-marriage-jah.mp3
total 48M 3.6M A1 Lloyd Tyrell - Birth Control.mp3 3.8M A2 Bim, Bam & Clover - The Pill.mp3 2.8M A3 Max Romeo - Sock It Onto I.mp3 3.0M A4 Max Romeo - Feel It.mp3 3.5M A5 John Lennon - Ram You Hard.mp3 2.8M A6 Laurel Aitken - Bend Wood Dick.mp3 4.0M B1 Max Romeo - Wine Her Goosie.mp3 3.7M B2 Etiopians - Satan Girl.mp3 3.9M B3 Calypso Joe - Adults Only.mp3 3.5M B4 Laurel Aitken - Pussy Price.mp3 2.7M B5 King Sick - Caught You.mp3 4.0M B6 Girlie & Laurel Aitken - Fire In Your Wire.mp3 380K Various - Birth Control - Back.jpg 412K Various - Birth Control - Front.jpg 560K Various - Birth Control - Side 1.jpg 560K Various - Birth Control - Side 2.jpg
"By the mid 1970s, most new albums in Jamaica were accompanied by a dub companion, but obviously this was not the case in the U.K. However, relations were so strained between Winston Rodney and Mango, over the remixed version of Marcus Garvey they'd released internationally, that the artist had launched his own label Spear to prevent this ever happening again. Thus Mango decided to mix up a dub album, Garvey's Ghost, in an attempt to mollify Rodney. Apparently this rather obvious ploy did the trick, and the tensions between the label and artist now eased. However, listening to the record, one wonders why, for, if anything, Ghost merely added insult to injury. Rodney was aggrieved at the reggae light remix of his dread masterpiece, and if Garvey was light, Ghost was positively ashen. Even in its remixed form, which seriously lightened Jack Ruby's deeply dread production, the rhythms laid down by Robbie Shakespeare, Aston "Family Man" Barrett and Leroy "Horse" Wallace on Garvey remained as fat as a Thanksgiving turkey. But just as Mango didn't believe the world was ready for real reggae, true dub was just as dangerous, so instead the listener is presented with this apology. At their least offensive, the engineers did no more than strip off the vocal track, creating not a dub, but an instrumental version of the original track, and sadly this makes up a frighteningly high proportion of the resulting record. "Marcus Garvey" suffers an even worse fate, as the engineers focus on the song's lightest elements, turning a roots classic into pop pap, at which point old Marcus Garvey was desperately wishing nobody had remembered him. Only the rare track escapes from these Scylla and Charbydis remixes. "I and I Survive," the dub of "Slavery Days," is the best track on the album, all pounding beats with the instrumentation actually accenting the song's depth, while "Black Wa-Da-Da," the dub of "The Invasion," is reduced to bare beats, sinuous bass, and bits of emotive vocals. But these are the exceptions to a rather dismal record. It's evident that Garvey's ghost was not haunting the Hammersmith, London studio when this was record was mixed down, but it's very likely Garvey himself was turning in his grave." - Jo-Ann Greene
"Marcus Garvey hit Jamaica like a force ten gale, its legacy so great that in later years many fans mistakenly came to believe it was Burning Spear's debut album (it wasn't, two earlier records were released by Studio One). It made an instant hero of Winston Rodney, and the album remains a cornerstone of the entire roots movement. Spear was accompanied by the Black Disciples, a baker's dozen of the island's best musicians, including bassists Robbie Shakespeare and Aston Barrett, guitarists Earl "Chinna" Smith and Tony Chin, and drummer Leroy Wallace. The Disciples helped the vocal trio bring their vast potential and musical vision to vinyl, one they'd threatened with previous releases, but never quite attained. Producer Jack Ruby's was equally important to the album's sound, gracing it with a deep roots mix that accentuated the haunting atmospheres of the music. Unfortunately, the listener experiences only wisps of that here. The Island subsidiary Mango believed the production too threatening, or at least too commercially inviable, for white audiences, and thus remixed it into what they considered a more palatable form. However, Marcus Garvey is so powerful a record that, even in this diluted state, it remains a masterpiece. If the music itself defined and glorified the roots sound, it was Winston Rodney which gave the movement's philosophy voice. Rodney's vocal talent is actually fairly minimal, his delivery more a chant than actual singing, but his intense passion overcame any deficiencies, with Rupert Willington and Delroy Hinds dulcet backing vocals counterpointing Rodney's rougher tones. A fervid rastafarian, Rodney used Marcus Garvey as a shining torch to light the way to political and religious consciousness. The album's twinned themes of cultural concerns and religious devotion combined to create a powerfully intertwined message of faith and political radicalism. "No-one remember old Marcus Garvey, Spear sing at the beginning of "Old Marcus Garvey"; by the time the song's over, it's unlikely anyone will forget again. These musical mnemonics of Jamaica's past heroes and history, which include the hit title track, of course, "Slavery Days," another Jamaican hit, and "The Invasion" are amongst the album's strongest tracks, with the three devotional numbers equally inspiring. Oppression may be the fate of many Jamaicans, both past and present, but by giving voice to those trampled by poverty, slavery, or politics, Spear's underlying message remains one of hope." - Jo-Ann Greene
"Burning Spear's second album was originally released in the U.K. by Island in 1980 and has always been difficult to find in the U.S. Blood & Fire's reissue makes it possible for average American reggae fans to hear what we've been missing, and it turns out that we've been missing quite a lot. Social Living picks up right where Marcus Garvey left off -- more slow, dark songs about slavery, repatriation and, of course, Garvey himself (four of the nine songs have his name in their titles). There are still no real tunes to speak of, just immensely dense grooves that thud and rumble along slowly and relentlessly to the accompaniment of distant horns and rattling Nyabinghi percussion. If this album edges out the first in any way, it's in the mix: Island toned down Marcus Garvey a bit to appeal to British audiences, but the Blood & Fire version of Social Living absolutely throbs with bass and echoes like drums heard across vast distances. In this context, when Winston Rodney sings that "Jah no dead" it's impossible not to believe him; when he instructs you in the specifics of "Social Living," you find yourself submitting to his instruction. It's that kind of album." - Rick Anderson
"One of the most exciting young talents to arise out of the '80s dancehall scene, Garnett Silk began his career as a child toaster, but ended it as one of Jamaica's most astonishing singers; with a rich and emotive voice, he took the nation by storm. He seemed destined for international stardom, when his career was cut cruelly short by his death in 1994.
Born Garnett Damoin Smith in Jamaica's Manchester parish on April 2, 1966, the young DJ-to-be, had decided on his career choice as a small child. Encouraged by family and friends, Silk first took the stage at the Soul Remembrance sound system at the tender age of 12, under the moniker Little Bimbo. The tiny toaster so impressed the audience that he swiftly began DJing regularly, first at Soul Remembrance, and then as the decade turned, at Pepper's Disco, Stereophonic, and then Destiny Outernational. It was at this latter sound system where the teen first met Tony Rebel, another Manchester native. Rebel was making a name for himself as a cultural toaster and went on to become a major influence on the dancehall scene, and on Little Bimbo himself. The DJ was still in his teens when he cut his first song, 1985's "Ram Dance Master"; he may have recorded others, but none have yet surfaced. It was another two years before Little Bimbo's debut single, "Problems Everywhere," appeared. Cut with producer Delroy Collins, the posthumous Journey album features not just the single, but an album's worth of material recorded by the two at this time.
In 1987, Little Bimbo linked up with Sugar Minott and recorded the "No Disrespect" single for the older man's Youth Promotion label. Coincidentally, Tony Rebel was at this time the star DJ for Minott's Youth Promotion sound system, and he and Little Bimbo immediately hooked back up. The pair began performing as a duo around the sound systems to much acclaim. The Garnett Silk Meets the Conquering Lion: A Dub Plate Selection album dates from about this time and features a clutch of exclusive recordings the DJ cut for the sound system from the mid-'80s through the end of the decade. Rebel, a Rastarfari, eventually converted Little Bimbo to his religion with the help of dub poet Yasus Afari, a close friend of both the DJs. If Rebel had a massive impact on Silk's religious beliefs and toasting themes, Derrick Morgan would have an equal impact on his career.
In 1989, the veteran singing star and producer brought Rebel and Little Bimbo into Bunny Lee's studio in Dunhaney Park to record the two both individually and as a duo. Morgan had one listen and sat Little Bimbo down and gave him some fatherly advice -- stop toasting and start singing. he Heartbeat label's Tony Rebel Meets Garnet Silk in a Dancehall Conference compiles these early Morgan-overseen recordings and captures Little Bimbo (and he was still known by that name at the time) at the crossroads of his career. Several of the tracks are pure toasts, others are somewhere in between, but when Little Bimbo sang, even though his delivery still has the clipped tones of dancehall, he was magnificent. His solo cover of "Killing Me Softly With Her Song" was heartbreaking in delivery, while "Help the Poor and Needy," a version of "A Little Oil in My Lamp," split between Rebel's rough toasts and Little Bimbo's fervid singing, was equally memorable.
Over the next year, the still maturing singer cut a number of singles for a variety of producers -- King Tubby, Donovan Germain, and Prince/King Jammy amongst them -- before hooking up with Steely & Clevie in 1990. He inked a contract with the production team and recorded an album's worth of songs for them. However, only one, "We Can Be Together," a duet with Chevelle Franklin, was actually released, at least in the singer's lifetime. Discouraged, he returned to Manchester and threw himself into songwriting, often in partnership with an old friend, Anthony "Fire" Rochester.
The intervening period wasn't a total waste as he now had a sheaf of new songs and a new name. Besides the one single, Steely & Clevie had also convinced Little Bimbo to drop his old moniker and take up Garnett Silk instead; the silk, of course, referring to his smooth, silky tones. Another run-in with Tony Rebel brought an introduction to Courtney Cole, owner of the Roof International label. Silk would record a plethora of seminal songs at the producer's Ocho Rios studio, amongst them were the hits "Mama," "Seven Spanish Angels," and a phenomenal cover of the Johnny Nash classic "I Can See Clearly Now," the biggest smash of the group. Roof International would posthumously bundle up these early singles and other material recorded at this time for the Nothing Can Divide Us album, which the VP label picked up for the U.S.
By 1992, Silk was in Kingston in the studio with producer Bobby Digital, recording his debut album It's Growing. Split between deeply cultural themes, spiritual songs, and romantic numbers, the album went on to become one of the best selling in Jamaica that year. Over the next two years, the singer would record with most of the major name producers on the island, both on his own and in partnership with Tony Rebel. He cut a swathe of songs with King Jammy, including "Fill Us Up With Your Mercy" and the fabulous "Lord Watch Over Our Shoulders." The latter track titled a 1994 compilation released by the Greensleeves label in the U.K. and boasts seven Jammy cuts and a clutch of hits for other producers.
1993's Gold, released by the U.K. Charm label, bundled up more hits from this period. Amongst them was the inspirational "Zion in a Vision," a Jamaican number one cut with producer Jack Scorpio, as well as Silk's first international hit, "Hello Mama Africa" (produced by Richard "Bello" Bell) for the Star Trail label, which topped the reggae chart in Britain. There were equally masterful recordings for Sly & Robbie, including the deeply religious "Thank You, Jah" and the haunting "Green Line." But the pace was becoming too much and Silk collapsed during a show at the Ritz in New York City. The exhausted singer was forced to cancel all his scheduled appearances for the next six months, most crucially of all, Reggae Sumfest. However, Silk bounced back in 1994 and set back to work. In a show of good grace, he rejoined Steely & Clevie and cut the "Love Is the Answer" single, another massive hit. "Fight Back," produced by Richie Stephens, was next up. By then, the singer was ready to re-take the stage, which he did with a vengeance at that year's Reggae Sumfest and Reggae Sunsplash festivals. His phenomenal set at the latter event was captured for the Live at Reggae Sunsplash 1994, released in 1999 by the Tabou1 label.
Having inked an international distribution deal with Atlantic Records, Silk now entered Tuff Gong studios with producer Errol Brown and the cream of Jamaica's sessionmen to begin work on his second album. He'd recorded ten songs and the album was nearing completion when he went home to visit his mother. Silk had borrowed a pair of guns from his attorney after his home had been burgled, but had no idea how to use them. Sitting with a couple of friends at his mother's on December 9, one offered to show him how they worked, at which point the gun accidentally misfired, hitting a propane tank and setting the house ablaze. The singer, his friends, and his two brothers made it out safely, only to discover that Silk's mother was still trapped inside. The singer rushed back into the house to save her, but it was too late and both were lost in the fire. Since then, Silk's music has been kept alive by numerous compilation albums.
In 2000, Atlantic finally released The Definitive Collection, a two-CD set showcasing the ten tracks the singer had recorded during sessions for his unfinished second album. These songs quell any doubts about the singer's future; international stardom awaited. However, there is no use mourning what might have been, nor in mourning what the world has lost. The world is left with Silk's rich legacy of songs, and his influence remains as strong now as when he was alive." - Jo-Ann Greene
"This collection was initially released by the Charm label, the Jet Star version adds another four tracks to the original ten, to indeed create a Killer Price compilation. The set bundles up a bumper crop of Garnett Silk's early hits and fan faves, kicking off with "Hello Africa," the artist's biggest single, and his first international smash. That Richard Bell-overseen masterpiece was a heart-felt love letter to the continent, the Donovan Germain "Lion Heart" is an epistle to Jah, capturing Silk on the cusp of his shift from toasting to singing. The album is stuffed with such cultural classics, cut for a variety of different producers.King Jammy oversaw the gorgeous prayer of "Fill Us Up with Your Mercy," Jack Scorpio the exquisite "Zion in a Vision," and Bobby Digital the storming "The Rod," where Silk brings the Gods' words to the masses through reggae music.The singer would also cut "Judge Not" for Digital, that's not here, but another equally cut version, "Passing Judgement," overseen by Peter Chemist is. "Necessity," in full American-styled R&B, also provides life lessons; "Let's All Spread Love" takes a unity message down a similarly themed path. Love songs light up the rest of the set, with the most magnificent a tribute to Silk's "Mama," an exuberant, heartfelt hit overseen by Courtney Cole. And love is everywhere, "It's Growing" by the minute; that sublime hit titled the singer's debut album, another masterpiece. "Love Me Baby" was bouncier, but just as infectious, as was the Danny Browne produced "Oh Me Oh My," another love-strewn hit. Every number here is a winner, the backing's superb, the arrangements expertly enhancing the themes and Silk's vocals; the production's top-notch. This isn't all the Silk you need, but it's a great place to start." - Jo-Ann Greene
"Ominously known as "The Dark Prince of Reggae," Keith Hudson was born into a musical family in Kingston, Jamaica in 1946. His musical education began as Hudson worked as a sort of roadie for Skatalite and Jamaican trombone king Don Drummond. By age 21, Hudson, who had been trained as a dentist, sunk his earnings into his own record label, Inbidimts, and had a hit with Ken Boothe's recording of "Old Fashioned Way." Not long after this chart success, the suddenly hot Hudson was producing some of the biggest names (and soon-to-be biggest names) in reggae -- John Holt, Delroy Wilson, Alton Ellis, and the great toasters U-Roy and Dennis Alcapone, all of whom benefited from what would be Hudson's trademark production style: groove-centered, bass/drum-dominated, lean and mean stripped-down riddims. By the mid-'70s, Hudson began releasing more solo work, hitting paydirt from the start with his 1974 debut, Entering the Dragon and his intense second record, Flesh of My Skin, an ominous, dark record that earned Hudson his title as reggae's "Dark Prince." In 1976, Hudson relocated to New York City and worked pretty much nonstop, producing as well as recording solo records up until 1982. He succumbed to lung cancer in 1984, at age 38, robbing reggae of one its greatest, most adventurous, and unhearalded producers and performers." - John Dougan
total 62M 6.7M 01 - Anger.mp3 7.0M 02 - No Skinup.mp3 5.4M 03 - Central Kingston.mp3 5.1M 04 - It's Allright.mp3 5.8M 05 - Desiree.mp3 5.9M 06 - (Dreadful) Words.mp3 5.9M 07 - They Don't Hurt.mp3 4.4M 08 - (Bad Things) You Teach Me.mp3 6.4M 09 - One Extreme To Another.mp3 6.2M 10 - Buzzing Bee.mp3 4.0K Keith Hudson - Black Morphologist Of Reggae.m3u 4.0K Keith Hudson - Black Morphologist Of Reggae.nfo 1.6M Keith Hudson - The Black Morphologist Of Reggae 1983-Back.jpg 1.1M Keith Hudson - The Black Morphologist Of Reggae 1983-Front.jpg
total 43M 2.8M Mikey Dread Dub Merchant Autumn Mood.mp3 3.2M Mikey Dread Dub Merchant Concrete Rock.mp3 5.2M Mikey Dread Dub Merchant Funky Stuff.mp3 3.9M Mikey Dread Dub Merchant Green Mango.mp3 3.8M Mikey Dread Dub Merchant Hot Pepper.mp3 1.7M Mikey Dread Dub Merchant Jumbo Skank.mp3 4.0K Mikey Dread Dub Merchant LP.m3u 3.5M Mikey Dread Dub Merchant Musical Rocket.mp3 2.9M Mikey Dread Dub Merchant Reggae Masterpiece.mp3 3.8M Mikey Dread Dub Merchant Roast Fish.mp3 3.0M Mikey Dread Dub Merchant Slow Piece.mp3 5.0M Mikey Dread Dub Merchant Stag Lack No. 17.mp3 4.0K Mikey Dread Dub Merchant .txt 4.0M Mikey Dread Dub Merchant Walk on the Wild Side.mp3
total 72M 11M Mikey Dread & Roots Radics 01 - Demo Dub.mp3 5.8M Mikey Dread & Roots Radics 02 - Raving Style.mp3 6.1M Mikey Dread & Roots Radics 03 - Dub Addict.mp3 5.8M Mikey Dread & Roots Radics 04 - Stereo Dub.mp3 7.4M Mikey Dread & Roots Radics 05 - Brain Wave.mp3 9.5M Mikey Dread & Roots Radics 06 - Front Room Dub.mp3 5.7M Mikey Dread & Roots Radics 07 - Two Track Dub.mp3 6.0M Mikey Dread & Roots Radics 08 - Control Tower Dub.mp3 5.4M Mikey Dread & Roots Radics 09 - Reflexion Dub.mp3 4.4M Mikey Dread & Roots Radics 10 - Dreadlocks Dub.mp3 5.7M Mikey Dread & Roots Radics 11 - Queens Dub (CD bonus track).mp3
"One of the many voices of the roots era, Prince Far I was absolutely unique. He certainly cannot be categorized as a singer, although at times -- especially during chanted passages -- there was definitely a singsong quality to his vocals, and in that respect the closest comparison was to Winston Rodney of Burning Spear. However, that group actually wrote lyrics, while Prince Far I vocals were a stream of consciousness that belongs in the DJ realm. But to call him a toaster is equally inaccurate. His delivery was reminiscent of an Old Testament prophet, railing at the wicked, a seething outpouring of religiously inspired righteousness.
Born in Spanish Town, Jamaica, in 1944, Michael James Williams actually started his career in the sound systems, DJing for the Sir Mike the Musical Dragon setup. That certainly didn't pay the bills, however, and the young man also worked as a security guard at Joe Gibbs' studio. Eventually, he was then employed by Coxsone Dodd as a bouncer for the producer's own Studio One sound system. It was a sheer fluke that Williams ended up cutting his debut single for Dodd. The producer had a session booked for DJ King Stitt one day in 1970 and the veteran toaster didn't show. On the spur of the moment, Dodd allowed the bouncer to take the mic instead, the end result was the "Queen of the Minstrel" single. It was released under the moniker King Cry Cry, a name foisted on him by the producer, who'd witnessed more than once his employee bursting into tears when angered. Williams kept the name even after he began cutting singles with other producers. The following year, King Cry Cry scored his first minor hit with "I Had a Talk," recorded with Bunny Lee. Coincidentally, in the U.K. this song was paired with "Zion Train" by a still unknown Burning Spear.
Back in Jamaica, King Cry Cry's follow-up single, "The Great Booga Wooga," a version of Lester Sterling's "Spring Fever," did equally well. However, the artist's career progressed slowly and as the titles to his early singles show, he had yet to find his true voice. Even after producer Enos McLeod recommended changing his name to Prince Far I -- the Voice of Thunder, under which name he was credited on the "Let Jah Arise" single, the performer had yet to set the island alight. He did, however, chalk up another minor hit with the Coxsone Dodd-produced "Natty Farmyard," a version of Larry Marshall's "Mean Girl." The newly crowned Prince was also involved in several collaborative recordings, including one with Bobby & Tommy, and another with the Maytones, for the fabulous Alvin Ranglin produced "Creation Time." It wasn't until 1976 that Prince Far I recorded his debut album, Psalms for I. Produced by Lloydie Slim, it comprised ten tracks in all -- the Lord's Prayer and nine psalms, across which the artist first previewed the sermon-esque deliveries that would become his trademark. And while the album had a marvelously rootsy sound, the missing element was rhythms heavy enough to support the artist's apocryphal vision. In the meantime, there was the "Zion Call" single to keep Jamaica interested.
Producer Joe Gibbs finally supplied the missing ingredient in 1977 for the seminal single "Heavy Manners." Utilizing the rhythm from Naggo Morris' "Su Su Pon Rasta," the producer spun a deeply dubby sound, the bass line as heavy as a rhinoceros and just as dangerous. Over this fierce, dread backing, Prince Far I sarcastically addressed the trenchant of laws enacted by the government to stem the tide of violence that had covered the island. "Heavy Manners" immediately elicited an outcry of rabid support from Rastafarians and ghetto youth who were living under virtual martial law, and of outrage from those who saw no other solution. This included Lord Stitch, who replied with the "Crazy Joe" single cut for Bunny Lee and Clive Chin. The latter man's shop, Randy's, was a mere stone's throw from Gibb's own and Chin bellicosely blasted the single from his store day and night. But Prince Far I and his "baldhead followers" were not chased out of town, as Stitch suggested they ought to be, far from it. Instead, the artist was hard at work on a new album, Under Heavy Manners. The Roots Radics laid down the thunderous rhythms, from which Gibbs created the doom-laden, dread-laced atmosphere and the artist himself delivered Rastafarian diatribes and scathing political comments.
No album better summed up the mood of Jamaica in 1977. The year before, the island had experienced a blood-letting of previously inconceivable proportions that began during a meeting of the IMF held in Kingston and crescendoed during the election campaign. Calm was now returning, but the wounds were deep and paranoia now gripped the island. The past political chaos was partially responsible, but so was Culture, whose single "Two Sevens Clash" had captured the imagination of the inhabitants with its message of the upcoming apocalypse (which the group prophesied would occur in 1977). Into this maelstrom came Under Heavy Manners with its own doom-laden prophesies, righteous wrath, and revolutionary political polemics. Britain, undergoing its own upheavals, was also taken by the album and it became a cult hit across Europe. With its success, Prince Far I inked a deal with the Virgin label's subsidiary Front Line. The first fruits of this new union appeared in 1978 with the Message From the King album. Self-produced, the record was nearly the equal to its predecessor and filled with more classic songs, including "Blackman Land" and the aptly titled "Armageddon." Long Life was released later that same year and was almost as good; its only major flaw was the omission of the spectacular "No More War" single.
1978 also saw Prince Far I launch his own label, Cry Tough, as a home for his own work and for other artists with a similar philosophy. (Some of the label's artists are featured on 1980's Showcase in a Suitcase album, whose tracks were effectively remixed by Far I himself). Utilizing the superlative Roots Radics (who appear as the Arabs), Cry Tough unleashed a stream of ferocious singles. Meanwhile back in Britain, a young electro-maverick, Adrian Sherwood, was taking notice and established his own Hit Run label, domestically releasing Cry Tuff singles. The Englishman was also responsible for remixing the excellent Cry Tuff Dub Encounter, the first in a series of dub collections all featuring the awesome power of the Roots Radics at their most menacing.
In 1979, Health and Strength should have been released, but wasn't because the master tapes disappeared from Front Line's London office. Boasting the "Uncle Joe" single (which paired Prince Far I with Gregory Isaacs), along with two more tracks utilizing Isaac rhythms and another pair of singles, "Frontline Speech and "Weatherman Tam," the album remained lost until 1998. In that year, a former employee came across an old cassette he had dubbed previous to the tapes vanishing. Taken in its historical context, Health and Strength would have made 1979 a very different year. Instead, fans received the far inferior Livity. A second volume of the Cry Tuff Dub Encounter series was also released just in time for the Roots Encounter U.K. tour with a lineup of Prince Far I and Hit Run labelmates Bim Sherman and Prince Hammer. Sherwood's label had sponsored the tour, but Sherwood himself had no part in the second dub volume and thus the annoyed Briton hit back with Dub to Africa, featuring tracks performed by Prince Far I himself. The artist was not particularly happy with Front Line and having now fulfilled his contract with them, he moved to Trojan and released the 1979's patchy Free From Sin, which swung from the fierce title-track to the mundane "Reggae Music." In fact, for the rest of his career, Prince Far I would record his best work not on his own for Trojan, but in collaboration with Sherwood.
Alongside the equally seminal Creation Rebel and Singers and Players, the artist recorded a slew of singles between 1979 and 1981, as well as the album Prince Far I & Singers and Players, which was released on Sherwood's new label On-U. (The Roots Radics, aka the Arabs, also recorded for Sherwood under a second alias, Dub Syndicate.) Compared to these recordings, 1980's Jamaican Heroes sounds positively banter weight with only a revised "Deck of Cards" really standing out, although lyrically and thematically, Prince Far I's vocal delivery was as strong as ever. The following year's Voice of Thunder is an improvement on its predecessor, with "Ten Commandments" of particular note. The third and fourth volumes of Cry Tuff Dub Encounter appeared during this period and featured further scintillating voyages into the heaviest of dub's doom.
In 1982, Prince Far I collaborated with the British band Sons of Arqa for the "Wadada Magic" single. Later that same year, the group and artist paired again during the Jamaican's British tour, this time on-stage in Manchester for a stunning show captured on The Musical Revue album. Prince Far I returned to Jamaica and released his final album in the new year, Musical History. It was not his best work as he had not yet come to grips with the shift in dancehall fashions.
Future recordings with the Sons of Arqa were planned and their dense and sinuous style and love of experimentation would have provided a more fitting backdrop than what was current in Jamaica. But that's only speculation, as the men never had the chance to enter the studio together again. On September 15, 1983, Prince Far I's proselytizing came to an abrupt end when he was killed during a robbery at his home. His legacy, however, remains intact and his power has barely diminished since his death. Through the power of electronics, Prince Far I lives on anew. In 1991, Adrian Sherwood sampled some of the artist's old vocals for the Dub Syndicate's new album, Stoned Immaculate. The band even took him on tour in 1996 and again, through the magic of sampling, Prince Far I provided the thunderous vocals to the group's musical set. In a way, the mysterious disappearance of Health & Strength was perhaps fated, its very belated release introducing a new generation to the artist at his peak and reminding older fans of just how powerful his message and vision had been." - Jo-Ann Greene
"Buyer beware: this collection is a classic rip-off of the sort seen all too often in the reggae marketplace. Its tracks are all taken from three previously released Prince Far I albums (Free From Sin, Jamaican Heroes, and Musical History), though the compilers disguised this fact by sneakily renaming all of the songs: "Call On I in Trouble" is here titled "Give Thanks and Praise," "Deck of Life" is listed as "Ten Commandments." The liner notes give no indication of the material's provenance, and no details about the recordings, beyond noting that the rhythms were provided by the Soul Syndicate and Roots Radics bands. Worst of all, on this album "Cool Me Cool" (aka "Musical History") is drastically and clumsily edited down to two minutes in length, and "I and I Are the Chosen One" is presented twice in sequence, once as "Falling Wall," and once as "Never Defeated." So the compilers were not only dishonest, they were also sloppy to the point of stupidity. Although the songs themselves are very good, and the original albums hard to find, this album dishonors the memory of Prince Far I and cannot be recommended." - Rick Anderson
"A fairly obscure figure even by reggae standards, Prince Far I was one of the sternest of the "cultural" DJs that proliferated on the Jamaican scene in the late '70s; he rarely toasted (or, as he preferred, "chanted") about the joys of dancing or romantic love; his message was always focused on matters spiritual and political. This didn't mean he couldn't be whimsical at times: He once used his musical pulpit make fun of neo-Nazis for the clothes they wore and sometimes (as on this album's title track) lectured the youth on matters of etiquette, and he once recorded an entire album of Old Testament psalms. Under Heavy Manners, which he recorded for the great producer Joe Gibbs, is one of his finest albums, but until the Rocky One label was revived in the late '90s as Joe Gibbs Music, it was almost impossible to find. Now it's back, and the original ten-track program is augmented by several new songs with their dub versions. It's a bonanza for Prince Far I fans; one of the bonus tracks is a dub version of the title song, and other highlights include the very dread "Young Generation" ("Let us stand in formation and let us build up foundation/For the young generation") and "Show Me Mine Enemy." This set stands with his Front Line recordings and the spectacular Trojan collection Voice of Thunder as one of the best documents of Prince Far I's unique talent." - Rick Anderson
"Steel Pulse were one of Britain's greatest reggae bands, rivaled only by Aswad in terms of creative and commercial success. Generally a protest-minded Rastafarian outfit, Steel Pulse started out playing authentic roots reggae with touches of jazz and Latin music, and earned a substantial audience among white U.K. punks as well. Their 1978 debut, Handsworth Revolution, is still regarded by many critics as a landmark and a high point of British reggae. As the '80s wore on, slick synthesizers and elements of dance and urban R&B gradually crept into their sound, even as their subject matter stayed on the militant side. By the late '80s, Steel Pulse had won a Grammy and were working full-fledged crossover territory, but never reached the same degree of commercial acceptance as Aswad or Inner Circle. They subsequently returned to a tough-minded, rootsy sound that nonetheless made concessions to contemporary trends with touches of dancehall and hip-hop.Steel Pulse were formed in 1975 in Birmingham, England, specifically the ghetto area of Handsworth. The founding members were schoolmates David Hinds (the primary songwriter as well as the lead singer and guitarist), Basil Gabbidon (guitar), and Ronnie "Stepper" McQueen (bass). All of them came from poor West Indian immigrant families, and none had much musical experience. They took some time to improve their technical proficiency, often on Rasta-slanted material by Bob Marley and Burning Spear. McQueen suggested the group name, after a racehorse, and they soon fleshed out the lineup with drummer Steve "Grizzly" Nisbett, keyboardist/vocalist Selwyn "Bumbo" Brown, percussionist/vocalist Alphonso "Fonso" Martin, and vocalist Michael Riley.Steel Pulse initially had difficulty finding live gigs, as club owners were reluctant to give them a platform for their "subversive" Rastafarian politics. Luckily, the punk movement was opening up new avenues for music all over Britain, and also finding a spiritual kinship with protest reggae. Thus, the group wound up as an opening act for punk and new wave bands like the Clash, the Stranglers, Generation X, the Police, and XTC, and built a broad-based audience in the process. In keeping with the spirit of the times, Steel Pulse developed a theatrical stage show that leavened their social commentary with satirical humor; many of the members dressed in costumes that mocked traditional British archetypes (Riley was a vicar, McQueen a bowler-wearing aristocrat, Martin a coach footman, etc.). The band issued two singles -- "Kibudu, Mansetta and Abuku" and "Nyah Love" -- on small independent labels, then came to the attention of Island Records after opening for Burning Spear.Steel Pulse's first single for Island was the classic "Ku Klux Klan," which happened to lend itself well to the band's highly visual, costume-heavy concerts. It appeared on their 1978 debut album, Handsworth Revolution, which was soon hailed as a classic of British reggae by many fans and critics, thanks to songs like the title track, "Macka Splaff," "Prodigal Son," and "Soldiers." Riley departed before the follow-up, 1979's Tribute to the Martyrs, which featured other key early singles in "Sound System" and "Babylon Makes the Rules," and solidified the band's reputation for uncompromising political ferocity. That reputation went out the window on 1980's Caught You, a more pop-oriented set devoted to dance tracks and lovers rock. By that point, Steel Pulse were keen on trying to crack the American market, and went on tour over Island's objections. Caught You was issued in the States as Reggae Fever, but failed to break the group, and they soon parted ways with Island.Steel Pulse moved on to Elektra/Asylum, which released an LP version of their headlining set at the 1981 Reggae Sunsplash Festival. Their studio debut was 1982's True Democracy, a generally acclaimed set that balanced bright, accessible production with a return to social consciousness. It became their first charting LP in America, making both the pop and R&B listings. The slicker follow-up, Earth Crisis, was released in 1984 and featured producer Jimmy "Senyah" Haynes subbing on guitar and bass for founding members Gabbidon and McQueen, both of whom were gone by the end of the recording sessions. They were replaced by guitarist Carlton Bryan and bassist Alvin Ewen for 1986's Babylon the Bandit, another Haynes-produced effort that ranked as the group's most polished, synth-centered record to date. Although it featured the powerful "Not King James Version" and won a Grammy for Best Reggae Album, it sold poorly and alienated some of the band's older fans; as a result, Elektra soon dropped them.Steel Pulse resurfaced on MCA in 1988 with State of Emergency, their most explicitly crossover-oriented album yet. They also contributed the track "Can't Stand It" to the soundtrack of Spike Lee's classic Do the Right Thing. In 1991, they released another heavily commercial album, the Grammy-nominated Victims, which featured the single "Taxi Driver." Backing up the song's views, Steel Pulse filed a class-action lawsuit against the New York City Taxi and Limousine Commission, charging that drivers discriminated against blacks and particularly Rastafarians. Founding member Fonso Martin left that year, reducing Steel Pulse to a core trio of Hinds, Nisbett, and Brown. Their backing band still featured Ewen and was elsewhere anchored by guitarist Clifford "Moonie" Pusey, keyboardist Sidney Mills, and drummer/percussionist Conrad Kelly.The 1992 live album Rastafari Centennial marked the beginning of a return to the group's musical roots, and earned another Grammy nomination. The following year, they performed at Bill Clinton's inaugural celebration, the first reggae band to appear at such an event. 1994's studio album Vex completed Steel Pulse's re-embrace of classic roots reggae, though it also nodded to contemporary dancehall with several guest toasters and a digital-flavored production. 1997's Rage and Fury continued in a similar vein, and was nominated for a Grammy. In 1999, the group released another collection of live performances, Living Legacy." - Steve Huey
"A long seven years since their previous album, Rage and Fury, reggae legends Steel Pulse return yet again, this time with African Holocaust, and yet again have their ranks dwindled. Core members David Hinds (vocals, rhythm guitar) and Selwyn Brown (keyboards, backing vocals) are the only ones to remain from the band's glory years, but they more than hold their own and they're joined by a deep roster of supporting musicians, a list too long to list. As always, the music is what's most important, and on that count, this Steel Pulse lineup indeed makes the mark. The sound here is superglossy for such grassroots-level reggae, sure, and that may indeed irk some listeners who still yearn for the lo-fi golden age of roots reggae. Even so, the songwriting and musicianship here are also super -- as super as anything bearing the Steel Pulse banner in a decade or two (standouts include "Global Warning," "Blazing Fire," and the title track). The thing is, this is largely a Hinds solo album; he writes all the songs in addition to singing and lending guitar to them, so if there's anything lacking it's a sense of unison among the bandmembers. You have to wonder if this guy ever tires of Steel Pulse. After all, it's been decades now, and here again he shows no sign of slowing down. Granted, it did take him seven years to get the album out, but still. There's really not too much else to say about African Holocaust. Longtime fans will know what to expect. Newcomers should know a few things: above all, Steel Pulse are known for performing well-written, Afrocentric songs that are rebellious without being negative or inflammatory, and though the band membership has changed over the years, the type of songs hasn't, nor has the steady move away from dancehall that was apparent on the band's previous album. This is very well done contemporary reggae, and even the rhetoric-laden liner notes and iconographic outer packaging are well done. Overall, yes, it's well done." - Jason Birchmeier
"Not quite the landmark that Handsworth Revolution was, Earth Crisis suffers from uneven songwriting and dated, polished production that's sometimes too slick for its own good. What's more, the album is poorly sequenced, placing the weakest cuts, "Steppin' Out" and "Tightrope," at the very beginning. "Throne of Gold," the album's love song, has beautiful lyrics but lacks a truly compelling melody to get them across. After that, the album picks up with a string of superior songs, all of which decry social injustice and have powerful music to back them up, though they occasionally drag on longer than they need to and are saddled with horn and synthesizer parts that sound superfluous. Still, the strength of material in the album's second half definitely proves why Steel Pulse earned their reputation as a top-notch act. Had the songs been more focused, the production less slick, and the album sequenced correctly, Earth Crisis would stand as a watershed album of the ‘80s. As it stands, it's certainly worth hearing, but probably not the place where newcomers should be introduced to Steel Pulse's talents." - Victor W. Valdivia
Vol. 1 total 101M 8.1M 01-Intro.mp3 6.9M 02-New dawn.mp3 7.9M 03-Hypocrite.mp3 6.5M 04-Jah Glory.mp3 11M 05-La Queue Du Diable.mp3 7.5M 06-Black Samourai.mp3 7.5M 07-Samala.mp3 8.6M 08-Sweet Fanta Diallo.mp3 7.6M 09-Assinie Mafia.mp3 9.3M 10-Guerre Civile.mp3 11M 11-Les Larmes De Therese.mp3 11M 12-Peace In Liberia.mp3 Vol. 2 total 80M 7.7M 01-les imbeciles.mp3 8.5M 02-Unite Nationale.mp3 20M 03-Medley.mp3 8.4M 04-Haridjinan.mp3 8.8M 05-Journalistes en Danger.mp3 11M 06-Dounougan.mp3 8.2M 07-Tere.mp3 8.1M 08-Brigadier Sabary.mp3
"This 18-track compilation is a good summary of Alpha Blondy's recording career through the early 21st century, spanning about 20 years and drawing in roughly equal measures from the albums he issued between the early '80s and early 2000s. In fact, for fans who have strong opinions about what constitutes his best work, it might be too evenly balanced, taking just one or two songs apiece from numerous releases (though Merci is represented by three cuts). It does, however, give listeners a good idea of what Alpha Blondy's about, his multilingualism encompassing songs in French and English, his brand of reggae informed but not dominated by African and rock influences. Whatever language he sings in, however, politics are rarely off his radar, addressing apartheid (in "Apartheid in Nazism," one of his most celebrated works), imperialism ("Super Powers"), African pride ("God Bless Africa"), and war and violence ("La Guerre," "Bloodshed in Africa," and "Coup d'État")" - Richie Unterberger
total 112M 1.3M 00-alpha_blondy-radical_roots_from_the_emperor_of_african_reggae-2004-(back)-delta.jpg 12K 00-alpha_blondy-radical_roots_from_the_emperor_of_african_reggae-2004-delta.nfo 1.1M 00-alpha_blondy-radical_roots_from_the_emperor_of_african_reggae-2004-(front)-delta.jpg 7.3M 01-alpha_blondy-super_powers-delta.mp3 6.7M 02-alpha_blondy-apartheid_is_nazism-delta.mp3 6.7M 03-alpha_blondy-wari_feat_saian_supa_crew-delta.mp3 6.5M 04-alpha_blondy-god_bless_africa-delta.mp3 7.0M 05-alpha_blondy-afriki-delta.mp3 7.4M 06-alpha_blondy-rasta_poue-delta.mp3 6.4M 07-alpha_blondy-la_guerre-delta.mp3 6.1M 08-alpha_blondy-mo-delta.mp3 5.4M 09-alpha_blondy-les_imbeciles-delta.mp3 6.1M 10-alpha_blondy-bloodshed_in_africa-delta.mp3 5.7M 11-alpha_blondy-sciences_sans_conscience-delta.mp3 9.2M 12-alpha_blondy-politiqui-delta.mp3 4.2M 13-alpha_blondy-the_prophet_(allah_leka_netchi)-delta.mp3 4.9M 14-alpha_blondy-who_are_you_feat_ophelie_winter-delta.mp3 5.8M 15-alpha_blondy-journalistes_en_danger_(democrature)-delta.mp3 4.2M 16-alpha_blondy-coup_detat-delta.mp3 7.8M 17-alpha_blondy-election_koutche-delta.mp3 3.0M 18-alpha_blondy-intro_(excerpt)-delta.mp3
"A duo comprised of Cedric Myton and Roydel "Ashanti" Johnson, the Congos are known primarily known for one record, Heart of the Congos, released in 1977. Reggae historian Steve Barrow, one of the people behind the exquisite reissue of this long-thought-lost record, considers it as good as seminal reggae recordings such as Bob Marley and the Wailers' Natty Dread, Burning Spear's Marcus Garvey, and the Mighty Diamonds' Right Time. This is not an exaggeration. Myton and Johnson, working with Lee Perry at his Black Ark Studios in Kingston created a masterpiece, one of (if not the) finest production job of Perry's long and prolific career.
Cedric Myton grew up in St. Catherine, Jamaica and began his singing career as a member of the Tartans in the late '60s. Singing in a tuneful rocksteady style, the Tartans scored hits with songs like "Dance All Night" and "Far Beyond the Sun," the latter recorded for Duke Reid's Treasure Isle label. Roy Johnson, a native of Hanover, Jamaica, grew up singing spirituals at home and cut his teeth as a member of Ras Michael and the Sons of Negus. More importantly, Johnson attended school with Lee Perry, the start of a relationship that would lead to Perry working with him and Myton years later. A chance meeting led to Myton and Johnson working under the name the Congos and hooking up with such major musical talents as Sly Dunbar, Ernest Ranglin, and "Sticky" Thompson. And while the music that backed the Congos was undeniably great, their most distinctive feature was their vocals: Johnson's strong, clear tenor and Myton's breathtaking falsetto, which sounded a bit like that of the great Russell Tompkins of the Stylistics. What Lee Perry brought to this mix was his usual anarchic presence, but also his technique of using primitive (even for its time) four-track recording technology that emphasized a cluttered, dense, but hot live sound. With Perry at the controls, the Congos had a man uniquely qualified to capture the roots vibe they wanted to record, perhaps the only producer in Jamaica capable of doing so.
Great as it was, Heart of the Congos sold only reasonably well in Jamaica, and became a hotly sought-after collectible in America and Britain by a cult of reggae aficionados. The original release dropped out of sight, and crappy reissues were all that was available until very recently. Not long after the record was released, Myton and Johnson went their separate ways but continued to use the name the Congos or Congo as a means of identification. Myton continued to record with other singers as the Congos, and Johnson now identifies himself as Congo Ashanti Roy, working as a solo act and as a member of some of Adrian Sherwood's experimental dub/funk aggregations. As solo artists, they've never again captured the magic of Heart of the Congos, but the fact they were able to do so once is all that really matters." - John Dougan
"Lee Perry is generally acknowledged as a production genius, but on occasion that genius can be destructive, and while there's no disputing his talent, sometimes the results can be less than aurally satisfying. This is especially true when it comes to albums, where Perry's efforts were often erratic. On Heart of the Congos he was brilliant, and across the record's original ten tracks Perry created a masterpiece of music. Many critics consider this 1977 album one of the best roots records of all time, and at the very least, it was Perry's apex -- only Junior Byles' Beat Down Babylon is an equal contender. Which is why it's all the more shocking that the record was turned down by Island, and even back in Jamaica it received only a limited release. It took nearly two decades for Heart of the Congos to reappear, finally reissued with a clutch of period bonus tracks by Blood and Fire. The Congos themselves seem the least-likely contenders to record an exceptional album with Perry. The duo of Cedric Myton and Roy "Ashanti" Johnson had a unique sound, revolving around the former man's crystalline falsetto, which was set off by the latter's rich tenor. The pair composed deeply cultural songs, but both men's vocals had a gentle quality that would wither under a typical deep roots arrangement. Still, Perry had proved his worth working with the soft, husky tones of Byles, but few expected him to be able to repeat this feat. In fact, if anything, the producer was even more sympathetic to the Congos' styling and exhibited a musical self-restraint that astonished even his hardcore fans. Every track on the original album is worthy of classic status, and all presented the group and their songs in the best possible light. To this end, Perry was aided by a phenomenal group of sessionmen and guest backing vocalists which included Gregory Isaacs, a pair of Heptones, and the mighty Meditations. But beyond the Congos' superb songs and performance, the superb musicianship, and the exceptional vocal talents, it's Perry's arrangements that brought these numbers to life. Each one was carefully tailored, taking into consideration the mood of the piece and the vocalist. The tribal beats of "Congoman," for example, are just the song's launch pad; its the way the vocals and harmonies weave in and out that makes the piece extraordinary. The 12" and "Chanting" versions give further evidence of Perry's genius. "Ark of the Covenant" is stuffed to the brim with instrumentation, with the vocals soaring overhead, and brings the album to a religious fervor. In contrast, "Solid Foundation" is stripped back, a showpiece for Myton's marvelous falsetto. There's the stirring roots of "Open the Gates" and "Sodom and Gomorrow," while rocksteady echoes across the deeply affecting "Children Crying" and "La La Bam Bam." Every track offers something new: a unique sound, an unforgettable melody and rhythm, an unexpected arrangement. As much work went into the remastering as the recording, and the album sounds as good as it must have at the time it was recorded. Revel in the moment." - Jo-Ann Greene
total 213M 15M 01 Heart Of The Congos (Disc two) - Congoman (12' mix).mp3 14M 01 Heart Of The Congos - Fisherman.mp3 16M 02 Heart Of The Congos - Congoman.mp3 15M 02 Heart Of The Congos (Disc two) - Congoman Chant.mp3 9.4M 03 Heart Of The Congos (Disc two) - Bring The Mackaback.mp3 11M 03 Heart Of The Congos - Open Up The Gate.mp3 9.7M 04 Heart Of The Congos - Children Crying.mp3 8.0M 04 Heart Of The Congos (Disc two) - Noah Sugar Pan.mp3 14M 05 Heart Of The Congos (Disc two) - Solid Foundation (Disco Cork Mix).mp3 9.0M 05 Heart Of The Congos - La La Bam-Bam.mp3 14M 06 Heart Of The Congos - Can't Come In.mp3 15M 07 Heart Of The Congos - Sodom and Gomorrow.mp3 13M 08 Heart Of The Congos - The Wrong Thing.mp3 15M 09 Heart Of The Congos - Ark Of The Covenant.mp3 14M 10 Heart Of The Congos - Solid Foundation.mp3 8.4M 11 Heart Of The Congos - At The Feast.mp3 18M 12 Heart Of The Congos - Nicodemus.mp3
"The fifth volume of Guidance's Hi-Fidelity Dub Sessions follows the path of its predecessors, with plenty of watered-down neo-dub tracks from a pool of producers that is mostly European. Throughout the years, Guidance has been more reliable as a semi-prominent house label; while these yearly compilations have thrown up the occasional gold nugget, most of the tracks that they've wrangled are better suited to background listening -- what's more, they tend to have more in common with second-generation trip-hop than Jamaican dub. Nonetheless, those who have enjoyed the series thus far shouldn't balk from giving this one some attention. Featured tracks include Thievery Corporation's "The Richest Man in Babylon (G Corp Dub)," Butch Cassidy Sound System's "Brothers and Sisters," and Stereotyp's "My Sound," with vocals from onetime Rhythm & Sound associate Paul St. Hilaire." - Andy Kellman
total 79M 4.0K 00-va-hi-hidelity_dub_sessions_chapter_5-2003-kw.m3u 4.0K 00-va-hi-hidelity_dub_sessions_chapter_5-2003-kw.sfv 6.3M 01-butch_cassidy_sound_system--brothers_and_sisters-kw.mp3 8.3M 02-thievery_corporation--the_richest_man_in_babylon_(g_corp_dub)-kw.mp3 5.8M 03-inspector_ital--ainu_dub-kw.mp3 5.8M 04-western_roots--bogus_buddy-kw.mp3 9.1M 05-ralph_myerz_and_the_jack_herren_band--savannah-kw.mp3 7.2M 06-binder_and_krieglstein--wir_wissen_nicht_(shantels_bucovina_dub)-kw.mp3 4.9M 07-stereotyp_feat_tikiman--my_sound-kw.mp3 5.7M 08-b_and_b_international--them_(phobos_peepl_dubplate)-kw.mp3 7.3M 09-sola_rosa--sleepwalker-kw.mp3 7.8M 10-joel--wont_take_no_(giorgios_lights_out_dub)-kw.mp3 5.8M 11-up--b_and_b_international-kw.mp3 5.3M 12-patchworks--steve_mcqueen-kw.mp3
"Twelve dub cuts spanning the mid-'70s to the mid-'80s, licensed from the Heartbeat, Greensleeves, and Blood & Fire labels. The range is too perfunctory, and the liner notes too brief, for this to qualify as a benchmark retrospective of the style. It does have cuts by some of the major exponents of dub (Scientist, Lee Perry, King Tubby's, and Augustus Pablo), as well as dubbafied versions of songs by vocal acts like Culture, Joe Gibbs, and Black Uhuru." - Richie Unterberger
total 99M 8.5M Apply Within.mp3 11M Ashes & Dust.mp3 7.3M Bitter Blood.mp3 7.7M Conquering Dub.mp3 9.3M Dub Fi Gwan.mp3 7.7M In The Rain Part 2.mp3 7.2M Jah Dread.mp3 9.0M Rasta Dub.mp3 6.4M Rockers Dub.mp3 8.8M Shine Eye Dub.mp3 7.3M Straight Left.mp3 9.4M Unconquered Dub.mp3
total 52M 3.4M A1 Mellotones - Facts Of Life.mp3 4.0M A2 Pat Kelly - If It Don't Work Out.mp3 3.7M A3 Mohawks - The Champ.mp3 3.3M A4 Slim Smith - Everybody Needs Love.mp3 5.9M A5 Techniques - Who You Gonna Run To.mp3 3.5M A6 Bill Moss - Sock It To 'Em Soul Brother.mp3 3.4M B1 Harry & Radcliffe - History.mp3 4.2M B2 Roy Docker - Holiday.mp3 4.2M B3 Kingstonians - Hold Down.mp3 3.1M B4 Winston Shane - Throw Me Corn.mp3 4.3M B5 Crowns - I Know It's Alright.mp3 3.2M B6 Dobby Dobson - Strange.mp3 400K Various - A Gift From Pama - Back.jpg 384K Various - A Gift From Pama - Front.jpg
total 87M 5.3M 01 - U Roy - Glory To The Father.mp3 5.4M 02 - Augustus Pablo - Pablo A Put It On.mp3 4.1M 03 - Nora Dean - Scorpion In Her Underpants.mp3 4.0M 04 - Augustus Pablo - The Sting.mp3 5.6M 05 - Prince Jazzbo - It Dread Inna Earth.mp3 5.0M 06 - Augustus Pablo - Pablo's Majestic Mood.mp3 5.6M 07 - Derrick Morgan - Rough Rider.mp3 5.4M 08 - Augustus Pablo - A Tuff Dub.mp3 5.4M 09 - Derrick Morgan - Ride Mommy Fanny.mp3 5.3M 10 - Augustus Pablo - Pablo's Big Ride.mp3 5.0M 11 - John Holt - My Desire.mp3 5.4M 12 - Augustus Pablo - Pablo's Desire.mp3 3.7M 13 - Alton Ellis - Someday.mp3 3.5M 14 - Augustus Pablo - A Wanted Dub.mp3 4.4M 15 - I Roy - Cow Town Skank.mp3 4.2M 16 - Augustus Pablo - Pablo In Cow Town.mp3 5.3M 17 - Count Prince Miller - Mule Train.mp3 4.6M 18 - Augustus Pablo - Pablo's Dub Train.mp3
"Formed in 1974, Black Uhuru had been recording singles exclusively when the trio joined forces with the highly regarded reggae producer Prince Jammy for its debut album, Black Sounds Of Freedom (originally titled Love Crisis). Although not quite in a class with subsequent treasures like 1981's Red and 1982's Chill Out, this engaging date (which Shanachie reissued on CD in 1990) is has all of Uhuru's trademarks -- haunting themes, addictive grooves and deeply spiritual lyrics based on the Rastafarian faith. Longtime followers of the group (whose 1977 lineup included Michael Rose, Errol Nelson and original member Duckie Simpson) will be more than familiar with such heartfelt classics as "I Love King Selassie," "African Love" and "Satan Army Band." These songs point to the fact that in 1977, Uhuru was well on its way to becoming the reggae powerhouse it would be in the '80s." - Alex Henderson
total 50M 6.4M 01. I Love King Selassie.mp3 4.3M 02. Satan Army Band.mp3 4.5M 03. Time To Unite.mp3 4.5M 04. Natural Mystic.mp3 5.1M 05. Eden Out Deh.mp3 5.3M 06. Love Crisis.mp3 5.2M 07. African Love.mp3 5.2M 08. Hard Ground.mp3 4.2M 09. Willow Tree.mp3 5.5M 10. Sorry For The Man.mp3
total 105M 40K 00 For A Few Dollars More (28 Shots Of Western Inspired Reggae) _ Cover.jpg 4.0K 00 For A Few Dollars More (v.a.) _Info.txt 3.8M 01 The Prophets - Revenge Of Eastwood.mp3 3.3M 02 Lee Perry & The Upsetters - Clint Eastwood.mp3 3.9M 03 The Rudies - Guns Of Navarone.mp3 3.7M 04 The Crystalites - The Bad.mp3 3.9M 05 The Jay Boys - Del Gago.mp3 4.0M 06 Lee Perry & The Upsetters - Sipreano.mp3 3.8M 07 Ramon & The Crystalites - Golden Chickens.mp3 3.6M 08 Lee Perry & The Upsetters - Salt & Pepper.mp3 4.3M 09 The Crystalites - The Undertaker.mp3 4.7M 10 The Crystalites - Overtaker.mp3 4.2M 11 The Crystalites - Undertakers Burial.mp3 4.5M 12 The Swans - Killer Passing Through.mp3 3.9M 13 The Upsetters - Taste Of Killing.mp3 4.0M 14 Lee Perry & The Upsetters - Kill Them All.mp3 3.1M 15 The Upsetters - For A Few Dollars More.mp3 2.3M 16 Brother Dan All Stars - Shoot Them Amigo.mp3 3.8M 17 The Hippy Boys - Death Rides.mp3 3.4M 18 The Pyramids - Geronimo.mp3 3.9M 19 Tony Gordon - Navajo Trail.mp3 3.1M 20 Count Prince - Mule Train.mp3 4.0M 21 G.g. All Stars - Man From Carolina.mp3 3.4M 22 The Crystalites - The Bad Version.mp3 4.0M 23 Count Machuki - Franco Nero.mp3 3.7M 24 The Destroyers - Franco Nero Version 2.mp3 3.8M 25 Joe White & The Crystalites - Trinity.mp3 3.5M 26 The Hippy Boys - Vengeance.mp3 4.3M 27 Johnny Lover - Nevada Joe.mp3 4.0M 28 The Upsetters - Return Of The Ugly.mp3 4.0K For A Few Dollars More (v.a.) Big Upz to The Group & to fleshwound!!!.txt
total 64M 6.4M Dread On The Go.mp3 6.7M Everybody's Got To Be Free.mp3 7.0M I'm In Love.mp3 6.7M I've Got To Reach Home.mp3 7.1M Tell Me Why.mp3 8.5M Tell Me You Love Me.mp3 6.5M Whe The Wicked (second take).mp3 7.0M Whip Them King Tubby.mp3 7.6M Wise Man.mp3
total 107M 3.9M 01 Intro.mp3 7.8M 02 Nevillle Staples Simmerdown.mp3 7.3M 03 Ranking Roger Small Axe.mp3 7.4M 04 Ranking Roger.mp3 8.8M 05 Crazy Baldheads.mp3 11M 06 Trenchtown Rock.mp3 9.3M 07 Michael Rose Kaya.mp3 11M 08 Michael Rose Natural Mystic.mp3 7.4M 09 Aisha.mp3 10M 10 Brindsley Forde Keep On Moving.mp3 9.8M 11 Brindsley Forde Lively Up Yourself.mp3 14M 12 Final Keep On Moving.mp3
"Over the years, the Skatalites went through their share of personnel changes. In the 1990s, their lineup ranged from newcomers to survivors of the band's classic 1960s lineup, including saxmen Tommy McCook and Roland Alphonso, bassist Lloyd Brevett, and drummer Lloyd Knibbs. But the 1990s personnel were quite faithful to the spirit of the 1960s band, and Hi-Bop Ska bears that out. Recorded 30 years after the breakup of the original Skatalites, Hi-Bop Ska finds the band's blend of R&B, jazz, and Afro-Caribbean music continuing to sound healthy and exuberant. On this project, the Skatalites are joined by distinguished guests who range from Jamaican icons Toots Hibbert (of Toots & the Maytals fame) and Prince Buster to such jazz improvisers as trumpeter Lester Bowie, saxman David Murray, pianist Monty Alexander, and trombonist Steve Turre. Bowie and Murray were best known for avant-garde jazz, but you won't find any dissonant, quirky outside playing on this album; from Alexander's "Renewal" and Murray's "Flowers for Albert" (dedicated to free jazz explorer Albert Ayler) to remakes of "Man in the Street" and "Guns of Navarone," the music on this mostly instrumental CD is quite accessible. The jazz guests get room to blow, but they are aware of the fact that Hi-Bop Ska is a ska project first and foremost." - Alex Henderson
total 109M 11M 01 Guns Of Navarone.mp3 9.7M 02 Flowers For Albert.mp3 14M 03 Ska Reggae Hi-Bop.mp3 4.5M 04 You're Wondering Now.mp3 9.0M 05 Everlasting Sound.mp3 8.9M 06 African Freedom.mp3 8.0M 07 Man In The Street.mp3 8.6M 08 Split Personality.mp3 7.8M 09 Renewal.mp3 9.6M 10 Nelson's Song.mp3 13M 11 Burru Style.mp3 6.2M 12 Ska Ska Ska.mp3 4.0K HiBop Ska.m3u
total 124M 8.5M Tena Stelin - Lion Symbol - 01 - UFO.mp3 8.6M Tena Stelin - Lion Symbol - 02 - Unidentified Flying Dub.mp3 8.6M Tena Stelin - Lion Symbol - 03 - Live Natural.mp3 8.8M Tena Stelin - Lion Symbol - 04 - Natural Dub.mp3 8.6M Tena Stelin - Lion Symbol - 05 - Keep Jah Vibes.mp3 9.8M Tena Stelin - Lion Symbol - 06 - Jah Vibes Dub.mp3 9.3M Tena Stelin - Lion Symbol - 07 - Loving Princess.mp3 9.2M Tena Stelin - Lion Symbol - 08 - Princess Dub.mp3 8.8M Tena Stelin - Lion Symbol - 09 - Lion Symbol.mp3 9.3M Tena Stelin - Lion Symbol - 10 - Symbolic Dub.mp3 8.7M Tena Stelin - Lion Symbol - 11 - Cashless Society.mp3 9.4M Tena Stelin - Lion Symbol - 12 - Big Brother Dub.mp3 8.3M Tena Stelin - Lion Symbol - 13 - What Is Wrong With Man.mp3 8.2M Tena Stelin - Lion Symbol - 14 - What Is Right With Dub.mp3
"An unique band, Carmen combined flamenco music with progressive rock. Adding to their distinctiveness was the fact that during long instrumental passages, members of the band would dance onstage, adding those sounds to the instrumental mix.
Composed of Roberto Amaral (vocals, castanets), David Allen (guitar), his wife Angela Allen (keyboards), John Glascock (bass), who later worked with Jethro Tull, and Paul Fenton (drums), Carmen's sound was focused on up-beat flamenco guitar with a strong rhythm section and subtle keyboards. Their first album, Dancing on a Cold Wind, was released in 1973 and featured the 23-minute epic "Remembrances (Recuerdos de Espana)." It was followed by Fandangos in Space in 1974. The quintet's final album was The Gypsies, released in 1975, a more restrained effort than previous releases." - Geoff Orens
"If Dancing on a Cold Wind is not as strong as Carmen's previous album, it is mostly because the 24-minute suite "Rememberances (Recuerdos de Espana)" is not as tightly linked musically than the second half of Fandangos in Space. The fact that heartbreak and failed relationships provide the sole topic on this album also gives it redundant flavor. Still, this effort showcases the same elements that made the band's first LP an artistic success: sharp musicianship and the spellbinding blend of progressive rock and flamenco, although this time around the first influence is far more important than the second. It is not obvious in the opener "Viva Mi Sevilla," though; this frenetic dance is the album's energy peak. A set of variations on the theme of Fandangos in Space's "Bulerias," pushing the Spanish element to new heights, can be considered as Carmen's best song ever, impressive in every possible way, and John Glascock's distorted bass rips the tiles off the floor. All other tracks follow a lightly melancholic mood. The pop song "I've Been Crying" hints at the direction Carmen will take on its last album The Gypsies. The nine-part suite "Rememberances" follows the plot of an impossible love: a gypsy woman, ex-prostitute who turned her life around, finds and loses the love of her life. All band members are cast, with Roberto Amaral acting as narrator and first singer. The piece features some good themes ("Table Two for One [Sambra]," "Time [She's No Lady]") but it suffers from structural problems. This album is still worthy of any prog rock fan's attention." - Francois Couture
"Released in 1973, Fandangos in Space introduced to the world the one of a kind blend of flamenco music and progressive rock of Carmen. Produced by Tony Visconti (whose credits at the time ran from Gentle Giant to David Bowie), it is a stunning demonstration of virtuosity, creativity, and songwriting skills. The Spanish/gypsy element translates into some predictable and clichéd lyrical topics, like bull fights, but the musical elements are so well integrated into the progressive rock vocabulary (including hand claps, castanets, and flamenco footwork) that one wonders why nobody followed the band's footsteps (literally!). Fandangos in Space opens with the three-part "Bulerias," a roller coaster of sharp complex rhythmic prog and flamenco; future Jethro Tull member John Glascock's bass work is simply amazing. The piece establishes the main musical motif that will come back later in "Looking Outside" and the closing "Reprise." Roberto Amaral's typical falsetto vocals are put to good use in the torrid "Bullfight," while David Allen gives rare emotional depth to "Lonely House," a ballad built on the metaphor of an abandoned house. When Allen, his wife Angela, and Amaral join forces for the chorus line ("you've gone"), the listener dives into the despair conveyed by the lyrics. The second half of the album is loosely linked thematically and musically, each melody subtly hinting at the others. "Looking Outside (My Window)" brings another highlight and includes a flamenco dance as an interlude. A must for prog rock fans, Fandangos in Space is one of the genre's unsung classics." - Francois Couture
"Cheap Trick's eponymous debut is an explosive fusion of Beatlesque melodic hooks, Who-styled power, and a twisted sense of humor partially borrowed from the Move. But that only begins to scratch the surface of what makes Cheap Trick a dynamic record. Guitarist Rick Nielsen has a powerful sense of dynamics and arrangements, which gives the music an extra kick, but he also can write exceptionally melodic and subversive songs. Nothing on Cheap Trick is quite what it seems. While the songs have hooks and attitude that arena rock was sorely lacking in the late '70s, they are also informed by a bizarre sensibility, whether it's the driving "He's a Whore," the dreamy "Mandocello," or the thumping Gary Glitter perversion "ELO Kiddies." "The Ballad of TV Violence" is about mass murder, while "Daddy Should Have Stayed in High School" concerns pedophiles. All of it is told with a sense of humor, but it doesn't come off as cheap or smirking because of the group's hard-rocking drive and Robin Zander's pop-idol vocals. Even "Oh, Candy," apparently a love song on first listen, is an affecting tribute to a friend who committed suicide. In short, Cheap Trick revel in taboo subjects with abandon, devoting themselves to the power of the hook, as well as sheer volume and gut-wrenching rock & roll -- though the record is more musically accomplished than punk rock, it shares the same aesthetic. The combination of off-kilter humor, bizarre subjects, and blissful power pop made Cheap Trick one of the defining albums of its era, as well as one of the most influential." - Stephen Thomas Erlewine
total 79M 5.1M Cheap Trick - 01 - ELO Kiddies.mp3 6.6M Cheap Trick - 02 - Daddy Should Have Stayed In High School.mp3 5.9M Cheap Trick - 03 - Taxman, Mr. Thief.mp3 6.1M Cheap Trick - 04 - Cry, Cry.mp3 4.3M Cheap Trick - 05 - Oh, Candy.mp3 3.5M Cheap Trick - 06 - Hot Love.mp3 6.4M Cheap Trick - 07 - Speak Now Or Forever Hold Your Peace.mp3 3.8M Cheap Trick - 08 - He's a Whore.mp3 6.6M Cheap Trick - 09 - Mandocello.mp3 7.5M Cheap Trick - 10 - The Ballad Of TV Violence (I'm Not the Only Boy).mp3 5.8M Cheap Trick - 11 - Lovin' Money (Outtake).mp3 3.8M Cheap Trick - 12 - I Want You To Want Me (Early Version).mp3 4.9M Cheap Trick - 13 - Lookout (Prev. Unrel. Studio Vers.).mp3 4.9M Cheap Trick - 14 - You're All Talk (Prev. Unrel. Studio Vers.).mp3 4.3M Cheap Trick - 15 - I Dig Go-Go Girls (Prev. Unrel.).mp3 4.0K Cheap Trick - Cheap Trick - Expanded Edition.nfo
"Among Nektar fans, there are many who consider Remember the Future to be the band's creative peak. The album certainly creates the grounds for making that argument. Indeed, it is an ambitious work that is essentially one composition divided into two parts. The whole is performed in a very seamless and competent manner. Still, many critics just plain didn't get it. The juxtaposition of the two opinions makes this album to Nektar much like what Tales From Topographic Oceans was to Yes. The truth is probably somewhere between the two points, as it usually is. It truly is a very entertaining, well-written, and well-performed disc that showcases a very underrated band at the top of their game. Although this album isn't one of their best, it definitely is not a slouch. It does have a few elements that detract from it a bit, though. First, there is a '70s funk sound prevalent on the album that tends to date it a bit. Second, it can get to feel a bit repetitive. The final detriment is that the production quality sometimes feels a bit AM radio-ish and flat. All of these things only go so far in removing the album from the "masterpiece zone," though. The bottom line is that this is a fine progressive rock release that should please not only fans of the band, but fans of groups like Yes and Genesis equally well." - Gary Hill
total 68M 8.0K Nektar - Remember The Future (remaster) - 00.nfo 4.0K Nektar - Remember The Future (remaster) - 00.sfv 27M Nektar - Remember The Future (remaster) - 01 - Remember The Future (part 1).mp3 31M Nektar - Remember The Future (remaster) - 02 - Remember The Future (part 2).mp3 6.3M Nektar - Remember The Future (remaster) - 03 - Let It Grow (radio promo).mp3 3.8M Nektar - Remember The Future (remaster) - 04 - Lonely Roads (radio promo).mp3 4.0K Nektar - Remember The Future (remaster).m3u
"There are hints of girl group pop and more than a hint of the Rolling Stones, but The New York Dolls doesn't really sound like anything that came before it. It's hard rock with a self-conscious wit, a celebration of camp and kitsch that retains a menacing, malevolent edge. The New York Dolls play as if they can barely keep the music from falling apart and David Johansen sings and screams like a man possessed. The New York Dolls is a noisy, reckless album that rocks and rolls with a vengance. The Dolls rework old Chuck Berry and Stones riffs, playing them with a sloppy, violent glee. "Personality Crisis," "Looking for a Kiss," and "Trash" strut with confidence, while "Vietnamese Baby" and "Frankenstein" sound otherworldly, working the same frightening drone over and over again. The New York Dolls was the definitive proto-punk album, even more than anything the Stooges released. It plunders history while celebrating it, creating a sleazy urban mythology along the way." - Stephen Thomas Erlewine
"After the clatter of their first album failed to bring them a wide audience, the New York Dolls hired producer Shadow Morton to work on the follow-up, Too Much Too Soon. The differences are apparent right from the start of the ferocious opener, "Babylon." Not only are the guitars cleaner, but the mix is dominated by waves of studio sound effects and female backing vocals. Ironically, instead of making the Dolls sound safer, all the added frills emphasize their gleeful sleaziness and reckless sound. The Dolls sound on the verge of falling apart throughout the album, as Johnny Thunders and Syl Sylvain relentlessly trade buzz-saw riffs while David Johansen sings, shouts, and sashays on top of the racket. Band originals -- including the bluesy raver "It's Too Late," the noisy girl-group pop of "Puss N' Boots," and the Thunders showcase "Chatterbox" -- are rounded out by obscure R&B and rock & roll covers tailor-made for the group. Johansen vamps throughout Leiber & Stoller's "Bad Detective," Archie Bell's "(There's Gonna Be A) Showdown," the Cadets "Stranded in the Jungle," and Sonny Boy Williamson's "Don't Start Me Talkin'," yet it's with grit and affection -- he really means it, man! The whole record collapses with the scathing "Human Being," on which a bunch of cross-dressing misfits defiantly declare that it's OK that they want too many things, 'cause they're human beings, just like you and me. Three years later, the Sex Pistols failed to come up with anything as musically visceral and dangerous. Perhaps that's why the Dolls never found their audience in the early '70s: Not only were they punk rock before punk rock was cool, but they remained weirder and more idiosyncratic than any of the bands that followed. And they rocked harder, too." - Stephen Thomas Erlewine
"The Stooges' first album was produced by a classically trained composer; their second was supervised by the former keyboard player with the Kingsmen, and if that didn't make all the difference, it at least indicates why Fun House was a step in the right direction. Producer Don Gallucci took the approach that the Stooges were a powerhouse live band, and their best bet was to recreate the band's live set with as little fuss as possible. As a result, the production on Fun House bears some resemblance to the Kingsmen's version of "Louie Louie" -- the sound is smeary and bleeds all over the place, but it packs the low-tech wallop of a concert pumped through a big PA, bursting with energy and immediacy. The Stooges were also a much stronger band this time out; Ron Asheton's blazing minimalist guitar gained little in the way of technique since The Stooges, but his confidence had grown by a quantum leap as he summoned forth the sounds that would make him the hero of proto-punk guitarists everywhere, and the brutal pound of drummer Scott Asheton and bassist Dave Alexander had grown to Heavyweight Champion status. And Fun House is where Iggy Pop's mad genius first reached its full flower; what was a sneer on the band's debut had grown into the roar of a caged animal desperate for release, and his primal-scream rants were far more passionate and compelling than what he had served up before. The Stooges may have had more "hits," but Fun House has stronger songs, including the garage raver to end all garage ravers in "Loose," the primal scream of "1970," and the apocalyptic anarchy of "L.A. Blues." Fun House is the ideal document of the Stooges at their raw, sweaty, howling peak." - Mark Deming
total 114M 5.8M 01 See No Evil.mp3 5.8M 02 Venus.mp3 7.2M 03 Friction.mp3 16M 04 Marquee Moon.mp3 7.6M 05 Elevation.mp3 8.0M 06 Guiding Light.mp3 7.4M 07 Prove It.mp3 11M 08 Torn Curtain.mp3 11M 09 Little Johnny Jewel (Parts 1 & 2).mp3 6.9M 10 See No Evil (Alternate Version).mp3 7.3M 11 Friction (Alternate Version).mp3 16M 12 Marquee Moon (Alternate Version).mp3 5.2M 13 Untitled Instrumental (A Mi Amore).mp3 132K back.jpg 64K cd.jpg 148K front.jpg 136K inside.jpg
"Van Halen's self-titled 1978 debut is undoubtedly one of the all-time best debuts by a hard rock/heavy metal band. All of the components for a classic are represented -- excellent songs and high-octane performances (the excitement of their live show was captured perfectly by producer Ted Templeman) are used to create an invigorating, original sound. Like other acclaimed debuts (Led Zeppelin I, Are You Experienced?), Van Halen has a raw edge since it was recorded quickly, and every single song is a winner. It's also become one of the ultimate party albums over the years, since the overall mood is excited and celebratory. While singer David Lee Roth's bravado and the steady rhythm section of drummer Alex Van Halen and bassist Michael Anthony were both key ingredients, the main attraction was Eddie Van Halen's guitar playing. Few other guitarists have had such an instant impact on a generation of up-and-coming players, who copied his unorthodox, kamikaze style -- especially his trademark tapping technique showcased on the album's legendary solo "Eruption." Almost all of the tracks on Van Halen have rightfully become radio staples, such as the scorching rockers "Runnin' With the Devil," "Ain't Talkin' 'Bout Love," "Jamie's Cryin'," "Atomic Punk," and "On Fire," while covers of "You Really Got Me" and "Ice Cream Man" remain awe-inspiring to this day. Van Halen proved to be the ultimate coming-of-age soundtrack to many a teenager since its release, resulting in sales of over 10 million in the U.S. alone. Everyone on the planet should own a copy of this landmark release." - Greg Prato
8.3M Van Halen -Van Halen - (Remastered) -01 -Runnin' With The Devil.mp3 4.0M Van Halen -Van Halen - (Remastered) -02 -Eruption.mp3 6.1M Van Halen -Van Halen - (Remastered) -03 -You Really Got Me.mp3 8.8M Van Halen -Van Halen - (Remastered) -04 -Ain't Talkin' 'Bout Love.mp3 8.7M Van Halen -Van Halen - (Remastered) -05 -I'm The One.mp3 8.1M Van Halen -Van Halen - (Remastered) -06 -Jamie's Cryin'.mp3 7.0M Van Halen -Van Halen - (Remastered) -07 -Atomic Punk.mp3 8.6M Van Halen -Van Halen - (Remastered) -08 -Feel Your Love Tonight.mp3 7.8M Van Halen -Van Halen - (Remastered) -09 -Little Dreamer.mp3 7.7M Van Halen -Van Halen - (Remastered) -10 -Ice Cream Man.mp3 7.0M Van Halen -Van Halen - (Remastered) -11 -On Fire.mp3
"A well-chosen 21-track best-of, wisely emphasizing their melodic, tender side rather than their oft-pedestrian hard rockers, Come and Get It draws from all four of their late-'60s and early-'70s Apple albums, although the absence of "We're for the Dark" from No Dice is a significant omission." - Richie Unterberger
total 132M 4.4M Badfinger - The Best of Badfinger - 01 - Come and Get It.mp3 5.3M Badfinger - The Best of Badfinger - 02 - Maybe Tomorrow.mp3 6.1M Badfinger - The Best of Badfinger - 03 - Rock of All Ages.mp3 5.0M Badfinger - The Best of Badfinger - 04 - Dear Angie.mp3 8.9M Badfinger - The Best of Badfinger - 05 - Carry On Till Tomorrow.mp3 5.6M Badfinger - The Best of Badfinger - 06 - No Matter What.mp3 5.6M Badfinger - The Best of Badfinger - 07 - Believe Me.mp3 5.3M Badfinger - The Best of Badfinger - 08 - Midnight Caller.mp3 7.4M Badfinger - The Best of Badfinger - 09 - Better Days.mp3 8.8M Badfinger - The Best of Badfinger - 10 - Without You.mp3 8.2M Badfinger - The Best of Badfinger - 11 - Take It All.mp3 6.5M Badfinger - The Best of Badfinger - 12 - Money.mp3 4.8M Badfinger - The Best of Badfinger - 13 - Flying.mp3 9.8M Badfinger - The Best of Badfinger - 14 - The Name of the Game.mp3 5.4M Badfinger - The Best of Badfinger - 15 - Suitcase.mp3 5.9M Badfinger - The Best of Badfinger - 16 - Day After Day.mp3 6.7M Badfinger - The Best of Badfinger - 17 - Baby Blue (U.S. Single Mix).mp3 5.8M Badfinger - The Best of Badfinger - 18 - When I Say.mp3 4.8M Badfinger - The Best of Badfinger - 19 - Icicles.mp3 6.7M Badfinger - The Best of Badfinger - 20 - I Can Love You.mp3 5.7M Badfinger - The Best of Badfinger - 21 - Apple of My Eye.mp3
"Recurring Dream is a 19-track collection that assembles most of the band's singles and adds three new studio tracks to entice fans -- "Not the Girl You Think You Are," "Instinct," and "Everything Is Good for You." As a career summary, the collection works fairly well, though the nonchronological sequencing makes for a slightly confusing listen. Nevertheless, for a band with no shortage of great material (there's not a bad album in the bunch), Recurring Dream is a good place to get acquainted with them. Initial pressings also came with a second disc that compiles highlights from the band's always entertaining live shows. Maybe a disc of non-album rarities and B-sides would have been a better choice, but for fans this is an essential addition. [In 2003, Recurring Dream was reissued with the DVD Dreaming: The Videos as a second disc. Dreaming contains all 21 of the band's promo video clips, along with a bonus interview from Catch 22. Since this DVD is available separately, only those fans who have picked up neither the hits collection nor the DVD will be interested in this repackage.]" - Chris Woodstra
total 97M 5.2M Recurring Dream - 01 - Weather With You.Mp3 4.3M Recurring Dream - 02 - World Where You Live.Mp3 4.6M Recurring Dream - 03 - Fall At Your Feet.Mp3 4.6M Recurring Dream - 04 - Locked Out.Mp3 5.5M Recurring Dream - 05 - Don't Dream It's Over.Mp3 6.3M Recurring Dream - 06 - Into Temptation.Mp3 4.8M Recurring Dream - 07 - Pineapple Head.Mp3 6.6M Recurring Dream - 08 - When You Come.Mp3 7.8M Recurring Dream - 09 - Private Universe.Mp3 5.8M Recurring Dream - 10 - Not The Girl You Think You Are.Mp3 4.4M Recurring Dream - 11 - Instinct.Mp3 5.3M Recurring Dream - 12 - I Feel Possessed.Mp3 3.9M Recurring Dream - 13 - Four Seasons In One Day.Mp3 4.9M Recurring Dream - 14 - It's Only Natural.Mp3 5.3M Recurring Dream - 15 - Distant Sun.Mp3 4.0M Recurring Dream - 16 - Something So Strong.Mp3 4.5M Recurring Dream - 17 - Mean To Me.Mp3 4.4M Recurring Dream - 18 - Better Be Home Soon.Mp3 5.5M Recurring Dream - 19 - Everything Is Good For You.Mp3
"Most listeners will be satisfied with the excellent Jimmy Buffett summary Songs You Know By Heart, but anyone that wants to dig deeper should bypass the albums (there are several that are first-rate, yet many are spotty) and pick up the four-disc, 72-track box set, Boats, Beaches, Bars & Ballads. Assembled thematically, with each disc devoted to one of the words in the title, this rounds up not just every Buffett hit, but pretty much every one of his noteworthy album tracks, plus a couple of rarities and unreleased cuts. For some, this much Buffett may cause sunstroke, yet this proves that he had some fine moments that weren't singles, and even those that aren't Parrotheads will be impressed by the consistency of his music -- if you like Jimmy, he usually delivers what you like." - Stephen Thomas Erlewine
"Whether it was the assistance of Peter Walsh on production, a decision to bear down and see what could be done, or some further combination of that and other factors, the Church came up with its best release since The Blurred Crusade with the powerful Heyday. Not changing anything in the basic Church sound but presenting both a brilliant slew of songs and some fantastic performances, the quartet created a flat-out fantastic record. The first side alone almost reads like a greatest-hits collection, with one highlight following hard on the other. "Myrrh," leading things off with a careful build up to the main part of the song much like "When You Were Mine," has a strange chorus that almost shouldn't work but does. It's only two lines long and sung in harmony by the full band, all while Willson-Piper and Koppes' guitars keep things moving. "Tristesse" begins with a playful guitar line before shifting into another mid-paced, just dreamy enough effort. "Already Yesterday," with a fine, low-key backing choir, the dramatic "Columbus" and the gentle, string-touched instrumental "Happy Hunting Ground" continue the mood, one lovely moment after another. The second side kicks off with a barnstormer, "Tantalized," easily the band's most aggressive and upfront song since its earliest days. With horns and bells adding to the rushed feel, Kilbey delivers quickly sung verses and staccato choruses, the music continuing to soar along as Willson-Piper and Koppes turn in brilliant guitar work. Add to that further horn and string orchestrations on songs like the wistful "Youth Worshipper" and "Night of Light," and Heyday is a total success." - Ned Raggett
"Collecting the contents of two separate EPs into a full-length album for American purposes, Remote Luxury actually makes for a reasonable release, avoiding the miserable drum sound that plagued Séance. The band are hardly so groansome, mixing the light synth touches evident on Séance with a tight, sharp postpunk groove. While the comparisons to bands like R.E.M. were sometimes stretched a bit, there's no denying the similar love of brisk, economic velocity which crops up on many of these songs, including the steady beat of "Violet Town" and the crisp flow on "Into My Hands." "No Explanation" perhaps fits the R.E.M. likeness best after a brief instrumental beginning, a shimmering, strummed gem with a great main melody. Kilbey again handles the vocals with his usual mix of low-key singing and sometimes clever, sometimes obscure lyrics, while the band as a whole keep things moving. Willson-Piper, who handles lead vocals for "10,000 Miles" and "Volumes," and Koppes by now show their excellent guitar abilities almost at every turn, their avoidance of pointless flash in favor of compelling hooks and a little extra shading when needed always coming through. "A Month of Sundays" and "Shadow Cabinet" are just two highlights of their abilities, beautiful and hummable all at once. An interesting if slightly atypical effort on the disc is "Maybe These Boys," with a relentless keyboard hook that almost sounds like a military fanfare leading into the full band performance, though with further keyboards still prominent. Kilbey's vocals are eventually contrasted with a Vocodered treatment of the same words, making for a strange, unsettling ending." - Ned Raggett
"Signing to Arista might have seemed an unusual move to start with, getting produced by L.A. studio types like Waddy Wachtel even more so. But for the Church the rewards were great -- if sometimes too clean around the corners in comparison to the song-for-song masterpiece Heyday, Starfish set up the band's well-deserved breakthrough in the States. The reason was "Under the Milky Way," still one of the most haunting and elegant songs ever to make the Top 40. As Kilbey details a lyric of emotional distance and atmosphere, the band executes a quietly beautiful -- and as is so often the case with the Church, astonishingly well-arranged -- song, with mock bagpipes swirling through the mix for extra effect. That wasn't the only strong point on an album with more than a few; the lead-off track "Destination" was as strong an album opener as "Myrrh," if slower paced and much more mysterious, piano blending through the song's steady pace. The rest of the first side has its share of highlights, such as the quietly threatening edge of "Blood Money" and the confident, restrained charge of "North, South, East and West." Willson-Piper gets to lead off the second side with "Spark," a vicious, tight rocker that captures some of the best '60s rock edge and gives it a smart update. Equally strong is Kilbey's "Reptile," with an appropriately snaky guitar line and rhythm punch offset against weirdly soothing keyboards. Koppes has an okay vocal to his credit on "A New Season," but the stronger tracks are Kilbey's other contributions, the strong guitar waltz of "Antenna" (with great guest mandolin from David Lindley) and the closing charge (and very Church-like title) of "Hotel Womb." Performances throughout are at the least fine and at the most fantastic." - Ned Raggett
"Was (Not Was) plays contemporary R&B dance music, with lyrics that range from the satiric to the bizarre. The group is led by Detroit-natives David Weiss (David Was), who plays flute and writes those lyrics, and Don Fagenson (Don Was), who plays bass and writes music, but the group is fronted by singers Harry Bowens and Sweet Pea Atkinson. Was (Not Was) first gained notice for a dance single called "Wheel Me Out" in 1980. Their first album, Was (Not Was) (1981), did not reach the charts, but its follow-up, Born to Laugh at Tornados (1983), did. Then little was heard from the group for five years. They returned in 1988 with What Up, Dog?, which featured the #16 hit "Spy in the House of Love" and the number seven hit "Walk the Dinosaur." (During this period, Don Was had become a prominent record producer, handling the board for Bonnie Raitt's Grammy-winning Nick of Time, among many other mainstream pop records.) The fourth Was (Not Was) album, Are You Okay?, appeared in 1990.
Are You Okay? wasn't as commercially successful as the previous What Up, Dog? After the album's release, Don Was continued to pursue his production career, which began to increase tensions between him and David. In 1993, Was (Not Was) officially parted ways." - William Ruhlmann
"At the beginning of the ‘80s, David and Don Was weren't gathering bedfellows as strange as Ozzy Osborne and Mel Torme -- as they would a few years later, seemingly inspired by the P-Funk All-Stars as much as Battle of the Network Stars -- but the Oak Park, MI natives were nonetheless generating collaborations as unlikely and successful as Brian Eno before them. (Partial roll call: MC5 guitarist Wayne Kramer, Mingus associate Marcus Belgrave, and future Eminem accomplice Luis Resto, along with regular vocalists Sweet Pea Atkinson and Sir Harry Bowens.) In fact, prior to crossing over into a realm of silliness not unfamiliar to Weird Al, the Was brothers and company made some of the baddest, strangest disco-funk imaginable. Key versions of two such cuts appeared on the original version of the first Was (Not Was) album, referred to as both Was (Not Was) and Out Come the Freaks. “Tell Me That I'm Dreaming" is big band disco, blistering funk, and a spaghetti western score at once, with call-and-response vocals that are as nonsensical as they are deeply biting. An address from then-President Ronald Reagan is sampled during the breakdown: “Can we who man the ship of state deny that it is somewhat out of control?" The “me" decade is uniquely summed up by vocalist Harry Bowens, who steps in to proclaim, “The man likes milk, now he owns a million cows." The other monster is “Out Come the Freaks," which carries another athletic groove and ridiculous, shared vocals between a host of people. Time hasn't been as kind to the remainder of the album, but the material remains enjoyable in a “throw it on the wall, see if it sticks" kind of way, dishing out passable funk and throwing in an exceptional radioplay throwback for the hell of it." - Andy Kellman
total 109M 8.5M bob marley - 4-18-80 rotterdam-01 - is this love.mp3 12M bob marley - 4-18-80 rotterdam-02 - jamming.mp3 6.6M bob marley - 4-18-80 rotterdam-03 - easy skanking.mp3 6.9M bob marley - 4-18-80 rotterdam-04 - 04 get up, stand up.mp3 15M bob marley - 4-18-80 rotterdam-05 - exodus.mp3 9.9M bob marley - 4-18-80 rotterdam-06 - no woman no cry.mp3 7.1M bob marley - 4-18-80 rotterdam-07 - positive vibration.mp3 9.1M bob marley - 4-18-80 rotterdam-08 - war-no more trouble.mp3 5.2M bob marley - 4-18-80 rotterdam-09 - crisis.mp3 6.4M bob marley - 4-18-80 rotterdam-10 - running away.mp3 6.6M bob marley - 4-18-80 rotterdam-11 - crazy baldhead.mp3 6.5M bob marley - 4-18-80 rotterdam-12 - i shot the sheriff.mp3 9.7M bob marley - 4-18-80 rotterdam-13 - no woman no cry (reprise).mp3
Vol. 1 total 198M 4.0M 01 - Lucy Leave (Uncredited).mp3 4.3M 02 - I'm A King Bee.mp3 4.4M 03 - Let's Roll Another One.mp3 3.6M 04 - Arnold Layne - Acetate.mp3 4.0M 05 - Arnold Layne - Mono.mp3 4.0M 06 - Arnold Layne - Fake Stereo.mp3 2.8M 07 - Candy And A Current Bun - Acetate.mp3 3.8M 08 - Candy And A Current Bun - Mono.mp3 9.6M 09 - Interstellar Overdrive - Demo.mp3 15M 10 - Interstellar Overdrive - Sound Techniques Outtake.mp3 952K 11 - Interstellar Overdrive - Abbey Road Outtake.mp3 7.2M 12 - Interstellar Overdrive - Mono Single Version.mp3 1.6M 13 - Scarecrow - Abbey Road Outtake.mp3 3.0M 14 - Scarecrow - Mono.mp3 4.8M 15 - Astronomy Dominé - Abbey Road Outtake.mp3 3.9M 16 - See Emily Play - Actetate.mp3 4.0M 17 - See Emily Play - Mono.mp3 3.9M 18 - See Emily Play - Fake Stereo.mp3 3.8M 19 - Flaming - Mono.mp3 2.1M 20 - Sunshine.mp3 3.7M 21 - Silas Lane.mp3 6.2M 22 - Scream Thy Last Scream (Barrett) - Mono.mp3 6.3M 23 - Scream Thy Last Scream - Stereo.mp3 3.3M 24 - Vegetable Man - Mono.mp3 3.5M 25 - Vegetable Man - Alternate Mono.mp3 3.3M 26 - Vegetable Man - Stereo.mp3 3.7M 27 - Remember A Day - Mono Short Version.mp3 4.3M 28 - Apples And Oranges - Mono.mp3 4.2M 29 - Apples And Oranges - Stereo.mp3 5.2M 30 - Paint Box - Mono.mp3 4.9M 31 - Paint Box - Stereo.mp3 4.2M 32 - Let There Be More Light - Mono Edit.mp3 4.0M 33 - Corporal Clegg - Video Version.mp3 5.2M 34 - It Would Be So Nice - Mono.mp3 4.5M 35 - It Would Be So Nice - Promo Edit.mp3 5.1M 36 - It Would Be So Nice - Fake Stereo.mp3 4.5M 37 - Julia Dream - Demo.mp3 3.5M 38 - Julia Dream - Mono.mp3 3.6M 39 - Julia Dream - Stereo.mp3 5.0M 40 - Point Me At The Sky - Mono.mp3 4.9M 41 - Point Me At The Sky - Fake Stereo.mp3 7.9M 42 - Careful With That Axe, Eugene - Mono.mp3 7.9M 43 - Careful With That Axe, Eugene - Stereo.mp3 Vol. 2 total 184M 5.6M 01 - Astronomy Domine (Live Short Version).mp3 6.4M 02 - Embryo.mp3 7.3M 03 - Biding My Time.mp3 240K 04 - This Is Pretty Avant-Garde Isn't It.mp3 152K 05 - And The Wind Cried.mp3 8.0M 06 - Moonhead.mp3 140K 07 - Here's A Loud Announcement.mp3 172K 08 - Silence In The Studio.mp3 5.4M 09 - Green Is The Colour - Live.mp3 5.1M 10 - Careful With That Axe, Eugene - Live Short Version.mp3 3.0M 11 - Embryo - Live Short Version.mp3 7.4M 12 - Set The Controls For The Heart Of The Sun - Live Short Version.mp3 1.4M 13 - 'Relics' Radio Advert N 1.mp3 1.4M 14 - 'Relics' Radio Advert N 2.mp3 1.4M 15 - 'Meddle' Radio Advert.mp3 6.7M 16 - One Of These Days - Demo N 1.mp3 9.4M 17 - One Of These Days - Demo N 2.mp3 4.9M 18 - One Of These Days - Mono Edit.mp3 4.5M 19 - Fearless - Mono Edit.mp3 11M 20 - Roger The Hat Interview.mp3 4.0M 21 - Breathe - Mono.mp3 8.6M 22 - On The Run - Outtake.mp3 8.4M 23 - Time - Demo.mp3 4.8M 24 - Time - Stereo Edit.mp3 4.9M 25 - Time - Mono Edit.mp3 2.3M 26 - Money - Demo.mp3 5.6M 27 - Money - Stereo Edit.mp3 5.6M 28 - Money - Soft Stereo Edit.mp3 5.6M 29 - Money - Soft Mono Edit.mp3 4.4M 30 - Money - Alternate Soft Mono Edit.mp3 7.6M 31 - Us And Them - Demo.mp3 8.6M 32 - Us And Them - Outtake.mp3 4.6M 33 - Us And Them - Stereo Edit.mp3 4.6M 34 - Us And Them - Mono Edit.mp3 4.7M 35 - Brain Damage - Eclipse - Demo.mp3 9.9M 36 - Brain Damage - Outtake.mp3 1.8M 37 - Brain Damage - Outtake - 2.mp3 732K 38 - Eclipse - Mysterious Ending Tiny Music.mp3 Vol. 3 total 195M 2.9M 01 - Merry Xmas Song.mp3 5.4M 02 - Shine On You Crazy Diamond - Part 1.mp3 8.5M 03 - Shine On You Crazy Diamond - Promo Edit.mp3 15M 04 - Shine On You Crazy Diamond - 1981 - Edit.mp3 6.7M 05 - Shine On You Crazy Diamond - UK Short Version.mp3 7.2M 06 - Shine On You Crazy Diamond - US Short Version.mp3 39M 07 - Shine On You Crazy Diamond - Storm Mix.mp3 1.9M 08 - Shine On You Crazy Diamond - To The Galaxy.mp3 5.9M 09 - Have A Cigar - Short Version.mp3 5.0M 10 - Have A Cigar - Stereo Edit.mp3 4.9M 11 - Have A Cigar - Mono Edit.mp3 1.4M 12 - 'Animals' Radio Advert.mp3 4.7M 13 - Pigs On The Wing - Parts 1 & 2.mp3 5.7M 14 - Pigs (Three Different Ones) - Short Version.mp3 112K 15 - The Wall - Loop Message.mp3 4.4M 16 - Another Brick In The Wall Part 2 - Single Version.mp3 5.3M 17 - Another Brick In The Wall Part 2 - 1981 - Single Version.mp3 464K 18 - Empty Spaces - Backwards Message.mp3 5.5M 19 - Young Lust - Single Version.mp3 5.1M 20 - One Of My Turns - Single Version.mp3 3.6M 21 - Comfortably Numb - Demo.mp3 5.5M 22 - Comfortably Numb - Edit.mp3 5.1M 23 - Run Like Hell - Single Version.mp3 6.5M 24 - Run Like Hell - Promo Mix.mp3 9.2M 25 - Money - 1981 - Version.mp3 7.7M 26 - Money - 1981 - Edit.mp3 4.0M 27 - When The Tigers Broke Free - Single Version.mp3 2.4M 28 - Bring The Boys Back Home - Single Version.mp3 1.6M 29 - 'The Final Cut' Radio Advert.mp3 6.1M 30 - Not Now John - Obscured Version.mp3 5.2M 31 - Not Now John - Promo Edit.mp3 5.4M 32 - The Hero's Return - Parts 1 & 2.mp3
"In early 2004, Dave Brubeck reminisced about his days as a soldier during World War II for this two-CD set, playing solo piano interpretations of songs from that era. Brubeck, then recently married and promptly drafted after graduating from the College of the Pacific, almost ended up in combat before getting an opportunity to play with an army band, which caused a music-loving colonel to install the young private as director of the band. The music chosen seems to convey a special message to his wife, Iola, with bittersweet ballads ("For All We Know"), a jaunty "Don't Sit Under the Apple Tree (With Anyone Else but Me)," and the dreamy interpretation of "Where or When." A surprising choice is "Lilly Marlene," a European song frequently played by Nazi propagandist broadcaster Axis Sally, which Brubeck is able to play in a lush setting. After the Germans succeeded in destroying nearly every bridge which crossed the Rhine River into their homeland in advance of the Allies, the bridge at Remagen was finally captured, though Brubeck's unit had to make due with a pontoon bridge due to its damaged state. His "We Crossed the Rhine" is a tense piece that evokes the still-dangerous conditions as they made their way into Germany. "Weep No More" is Brubeck's poignant ballad to his wife to let her know that he is out of danger for good, with the war in Europe at an end. He concludes the first disc with a dramatic interpretation of "You'd Be So Nice to Come Home To." Walter Cronkite and Brubeck are old friends, and it is fun to hear their conversation about the pianist's early years and life in the army. He shares both funny and scary anecdotes from his days as a soldier. This limited-edition release is one of the most unique items in Brubeck's considerable discography, and should be snapped up without hesitation." - Ken Dryden
"This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans's Orchestra but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns, the tuba of Howard Johnson, three guitars, two basses, two percussionists and such soloists as altoist David Sanborn, trumpeter Hannibal Marvin Peterson, Billy Harper on tenor and guitarists Ryo Kawasaki and John Abercrombie. Evans's arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz. [This album was rereleased in 2002 on the Bluebird label with four bonus tracks from the same sessions]" - Scott Yanow
"It is surprising that Lee Morgan's The Procrastinator was not released when it was recorded in 1967 for the sextet (which includes Wayne Shorter, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, bassist Ron Carter and drummer Billy Higgins) lives up to their potential on a well-rounded set of originals by Morgan and Shorter. The music ranges from the funky "Party Time" (which sounds like it could have been written by Horace Silver) to more explorative pieces." - Scott Yanow
"This out-of-print double LP from 1978 released for the first time a pair of "lost" Lee Morgan albums. The music (from 1967 and 1969) falls into the category of advanced hard bop with the influence of the avant-garde and modal jazz mixing in with the trumpeter's roots in Art Blakey's brand of hard bop. The earlier date has a particularly impressive lineup of talent (tenor-saxophonist Wayne Shorter, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, bassist Ron Carter and drummer Billy Higgins) while the later album is not exactly a throwaway since it features trombonist Julian Priester, George Coleman on tenor, pianist Harold Mabern, bassist Walter Booker and drummer Mickey Roker. There are many highlights to this enjoyable (but now difficult-to-locate) two-fer as Morgan and his contemporaries perform 12 group originals plus the lone standard "Stormy Weather."" - Scott Yanow
"Uber-lunged German saxophonist Peter Brötzmann teamed up with American vanguard legend Joe McPhee (who plays alto, tenor, trumpet, and pocket cornet here), bassist Kent Kessler, and drummer Michael Zerang (four-tenths of the Tentet Brötzmann toured and recorded with in the late '90s) for a single day of exchanging tunes and improvising in June 2002. McPhee and Brötzmann are perfect foils for one another on the front line. They both have requisite force, but McPhee is also a chameleon's player; he understands what lies in the spaces and knows how to make the most of it. His own compositions here, which account for over half the album, stress the kind of joint front-line melodies and close harmonics that create inner space in a tune -- just check his two-part "Stone Poem" and his "Anticipation of the Next," dedicated to departed bassists Peter Kowald and Wilbur Morris, for evidence. Brötzmann offers some surprises here in his pieces as well, not the least of which is his reformulation of a hymn Thelonious Monk recorded shortly before his death, originally entitled "This Is My Story, This Is My Song." Titled "Blessed Assurance" here, it takes the hymn, moves through its changes twice, and extrapolates them through his solo and the band's collective improvisation. McPhee's trumpet is the perfect complement and the pair sound like Albert and Don Ayler swinging their chariots toward the heavenly gates. Likewise, the beautiful art-damaged composition "Pieces of Red, Green, and Blue" (supposedly written about a museum experience he and Brötzmann shared) offers killer honking saxophone phrases that are repeated, striated, warped, turned inside out and back on themselves, and finally exploded into intense and inspired group interplay. This is a fiery and yet accessible date that showcases many aspects of the two men not only as players, but as composers as well." - Thom Jurek
total 97M 4.5M 01.Stone Poem No. 1 (For Stephanie).mp3 8.3M 02.Something There Is That Doesn't Love.mp3 11M 03.Master Of A Small House (For Fred Hopkins).mp3 8.2M 04.Cymbalism.mp3 8.1M 05.Alto Lightning In A Violin Sky (For Jimmy Lyons).mp3 9.4M 06.From Now Till Doomsday.mp3 17M 07.Do You Still Love Me, Did I Ever.mp3 12M 08 In Anticipation Of The Next.mp3 5.8M 09.Blessed Assurance.mp3 12M 10.Pieces Of Red, Green And Blue.mp3 3.4M 11.Stone Poem No. 2 (For Irving).mp3
total 127M 9.0M 01. Duet 2.mp3 8.9M 02. Duet 3.mp3 9.8M 03. Duet 4.mp3 21M 04 Duet 5.mp3 6.0M 05. Duet 6.mp3 4.9M 06. Duet 7.mp3 13M 07. Duet 9.mp3 21M 08. Duet 8.mp3 20M 09. Duet 11.mp3 11M 10. Duet 12.mp3 5.9M 11. Duet 13.mp3
total 99M 15M 01 Peanut Vendor.mp3 16M 02 Intermission Riff.mp3 8.9M 03 Artistry In Rhythm.mp3 13M 04 Bogota.mp3 14M 05 Malaga.mp3 7.7M 06 Malagena.mp3 14M 07 Chappas.mp3 13M 08 Ambivalence.mp3
total 104M 6.2M 01. Company Segundo - Chau Chau.mp3 5.4M 02. Ute Lemper - The Case Continues.mp3 8.2M 03. Nicholas Payton - Zigaboogaloo.mp3 4.9M 04. Kerim Gorsev - Jumping to The Void.mp3 9.3M 05. Christian McBride - Family Affair.mp3 9.7M 06. Onder Focan - Negres.mp3 7.7M 07. Michael Camilo & Tomatito - Spain.mp3 7.7M 08. Burhan Ocal - Jamaladeen Tacuma - Habibi.mp3 4.1M 09. Yildiz Ibrahimova - Dve Gitari.mp3 12M 10. Roni Size Reprazent - Brown Paper Bag.mp3 5.4M 11. Wax Poetic - Earth Song.mp3 7.4M 12. Wibutee - Newborn Thing.mp3 9.0M 13. Bugge Wesseltoft - You Might Say.mp3 8.3M 14. Ben Neill - Tunnel Vision.mp3
total 80M 6.6M 01. Sting - Desert Rose.mp3 7.2M 02. Beady Belle - Ghosts.mp3 7.4M 03. Bugge Wesseltoft - Change (Edit).mp3 9.0M 04. Wayne Shorter - High Life.mp3 4.9M 05. Woody Herman - I Say a Little Prayer.mp3 6.9M 06. Brooklyn Funk Essentials - Ska Ka-Bop.mp3 5.5M 07. Eleftheria Arvanitaki - For The Colour of Your Eyes.mp3 9.5M 08. Kenny Barron & Regina Carter - Softly As in a Morning Sunrise.mp3 5.1M 09. Big Bad Voodoo Daddy - I Wanna Be Like You.mp3 5.7M 10. Mardi Gras.BB - Psychoflute.mp3 4.7M 11. PJ Harvey - Good Fortune.mp3 7.8M 12. Nils Petter Molvaer - Dead Indeed (Pascal Gabriel Mix).mp3
total 72M 8.5M Antonio Onorato - Jazz Napoletano - 01 - 34 E Un P.mp3 9.4M Antonio Onorato - Jazz Napoletano - 02 - Luandando.mp3 15M Antonio Onorato - Jazz Napoletano - 03 - Neapolitan Minor Blues.mp3 11M Antonio Onorato - Jazz Napoletano - 04 - Palummella.mp3 2.9M Antonio Onorato - Jazz Napoletano - 05 - Tammurriata Nera.mp3 6.8M Antonio Onorato - Jazz Napoletano - 06 - Morte Di Un Fiore.mp3 6.1M Antonio Onorato - Jazz Napoletano - 07 - Napulegna.mp3 8.8M Antonio Onorato - Jazz Napoletano - 08 - Manha De Carnaval.mp3 4.2M Antonio Onorato - Jazz Napoletano - 09 - Assaje.mp3
total 73M 2.9M 01 - Space Song.mp3 1.5M 02 - Carnival.mp3 9.5M 03 - Wind Spin.mp3 4.4M 04 - Ghost Machine.mp3 2.3M 05 - Surf Spin.mp3 8.6M 06 - Time Is Here.mp3 6.1M 07 - Winner Loser.mp3 2.4M 08 - Solitude.mp3 3.9M 09 - Nature.mp3 1.2M 10 - Air Voice.mp3 9.0M 11 - Crossing The Line.mp3 17M 12 - Man Of Leo.mp3 1.7M 13 - Stellar.mp3 3.8M 14 - Space Requiem.mp3 4.0K info.nfo
"The craggy-voiced Italian singer, pianist and composer Paolo Conte was born in the northern city of Asti in 1937; a poet and painter as well as a musician, he first earned attention during the late '60s and early '70s as the creative force behind hits from Adriano Celentano and Patty Pravo. Conte began his solo career with a 1974 self-titled LP, with subsequent efforts like 1987's Aguaplano and 1990's Parole Scritte a Macchina enjoying considerable success throughout Europe. 1998's Paolo Conte -- a greatest-hits collection -- was his first U.S. release." - Jason Ankeny
"The Best of Paolo Conte is currently the only collection of the Italian singer/songwriter's music that is readily available in America. Fortunately for those with a soft spot for quirky romantics, it is a fine representation of his life's work. Conte is often compared to Tom Waits, presumably because both men have gravelly voices and write from a skewed, sometimes surreal perspective. Like Waits, Conte is a jazz aficionado, but despite these shared characteristics, the two sound nothing alike. Where Waits is aggressively avant-garde, Conte tends to be smooth, urbane, conversational. He arranges his songs (with the exception of a few synthetic-sounding tracks from the '80s) for small combos, with his own rolling piano lines and kazoo (yes, kazoo) at the center. Most striking is his eccentric singing style, which includes frequent detours through broken English and madcap scatting. For listeners who do not understand Italian, the 20 selections here may begin to blur together, but the handy translations in the liner notes reveal that Conte is a perceptive, poetic lyricist, whether he is commenting on lemon ice cream, neglected colleagues, Ernest Hemingway, or a passionate affair. His rollicking cocktail of lounge jazz, ragtime, cabaret, polka, and South American rhythms makes for a wry, soothing alternative to strident rockers and wimpy troubadours alike." - Daniel Browne
total 120M 4.0M Paolo Conte - The best of - 01. Via con me.mp3 5.8M Paolo Conte - The best of - 02. Sotto le stelle del jazz.mp3 3.9M Paolo Conte - The best of - 03. Elisir.mp3 9.5M Paolo Conte - The best of - 04. Boogie.mp3 6.8M Paolo Conte - The best of - 05. Sparring partner.mp3 6.5M Paolo Conte - The best of - 06. Come di.mp3 4.5M Paolo Conte - The best of - 07. Azzurro.mp3 7.3M Paolo Conte - The best of - 08. Gelato al limon.mp3 5.5M Paolo Conte - The best of - 09. Happy feet.mp3 6.4M Paolo Conte - The best of - 10. Gli impermeabili.mp3 6.1M Paolo Conte - The best of - 11. Max.mp3 5.3M Paolo Conte - The best of - 12. Gong-oh.mp3 5.9M Paolo Conte - The best of - 13. Colleghi trascurati.mp3 3.8M Paolo Conte - The best of - 14. Bartali.mp3 11M Paolo Conte - The best of - 15. Alle prese con una verde milonga.mp3 6.8M Paolo Conte - The best of - 16. Dragon.mp3 7.9M Paolo Conte - The best of - 17. Hemingway.mp3 4.7M Paolo Conte - The best of - 18. Ho ballato di tutto.mp3 4.6M Paolo Conte - The best of - 19. Quadrille.mp3 5.3M Paolo Conte - The best of - 20. Genova per noi.mp3 104K Paolo Conte - The best of (back).jpg 48K Paolo Conte - The best of (front).jpg 16K Paolo Conte - The best of .PAR2 4.0K Paolo Conte - The best of (playlist).m3u 8.0K Paolo Conte - The best of .sfv
total 110M 15M Reykjavik Jazz Quartet - Hot House - 01 - Changing Weather.mp3 15M Reykjavik Jazz Quartet - Hot House - 02 - Alone Together.mp3 9.0M Reykjavik Jazz Quartet - Hot House - 03 - So Young.mp3 13M Reykjavik Jazz Quartet - Hot House - 04 - Flight 622.mp3 19M Reykjavik Jazz Quartet - Hot House - 05 - Dark Thoughts.mp3 16M Reykjavik Jazz Quartet - Hot House - 06 - Tongue In Cheek.mp3 8.9M Reykjavik Jazz Quartet - Hot House - 07 - All The Time.mp3 16M Reykjavik Jazz Quartet - Hot House - 08 - Hot House.mp3 428K Reykjavik Jazz Quartet - Hot House - Cd Covers.jpg
total 64M 6.6M 01 La Vita Intensa.mp3 8.3M 02 Brazilian Song.mp3 5.7M 03 Norwegian Wood.mp3 17M 04 Cheek To Cheek - Tea For Two.mp3 5.1M 05 Danca De Gaucho.mp3 7.9M 06 Elena Sugrino.mp3 5.8M 07 Giropondo.mp3 8.9M 08 El Choco.mp3
total 68M 12M 01 Der Chauffeur.mp3 12M 02 Good To See You.mp3 9.4M 03 Mariano.mp3 9.4M 04 Columbia.mp3 11M 05 Prelude no 1 (Bach).mp3 10M 06 Three Leaves.mp3 5.2M 07 Gretchens Stube.mp3 4.0K info.txt
total 59M 8.3M 01 Lights Off.mp3 5.5M 02 Do You Hear Anything.mp3 7.5M 03 Track 3.mp3 7.5M 04 Idee Nr. 4.mp3 5.6M 05 Julia.mp3 6.0M 06 Birdland Cooking.mp3 6.9M 07 Here Is That Rainy Day.mp3 2.0M 08 Introduction Of Musicians.mp3 5.3M 09 The Hunt.mp3 4.6M 10 Encore.mp3
"Iceberg were easily one of *the* best Progressive bands to come from Spain, or anywhere else for that matter. Their music is a shifting, complex mixture of fusion guitar and symphonic keyboards. "Coses Nostres" is most similar to Return to Forever's "Hymn of the Seventh Galaxy". Anyone who like's that RTF album will flip over Iceberg. Guaranteed! The scorching guitar dueling it out with the sizzling synthesizer will make you drop your jaw. The rhythm section are mind-blowing, riffing non-stop and enjoining battle with the guitar and keyboards. Vocals are too scared to get hear this hotbed so it's instrumental all the way. The subsequent albums reveal a more unique voice for Iceberg though still a very fusionesque form of symphonic progressive. Well worth searching out but the LPs are apt to set you back several dollars. I've seen "Coses Nostres" go for $50-60. It's worth it. An absolute must if you can find any of the albums. Try for "Coses Nostres" or "Sentiments" as they're a bit better than "En Directe" or "Arc En Ciel" though any of these are fantastic. I haven't heard "Tutankhamon"." - Mike Taylor
"Spanish prog has a reputation of being jazzy. This is with good reason - most of the bands from Spain that I've heard, such as Om, Cai, Guadalquivir, and Azahar, have a strong fusion or jazz element. But Iceberg stands out among them as being a top notch fusion album not only of Spain, but of all time! With a lineup that rivals those of Return To Forever in terms of skill, "Coses Nostres" is a fusion-lovers wet dream wi it's masterful drumming and bass playing, wildly brilliant guitar, and complementing keyboards. Anyone who has been impressed by the guitar styles of Di Meola or McLaughlin should hear Iceberg's Max Suñé play. His searing leads travel the entire neck of the guitar with remarkable fluidity. He avoids the Rabin-esque playing fast for the sake of playing fast, and instead combines a traditional Spanish style with the modern rock guitar style of the seventies. The drummer plays on the level that you might expect from Lenny White or Billy Cobham. And lets not take anything away from the keyboardist and bassist, both of whom are excellent. The music is a complex, time-shifting combination of riffs and leads, with an all around aura of musicianship that reminds me of Area (only missing are the vocals and the wild experimentation). Iceberg's themes are upbeat and bouncy most of the time, but don't let the jazziness turn you off. If you're into well written and played progressive fusion like "Hymn of the Seventh Galaxy" era RTF, or "Visions of the Emerald Beyond" by the Mahavishnu Orchestra, Iceberg is a must. "Coses Nostres" easily makes my top ten fusion favorites." - Mike Borella
total 48M 4.0K 00 - Iceberg - Arc-en-ciel.m3u 9.7M 01 - El caminant nocturn.mp3 13M 02 - Cantics de la carn.mp3 8.9M 03 - Riu d'agost.mp3 7.3M 04 - Embrujo.mp3 7.5M 05 - Crisalide.mp3 8.0K 1979 - Iceberg - Arc-en-ciel.par2 532K CD- Frontal.jpg 276K CD_Trasera.jpg 372K Vinilo_Frontal.jpg 536K Vinilo_Interior.jpg
total 51M 4.0K 00 - Iceberg - Iceberg - En Directe.m3u 25M 01 - Oh! Un Anec Simfonic - Ones.mp3 9.4M 02 - Can� Per Qualsevol Orquestra.mp3 15M 03 - Histories.mp3 8.0K 1978 - Iceberg - En Directe.par2 536K CD_Back.jpg 704K Front-CD.jpg 820K Vinilo_Frontal-Trasera.jpg 612K Vinilo_Interior.jpg
total 39M 4.0K 00 - Iceberg - Sentiments.m3u 1.6M 01 - Sentiments.mp3 5.3M 02 - Andalusia, Andalusia.mp3 4.9M 03 - A Sevilla.mp3 6.1M 04 - Ball de les Fulles.mp3 6.5M 05 - Magic.mp3 2.9M 06 - Joguines.mp3 8.6M 07 - Alegries del Mediterrani.mp3 8.0K 1977 - Iceberg - Sentiments.par2 872K Iceberg - Sentiments - CD_Interior.jpg 464K Iceberg - Sentiments - CD_Trasera.jpg 1.3M Iceberg - Sentiments - Frontal y trasera_Vinilo-CD .jpg
"Miriodor began in the early '80s in Quebec City, as an instrumental sextet. The band issued a self-produced LP, Rencontres, in 1985, before moving to Montreal and re-forming as a trio with members Pascal Globensky (keyboards), Sabin Hudon (saxophones), and Remi Leclerc (drums). Miriodor successfully blends classic progressive music, new technology, and new music. Miriodor released a self-titled LP in 1988, which was later reissued on CD by Cuneiform. 1992 brought the release of Avertissement/3rd Warning, which included cut-out figures of the band members. Jonglieres Élastiques (or, Elastic Juggling) followed in 1996. By the late '90s, Hudon had exited and was replaced by saxophonist Marie-Chantal Leclerc, and the trio became a quintet with the addition of guitarist Bernard Falaise (also of Montreal band Klaxon Gueule) and bassist Nicolas Masino." - Jim Dorsch
total 125M 11M 01_Regards.mp3 9.0M 02_Spiral.mp3 2.8M 03_Funeral March.mp3 8.2M 04_Valence.mp3 5.9M 05_Trap.mp3 9.3M 06_Suspicion.mp3 11M 07_Premonitory Insomnia.mp3 6.6M 08_Network.mp3 7.4M 09_Waiting For Remi.mp3 6.3M 10_Full Moon.mp3 14M 11_Suspicion.mp3 9.5M 12_Oriflamme.mp3 11M 13_Nocturnal Procession.mp3 16M 14_Middle Ages.mp3 4.0K Miriodor_Miriodor.txt
total 76M 4.0K 00 - 2002 - Atomic - Feet Music .nfo 4.0K 00 - 2002 - Atomic - Feet Music .sfv 7.3M atomic - feet music - 01 - naera grensen.mp3 8.3M atomic - feet music - 02 - longing for martin.mp3 7.0M atomic - feet music - 03 - do it.mp3 7.3M atomic - feet music - 04 - den flyktiga magneten.mp3 6.3M atomic - feet music - 05 - psalm.mp3 8.5M atomic - feet music - 06 - el coto.mp3 9.2M atomic - feet music - 07 - prayer.mp3 8.9M atomic - feet music - 08 - fifth circle.mp3 13M atomic - feet music - 09 - krilons resa.mp3
"Those familiar with previous work by these two instrumentalists will find no surprises on their second duo album, which consists primarily of compositions by pianist Bjornstad, interspersed with fragments of works by composers of the European Renaissance (William Byrd, Orlando Gibbons, Guillaume Dufay, and the obscure German composer Gregor Aichinger) and a couple of David Darling compositions, one of them written for multi-tracked cello. The sixteen pieces on this disc are highly consistent in terms of mood and texture: from Bjornstad's "Epigraph No. 1" that opens the program to the Aichinger compositions "Factus Est Repente" that closes it, the feeling is one of deep calm and contemplation. To call this music "minimalist" wouldn't be entirely accurate, since there's quite a bit of harmonic movement and not much repetition, but because Bjornstad and Darling's playing is so consistently gentle and the music is so consistently quiet and pleasant, this album has a flavor that will be familiar to fans of Philip Glass and Arvo Part. Recommended." - Rick Anderson
total 79M 4.0K 00 - 1998 - Ketil Bjornstad & David Darling - Epigraphs_copy_2.nfo 4.0K 00 - 1998 - Ketil Bjornstad & David Darling - Epigraphs_copy_2.sfv 4.0K 00 - 1998 - Ketil Bjornstad & David Darling - Epigraphs.nfo 4.0K 00 - 1998 - Ketil Bjornstad & David Darling - Epigraphs.sfv 4.3M ketil bjornstad & david darling - epigraphs - 01 - epigraph no.1 - theme & variations.mp3 5.7M ketil bjornstad & david darling - epigraphs - 02 - upland.mp3 5.8M ketil bjornstad & david darling - epigraphs - 03 - wakening.mp3 2.3M ketil bjornstad & david darling - epigraphs - 04 - epigraph no. 1 var. 1.mp3 5.1M ketil bjornstad & david darling - epigraphs - 05 - pavane.mp3 2.8M ketil bjornstad & david darling - epigraphs - 06 - fantasia.mp3 3.3M ketil bjornstad & david darling - epigraphs - 07 - epigraph no. 1 var. 2.mp3 3.7M ketil bjornstad & david darling - epigraphs - 08 - the guest.mp3 5.2M ketil bjornstad & david darling - epigraphs - 09 - after celan.mp3 8.9M ketil bjornstad & david darling - epigraphs - 10 - song for tkjd.mp3 6.5M ketil bjornstad & david darling - epigraphs - 11 - silent dream.mp3 5.8M ketil bjornstad & david darling - epigraphs - 12 - the lake.mp3 5.7M ketil bjornstad & david darling - epigraphs - 13 - gothic.mp3 2.1M ketil bjornstad & david darling - epigraphs - 14 - epigraph no. 1 var. 3.mp3 5.2M ketil bjornstad & david darling - epigraphs - 15 - le jour s'endort.mp3 6.8M ketil bjornstad & david darling - epigraphs - 16 - factus est repente.mp3
total 67M 4.0K 00 - 2003 - #Various Artists - Merriwinkle.nfo 4.0K 00 - 2003 - #Various Artists - Merriwinkle.sfv 6.1M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 01 - bittertiles.mp3 6.2M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 02 - oldenwold.mp3 2.9M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 03 - heylo.mp3 6.3M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 04 - soleside.mp3 3.9M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 05 - wobber.mp3 5.4M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 06 - Bathos.mp3 11M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 07 - ectrik.mp3 3.0M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 08 - merriwein.mp3 6.7M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 09 - Flidis.mp3 3.7M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 10 - nickeltoe.mp3 4.5M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 11 - Limpit.mp3 3.2M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 12 - tunk.mp3 4.9M Sidsel Endresen, Christian Wallumrod, & Helge Sten - Merriwinkle - 13 - mellodome.mp3
total 66M 7.7M 01 - How Am I Supposed To See The Stars.mp3 4.6M 02 - Once I Held A Moon.mp3 6.9M 03 - Dance Me Love.mp3 6.0M 04 - You Send Me Flowers.mp3 6.5M 05 - I Don't Want To See You Cry.mp3 6.3M 06 - In A Sentence.mp3 5.3M 07 - Take A Long Long Walk.mp3 6.5M 08 - This Is Not America.mp3 5.5M 09 - Be Gone.mp3 5.4M 10 - Borrowing Moons.mp3 4.9M 11 - Unbreakable Heart.mp3 20K front.jpg 4.0K info.nfo
"Transplanted from New York to the Bay Area, the chamber jazz group Tin Hat Trio consists of accordionist Rob Burger, guitarist Mark Orton, and violinist Carla Kihlstedt. The group's unique blend of structure, improvisation, and contemporary classical, folk, world, and jazz elements reflects each member's other performing experiences. Kihlstedt majored in classical violin performance at the Oberlin Conservatory and went on to become a prominent performer in both classical and improvised music, playing with artists like John Zorn and Roscoe Mitchell, and recording with Eugene Chadbourne, the Grassy Knoll, and Tom Waits. She also appeared on Phillip Glass' series Music at the Anthology, sings and plays with another Bay Area band (Charming Hostess), collaborates with choreographer Jo Kreiter, and is a graphic designer/illustrator as well.
Orton started playing guitar as a child and eventually studied composition at the Peabody Conservatory and the Hart School of Music. Also a professional recording and sound engineer, Orton worked on sessions with Bill Frisell, John Zorn, and the Lounge Lizards, and engineered the sound at the Knitting Factory for two years. Orton plays banjo, lute, dobro, lap steel, and electric guitar with his other group, San Francisco's Old Joe Clarks, and has composed scores for independent films like Beverly Wachtel's Just Noticeable Difference.
Burger studied classical piano at Juilliard and explored different improvisational styles at the University of Massachusetts with Max Roach, Archie Stepp, and Yusef Lateef. He broadened his range to include Hammond organ and vintage keyboards like the Optigan and Chamberlin, toy pianos and keyboards, and the accordion. Burger has toured with Bill Frisell, Don Byron, and Joey Baron, and appeared on Frisell's Tales From the Far Side soundtrack. Since moving to the Bay Area, Burger has worked with artists as diverse as Tipsy and Mix Master Mike; he is also a member of the Oranj Symphonette, as well as his bandmate Orton's other project, Old Joe Clarks. As the Tin Hat Trio, they released their debut album Memory Is an Elephant on Angel Records in early 1999; Helium followed in Spring 2000, boasting appearances from Tom Waits and an uncredited Mike Patton. Two years later, the ambitious The Rodeo Eroded showcased their own unique music as well as guest appearances from Phish drummer John Fishman and Willie Nelson." - Heather Phares
total 81M 12M 01 Quick Marble Tremble.mp3 8.9M 02 Sad Dog Blues.mp3 6.9M 03 Anna Kournikova.mp3 7.9M 04 The Last Cowboy.mp3 11M 05 Old Grey Mare.mp3 8.4M 06 Fear Of The South.mp3 12M 07 Bill.mp3 7.9M 08 Fountain Of Youth.mp3 8.8M 09 Big Top.mp3
total 89M 21M 01 Track 1.mp3 20M 02 Christo Redento.mp3 13M 03 Heads Up.mp3 22M 04 Track 4.mp3 16M 05 A Night In Tunisia.mp3 4.0K info.txt
"This LP was one of trumpeter Donald Byrd's final hard bop dates. Teamed with altoist Sonny Red, pianist Cedar Walton, bassist Walter Booker and drummer Billy Higgins (who takes a surprise vocal on the title cut), this quintet outing features originals by Byrd, Walton and Red along with the standards "Secret Love" and "My Ideal." The music in general finds Byrd looking both backwards toward the blues and forwards toward modal music and hints of the avant-garde. A fine effort." - Scott Yanow
"Until it was reissued on CD, this was one of the rarer Gerry Mulligan albums. The original program consisted of seven Mulligan compositions played by a five-sax octet (including the leader on baritone, altoist Lee Konitz, Allen Eager and Zoot Sims doubling on tenor and alto, Al Cohn on tenor and baritone and a rhythm section consisting of guitarist Freddie Green, bassist Henry Grimes, and drummer Dave Bailey). The session has a few surprise touches, giving listeners the rare opportunity to hear Eager and Sims soloing on alto and Cohn doubling on baritone. This was Allen Eager's first recording in several years and would be the last one of his prime (Eager's next album would be for Uptown in 1982); he had other interests outside of music. Perhaps the biggest surprise of the date is that the clever, witty and swinging arrangements are not by Mulligan but by Bill Holman. The CD reissue is rounded off by four selections from a largely unissued ("The Preacher" came out as an edited sampler) session featuring Mulligan with drummer Dave Bailey and a string quartet led by bassist Vinnie Burke. The performances are not chamber music but fairly conventional if spirited bop. Cellist Calo Scott trades off a bit with Jeru and guitarist Remo Palmieri makes one wonder what ever happened to him. Highly recommended for Gerry Mulligan fans." - Scott Yanow
"This four-CD set has all of the recordings made as a leader by tenor-saxophonist Illinois Jacquet during a period when he was at the height of his popularity. After his classic solo made "Flying Home" a major hit for Lionel Hampton in 1942, Jacquet spent time with Cab Calloway's band, was a sensation with Jazz at the Philharmonic, and was featured as a star soloist with Count Basie. In 1946, Jacquet went out on his own and his combo (ranging from six to eight pieces) was extremely popular, featuring its leader's hard-swinging solos which utilized a liberal amount of honks and screams. The first real R&B tenorman, Illinois Jacquet was always a much more well-rounded soloist than the specialists who followed him. The 17 sessions that are included on this essential box draws its material from the Aladdin, Apollo, ARA, Savoy, and Victor catalogues. Some of the music has been readily available in recent years, but this is the best way to acquire the swinging performances. Among Jacquet's most notable sidemen are trumpeters Joe Newman, Emmett Berry (who was actually the leader of one of these dates), Russell Jacquet (who also contributes some bluish vocals), and Fats Navarro (who solos on one song); trombonists Henry Coker, Trummy Young, and J.J. Johnson; baritonist Leo Parker; pianists Sir Charles Thompson, Bill Doggett, and John Lewis; bassist Charles Mingus; drummers Johnny Otis and Shadow Wilson; and (on two songs) singer Wynonie Harris. Fun music." - Scott Yanow
"Gentleman Milt Jackson pays tribute to a cross-section of female singers whom he has admired for over a half a century on this unpretentious straight-ahead CD. Moreover, Milt is enough of a gentleman not to mention any names in the booklet, presumably so as to not leave anyone out. But you can tell by many of the titles just whom he is referring to; needless to say, "A Tisket A Tasket" cannot refer to anyone else but Ella, "What a Difference a Day Made" is Dinah Washington, etc. Pianist Michael LeDonne, bassist Bob Cranshaw and drummer Mickey Roker make up the first-class, lightly swinging rhythm section, and Etta Jones' smoky vocals decorate three of the tunes as ambassador for her gender. Best of all is when the MJQ stalwart loosens his tie and gets to jam a bit on his own funky "Blues for Queen 'D.'" The great vibraphonists of jazz tend to age very well, and at 74, Jackson is very much on his game here." - Richard S. Ginell
"48 years after he first made a major impression on a Dizzy Gillespie recording date, vibraphonist Milt Jackson proves that he was still at the top of his form on this CD. The straight-ahead date finds his quartet (with pianist Cedar Walton, bassist John Clayton and drummer Billy Higgins) welcoming guests Joshua Redman (whose tenor is on six of the dozen selections) and singer Joe Williams, who helps out on three songs. Redman easily fits into the role that other tenors such as Teddy Edwards and Jimmy Heath have had with Jackson, taking concise solos while allowing the great vibist to be the lead in most of the ensembles. Joe Williams is fine during his three spots, but it is the apparently ageless Milt Jackson who is the main star during this enjoyable set." - Scott Yanow
total 113M 18M 01 - Alien Chase on Arabian Desert.mp3 21M 02 - Senor Mouse.mp3 12M 03 - Egyptian Danza.mp3 16M 04 - Al D's Dream Theme.mp3 6.9M 05 - Beyond the Seventh Galaxy.mp3 18M 06 - Dinner Music of The Gods.mp3 25M 07 - Race With the Devil on a Spanish Highway.mp3
Total 55M 332K 01 - Intro.mp3 9.5M 02 - P.S.P.mp3 5.2M 03 - Medley.Orient Blue,untitled,rh.mp3 6.2M 04 - Mediterranean Sundance.mp3 13M 05 - Tango Suite For Two Guitars.mp3 11M 06 - Spain.mp3 11M 07 - No Mystery.mp3
total 168M 4.0K 00 Bill Frisell Live WDR 3.txt 29M 01 The mesmerist.mp3 56M 02 Bomb shell bright.mp3 15M 03 Faces.mp3 1.8M 04 The whim grinder.mp3 1.3M 05 The animal race.mp3 16M 06 Little brother Bobby.mp3 9.4M 07 Hangdog.mp3 9.5M 08 1951.mp3 16M 09 Love motel.mp3 17M 10 The lone ranger.mp3
"Cal Tjader's Breeze from the East combined the vibist's Latin lounge style with kitschy Asian touches. In lieu of the Asian-born material and Lalo Schifrin's airy arrangements found on its predecessor Several Shades of Jade, though, Tjader opted here for Stan Applebaum's self-penned go-go charts. On "Sake and Greens," "Cha," and "Shoji," mod-rock guitar lines shadow Tjader's solos on pat-sounding Oriental scales, while pianist Lonnie Hewitt keeps up a soul-jazz rhythm -- picture '60s-era James Bond on a wild chase through the heart of Tokyo. Tjader's traditionally light, Latin combo approach -- sans much of the Eastern ornamentation -- is still used on standards like "Stardust" and "East of the Sun (And West of the Moon)" and even worked to somewhat sublime heights on "Fuji" and "Black Orchid." The ultra-smooth Latin jazz sound Tjader favored has always been more infectious than demanding and Breeze from the East's commercialized mod/eastern elements only end up expanding the pop exotica mix. Breeze from the East is only available on a double CD with Several Shades of Jade, but considering the comparable quality of both discs, it's not a bad deal or a kitsch overload." - Stephen Cook
"One of the most unique albums of Cal Tjader's career, 1963's Several Shades of Jade is a collaboration with composer and arranger Lalo Schifrin that transposes the vibraphonist's musical travels from Latin America to the Far East. This is no more traditional Asian music than Tjader's similar albums from this period are traditional Latin American music, but the pair wisely avoids the standard clichés of Asian music (no smashing gongs after every musical phrase or melodies that sound like rejects from The Mikado). Instead, Schifrin frames Tjader's meditative vibraphone solos in arrangements that strike a cool balance between western kitsch and eastern exotica, never tipping too far in either direction. Although the follow-up album, Breeze From the East, is rightfully panned by just about everyone whose idea of Asian music doesn't begin and end with the Vapors' "Turning Japanese," Several Shades of Jade is actually an interesting experiment that succeeds more often than it fails." - Stewart Mason
total 77M 6.9M 01 Track 01.mp3 13M 02 Track 02.mp3 13M 03 Track 03.mp3 4.5M 04 Track 04.mp3 12M 05 Track 05.mp3 4.3M 06 Track 06.mp3 12M 07 Track 07.mp3 13M 08 Track 08.mp3
"John McLaughlin brought his revived Indo-jazz project Shakti to Bombay (Mumbai) in late 2000, and the result is this live disc, which features only four compositions but runs over an hour in length. (The title is a deliberate play on 1980's Friday Night in San Francisco.) McLaughlin's electric guitar and Zakir Hussain's tabla remain at the core of the group's sound. U. Shrinivas (on mandolin) and V. Selvaganesh (on kanjira, ghatam, and mridangam, all Indian percussion instruments) remain from the previous album, but there are also a number of Indian guest musicians, giving the music many added dimensions. The most remarkable guests are Debashish Bhattacharya on Hindustani slide guitar, Shankar Mahadevan on vocals, and Shiv Kumar Sharma on santur, an Indian hammered dulcimer. Sharma composed the second track, "Shringar"; nearly half an hour long, it consists almost entirely of a hypnotic dialogue between santur and guitar. Mahadevan's vocal performance on the opening "Luki" resounds with spiritual power, while Shrinivas's "Giriraj Sudha" gives a sunny, optimistic lift to the somewhat mournful set." - David R. Adler
total 96M 228K Saturday_Night_in_Bombay-Remember_Shakti-Back.jpg 30M Saturday Night in Bombay - Remember Shakti - Bell'Alla.mp3 188K Saturday_Night_in_Bombay-Remember_Shakti-CD.jpg 300K Saturday_Night_in_Bombay-Remember_Shakti-Front.jpg 16M Saturday Night in Bombay - Remember Shakti - Giriraj Sudha.mp3 9.8M Saturday Night in Bombay - Remember Shakti - Luki.mp3 41M Saturday Night in Bombay - Remember Shakti - Shringar.mp3
total 99M 26M 01 Simultaneity.mp3 19M 02 High.mp3 19M 03 Blame It On My Youth.mp3 23M 04 Boogie Stop Shuffle.mp3 14M 05 Minuet.mp3
total 53M 4.3M 01 Track 1.mp3 22M 02 Track 2.mp3 22M 03 Track 3.mp3 5.1M 04 Dark Room.mp3
total 91M 19M 01 Track 1.mp3 23M 02 Track 2.mp3 27M 03 Track 3.mp3 15M 04 Track 4.mp3 8.3M 05 Track 5.mp3 4.0K info.txt
total 71M 21M 01 Voyage - Demi-Monde.mp3 51M 02 Michel's Jungle - Mutinerie.mp3 4.0K info.txt
"Bandleader John Lurie really hit his stride with this live set, recorded in Tokyo with perhaps the strongest incarnation of the Lounge Lizards. The passionate, furious vibe is set from the outset on the title track, featuring the slashing guitar of Marc Ribot and the funky bass of Erik Sanko. But Lurie's more sentimental side comes through his sax on the doleful "It Could Have Been Very, Very Beautiful." In all, the disc represents what is great about the Lounge Lizards: a serious band that doesn't take itself too seriously." - Tim Sheridan
total 53M 4.0K 00-Lounge Lizards - Big Heart - Live In Tokyo.txt 8.5M 01-Big Heart.mp3 6.3M 02-Hair Street.mp3 5.8M 03-Fat House.mp3 6.5M 04-It Could Have Been Very, Very Beautiful.mp3 11M 05-They Were Insane.mp3 16M 06-The Punch and Judy Tango.mp3 392K 07-Map of Bubbles (Short Version).mp3
total 86M 5.5M Track 1.mp3 14M Track 2.mp3 19M Track 3.mp3 9.3M Track 4.mp3 4.0M Track 5.mp3 5.9M Track 6.mp3 9.4M Track 7.mp3 9.2M Track 8.mp3 11M Track 9.mp3
"The mastery and vision of the enduring Marc Ribot shine through on this release. Although there have been many attempts to produce authentic indigenous music of various cultures, most have fallen short; this album succeeds in the wake of failure. Ribot delves deep into Cuban rhythms, and indeed the album is a tribute to the Cuban master Arsenio Rodriguez. Here Ribot finds an authentic Cuban sound employing traditional instrumentation: upright bass, wood blocks, cherke and other percussion sounds. The performance is inspired, and the band consistently tears through Rodriguez's material, as well as some of their own. Ribot's guitar work nears perfection, and he proves himself to be the most soulful white alive. Songs like "Aqui Como Alla" and "Postizo" confirm these assertions. Although this album does not present the iconoclastic Ribot of The Book of Heads fame, it is an excellent album." - Marc Gilman
total 64M 7.2M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 01 - Aurora en Pekin.mp3 6.3M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 02 - Aqui Como Alla.mp3 3.9M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 03 - Como se Coza en el Barrio.mp3 7.2M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 04 - Postizo.mp3 7.9M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 05 - No Me Llores Mas.mp3 8.0M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 06 - Los Teenagers Bailan Changui.mp3 7.6M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 07 - Fiesta en el Solar.mp3 4.0M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 08 - La Vida es un Sueno.mp3 7.7M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 09 - Esclavo Triste.mp3 3.8M Marc Ribot y Los Cubanos Postizos (The Prosthetic Cubans) - 10 - Choserito Plena.mp3
total 103M 8.6M 01 For Sephora.mp3 8.2M 02 Made for Issac.mp3 8.5M 03 Blues for Ike.mp3 6.2M 04 Rumba Sunset.mp3 12M 05 Limehouse Blues.mp3 13M 06 Out of Nowhere.mp3 10M 07 Spain.mp3 17M 08 Summertime.mp3 21M 09 Autumn Leaves.mp3
"John Scofield owes a great deal to Medeski, Martin & Wood for the success of A Go Go. The piano/organ, bass, and drum playing trio adds a world of bouncing vibes to Scofield's inquisitive, happy guitar work here. A Go Go is an album of mostly breezy, sometimes tense, jam-based grooves. The album's charm is in its "city meets the tropics" feel. The four players create such a warm, vibrant sound that resisting the urge to tap one's feet along with the beat becomes a near impossibility. The opening song is a treat of plucked guitars and tightly packed new jazz. Other standouts are "Kubrick," a swooning, gentle change of pace packed with background tension, and "Hottentot," a tour de force of dynamic interplay. There's nary a moment of filler to be found across the ten tracks. It's clear that Scofield enjoyed the collaboration, as his guitars seem to nearly speak joy. His alternately jangling and plucking style sees him weaving in and out of the young trio's sound net with ample confidence. As fun as A Go Go is, it's just as well-sequenced, as Scofield and company vary their pace and tone expertly throughout the album's running time. A Go Go is far more than four cool cats jamming together and enjoying each other's company. It's an immensely entertaining, enlightening ride." - Tim DiGravina
total 72M 9.1M 01 A Go Go.mp3 9.4M 02 Chank.mp3 7.6M 03 Boozer.mp3 7.2M 04 Southern Pacific.mp3 6.3M 05 Jeep On 35.mp3 3.1M 06 Kubrick.mp3 7.2M 07 Green Tea.mp3 9.4M 08 Hottentot.mp3 8.8M 09 Chicken Dog.mp3 3.7M 10 Deadzy.mp3
total 102M 13M Diana Krall Live Montreal 2004 - 01. All or Nothing at All.mp3 6.7M Diana Krall Live Montreal 2004 - 02. Stop This World.mp3 5.9M Diana Krall Live Montreal 2004 - 03. The Girl in the other Room.mp3 7.6M Diana Krall Live Montreal 2004 - 04. Abandoned Masquerade.mp3 5.6M Diana Krall Live Montreal 2004 - 05. I'm Coming Through.mp3 6.5M Diana Krall Live Montreal 2004 - 06. Temptation.mp3 6.9M Diana Krall Live Montreal 2004 - 07. East of the Sun.mp3 8.4M Diana Krall Live Montreal 2004 - 08. Devil may Care.mp3 5.4M Diana Krall Live Montreal 2004 - 09. Almost Blue with Elvis Costello.mp3 7.8M Diana Krall Live Montreal 2004 - 10. Black Crow.mp3 4.5M Diana Krall Live Montreal 2004 - 11. Narrow Daylight.mp3 9.5M Diana Krall Live Montreal 2004 - 12. Love Me Like A Man.mp3 7.5M Diana Krall Live Montreal 2004 - 13. Departure Bay.mp3 7.8M Diana Krall Live Montreal 2004 - 14. Drown In My Own Tears with Elvis Costello.mp3
total 81M 5.2M Down Town Jazz Band - Dixieland Festival - 01 - Original Dixieland One Step.mp3 5.1M Down Town Jazz Band - Dixieland Festival - 02 - Weary Blues.mp3 6.9M Down Town Jazz Band - Dixieland Festival - 03 - Royal Garden Blues.mp3 6.6M Down Town Jazz Band - Dixieland Festival - 04 - Muskrat Ramble.mp3 6.2M Down Town Jazz Band - Dixieland Festival - 05 - Doctor Jazz.mp3 7.8M Down Town Jazz Band - Dixieland Festival - 06 - St.louis Blues.mp3 5.1M Down Town Jazz Band - Dixieland Festival - 07 - Battle Hymn of the Republic.mp3 5.3M Down Town Jazz Band - Dixieland Festival - 08 - High Society.mp3 6.6M Down Town Jazz Band - Dixieland Festival - 09 - South Rampart Street Parade.mp3 5.1M Down Town Jazz Band - Dixieland Festival - 10 - At the Jazzband Ball.mp3 5.3M Down Town Jazz Band - Dixieland Festival - 11 - Jazz Me Blues.mp3 5.4M Down Town Jazz Band - Dixieland Festival - 12 - When the Saints Go Marching in.mp3 5.2M Down Town Jazz Band - Dixieland Festival - 13 - John's Boogie.mp3 5.8M Down Town Jazz Band - Dixieland Festival - 14 - Tiger Rag.mp3
"This is not an album for those die-hard bossa fans. These popular Jobim tunes all were revisited by Elias with the goal of bridging the gap between Brazilian music and jazz; that goal was achieved. She affirms herself in this complex idiom, resulting in an album that can be enjoyed by any jazz connoisseur.
On this record, Elias responds successfully to all the challenges that come with interpreting a legendary artist like Jobim. Enriching Jobim's harmonies through her own musical wisdom, already in the album's first track ("Waters of March"/"Água de Beber"), she escapes from the trap of a conventional soothing rendition. Together with the talents of percussionist Naná Vasconcelos, she instills there a true Brazilian samba spirit, with its restless, somewhat aggressive quality. "Sabiá," usually recalled under Jobim's dense orchestration, receives a delicate ad-lib treatment that metamorphoses into a ballad. "Desafinado," one of the best known Jobim tunes in America, may be the biggest surprise, with itsunstable jazz rhythm joined by creative re-harmonization. "Angela," a haunting, mysterious melody, is properly explored as a calm ballad. "Zíngaro," or "Retrato Em Preto E Branco," is faithful to its Brazilian sentiment in which a ballad feel menaces to take charge but is soon substituted by a typically Brazilian melancholy. "Samba de Uma Nota Só," in a funky interpretation, is not recognizable until they come to the bridge. Then a samba feel takes place, with hot solos and cuíca interventions with the jazzy drumming of deJohnette's enriching the overall pancultural result. The album closes with Elias singing "Don't Ever Go Away" with her heartfelt tone backed by a piano that betrays the classical music tradition inherent to the formation of the Brazilian sensitivity." - Alvaro Neder
total 68M 4.0K Eliane Elias - Eliane Elias Plays Jobim.nfo 5.5M Eliane Elias Plays Jobim - 01 - Waters of March - Agua de Beber.mp3 3.6M Eliane Elias Plays Jobim - 02 - Sabia.mp3 6.0M Eliane Elias Plays Jobim - 03 - Passarim.mp3 9.7M Eliane Elias Plays Jobim - 04 - Don't Ever Go Away.mp3 7.5M Eliane Elias Plays Jobim - 05 - Desafinado.mp3 6.4M Eliane Elias Plays Jobim - 06 - Angela.mp3 11M Eliane Elias Plays Jobim - 07 - Children's Games.mp3 6.7M Eliane Elias Plays Jobim - 08 - Dindi.mp3 2.8M Eliane Elias Plays Jobim - 09 - Zingaro.mp3 5.1M Eliane Elias Plays Jobim - 10 - One Note Samba.mp3 3.5M Eliane Elias Plays Jobim - 11 - Don't Ever Go Away (por causa de voce).mp3 1.1M Eliane Elias Plays Jobim cover.jpg
total 106M 4.0K 00 - Jazzpana - The Mendoza Ardin Project.m3u 5.7M 01 - El Vito Cante.mp3 14M 02 - Tangos.mp3 9.3M 03 - Entre Tinieblas.mp3 12M 04 - Tanguillo.mp3 7.9M 05 - Soy Gitano.mp3 16M 07 - Buleria.mp3 11M 07 - Suite Fraternidad (First Movement GENERALIFE).mp3 13M 08 - Suite Fraternidad (Second Movement ALBAICIN).mp3 17M 09 - EL Vito en Gran Tamano.mp3 380K Jazzpana - Back.jpg 204K Jazzpana - Front01.jpg 380K Jazzpana - Front02.jpg 364K Jazzpana - Front03.jpg 168K Jazzpana - Front04.jpg
"A converted piano player and vocal coach, Jeri Southern became one of the most underrated jazz vocal interpreters of the 1950s despite a voice regarded as subpar. Transforming a potential failing into her prime strength, Southern was devastatingly effective at delivering songs charting the downhill romantic life of world-weary everywoman characters. After recording for Decca, Roulette, Capitol and Jasmine during the 1950s though, she abruptly retired after growing tired of the music industry.
Born in rural Nebraska, Jeri Southern played piano by ear at the age of three and began formal lessons three years later. She studied classical piano and voice at a school in Omaha, but after an introduction to jazz at a local nightclub, Southern quickly changed her focus. After graduation, she moved to Chicago and began making appearances at clubs during the late '40s, occasionally supporting Anita O'Day. Convinced to begin singing as well, Southern abandoned her classical training and began singing in a voice just several steps removed from her speaking voice.
After signing to Decca in 1951, her first hit, "You Better Go Now," established her style -- lyrically focused, somewhat desultory, and definitely lovesick, the style of singing often called (for better or worse) torch songs. Her decidedly unflashy voice lent additional weight to the lyrical concerns of other Southern favorites like "I Don't Know Where to Turn," "Ev'ry Time We Say Goodbye," "Someone to Watch Over Me" and "If I Had You." She also had a moderate hit in 1954 with "Joey" and toured with the Birdland Jazz Stars of 1957. Southern's LPs of the '50s for Decca utilized mostly small groups in an era of large orchestras, including top-flight jazz-pop names like Ralph Burns, Dave Barbour and Marty Paich.
After Southern recorded two LPs for Roulette during 1958, she moved to Capitol for her most celebrated album, 1959's Jeri Southern Meets Cole Porter, arranged by Billy May. She recorded only one additional LP for Capitol (live at the Crescendo) before retiring in 1961, disgusted at the state of traditional pop. She married several times, raised a family and worked as a piano/vocal coach in Hollywood until her death (from double pneumonia) in 1991. She was booked for her first studio time in years at the time of her death." - John Bush
"A voice teacher and a singer's singer, Jeri Southern was also one of the most consistently underrated vocalists of the '50s. Her volume in EMI's The Ultimate series helps listeners rediscover an artist who infused the torch song with devastating ennui, a shimmering pool of melancholy that Julie London barely skimmed the surface of. The generous 24-track program focuses on her late-'50s material for Roulette and Capitol. The label does her no favors by opening with "Nice Work If You Can Get It" and "I Get a Kick Out of You," two of the most ebullient standards in vocal jazz; Southern usually excelled when given brooding or satirical material that usually enabled her to cultivate her unlucky-in-love persona, such as "Who Wants to Fall in Love?" or "Coffee, Cigarettes and Memories." Fortunately, there's much more like those two on this compilation, which wisely includes much of her 1958 masterpiece Southern Breeze and 1959's Jeri Southern Meets Cole Porter." - John Bush
total 85M 2.3M 01 Nice Work If You #3B0C6E.mp3 4.4M 02 I Get A Kick Out Of You.mp3 2.8M 03 Ridin' High.mp3 3.8M 04 Who Wants To Fall#3B0C71.mp3 3.5M 05 Don't Look At Me #3B0C72.mp3 3.3M 06 Just When We're F#3B0C73.mp3 3.5M 07 Isn't This A Lovely Day.mp3 4.4M 08 Dancing On The Ceiling.mp3 3.2M 09 Detour Ahead.mp3 4.2M 10 Porgy.mp3 3.6M 11 Lazy Bones.mp3 3.9M 12 When I Fall In Love.mp3 3.6M 13 Get Out Of Town.mp3 3.3M 14 Coffee, Cigarette#3B0C7B.mp3 4.4M 15 Crazy He Calls Me.mp3 3.4M 16 Warm Kiss.mp3 3.8M 17 Two Sleepy People.mp3 2.4M 18 The Song Is Ended.mp3 3.8M 19 He Reminds Me Of You.mp3 3.4M 20 I Like The Likes Of You.mp3 3.5M 21 I'm Stepping Out #3B0C82.mp3 4.3M 22 Are These Really Mine.mp3 2.8M 23 Maybe It's Becaus#3B0C84.mp3 3.8M 24 Spring Will Be A #3B0C85.mp3
"Rebecca Parris is a swinging singer with a gruff voice and a no-nonsense approach that sometimes makes her seem like the Etta James of jazz. The Boston-based vocalist sang in musicals with her father in summer stock when she was only six. She actually began her professional career performing rock for a decade, not fully dedicating herself to jazz until the early 1980's. Parris has since attained a cult following and gradually become better-known to the larger jazz public. She made her recording debut with several albums for the tiny Weston-Blair label during 1985-88 and has since recorded for Altenburgh (with the Kenny Hadley Big Band), GRP (It's Another Day, a collaboration with her supporter Gary Burton) and Entertainment Exclusives. Rebecca Parris has made guest appearances with many top musicians (including Count Basie, Buddy Rich, Wynton Marsalis and Dizzy Gillespie), performed at the Monterey Jazz Festival and has made many tours in a variety of settings." - Scott Yanow
"It's unfortunate that Rebecca Parris hasn't done more live recording, for the jazz singer really soars on Live at Chan's. Unless you frequent jazz-friendly venues in New England, you've probably never heard of Chan's, a Chinese restaurant in Woonsocket, RI that started booking jazz artists in the 1970s and was still doing so in the late 1990s. It was in 1985 that the Bostonian recorded this excellent album, which finds her joined by an acoustic sextet and swinging hard and passionately on Thelonious Monk's "Blue Monk," Fats Waller's "Ain't Misbehavin'" and Duke Ellington's "I'm Beginning to See the Light." Equally appealing are introspective versions of Hoagy Carmichael's "Georgia on My Mind" and Jobim's "How Insensitive." The biggest surprise on the album, however, is "Angel Eyes," which is usually heard as a ballad but gets an unlikely midtempo interpretation from Parris. Those who love straight-ahead jazz singing should make a point of obtaining Live at Chan's, which came out as an LP in 1985 and was reissued on CD in 1998." - Alex Henderson
total 63M 5.1M 01 Ain't Misbehavin'.mp3 7.7M 02 More Than You Know.mp3 6.0M 03 Blue Monk.mp3 6.8M 04 Georga On My Mind.mp3 4.7M 05 I'm Beginning To See The Light.mp3 7.8M 06 Embraceable You.mp3 9.3M 07 How Insensitive.mp3 9.1M 08 My Melancholy Baby.mp3 6.2M 09 Angel Eyes.mp3
"One of the finest interpreters of lyrics active in the jazz world during the 1980s and '90s, Susannah McCorkle did not improvise all that much, but she brought the proper emotional intensity to the words she sang; a lyricist's dream. She moved to England in 1971 where she worked with Dick Sudhalter and Keith Ingham, among others, performing at concerts with such visiting Americans as Bobby Hackett, Ben Webster, and Dexter Gordon. McCorkle sang at the Riverboat jazz room in Manhattan during 1975 (gaining a lot of attention) and recorded two albums in England (tributes to Harry Warren and Johnny Mercer) that were released domestically by Inner City. By 1980, she was back in the U.S., recording a Yip Harburg set and a fourth album for Inner City. After that label folded, McCorkle switched over to Pausa but by the late '80s was recording regularly for Concord. She expanded her pre-bop repertoire to include Brazilian songs and blues and, by the mid-'90s, Susannah McCorkle was at the top of her field. Tragically, career disappointments exacerbated her chronic depression (a condition she kept well-hidden), resulting in her suicide in May of 2001 in New York City." - Scott Yanow
"Susannah McCorkle has long been a lyricist's dream. Rather than distort or alter the words she interprets, McCorkle (who has an immediately appealing and likable voice) brings out the hidden beauty in the lyrics. For her latest Concord disc, Susannah McCorkle sings 14 songs written by Cole Porter whose lyrics were among the most sophisticated of the 1930-1960 era. The arrangements by her musical director and pianist Allen Farnham are quite inventive, with exuberant octet numbers (featuring concise but generally memorable solos from trumpeter Randy Sandke, alto Chris Potter, trombonist Robert Trowers, and Ken Peplowski on tenor and clarinet) alternating with more intimate performances including voice-guitar duets with Howard Alden on a slow chorus of "Just One Of Those Things," "Why Don't We Try Staying Home" and the sad "Goodbye Little Dream, Goodbye." Among the other highlights are lengthy renditions of "Anything Goes" and "Let's Do It" which find McCorkle singing every stanza that could be found (the former has many obscure topical references), a boisterous version of "It's All Right With Me" and an emotional "Weren't We Fools?"" - Scott Yanow
total 76M 5.8M 01 Night & Day.mp3 6.1M 02 Anything Goes.mp3 3.4M 03 Just One Of Those Things.mp3 6.8M 04 It's All Right With Me.mp3 4.3M 05 Weren't We Fools_.mp3 4.3M 06 From This Moment On.mp3 5.5M 07 Who Wants To Be A#3A30F8.mp3 5.2M 08 Why Don't We Try #3A30F9.mp3 3.9M 09 You Do Something To Me.mp3 7.0M 10 Easy To Love.mp3 3.7M 11 Goodbye Little Dr#3A30FC.mp3 6.3M 12 You'd Be So Nice #3A30FD.mp3 6.9M 13 Let's Do It.mp3 7.1M 14 Ev'rytime We Say Goodbye.mp3
total 72M 6.1M 01 - For Pass.mp3 5.4M 02 - Caprice.mp3 3.4M 03 - Souvenir Valse.mp3 4.5M 04 - Terrangi Blues.mp3 6.7M 05 - Love Letters.mp3 3.4M 06 - Autumn Leaves.mp3 7.3M 07 - Senny.mp3 4.0M 08 - Minor Swing.mp3 2.8M 09 - Valse �Hans'che.mp3 5.0M 10 - Donauwellen.mp3 7.4M 11 - Pretty Colors.mp3 4.3M 12 - For Babs.mp3 4.6M 13 - Wasser Und Leben.mp3 3.8M 14 - Hafer Und Bananen Blues.mp3 3.7M 15 - All of Me.mp3
"Incredible! documents a unique musical encounter, the first time that Jimmy Smith has recorded with another organist, the equally great Joey DeFrancesco. First DeFrancesco is heard with his usual trio (with guitarist Paul Bollenbeck and drummer Byron Landham), racing through heated versions of "The Champ," "When You're Smiling," and "Indiana" in addition to an emotional rendition of "The Good Life." The music is as exciting as one would expect from DeFrancesco. For the second half of the CD, Smith and his trio join the younger organist on a pair of medleys. The first one starts out with the blues "The Reverend" but then, after three-and-a-half minutes, it segues into an odd wandering version of "Yesterdays" before closing with "My Romance." The second medley -- six-and-a-half minutes of Smith's blues "The Skeezer" that becomes a heated "St. Thomas" -- is more like it. The two organists are quite compatible (DeFrancesco has long had Smith's style down pat) and, although the results are not quite Incredible! (it is far from shocking that these two organ masters can jam a blues together!), this CD should greatly interest both organ fans and jazz historians." - Scott Yanow
total 46M 9.0M 01 - The Champ.mp3 5.1M 02 - When You're Smilin.mp3 6.0M 03 - The Good Life.mp3 7.6M 04 - Back Home Again In Indiana.mp3 11M 05 - Medley -1.mp3 7.9M 06 - Medley -2.mp3
"Henry Mancini was a significant writer for films who used the flavor of jazz in some of his movie scores. This 1997 CD reissue brings back one of his few jazz-oriented projects, a salute of sorts to the idea of the swing combo. Mancini gathered an impressive cast of top players consisting of trumpeter Pete Candoli, trombonist Dick Nash, Ted Nash on alto and flute, Art Pepper (sticking exclusively to clarinet), baritonist Ronny Lang, pianist Johnny Williams (doubling on harpsichord), guitarist Bob Bain, bassist Rolly Bundock, drummer Shelly Manne, Ramon Rivera on conga and Larry Bunker on vibes and marimba. Some of the dozen selections are relatively straight-ahead, while a few (particularly "A Powdered Wig" and "Scandinavian Shuffle") are a bit corny, especially in their use of harpsichord and marimba. There are a few strong moments (particularly from Candoli and Pepper) on such numbers as "Moanin'," "Sidewalks of Cuba," "Castle Rock" and "Everybody Blow," but the end results are not too essential. Overall, this is a compromise between creative jazz and tightly controlled music meant for a larger audience. A historical curiosity." - Scott Yanow
"Our Man in Hollywood is part of an "Our Man In..." series of albums that pair RCA artists with various cities and regions of the world. Mancini's volume is connected with Hollywood, and the selections are accordingly drawn from television and movie themes. "Days of Wine and Roses" was a hit for Mancini and was subsequently widely covered. All of the selections were newly recorded for the album, and many display Mancini's skill as a composer as well as arranger and conductor. Unlike many of his efforts, Our Man in Hollywood cannot be categorized as an instrumental album because of the unnamed vocal chorus that takes the lead on a number of selections." - Greg Adams
"With The Blues and the Beat, Henry Mancini delivered one of his bluesiest, jazziest records. Though it isn't an entirely successful experiement, it has its share of delightful moments, as proved by "Mood Indigo" and "Sing, Sing, Sing." Mancini could never deliver straight jazz, but his easy, orchestrated approximations are enjoyable as their own entity. The CD resissue includes four bonus tracks." - Stephen Thomas Erlewine
"Yes, Herb Alpert did indeed record an album in 1984 under the name Tijuana Brass for the first time in nine years -- and in fact, he took a Tijuana Brass contingent on tour that year with four of the original band members on hand. But this album has nothing to do with the old TJB, for the music is the same high-tech pop of the 1980s that Alpert had been mostly purveying since "Rise," and with synths galore, a frantic electronic dance beat on many numbers, and none of the original Brass on the sessions. No wonder, for the arranger is John Barnes, who had worked for the Jacksons (Alpert was no fool; the Jacksons' sound was never hotter). About all that remains of the TJB is Alpert's familiar trumpet, which often hearkens back to his '60s manner in this gleaming setting. The best moments are the whomping title track, the hyperactive "Struttin' on Five," and the optimistic "Life Is My Song." But to call this a "Tijuana Brass" album was bordering on consumer fraud for the faithful -- though on its own terms, it is a fairly live slice of '80s pop." - Richard S. Ginell
"The unbelievable sales success of this record is a testament to Herb Alpert's extraordinary ability to keep his ear to the ground -- no doubt aided by his position as vice-chairman and co-owner of A&M Records -- and adapt to the times. At a time when A&M's Janet Jackson was blazing up the charts, Alpert journeyed to Minneapolis and cut some tracks with Jackson's producers Jimmy Jam and Terry Lewis, producing the others himself in a mostly similar techno-pop vein. Presto!, three Top Ten R&B singles came out of the album, "Keep Your Eye on Me," "Making Love in the Rain," and the number one hit "Diamonds." The flashy, trashy "Diamonds" no doubt was aided on its rush up the charts by Jackson and Lisa Keith's bouncy lead vocals; it's really their record and that of Jam and Lewis, despite Alpert's top billing. Jackson and Keith also take the lead in the simple-minded lyrics of "Making Love in the Rain," which nevertheless has a haunting effect accented by Alpert's muted musings through an electronic gauze. At first, this seems like a gleaming digital machine of a record, loaded with repetitive sampling effects and drum machines churning out that ubiquitous '80s backbeat. But the techno stuff gradually gives way to Alpert's humane trumpet, which in a touching valentine to the '60s on Acker Bilk's "Stranger on the Shore," is eventually allowed to soar unimpeded over the electronics." - Richard S. Ginell
"Latin jazz purists who cynically looked at Herb Alpert's classic Tijuana Brass hits as synthetic fluff may find themselves blown away by the raw, live ensemble energy of Passion Dance, a hearty fiesta disc which proves once and for all that the legendary hornman is a clever jazz improviser who can blow authentic Latin sounds in frameworks beyond lightweight pop. Last year's Jeff Lorber-produced comeback project, Second Wind, was a solid R&B-flavored effort, but featured too much of the keyboardist's trademark riffs and not enough Alpert. Lorber co-wrote "TKO," one of the snappiest jams here, but primarily, Alpert finds a more kinetic collaborator in bassist/keyboardist Oskar Cartaya. While most of the cuts here are all out throw downs, the two strip down to muted trumpet and bass on the simmering "Baila Conmigo" for a sly game of cat and mouse. A few tunes even find Alpert trading off between that muted Miles effect and a bright, flashy flugelhorn flavor. He also has fun conjuring up the past with Stevie Wonder's "Creepin'," a new arrangement of Alpert's 1982 hit "Route 101," and a few Tijuana Brass riffs here and there." - Jonathan Widran
"Again, as in the case of Rise, Herb Alpert courageously followed a megahit album with a bold one that took big chances. The centerpiece of the album is "Under a Spanish Moon," an ambitious three-movement trumpet concerto commissioned by Alpert from the Argentinian-born composer Jorge del Barrio. A neo-classical, sometimes dissonant piece combining the Pacific Symphony Orchestra with electronic textures, "Under a Spanish Moon" successfully evokes the neo-classical period of Manuel de Falla and hauntingly captures the lonely Alpert muted-trumpet persona in the slow movement "Lamento." It's a fine piece of music, although difficult to perform (as the L.A. Philharmonic found out in a disastrous live performance at the Hollywood Bowl in 1988). The rest of the brief (34 minutes) CD clearly revolves around the concerto, with Alpert pursuing a moody, synth-laden direction, covering tunes by Sting ("Fragile"), Keith Jarrett ("My Song") and hooking up with another del Barrio, Eddie, on four others. Admittedly, it's easier to experiment when you co-own the record company, but Alpert's willingness to continually risk his artistic capital and grow is laudable and rare among pop musicians." - Richard S. Ginell
"Herb Pomeroy has spent most of his career as an important and influential educator. The result has been that his own trumpet playing was underrated and not very well-documented during his prime years.
Pomeroy studied music at Schillinger House in Boston, which later became the Berklee School of Music. Always based in Massachusetts, the bop-ish trumpeter gigged with Charlie Parker (a couple of concerts were later released), Lionel Hampton, and Stan Kenton (1954). He recorded with Serge Chaloff and as a leader for the Transition label (1955). Pomeroy began teaching at Berklee in 1955, and was on its faculty for 40 years, touching the careers of scores of young jazz greats. In addition, he taught at the Lenox School of Music for a couple years and usually led a local orchestra filled with his students. Herb Pomeroy, who also recorded as a leader of big band sets for Roulette (1957), United Artists (1958), and Shiah (1980), began to concentrate more on his own playing upon his retirement from teaching. In late 1996, he made an Arbors CD with singer Donna Byrne." - Scott Yanow
total 53M 4.2M 01. Blue Grass.mp3 5.5M 02. Wolafunt's Lament.mp3 4.8M 03. Jack Sprat.mp3 4.8M 04. Aluminium Baby.mp3 4.8M 05. It's Sandman.mp3 3.7M 06. Our Delight.mp3 5.2M 07. Theme For Terry.mp3 4.3M 08. No One Will Room With Me.mp3 5.2M 09. Feather Merchant.mp3 6.4M 10. Big Man.mp3 3.3M 11. Less Talk.mp3 196K Back.jpg 372K Front.jpg 4.0K The Herb Pomeroy Orchestra - Life Is A Many Splendored Gig.m3u
"Produced by his manager, David Banks, Richard Pryor's Bicentennial Nigger is one of the comic genius' most overlooked albums, relatively speaking, probably due in part because there was no accompanying concert movie as there was for Wanted and Live on the Sunset Strip. No matter -- Pryor's amazing talent for mixing expert mimicry, riotous mayhem, and stunning insight is in full effect here. The LP's original cover featured the comedian in various cartoon-styled characterizations, and that's exactly what you get on this perennially funny album. Standouts are "Black & White Women," "Our Gang," "Mudbone Goes to Hollywood," and the saucy title routine that's a showcase for Pryor's extraordinary range. Originally issued on Warner Bros. Records in September 1976, Bicentennial Nigger was issued as a CD on June 20, 1989, and is included in Rhino's box set And It's Deep Too! The Complete Warner Bros. Recordings (1968-1992), released on October 17, 2000." - Ed Hogan
"With this 1975 comedy album, Richard Pryor firmly established himself as a unique, and hilariously funny, presence within the comedy world. Whether poking fun at his own cocaine addiction or discussing the problem of racism that exists in America, on Is It Something I Said? Pryor is able to be eloquent and ultimately insightful without alienating the audience by sounding preachy or overtly bitter. Probing and exploring the differences between the sexes and races with an understanding and wit that few have ever possessed, Pryor emerges as an achingly funny, yet poignant, voice for his times." - Steve Kurutz
"Pryor's first truly funny album, after a series of standard stand-up recordings, finally brings together his social/racial/political observations, homespun tales, and vulgar rants. There are some hilarious bits here, particularly "Nigger With a Seizure," "Have Your Ass Home By 11:00," and "Exorcist." The foundation of the era's sharpest funnyman in his natural element." - Michael Gallucci
"The soundtrack to Pryor's first concert film is also his best recorded document. Some of the jokes here are repeated from his previous albums, but after years of sharpening them, they are even more hilarious with age. Spread out over two albums, Wanted (which was recorded during multiple stops across the country) is not only a record of an era (even the dated bits, like the classic "Ali," are still funny), it's also a running commentary on America itself. This is Pryor at his best, earning his rep as the best live comic of the '70s." - Michael Gallucci
"Sam Kinison's 1986 debut album Louder Than Hell was genius standup comedy. He was a loud, rude, unapologetically vulgar party animal -- and remarkably insightful. Kinison also earned small acting roles, most notably as the scene-stealing history professor in the Rodney Dangerfield movie Back to School. The former preacher had made a mark on pop culture as a "rock & roll comic" by the time of his second album, 1988's Have You Seen Me Lately? "Rubber Love" caused a controversy with Kinison's comments on safe sex, homosexuals, and AIDS. Warner Bros. even caved and placed a sticker on the album saying the contents did not reflect its corporate views. "The Story of Jim (Bakker)" is an appropriate lambasting of the fallen, hypocritical TV evangelist and his "innocent" mistress Jessica Hahn, who actually became one of Kinison's lovers. "Mother Mary's Mystery Date" is another daring, funny commentary on religion as Kinison speculates on Joseph's skepticism of the Virgin Mary's immaculate conception. Kinison acknowledges his audience's uneasiness with religious jokes on "Heart-Stoppers" and admits God might punish him with death; the bit eerily foreshadows Kinison's future. "Buddies" outlines a specific, X-rated prank that a man's friends may perpetrate on him while he's drunk. On the hysterical "Sexual Diaries," Kinison advises men to be wildly creative and aggressive lovers. That way, he argues, if your woman leaves you for another man, he has a lot to live up to. "The Butt and the Bible" and "Parties With the Dead" are beyond tasteless, which, in Kinison's hands, guarantees hilarity. "Wild Thing" is a reworked novelty version of the Troggs' hit. The most disturbing track is "Rock Against Drugs." Kinison disgustedly mocks anti-drunk-driving campaigns, but in 1992 he was killed by a drunk driver in a car crash." - Bret Adams
"Sam Kinison's third album, 1990's Leader of the Banned, was the comedian's last before dying two years later in a car crash. Unfortunately, it is a huge disappointment. Actually, Leader of the Banned is on the verge of embarrassing considering Kinison's obvious talent. The first half features a half hour of standup comedy recorded at Bally's in Las Vegas, NV, and very few moments work. "Jerry's Bastard Kid" offers a few chuckles when Kinison brings out Doug Bady, a member of his "Outlaws of Comedy" entourage, to criticize Jerry Lewis' annual MDA telethons for their lack of results. "Casual Users of Terrorism" offers a few tantalizing political remarks but never fully takes off. On "Phone Call from Hell," Kinison supposedly places a real call to berate an audience member's unfaithful ex-girlfriend. The second half of Banned is a complete mess. Kinison thought of himself as a "rock & roll comic" -- he had some success in 1988 with a novelty version of the Troggs' "Wild Thing" -- and he took this perception to extremes with horrible "hair metal" versions of Cheap Trick's "Gonna Raise Hell," Mountain's "Mississippi Queen," the Rolling Stones' "Under My Thumb," and AC/DC's "Highway to Hell." He sings all four songs. Kinison alters the lyrics of "Mississippi Queen" and turns it into a novelty number, but the other three are "serious" covers. Many of Kinison's rock-star pals perform on these sad remakes, including Eddie Money, House of Lords' Lanny Cordola and Chuck Wright, Mountain's Leslie West, Poison's C.C. DeVille, Bon Jovi's David Bryan, Quiet Riot and Whitesnake's Rudy Sarzo, Dweezil Zappa, Guns 'N Roses' Slash, Dio's Jimmy Bain, and Cinderella's Fred Coury." - Bret Adams
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