Posts Tagged Classic
Pixies – Bossanova @260kbs
Tracklist
1 Cecilia Ann (2:05)
2 Rock Music (1:52)
3 Velouria (3:40)
4 Allison (1:18)
5 Is She Weird (3:01)
6 Ana (2:09)
7 All Over The World (5:26)
8 Dig For Fire (3:02)
9 Down To The Well (2:29)
10 The Happening (4:19)
11 Blown Away (2:20)
12 Hang Wire (2:01)
13 Stormy Weather (3:26)
14 Havalina (2:35)
lyrics
http://www.songmeanings.net/artist/view/songs/891/
album info
http://www.discogs.com/release/392619
External Review
When Bossanova arrived in 1990, it reflected the exhaustion the Pixies felt after Doolittle’s enormous success: For the first time, the band seems to be running out of ideas. Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies’ weakest album — though Francis has said it’s his favorite — most of it finds the band in fine form. Gil Norton’s spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones’ “Cecilia Ann” and the glorious, shimmering closer “Havalina” perfectly. On the theremin-driven “Velouria,” science fiction imagery displaces Francis’ penchant for fetishistic lyrics; next to the token kinky song “Down to the Well”’s tired sound, it’s a refreshing change. The similarly cryptic “All Over the World” and alien abduction tale “The Happening” add to the sci-fi feel. Quirky pop songs like “Allison,” a tribute to jazz cool-cat Mose Allison, and “Dig for Fire,” Francis’ self-professed Talking Heads homage, heighten Bossanova’s playful, slightly off-kilter vibe, but rockers like “Hang Wire” and “Blown Away,” fall flat. However, “Rock Music” is one of the group’s most fiery outbursts, and “Is She Weird”’s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanova’s strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. Like a straight-A student who suddenly receives a B+, Bossanova might have been a disappointment initially, but its (small) failings emphasize the strengths of the rest of the Pixies’ work. ~ Heather Phares, All Music Guide
My Favorite Track(s):
Dig For Fire
Alabama 3 – M.o.r (2007)
M.O.R Released 2007
M.O.R is the name of their new album, as eclectic and rich a mix of musical styles as you could ever hope to hear – there is blues, country, reggae, rap and more – and for no other reason than a need for truth, let us call it their best album since their classic debut, 1997’s Exile on Coldharbour Lane. One thing, though: M.O.R doesn’t necessarily stand for the obvious.
M.O.R Tracklisting
1. Check In
2. Fly
3. Lockdown
4. Monday Don’t Mean Anything
5. Amos Moses
6. Are You A Souljah
7. The Klan
8. Hooked
9. The Doghouse Chronicles
10. The Middle Of The Road
11. Work It
12. Way Beyond The Blues
13. Holy Blood
14. Sweet Joy
Elvenking – The Winter Wake (2006)
Elvenking – The Winter Wake (2006)
Genre: Folk/Power Metal
Length: 54:54
Size: 407MB (408MB w/ extras)
Format: FLAC
Track List:
1. Trows Kind
2. Swallowtail
3. The Winter Wake
4. The Wanderer
5. March of Fools
6. On the Morning Dew
7. Devils Carriage
8. Rats Are Following
9. Rouse Your Dream
10. Neverending Nights
11. Disillusions Reel
12. Penny Dreadful (bonus track)
Review: Metal-Observer (8.5/10)
Ive been meaning to write this review for quite a while. About since the album came out in January, actually. Originally, when I first heard of ELVENKING, I figured theyd be some dull Power Metal group singing about J.R.R. Tolkeins Middle Earth that Id listen to once and forget. Fortunately, Heathenreel proved me wrong by combining Power Metal and Folk Metal in a way even more energetic than the accepted masters of the style MÄGO DE OZ.So how does The Winter Wake stack up? Excellently. Best ELVENKING album yet. Damnagoras (vocals) is back after he had to briefly leave the band (he wasnt on Wyrd). Guitarist/growler Jarpen is also gone (though he appears on the album as a guest musician), replaced by Aydan. Apparently the changes are for the better, as this album is much better than Wyrd, which I found to be a little forced. If you want something incredibly energetic and enjoyable, though not terribly challenging, The Winter Wake is where you want to start.
The energy is practically crackling as Trows Kind starts up, with its big sing-along chorus and fast tempo. Theres a whole mess of guest vocalists that contribute as a chorus, most noticeably in the choruses. The chorus of the title track, which is a stomping pseudo-anthem dominated by raspy vocals in the verses, is gargantuan, if a bit unwieldy in its length. They also make a memorable appearance in Neverending Nights, the best track on the album and one of the better songs of the young year. Varied and bordering on progressive (the adjective, not the genre), it also features a great chorus that actually sounds better for its somewhat awkward segregation of the male and female vocalists.
The folk elements fly fast and furious. You dont have to wait long to incorporate a violin as seamlessly integrated as another guitarist and an occasional flute/pipe (Im not good with wind instruments), while a string quartet appears consistently throughout. Disillusions Reel is almost a traditional dance bemoaning the futility of motherhood (eventually the children will learn). The cover of SKYCLADs classic Penny Dreadful is a real treat as it shows the band in all their sides. They take the song and make it their ownits less bitter, but more energetic.
Alas, I have a confession to makeusually when I listen to this disc, I listen to The Wanderer or so and skip ahead to Neverending Nights. The best songs definitely bookend the album and the material in between, while not bad or that mediocre, doesnt do enough to differentiate itself from the best stuff. Not much of a complaint, as these tracks still beat Wyrd.
The Japanese and Korean editions have the bonus track Petalstorm.
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Trentemoller Bbc Radio 1 Essential Mix @ 2006 10 15
Trentemoller – BBC Radio 1 Essential Mix, 2006-10-15
Trentemoller’s two hour Essential Mix debut features mostly his own productions and remixes, including a brand new remix of Moby’s classic tune “Go!,” as well as tracks from the likes of Thomas Schumacher, The Knife, Franz Ferdinand, Isolee and The Specials.
quality and size
tracklist
Trentemoller – Small Piano Piece // White Label
Khan – Fantomes // Matador
Trentemoller – The Very Last Resort // Poker Flat
Trentemoller – Miss You // Poker Flat
Lhasa De Sela – De Carla A Pered // Les Disques Audiogrammes
Murcof – Una // Leaf
Trentemoller – Snowflake // Poker Flat
Unknown Artist – Unknown Dub // White Label
Trentemoller – Evil Dub // Poker Flat
The Specials – Ghost Town // EMI old
Chris Isak – Wicked Games (Trentemollers Unofficial Remake) // White Label
Trentemoller – Nightwalker // Poker Flat
Trentemoller Feat. Ane Trolle – Moan (Trentemoller Remix) // Poker Flat
The Doors – Break On Through (Disse Bootleg) // White Label
Franz Ferdinand – The Fallen (Justice Remix) // Domino
Le Tigre – Nanny Nanny Boo Boo (Junior Senior Remix) // Chicks On Speed Records
James White And The Blacks – Contort Yourself // ZE Records
Revl9n – Someone Like You // Because Music
Thomas Schumacher – High On You // Spiel-Zeug Schallplatten
Moby – Go! (Trentemoller Remix) // Mute
The Knife – Silent Shout (Trente Short Edit) // Mute
Jokke – Feelin Good (Trentemoller Remix) // White Label
Isolee – Beau Mot Plage (Freeform Fve Remix/Trente Edit/Original Version) // Classic
Trentemoller – Always Something Better Feat. Richard Davis (Trentemoller Remix) // Poker Flat
The Knife – We Share Our Mother’s Health (Trentemoller Remix) // Mute
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Jazz Classics 4cd (2009)
Jazz Classics 4CD (2009)
MP3 | VBR H.Q. 320 Kbps | 379 Mb
Genre: Jazz, Blues, Soul
In recent years, American major labels have been obsessed with best-of single-artist comps, or have dumped theme-related releases by classic or various artists into the bins to coincide with seasonal or greeting holidays. (Thank goodness Valentines Day is over for another year.) It takes little to no work to assemble these CDs, and the profit margin is higher. At the same time, well regarded catalog titles are allowed to either languish in the vaults or be licensed exclusively for release overseas. This leaves many true music fans those that buy music continually and who dont purchase low-fi MP3s either to search out precious vinyl copies from online auctioneers and collectors web sites or drop equally big bucks to divisions of these companies or independents on retail sites.
Tracklisting Vol1 – CD 1
. Marylin Monroe – I want to be loved by you
. Nat King Cole – The girl from Ipanema
. Frank Sinatra – New York, New York
. Louis Armstrong and Ella Fitzgerald – Can anyone explain
. Jack Teagarden – Guess I’ll go back home this summer
. Diana Krall – When I look in your eyes
. Al Jarreau – Since I fell for you
. David Sanborn – Pearls
. Johnny Hartman – I slow hot wind
. Ella Fitzgerald – Too darn hot
. George Benson – Sunny
. Carmen McRae – Summer is gone
. Dinah Washington – Blue skies
. Louis Armstrong and Bing Crosby – Gone fishing
. Freddy Cole – Isn’t she lovely
. Diane Schuur – Save your love for me
. Earl Klugh – The shadow of your smile
. George Benson – Beyond the sea
Tracklisting Vol1- CD 2
. Houston Person – Here’s that rainy day
. Etta James – the man i love
. Sarah Vaughan – And I love him
. Quincy Jones – Pink panther theme
. Les McCann – Watermelon man
. Ray Brown All-Star Big Band – Work song
. Ramsey Lewis Trio – The in crowd
. Ella Fitzgerald – Mack the knife
. West Montgomery – Caravan
. Johnny Smith – Walk don’t run
. Louis Armstrong – When the saints go marching in
. Glenn Miller – In the mood
. Count Basie – Lady be good
. Lionel Hampton – Undecided
. Benny Goodman – Stompin’ at the Savoy
. Woody Herman – Mood indigo
Tracklisting Vol2- CD 1
. Louis Armstrong – St. Louis blues
. Duke Ellington – Creole love call
. Count Basie – Jumpinat the woodside
. Lionel Hampton – Jeepers creepers
. Benny Goodman – Bugie call rag
. Benny Goodman – Jersey bounce
. Louis Armstrong – Mack the knife
. Duke Ellington – Sophisticated lady
. Count Basie – All of me
. Glenn Miller – Moonlight serenade
. Harry James – I’m getting sentimental over you
. Lionel Hampton – Dizzy spells
. Count Basie – One o’clock jump
. Woody Herman – Caldonia
. Glenn Miller – Little brown jug
. Duke Ellington – Perdido
. Harry James – Chirbirbin
. Benny Goodman – Don’t be that way
Tracklisting Vol2- CD 2
. Louis Armstrong – On the sunny side of the street
. Stan Getz – Autumn leaves
. Dave Brubeck – Blue rondo
. Stephane Grappelli – You took advantage of me
. Art Blakey – Moanin’
. Winton Marsalis – Blakey’s theme
. Gerry Mulligan – Apple core
. Lionel Hampton – On the sunny side of the street
. Sonny Stiff – Sonny’s blues
. Chick Corea – Moments notice
. Basily – Night and day
. Teddy Wilson – One clock jump
. Jacobs and Van Dijk – I got rhythm
. Sonny Rollins – Everytime we say goodbye
. Jarry Mulligan – Walking shoes
. Dave Brubeck – Lover man
. Art Blakey – My funny valentine
. Stan Gatz – Heart place
. Teddy Wilson – Dizzy spells
Uzi – Madhouse (2009)
In 2009, Eonian Records has been uncovering some classic metal acts that never got their due. Chicagos Uzi is another band that showed a lot of potential, but by the time they relocated to L.A., the hair metal scene was dead. If this band would have made the move five years earlier, they could have made their mark on the music scene. There a quite a few cool rockers on Madhouse that are worth checking out.
The CD opens up with the title track Madhouse. This sleazy rocker had me sold on the first listen. This tune has a lot of energy that really sets the stage well for the rest of the album.
American Dream is a short little rocker, clocking in just shy of three minutes. It does a good job at keeping the pace going on the CD.
Away From My Heart is a power ballad that should have generated a hit for the band. While it doesnt break any new ground, it is easily as good as a lot of the stuff that was being released in the late eighties and early nineties.
Rocker reminds of classic Skid Row, while the tune Raise Hell is more like a Def Leppard tune. Both tunes are very cool!
For the Money is a kick ass, foot-stomper that has it all: cowbell, horns and some excellent guitar noodling. This is as good as any closing song that I have heard all year.
It doesnt detract from the experience too much, as the songs are pretty good.
There are far too many cool bands out there that never got their due. Madhouse is a cool retrospective on a band that should have been huge. I am grateful for Eonian Records, as they have uncovered another gem with Uzis Madhouse.
Track Listing:
1. Madhouse
2. American Dream
3. Muthas Knockin
4. Rocker
5. Do What I Do
6. Away From My Heart
7. Raise Hell
8. From the Gutter
9. Wreckerd Man
10. For the Money
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Genesis – Sirens On The Rooftops (2009) 2 Cd’s
Genesis – Sirens On The Rooftops (2009) 2 CD’s
Flac Separate Files | No CUE no LOG | Md5 Checksum included | Artwork Included | 624 Mb
Artist: Genesis
Title: Sirens On The Rooftops
Date: January 28th 1975
Venue: Civic Plaza Assembly Hall, Phoenix, Arizona, USA
TRACKLIST:
Tracklisting
Disc One
01. The Lamb Lies Down On Broadway 05:08
02. Fly On A Windshield 02:47
03. Broadway Melody Of 1974 02:17
04. Cuckoo Cocoon 02:15
05. In The Cage 08:10
06. The Grand Parade Of Lifeless Packaging 02:58
07. Story Of Rael Part 1 01:52
08. Back In N.Y.C. 06:15
09. Hairless Heart 02:28
10. Counting Out Time 03:55
11. Carpet Crawlers 05:45
12. The Chamber Of 32 Doors 05:53
Disc Two
01. Story Of Rael Part 2 03:33
02. Lilywhite Lilith 02:57
03. The Waiting Room 05:59
04. Anyway 03:27
05. Here Comes The Supernatural Anaesthetist 03:42
06. The Lamia 07:09
07. Silent Sorrow In Empty Boats 03:32
08. The Colony Of Slippermen 08:46
09. Ravine 01:39
10. The Light Dies Down On Broadway 03:36
11. Riding The Scree 04:17
12. In The Rapids 02:25
13. It 04:17
14. The Musical Box 11:11
Personnel
Tony Banks Keyboards & Vocals
Phil Collins Drums, Percussion & Vocals
Peter Gabriel Lead Vocals, Flute, Oboe & Percussion
Steve Hackett Lead Guitars & Effects
Mike Rutherford Bass Guitars, Guitars & Vocals
Liner Notes: The Magic And Mystery Tour
When Genesis released ‘The Lamb Lies Down On Broadway’ in 1974, it was undoubtedly a gamble for the band. A double concept album built around an obscure storyline wasn’t going to help make the commercial breakthrough they desperately needed any easier. As Tony Banks explained at the time: We were hesitant about putting out a double album, especially a concept album. The songs are related but they stand up separately as well. You could listen to a few tracks on the radio and get a fair idea of what the record’s about. You couldn’t do that with ‘Selling England By The Pound’.
As Genesis were about to embark on their daunting six-month tour to promote ‘The Lamb’, Peter Gabriel, all too aware of the accusations of pretentiousness often levelled at the band, explained his confidence in the new album: It gives a much wider spectrum than our past albums. On the right wing there are more conventional straight pop songs and on the left, more sound pictures. It’s got the best the band has to offer, a comprehensive selection. Tony Banks concurred: People think we’re more airy-fairy than Yes or ELP, you know, more fey because we don’t sweat as much. I think this album will end all those comparisons entirely.
For Peter Gabriel, setting the album in New York City was a deliberate decision: It was a conscious setting because it was important that the main character, Rael, be earthy. It was necessary that he have certain blemishes on his character which were whole and identifiable when taken into a fantasy situation. What fascinated me about New York was the speed and aggression of the city. You see things close to you with tainted spectacles. You don’t see things under your nose. But the setting is basically a device for making the character real, more extroverted and violent. Adolescents adjust by finding a slot. But Rael is slotless. He feels he’s a waste of material – all he can do is give up or escape. Phil Collins was less forthcoming about the new album’s subject matter: I don’t know what it’s about. I’m just the drummer. Ask Peter
Keen to reveal the band’s plan for their new live presentation, Gabriel explained: We still want to take the listener out of the concert hall and into the fantasy. Rock visuals have to go beyond serving the extended whims of superstars. The concerts should work more like a film. A film would make the story more comprehensible but we’re working toward that with the three screens. Most people get onstage and act like they presume themselves to be. But if you’re going to occupy a role, you have to discard previous roles and not simply adopt the standard rock pose, a bit like an actor really.
Over the course of the two-hour long show, 3,000 slides were projected onto the three screens, timed meticulously to illustrate the lyrics of each song. It was certainly an ambitious and expensive undertaking for the band, and a show that demanded a lot from its audience because there was so much, musically and visually, to absorb. From the opening projected scenes of Manhattan, it was clear that this would be a significant departure from the ‘Englishness’ of their previous album, ‘Selling England By The Pound’. This was a bolder, riskier and more aggressive Genesis.
Very much Gabriel’s brainchild, the ‘Lamb’ show was a multi-media tour de force which elevated rock presentation to new heights and earned the band justifiable praise from critics and fans alike. But despite the overwhelming artistic success of the tour, Gabriel knew only too well that Genesis still had more than its fair share of detractors: There are people who believe that the costumes, props and slides are crutches to hold up the crippled music. But you’re cheating your audience if you don’t allow them to hear the music with the full strength with which it was created. Visuals are rubbish unless they are integrated with the continuity of the music. You can’t put layers of make-up on a beautiful face unless the features are there in the first place.
In addition to allowing the individual band members the chance to display their developing musical prowess, the new show also afforded them the opportunity to indulge in lengthy improvisations at various points, unusual perhaps for a group who regarded themselves as songwriters first and musicians second, but surely indicative of their growing confidence as players. Tony Banks explained: There are about six improvised sections but one, ‘The Waiting Room’, is about ten minutes long. Some nights it’s great, some nights it’s awful, which is nice, really, because it means there’s a challenge to it. This particular instrumental workout soon became one of the highlights of the show, a chance to see consummate musicians allowing themselves the freedom to play without restraint.
Like the album, the ‘Lamb’ tour has become the stuff of legend. While there are thankfully many excellent audio bootlegs (of which this lovingly remastered soundboard recording of the band’s performance in Phoenix is one of the very best), very little film footage exists to document their incredible creative achievement. The details of the performances have been the subject of debate and speculation among fans for more than 30 years. The recent discovery of footage shot in Bern, Switzerland, in March 1975 has only served to fuel renewed interest in the album, especially combined with the current rumours that all five members of that line-up may reunite to re-stage ‘The Lamb Lies Down On Broadway’ live.
To this day, ‘The Lamb’ remains the band’s magnum opus and arguably the most controversial album of their 40-year career. Although no-one outside of the band knew it then, this masterwork would also mark the end of a truly classic era for Genesis. In 1975, at the end of the world tour, Peter Gabriel announced his decision to quit the band and, while Genesis would go on to greater popularity and worldwide success in the years that followed, the band would never again have quite the same mystery and magic.
Notes From the Re-Master
1. Speed error identified and corrected.
2. Tonality adjusted.
3. Stereo imbalance corrected.
4. Equipment buzz reduced as much as possible.
5. Volume distortion in loud sections like Grand Parade…uncorrectable.
6. Dynamics corrected and enhanced.
7. Clicks, pops and other noises removed as much as possible.
8. Missing sections repaired.
9. Discs re-balanced with Disc 1 ending before second Rael Story.
10. Re-tracked using standard references as a guide.
Tad Morose – Modus Vivendi (2003)
Tad Morose – Modus Vivendi (2003)
Genre: Power Metal
Length: 47:16
Size: 341MB (348MB w/ extras)
Format: FLAC
Track List:
1. Anubis
2. No Mercy
3. Afraid To Die
4. Clearly Insane
5. Cyberdome
6. Take On The World
7. Mother Shipton’s Words
8. Unwelcome Guest
9. Life In A Lonely Grave
10. When The Spirit Rules The World
Review: Metalcrypt (4.5/5)
As a big fan of Tad Morose’s last two albums, I was really looking forward to this one. And yet it has taken me a while to get enough of a grip on this album to really set down my opinion about it. This is album number six for these guys, and continues in the vein of their previous releases with some very strong material.“Modus Vivendi” opens with the awesome, catchy “Anubis”, which is just about the best song the band has ever done. Heavy and hooky, with an incredible stomping riff that reminds me of Crimson Glory, this is the best song on the album. But there are thankfully a few more that are within a hair of being just as good. “No Mercy” is a bit flat, though it grows on you–it’s just a bit simplistic for a Tad Morose song. Fortunately the next four songs are a tour-de-force of crunching, catchy metal the likes of which few bands ever produce. You get four killers right in a row: the proggy, punchy “Afraid To Die”, the speedy “Clearly Insane”, the slow and powerful groove of “Cyberdome”, and the exhilarating stomp of “Take On The World”. Whew! This is what metal should be like.
If the rest of the album does not quite measure up, it is no shame to fall short of the excellent music that came just before. “Life In A Lonely Grave” has a really good chorus, but it goes on too long. The other three are not bad, but they don’t kick ass like tracks 1, 3,4, 5, and 6. The production is crisp and heavy, and I don’t think Tad Morose have ever sounded as tight and aggressive as they do on this album. Urban Breed’s vocals and melodies are again a centerpiece of the album, as when it comes to writing vocal lines almost nobody has chops like this guy does.
So we have a stellar outing from this underrated band, taking back some of the ground they lost with “Matters Of The Dark.” This may not be as consistent as “Undead”, but the best songs here are better than the best songs there. If Tad Morose could write a CD of songs all as good as “Anubis” or “Afraid To Die”, then we’d be talking classic. For those unfamiliar with Tad Morose, this is a good way to start. If you like melodic metal but don’t like flower metal, then this is a band you should not miss.
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Luke Vibert / Wagon Christ / Plug Discography (up. 5/8/09)
VIBERT/SIMMONDS – WEIRS – REPHLEX 1994
This is a collaboration between Luke Vibert and Jeremy Simmonds (of Boymerang). ‘Mevdonique’ and ‘Chamber No. 364′ are only available on the vinyl release. Repressed by Sony Japan in March of 1998.