Iron Maiden – 10 Original Albums Double-CD Non-Remastered Series (1995) [FLAC]

April 4, 2013, 7:29 am

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Iron Maiden – 10 Original Albums Double-CD Non-Remastered Series (1995) [FLAC]

EAC rip | 18CD | FLAC – Log – Cue | Release: 1995 | 5.1 GB
Genre: Heavy Metal, NWOBHM

Iron Maiden are an English heavy metal band from Leyton in east London that were formed in 1975 by bassist and primary songwriter, Steve Harris. Since their inception, the band’s discography has grown to include a total of thirty-seven albums: fifteen studio albums; eleven live albums; four EPs; and seven compilations.
Pioneers of the New Wave of British Heavy Metal, Iron Maiden achieved success during the early 1980s. After several line-up changes, the band went on to release a series of U.S. and UK platinum and gold albums, including 1982′s The Number of the Beast, 1983′s Piece of Mind, 1984′s Powerslave, 1985′s live release Live After Death, 1986′s Somewhere in Time and 1988′s Seventh Son of a Seventh Son. Since the return of lead vocalist Bruce Dickinson and guitarist Adrian Smith in 1999, the band have undergone a resurgence in popularity,with their latest studio offering, The Final Frontier, peaking at No. 1 in 28 different countries and receiving widespread critical acclaim.
Considered one of the most successful heavy metal bands in history, Iron Maiden have sold over 85 million records worldwide with little radio or television support.The band won the Ivor Novello Award for international achievement in 2002,and were also inducted into the Hollywood RockWalk in Sunset Boulevard, Los Angeles, California during their United States tour in 2005.As of August 2011, the band have played almost 2000 live shows throughout their career. For the past 30 years, the band have been supported by their famous mascot, “Eddie”, who has appeared on almost all of their album and single covers, as well as in their live shows.

http://en.wikipedia.org/wiki/Iron_Maiden

Tracklist:
1980 – “Iron Maiden” (7243 8 35868 2 0)
CD 1:
01. Prowler (3:55)
02. Remember Tomorrow (5:28)
03. Running Free (3:17)
04. Phantom of the Opera (7:21)
05. Transylvania (4:05)
06. Strange World (5:46)
07. Charlotte the Harlot (4:13)
08. Iron Maiden (3:35)
Total Time: 37:39
CD 2:
01. Sanctuary (3:15)
02. Burning Ambition (2:42)
03. Drifter (Live) (6:04)
04. I’ve Got the Fire (Live) (3:14)
Total Time: 15:14
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1981 – “Killers” (7243 8 35869 2 9)
CD 1:
01. The Ides Of March (1:46)
02. Wrathchild (2:54)
03. Murders In The Rue Morgue (4:18)
04. Another Life (3:23)
05. Genghis Khan (3:07)
06. Innocent Exile (3:52)
07. Killers (5:01)
08. Prodigal Son (6:12)
09. Purgatory (3:20)
10. Drifter (4:49)
Total Time: 38:43
CD 2:
01. Twilight Zone (2:36)
02. Women In Uniform (3:10)
03. Invasion (2:39)
04. Phantom Of The Opera (Live) (7:11)
Total Time: 15:37
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1982 – “The Number Of The Beast” (7243 8 35870 2 5)
CD 1:
01. Invaders (3:24)
02. Children Of The Damned (4:35)
03. The Prisoner (6:02)
04. 22 Acacia Avenue (6:36)
05. The Number Of The Beast (4:50)
06. Run To The Hills (3:53)
07. Gangland (3:49)
08. Hallowed Be Thy Name (7:11)
Total Time: 40:20
CD 2:
01. Total Eclipse (4:30)
02. Remember Tomorrow (Live) (5:27)
Total Time: 9:57
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1983 – “Piece Of Mind” (7243 8 35871 2 4)
CD 1:
01. Where Eagles Dare (6:13)
02. Revelations (6:49)
03. Flight Of Icarus (3:50)
04. Die With Your Boots On (5:26)
05. The Trooper (4:12)
06. Still Life (4:56)
07. Quest For Fire (3:42)
08. Sun And Steel (3:27)
09. To Tame A Land (7:26)
Total Time: 46:01
CD 2:
01. I’ve Got The Fire (2:40)
02. Cross Eyed Mary (3:53)
Total Time: 6:33
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1984 – “Powerslave” (7243 8 35872 2 3)
CD 1:
01. Aces High (4:33)
02. 2 Minutes To Midnight (6:04)
03. Losfer Words (Big ‘Orra) (4:15)
04. Flash Of The Blade (4:06)
05. The Duellists (6:07)
06. Back In The Village (5:03)
07. Powerslave (7:11)
08. Rime Of The Ancient Mariner (13:40)
Total Time: 50:58
CD 2:
01. Rainbow’s Gold (4:57)
02. Mission From ‘Arry (6:42)
03. King Of Twilight (4:53)
04. The Number Of The Beast (Live) (4:57)
Total Time: 21:30
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1985 – “Live After Death” (7243 8 35873 2 2)
CD 1:
01. Aces High (5:29)
02. 2 Minutes To Midnight (6:06)
03. The Trooper (4:29)
04. Revelations (6:12)
05. Flight Of Icarus (3:50)
06. Rime Of The Ancient Mariner (13:09)
07. Powerslave (7:35)
08. The Number Of The Beast (4:35)
09. Hallowed Be Thy Name (7:31)
10. Iron Maiden (4:22)
11. Run To The Hills (3:52)
12. Running Free (3:25)
Total Time: 70:35
CD 2:
01. Losfer Words (Big ‘Orra) (4:18)
02. Sanctuary (4:41)
03. Murders In The Rue Morgue (4:32)
Total Time: 13:31
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1986 – “Somewhere In Time” (7243 8 35874 2 1)
CD 1:
01. Caught Somewhere In Time (7:26)
02. Wasted Years (5:08)
03. Sea Of Madness (5:42)
04. Heaven Can Wait (7:21)
05. The Loneliness Of The Long Distance Runner (6:31)
06. Stranger In A Strange Land (5:44)
07. Deja-Vu (4:56)
08. Alexander The Great (8:36)
Total Time: 51:24
CD 2:
01. Reach Out (3:31)
02. Juanita (3:47)
03. Sherriff Of Huddersfield (3:35)
04. That Girl (5:03)
Total Time: 15:56
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1988 – “Seventh Son Of A Seventh Son” (7243 8 35875 2 0)
CD 1:
01. Moonchild (5:42)
02. Infinite Dreams (6:09)
03. Can I Play With Madness (3:31)
04. The Evil That Men Do (4:36)
05. Seventh Son Of A Seventh Son (9:54)
06. The Prophecy (5:05)
07. The Clairvoyant (4:27)
08. Only The Good Die Young (4:43)
Total Time: 44:07
CD 2:
01. Black Bart Blues (6:41)
02. Massacre (2:54)
03. Prowler ’88 (4:07)
04. Charlotte The Harlot ’88 (4:11)
05. Infinite Dreams (Live) (6:04)
06. The Clairvoyant (Live) (4:27)
07. The Prisoner (Live) (6:09)
08. Killers (Live) (5:03)
09. Still Life (Live) (4:38)
Total Time: 44:15
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1990 – “No Prayer For The Dying” (7243 8 35876 2 9)
CD 1:
01. Tailgunner (4:15)
02. Holy Smoke (3:49)
03. No Prayer For The Dying (4:23)
04. Public Enema Number One (4:14)
05. Fates Warning (4:10)
06. The Assassin (4:18)
07. Run Silent Run Deep (4:35)
08. Hooks In You (4:07)
09. Bring Your Daughter… To The Slaughter (4:44)
10. Mother Russia (5:32)
Total Time: 44:07
CD 2:
01. All In Your Mind (4:32)
02. Kill Me Ce Soir (6:18)
03. I’m A Mover (3:29)
04. Communication Breakdown (2:41)
Total Time: 17:00

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Black Sabbath – 1970-1978 Ozzy Osbourne Years – 8 Classic albums (11CD, 2009 Remastered By Andy Pearce)

April 4, 2013, 8:59 am

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Black Sabbath has been so influential in the development of heavy metal rock music as to be a defining force in the style. The group took the blues-rock sound of late ’60s acts like Cream, Blue Cheer, and Vanilla Fudge to its logical conclusion, slowing the tempo, accentuating the bass, and emphasizing screaming guitar solos and howled vocals full of lyrics expressing mental anguish and macabre fantasies. If their predecessors clearly came out of an electrified blues tradition, Black Sabbath took that tradition in a new direction, and in so doing helped give birth to a musical style that continued to attract millions of fans decades later.

The group was formed by four teenage friends from Aston, near Birmingham, England: Anthony “Tony” Iommi (b. Feb 19, 1948), guitar; William “Bill” Ward (b. May 5, 1948), drums; John “Ozzy” Osbourne (b. December 3, 1948), vocals; and Terence “Geezer” Butler (b. July 17, 1949), bass. They originally called their jazz-blues band Polka Tulk, later renaming themselves Earth, and they played extensively in Europe. In early 1969, they decided to change their name again when they found that they were being mistaken for another group called Earth. Butler had written a song that took its title from a novel by occult writer Dennis Wheatley, Black Sabbath, and the group adopted it as their name as well. As they attracted attention for their live performances, record labels showed interest, and they were signed to Philips Records in 1969. In January 1970, the Philips subsidiary Fontana released their debut single, “Evil Woman (Don’t Play Your Games With Me),” a cover of a song that had just become a U.S. hit for Crow; it did not chart. The following month, a different Philips subsidiary, Vertigo, released Black Sabbath’s self-titled debut album, which reached the U.K. Top Ten. Though it was a less immediate success in the U.S. — where the band’s recordings were licensed to Warner Bros. Records and appeared in May 1970 — the LP broke into the American charts in August, reaching the Top 40, remaining in the charts over a year, and selling a million copies.

Appearing at the start of the ’70s, Black Sabbath embodied the Balkanization of popular music that followed the relatively homogenous second half of the 1960s. As exemplified by its most popular act, the Beatles, the 1960s suggested that many different aspects of popular music could be integrated into an eclectic style with a broad appeal. The Beatles were as likely to perform an acoustic ballad as a hard rocker or R&B-influenced tune. At the start of the 1970s, however, those styles began to become more discrete for new artists, with soft rockers like James Taylor and the Carpenters emerging to play only ballad material, and hard rockers like Led Zeppelin and Grand Funk Railroad taking a radically different course, while R&B music turned increasingly militant. The first wave of rock critics, which had come into existence with the Beatles, was dismayed with this development, and the new acts tended to be poorly reviewed despite their popularity. Black Sabbath, which took an even more extreme tack than the still blues- and folk-based Led Zeppelin, was lambasted by critics (and though they eventually made their peace with Zeppelin, they never did with Sabbath). But the band had discovered a new audience eager for its uncompromising approach.

Black Sabbath quickly followed its debut album with a second album, Paranoid, in September 1970. The title track, released as a single in advance of the LP, hit the Top Five in the U.K., and the album went to number one there. In the U.S., where the first album had just begun to sell, Paranoid was held up for release until January 1971, again preceded by the title track, which made the singles charts in November; the album broke into the Top Ten in March 1971 and remained in the charts over a year, eventually selling over four million copies, by far the band’s best-selling effort. (Its sales were stimulated by the belated release of one of its tracks, “Iron Man,” as a U.S. single in early 1972; the 45 got almost halfway up the charts, the band’s best showing for an American single.)

Master of Reality, the third album, followed in August 1971, reaching the Top Ten on both sides of the Atlantic and selling over a million copies. Black Sabbath, Vol. 4 (September 1972) was another Top Ten million-seller. For Sabbath Bloody Sabbath (November 1973), the band brought in Yes keyboard player Rick Wakeman on one track, signaling a slight change in musical direction; it was Black Sabbath’s fifth straight Top Ten hit and million-seller. In 1974, the group went through managerial disputes that idled them for an extended period. When they returned to action in July 1975 with their sixth album, Sabotage, they were welcomed back at home, but in the U.S. the musical climate had changed, making things more difficult for an album-oriented band with a heavy style, and though the LP reached the Top 20, it did not match previous sales levels. Black Sabbath’s record labels quickly responded with a million-selling double-LP compilation, We Sold Our Soul for Rock ‘n’ Roll (December 1975), and the band contemplated a more pronounced change of musical style. This brought about disagreement, with guitarist Iommi wanting to add elements to the sound, including horns, and singer Osbourne resisting any variation in the formula. Technical Ecstasy (October 1976), which adopted some of Iommi’s innovations, was another good — but not great — seller, and Osbourne’s frustration eventually led to his quitting the band in November 1977. He was replaced for some live dates by former Savoy Brown singer Dave Walker, then returned in January 1978. Black Sabbath recorded its eighth album, Never Say Die! (September 1978), the title track becoming a U.K. Top 40 hit before the LP’s release and “Hard Road” making the Top 40 afterwards. But the singles did not improve the album’s commercial success, which was again modest, and Osbourne left Black Sabbath for a solo career, replaced in June 1979 by former Rainbow singer Ronnie James

Black Sabbath’s debut album is given over to lengthy songs and suite-like pieces where individual songs blur together and riffs pound away one after another, frequently under extended jams. There isn’t much variety in tempo, mood, or the band’s simple, blues-derived musical vocabulary, but that’s not the point; Sabbath’s slowed-down, murky guitar rock bludgeons the listener in an almost hallucinatory fashion, reveling in its own dazed, druggy state of consciousness. Songs like the apocalyptic title track, “N.I.B.,” and “The Wizard” make their obsessions with evil and black magic seem like more than just stereotypical heavy metal posturing because of the dim, suffocating musical atmosphere the band frames them in. This blueprint would be refined and occasionally elaborated upon over the band’s next few albums, but there are plenty of metal classics already here. [Universal/Sanctuary's 2009 reissue of the album included a digitally remastered version of the original recordings, as well as a second disc stocked with nine previously unreleased tracks, nearly all of which are just alternate takes].

~ by Steve Huey, allmusic.com

Disk 1: Original Album
1. Black Sabbath – 6:20
2. The Wizard – 4:24
3. Behind The Wall of Sleep – 3:37
4. N.I.B. – 6:08
5. Evil Woman (Don’t Play Your Games With Me) – 3:25
6. Sleeping Village – 3:46
7. Warning – 10:28

Disk 2: Bonus Tracks
1. Wicked World (Single B-Side, TF1067) – 4:45
2. Black Sabbath (Studio Outtake) – 6:22
3. Black Sabbath (Instrumenal) – 6:13
4. The Wizard (Studio Outtake) – 4:46
5. Behind the Wall of Sleep (Studio Outtake) – 3:41
6. N.I.B. (Instrumental) – 6:08
7. Evil Woman (Alternative Version) – 3:47
8. Sleeping Village (Intro) – 3:45
9. Warning (Part 1) – 6:58

• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Bill Ward – drums
• Ossie Osbourne – vocals, harmonica
Original Black Sabbath album released on Vertigo Records VO6, Friday 13th February 1970.
Produced by Rodger Bain of Tuesday Production for Tony Hall Enterprises.
Engineer – Tom Allom & Barry Sheffield.
2009 Re-Issue Credits:
Expanded Edition Co-ordinated by Steve Hammonds & Jon Richards at SRG.
Art Direction & Design by Hugh Gilmour. Remastered by Andy Pearce at Masterpiece.

Paranoid was not only Black Sabbath’s most popular record (it was a number one smash in the U.K., and “Paranoid” and “Iron Man” both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time.
Paranoid refined Black Sabbath’s signature sound — crushingly loud, minor-key dirges loosely based on heavy blues-rock — and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like “War Pigs” and “Iron Man” (which sports one of the most immediately identifiable riffs in metal history).
The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath makes it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect — the technical simplicity of Ozzy Osbourne’s vocals and Tony Iommi’s lead guitar vocabulary; the spots when the lyrics sink into melodrama or awkwardness; the lack of subtlety and the infrequent dynamic contrast.
Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in its path, including its own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history.

~ by Steve Huey, allmusic.com

Disk 1: Paranoid (CD, Original Album):
1. War Pigs – 7:58
2. Paranoid – 2:54
3. Planet Caravan – 4:34
4. Iron Man – 5:57
5. Electric Funeral – 4:53
6. Hand Of Doom – 7:08
7. Rat Salad – 2:31
8. Fairies Wear Boots – 6:14

Disk 2: Paranoid – 1974 Quadrofonic Mix DVD (5.1 STS/2.0 LPSM Stereo):
1. War Pigs – 7:58
2. Paranoid – 2:54
3. Planet Caravan – 4:34
4. Iron Man – 5:57
5. Electric Funeral – 4:53
6. Hand Of Doom – 7:08
7. Rat Salad – 2:31
8. Fairies Wear Boots – 6:14

Disk 3: Paranoid (CD, Bonus Track, Regent Sound Studios, 16 & 17 June 1970)
1. War Pigs (Instrumental) – 8:02
2. Paranoid (Alternative Lyrics Version) – 2:52
3. Planet Caravan (Alternative Lyrics Version) – 6:04
4. Iron Man (Instrumental) – 5:59
5. Electric Funeral (Instrumental) – 4:54
6. Hand Of Doom (Instrumental) – 7:17
7. Rat Salad (Alternative Mix) – 2:32
8. Fairies Wear Boots (Instrumental) – 6:17

• Ozzy Osbourne – vocals
• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Bill Ward – drums
Original Paranoid album released by Vertigo Records (6360 O11) September 1970.
Produced by Rodger Bain for Tony Hall Enterprises.
Engineers – Tom Allom & Brian Humphries.
Album designed and photographed by Keef.
2009 Re-Issue Credits:
Expanded Edition Co-ordinated by Steve Hammonds & Jon Richards @ SRG
Design by Hugh Gilmour. Sleevenotes by David Wells. Re-mastered by Andy Pearce @ Masterpiece
Original tape to digital reclamation and transfer by Tim Hunt
Additional photographs taken from the Paranoid tour programme ’71

With Paranoid, Black Sabbath perfected the formula for their lumbering heavy metal. On its follow-up, Master of Reality, the group merely repeated the formula, setting the stage for a career of recycling the same sounds and riffs. But on Master of Reality Sabbath still were fresh and had a seemingly endless supply of crushingly heavy riffs to bludgeon their audiences into sweet, willing oblivion. If the album is a showcase for anyone, it is Tony Iommi, who keeps the album afloat with a series of slow, loud riffs, the best of which — “Sweet Leaf” and “Children of the Grave” among them — rank among his finest playing. Taken in tandem with the more consistent Paranoid, Master of Reality forms the core of Sabbath’s canon. There are a few stray necessary tracks scattered throughout the group’s other early-’70s albums, but Master of Reality is the last time they delivered a consistent album and its influence can be heard throughout the generations of heavy metal bands that followed.

~ by Stephen Thomas Erlewine, allmusic.com

Disk One: original album, 1971
1. Sweet Leaf – 5:06
2. After Forever – 5:27
3. Embryo – 0:28
4. Children Of The Grave – 5:16
5. Orchid – 1:31
6. Lord Of This World – 5:26
7. Solitude – 5:02
8. Into The Void – 6:11

Disk Two: bonus tracks, previously unreleased
1. Weevil Woman ’71 – 3:00
2. Sweet Leaf (Studio Outtake Featuring Alternative Lyrics) – 5:04
3. After Forever (Studio Outtake – Instrumental) – 5:20
4. Children Of The Grave (Studio Outtake Featuring Alternative Lyrics) – 4:36
5. Children Of The Grave (Studio Outtake – Instrumental) – 6:01
6. Orchid (Studio Outtake With Tony Count-in) – 1:40
7. Lord Of This World (Studio Outtake Featuring Piano & Slide Guitar) – 5:37
8. Solitude (Studio Outtake – Intro. With Alternative Guitar Tuning) – 3:45
9. Into The Void “Spanish Sid” (Studio Outtake – Alternative Version) – 6:24

• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Ozzy Osbourne – vocals
• Bill Ward – drums
Original ‘Master Of Reality’ album released on Vertigo Records (6360 050) 21st July 1971.
Produced by Rodger Bain for Tony Hall Enterprises.
Art Direction: Mike Stanford. Design: Bloomsbury Group.
Original Poster Photography: Keef.
2009 Re-Issue Credits:
Co-ordinated by Steve Hammonds & Jon Richards.
Sleevenotes by David Wells, design by Hugh Gilmour.
Re-mastered by Andy Pearce at Masterpiece Production.
Co-ordination by Michelle Callaghan, Darren Cain & Darren Owen
Original tape to digital reclamation and transfer by Tim Hunt.

Black Sabbath, Vol. 4 is just a cut below its two indisputably classic predecessors, as it begins to run out of steam — and memorable riffs — toward the end. However, it finds Sabbath beginning to experiment successfully with their trademark sound on tracks like the ambitious, psychedelic-tinged, multi-part “Wheels of Confusion,” the concise, textured “Tomorrow’s Dream,” and the orchestrated piano ballad “Changes” (even if the latter’s lyrics cross the line into triteness). But the classic Sabbath sound is still very much in evidence; the crushing “Supernaut” is one of the heaviest tracks the band ever recorded.

~by by Steve Huey, allmusic.com

Tracklist:
1. Wheels of Confusion – 8:03
2. Tomorrow’s Dream – 3:12
3. Changes – 4:45
4. FX – 1:43
5. Supernaut – 4:43
6. Snowblind – 5:31
7. Cornucopia – 3:55
8. Laguna Sunrise – 2:53
9. St. Vitus’ Dance – 2:29
10. Under the Sun – 5:53

• Tomy Iommi – lead guitar & keyboards
• Geezer Butler – bass guitar
• Ozzy Osbourne – vocals
• Bill Ward – drums
Original Vol.4 release by Vertigo Records, September 25, 1972, #6360 071.
All arangement by Blac Sabbath. Produced by Patrick Meehan and Black Sabbath.
Engineers: Colin Caldwell/Vic Smith. Recorded at Record Plant Los Angeles.
2009 Re-Issue Credits:
Project Consultants – Steve Hammonds and Hugh Gilmour.
Re-mastering by Andy Pearce, assisted by Matt Wortham @ Wired Masters.

Many consider Black Sabbath’s 1973 release, Sabbath Bloody Sabbath, to be the original lineup’s last true classic album. Drug use and alcoholism were beginning to overtake the band (leading to Ozzy Osbourne’s eventual departure by decade’s end), yet they were still firing on all cylinders. While the casual fan may only be familiar with one selection (the storming title track), Sabbath Bloody Sabbath follows in the tradition of its predecessors, delivering a consistent set of songs from beginning to end. Tony Iommi’s riff for “A National Acrobat” remains one of his best and heaviest, while other highlights include the strangely uplifting “Sabbra Cadabra” (which Metallica would cover 25 years later for their Garage Inc. compilation), the cautionary tales “Killing Yourself to Live” and “Who Are You,” plus the sci-fi-tinged “Spiral Architect.” As with past albums, a tranquil selection is included as a break from all the metallic fury; in this case, it’s the gorgeous yet melancholic instrumental “Fluff.” Sabbath Bloody Sabbath remains one of Sabbath’s all-time best albums.

~by by Greg Prato, allmusic.com

Tracklist:
1. Sabbath, Bloody Sabbath – 5:47
2. A National Acrobat – 6:16
3. Fluff – 4:13
4. Sabbra Cadabra – 5:59
5. Killing Yourself to Live – 5:40
6. Who are You? – 4:11
7. Looking for Today – 4:59
8. Spiral Architect – 5:30

• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Ozzy Osbourne – vocals
• Bill Ward – drums
Original album release by Vertigo Records, December 1, 1973.
Produced by Black Sabbath for Excellency Production.
Engineered by Mike Butcher. Coordination by Mark Forster. Direction: Patric Meehan.
2009 Re-Issue Credits:
Project Consultants – Steve Hammonds and Hugh Gilmour.
Re-mastering by Andy Pearce, assisted by Matt Wortham @ Wired Masters.

Years of constant touring, alcoholism, and drug abuse finally began to affect Black Sabbath around the time of their sixth release, 1975′s Sabotage. While it’s not a bad album (in fact, it’s one of their most underrated), you can sense that the magical chemistry that made such albums as Paranoid and Vol. 4 so special was beginning to disintegrate. But guitarist Tony Iommi again comes equipped with an arsenal of sturdy, ultra-heavy riffs, as evidenced by the raucous album opener, “Hole in the Sky,” as well as the drug-induced anthem “Symptom of the Universe” — both tracks coming as close to garage rock as Sabbath ever got. But the album’s biggest surprise is the melodic, synth-laced “Am I Going Insane (Radio),” which is more akin to ’70s power pop than to the band’s patented doom metal (although the lyrics are what you’d expect — detailing a person’s downward spiral into dementia). Although often overlooked, Sabotage remains an interesting and challenging release.

~by Greg Prato, allmusic.com

Tracklist:
1. Hole in the Sky – 4:00
2. Don’t Start (Too Late) – 0:49
3. Symptom of the Universe – 6:29
4. Megalomania – 9:43
5. The Thrill of it All – 5:56
6. Supertzar – 3:44
7. Am I Going Insane (Radio) – 4:16
8. The Writ – 8:44

• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Ozzy Osbourne – vocals
• Bill Ward – drums
Original Sabotage album released by NEMS Records, September 1975, #9119 001
All soongs written/arangement by Black Sabbath. All instrumentation be Black Sabbath.
Produced by Black Sabbath with Mike Butcher.
Engineered by Mike Butcher and Robin Black. Tape Operator ans saboteur – David Harris
Recorded at Morgan Studios, London and Brussels. Mastered at Sterling Sound, New York.
English Chamber Choir arranged by Will Malone.
2009 Re-Issue Credits:
Project Consultants – Steve Hammonds and Hugh Gilmour.
Re-mastering by Andy Pearce, assisted by Matt Wortham @ Wired Masters.

Black Sabbath was unraveling at an alarming rate around the time of their second to last album with original singer Ozzy Osbourne, 1976′s Technical Ecstasy. The band was getting further and further from their original musical path, as they began experimenting with their trademark sludge-metal sound. While it was not as off-the-mark as their final album with Osbourne, 1978′s Never Say Die, it was not on par with Sabbath’s exceptional first five releases. The most popular song remains the album closer, “Dirty Women,” which was revived during the band’s highly successful reunion tour of the late ’90s. Other standouts include the funky “All Moving Parts (Stand Still)” and the raging opener, “Back Street Kids.” The melodic “It’s Alright” turns out to be the album’s biggest surprise — it’s one of drummer Bill Ward’s few lead vocal spots with the band (Guns N’ Roses covered the unlikely track on their 1999 live set, Live Era 1987-1993).

~by Greg Prato, allmusic.com

Tracklist:
1. Back Street Kids – 3:48
2. You Won’t Change Me – 6:43
3. It’s Alright – 4:06
4. Gypsy – 5:11
5. All Moving Parts (Stand Still) – 5:05
6. Rock ‘N’ Roll Doctor – 3:34
7. She’s Gone – 4:57
8. Dirty Women – 7:10

• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Ozzy Osbourne – vocals
• Bill Ward – drums
Keyboards and additional arrangements by Gerald Woodruffe .
Vocals on “It’s Alright” by Bill Ward.
Original Technical Ecstasy album released by Vertigo Records, October 1975, #9102 750.
All songs written and arranged by Black Sabbath.
Produced by Black Sabbath.
Recorded at Criteria Studios, Miami, Florida.
Engineered by Robin Black, assisted by Spock Wall Mixed at Criteria Studios by Tony Iommi and Robin Black.
Mastered at Warner Bros. Studios, California, by Tony Iommi and Bob Hata.
Strings on “She’s Gone” arranged and conducted by Mike Lewis.
2009 Re-Issue Credits:
Project Consultants – Steve Hammonds and Hugh Gilmour.
Re-mastering by Andy Pearce, assisted by Matt Wortham @ Wired Masters.

After going their separate ways for a brief period following the emotionally taxing and drug-infested Technical Ecstasy tour, Black Sabbath and singer Ozzy Osbourne reconciled long enough to record 1978′s Never Say Die! — an album whose varied but often unfocused songs perfectly reflected the band’s uneasy state of affairs at the time. Even the surprisingly energetic title track, which seemed to kick things off with a promising bang, couldn’t entirely mask the group’s fading enthusiasm just beneath the surface after a few repeated listens. The same was true of half-hearted performances like “Shock Wave” and “Over to You,” and there were several songs on the record that sound strangely disjointed, specifically “Junior’s Eyes” and the synthesizer-doused “Johnny Blade” — as though their creation came in fits and starts, rather than through cohesive band interaction. But when it came to wild, stylistic departures, one’s disappointing realization that the lurching, saxophone-led “Breakout” came from — and then went back to — absolutely nowhere was easily offset by the stunningly successful oddity that was “Air Dance.” Arguably the most experimental song in Black Sabbath’s entire canon, this uncharacteristically mild-mannered and effortlessly evocative ballad saw Tony Iommi’s normally bullish guitar giving way to simply mesmerizing piano flourishes performed by leading session keyboardist Don Airey. If only it had represented a bold new direction (albeit one that die-hard fans would never have accepted) rather than just another sign of the band’s quickly fraying sense of identity, Black Sabbath’s original lineup may have found a way to save itself — but Never Say Die!’s incoherent musical aggregate in fact betrayed the harsh reality that it was indeed too late. So even though those same die-hard Black Sabbath fans and completists will likely find some redeeming value in Never Say Die! after all these years, the original lineup’s final gasp will hold little interest to the average heavy metal fan.

~ by by Eduardo Rivadavia, allmusic.com

Tracklist:
1. Never Say Die – 3:50
2. Johnny Blade – 6:28
3. Junior’s Eyes – 6:43
4. A Hard Road – 6:05
5. Shock Wave – 5:15
6. Air Dance – 5:17
7. Over To You – 5:23
8. Breakout – 2:35
9. Swinging the Chain – 4:07

• Tomy Iommi – lead guitar
• Geezer Butler – bass guitar
• Ozzy Osbourne – vocals
• Bill Ward – drums
Additional musicians: John Elstar – harmonica, Don Airey – keyboards.
Original Never Say Die! album released by Vertigo Records, October 1978, #9102 75.
All songs written by Black Sabbath. Produced by Black Sabbath.
Engineered by Dave Harris, assisted by Spock Wall.
Recorded at Sounds Intercharge, Toronto, Canada.
2009 Re-Issue Credits:
Project Consultants – Steve Hammonds and Hugh Gilmour.
Re-mastering by Andy Pearce, assisted by Matt Wortham @ Wired Masters.

Download:

↧

E-Rotic – Singles & Remixes (1994-2003) [FLAC]

April 19, 2013, 11:58 pm

≫ Next: VA – Kuscheljazz (Kuschel Jazz) (2009-2011) [FLAC]

≪ Previous: Black Sabbath – 1970-1978 Ozzy Osbourne Years – 8 Classic albums (11CD, 2009 Remastered By Andy Pearce)

E-Rotic – Singles & Remixes (1994-2003) [FLAC]

EAC rip | 28CD | FLAC – Log – Cue | Release: 1994-2003 | 3.88 GB
Genre: Eurodance

Tracklist:
Singles & Remixes:
1994.Max Don’t Have Sex With Your Ex
1994.Max Don’t Have Sex With Your Ex (Remixes)
1995.Fred Come To Bed
1995.Fred Come To Bed (Remixes)
1995.Sex On The Phone
1995.Sex On The Phone (Remixes)
1995.Willy Use A Billy…Boy
1995.Willy Use A Billy…Boy (Japan)
1995.Willy Use A Billy…Boy (Remixes)
1996.Fritz Love My Tits
1996.Fritz Love My Tits (Remixes)
1996.Gimme Good Sex
1996.Gimme Good Sex (Remixes)
1996.Help Me Dr. Dick
1996.Help Me Dr. Dick (Remixes)
1997.Thank You For The Music
1997.The Winner Takes It All
1997.Turn Me On
1998.Die Geilste Single Der Welt
1998.Baby Please Me
1999.Gimme Gimme Gimme
1999.Kiss Me
1999.Mambo No. Sex
2000.Don’t Make Me Wet
2000.Queen Of Light
2001.Billy Jive (With Willy’s Wife)
2001.King Kong
2003.Max Don’t Have Sex With Your Ex 2003

Tracklist

1994.Max Don’t Have Sex With Your Ex
01. Max Don’t Have Sex With Your Ex (Radio Edit) (3:32)
02. Max Don’t Have Sex With Your Ex (Extended Version) (5:25)
03. Max Don’t Have Sex With Your Ex (Hot Sex Max Mix) (5:23)
————– ————– ————– ————– ————–
1994.Max Don’t Have Sex With Your Ex (Remixes)
01. Max Don’t Have Sex With Your Ex (Dance The Max) (6:15)
02. Max Don’t Have Sex With Your Ex (Touch The Max) (4:27)
03. Max Don’t Have Sex With Your Ex (Rave The Max) (5:05)
————– ————– ————– ————– ————–
1995.Fred Come To Bed
01. Fred Come To Bed (Radio Edit) (3:58)
02. Fred Come To Bed (Extended Version) (5:16)
03. Fred Come To Bed (The Bed Fred Remix) (5:10)
04. Fred Come To Bed (The Groaning E-Rotic Remix) (4:56)
05. Fred Come To Bed (Instrumental Version) (3:57)
————– ————– ————– ————– ————–
1995.Fred Come To Bed (Remixes)
01. Fred Come To Bed (Dance The Fred) (5:49)
02. Fred Come To Bed (Trance The Fred) (5:09)
03. Fred Come To Bed (The Original Fred) (3:57)
————– ————– ————– ————– ————–
1995.Sex On The Phone
01. Sex On The Phone (Radio Edit) (3:57)
02. Sex On The Phone (Extended Version) (6:08)
03. Sex On The Phone (D1 Remix) (5:46)
04. Sex On The Phone (D2 Remix) (5:51)
————– ————– ————– ————– ————–
1995.Sex On The Phone (Remixes)
01. Sex On The Phone (The Hotline Remix) (4:32)
02. Sex On The Phone (The House Remix) (4:22)
03. Sex On The Phone (The Fast And Hot Sex Max Remix) (5:11)
————– ————– ————– ————– ————–
1995.Willy Use A Billy…Boy
01. Willy Use A Billy… Boy (Radio Edit) (3:43)
02. Willy Use A Billy… Boy (Extended Version) (6:39)
03. Willy Use A Billy… Boy (Safe The Sex Re-Max) (5:40)
04. Willy Use A Billy… Boy (Instrumental) (3:41)
————– ————– ————– ————– ————–
1995.Willy Use A Billy…Boy (Japan)
01. Willy Use A Billy…Boy (3:45)
02. Willy Use A Billy…Boy (The House Remix) (6:06)
03. Willy Use a Billy…Boy (Willy’s Latest Remix) (5:07)
————– ————– ————– ————– ————–
1995.Willy Use A Billy…Boy (Remixes)
01. Willy Use A Billy… Boy (The House Remix) (6:05)
02. Willy Use A Billy… Boy (The Dance Remix) (4:47)
03. Willy Use A Billy… Boy (Willy’s Latex Remix) (5:07)
————– ————– ————– ————– ————–
1996.Fritz Love My Tits
01. Fritz Love My Tits (Radio Edit) (4:09)
02. Fritz Love My Tits (Extended Version) (5:44)
03. Fritz Love My Tits (Club Version) (5:37)
————– ————– ————– ————– ————–
1996.Fritz Love My Tits (Remixes)
01. Fritz Love My Tits (The Dance Remix) (4:45)
02. Fritz Love My Tits (The House Remix) (4:35)
03. Fritz Love My Tits (The Trance Remix) (6:29)
————– ————– ————– ————– ————–
1996.Gimme Good Sex
01. Gimme Good Sex (Radio Edit) (3:52)
02. Gimme Good Sex (Extended Version) (5:57)
03. Gimme Good Sex (Bump’n Grind Mix) (5:11)
————– ————– ————– ————– ————–
1996.Gimme Good Sex (Remixes)
01. Gimme Good Sex (Happy Hour Remix) (5:27)
02. Gimme Good Sex (Butterfly Remix) (7:33)
03. Gimme Good Sex (Step & Slide Remix) (5:28)
————– ————– ————– ————– ————–
1996.Help Me Dr. Dick
01. Help Me Dr. Dick (Radio Edit) (3:45)
02. Help Me Dr. Dick (Extended Version) (5:45)
03. Help Me Dr. Dick (Club Version) (5:00)
04. Help Me Dr. Dick (Instrumental Version) (3:43)
————– ————– ————– ————– ————–
1996.Help Me Dr. Dick (Remixes)
01. Help Me Dr. Dick (The First Aid Remix) (5:57)
02. Help Me Dr. Dick (Dr.’s Hospital Remix) (5:07)
03. Help Me Dr. Dick (The Emergency Remix) (7:07)
————– ————– ————– ————– ————–
1997.Thank You For The Music
01. Thank You For The Music (4:00)
02. Save Me (3:19)
03. All I Desire (3:48)
————– ————– ————– ————– ————–
1997.The Winner Takes It All
01. The Winner Takes It All (Radio Edit) (4:45)
02. Is It You (3:40)
03. Don’t Say We’re Through (4:42)
04. The Winner Takes It All (Classical Version) (4:44)
————– ————– ————– ————– ————–
1997.Turn Me On
01.Turn Me On (Radio Edit) (3:46)
02.Turn Me On (Extended Version) (5:54)
03.Turn Me On (Club Version) (4:59)
————– ————– ————– ————– ————–
1998.Die Geilste Single Der Welt
01. Megamix (Radio Cut) (4:00)
02. Megamix (Extended Version) (6:05)
03. Sexual Madness (3:48)
04. Turn Me On (3:45)
————– ————– ————– ————– ————–
1998.Baby Please Me
01.Baby Please Me (3:27)
02.In The Dark Of The Night (3:42)
03.E-Rotic Megamix (4:00)
————– ————– ————– ————– ————–
1999.Gimme Gimme Gimme
01.Gimme Gimme Gimme (Radio Edit) (4:01)
02.Gimme Gimme Gimme (Extended Version) (6:25)
03.In The Heat Of The Night (3:50)
04.Mambo No. Sex (3:05)
————– ————– ————– ————– ————–
1999.Kiss Me
01. Kiss Me (Radio Edit) (3:26)
02. Kiss Me (Rezo Mix) (3:32)
03. Kiss Me (Original Version) (3:25)
04. Kiss Me (Extended Version) (4:59)
05. Wish You Were Here (3:13)
————– ————– ————– ————– ————–
1999.Mambo No. Sex
01. Mambo No. Sex (Radio Edit) (3:07)
02. Mambo No. Sex (Extended Version) (5:02)
03. Mambo No. Sex (Dance Mix) (5:07)
————– ————– ————– ————– ————–
2000.Don’t Make Me Wet
01. Don’t Make Me Wet (3:25)
02. Hearts Are A Changing (4:26)
03. Don’t Go (4:05)
04. Don’t Make Me Wet (Extended Version) (6:08)
————– ————– ————– ————– ————–
2000.Queen Of Light
01. Queen Of Light (Radio Edit) (4:01)
02. Queen Of Light (Extended Version) (5:06)
03. Queen Of Light (Plastic Age Remix) (6:07)
04. In The Heat Of The Night (3:51)
————– ————– ————– ————– ————–
2001.Billy Jive (With Willy’s Wife)
01. Billy Jive (With Willy’s Wife) (3:41)
02. Billy Jive (With Willy’s Wife) (Extended Version) (6:55)
03. Billy Jive (With Willy’s Wife) (H.P.N. Mix Radio Edit) (4:37)
04. Billy Jive (With Willy’s Wife) (Yeco. Remix) (6:25)
05. Skin To Skin (3:17)
————– ————– ————– ————– ————–
2001.King Kong
01. King Kong (3:49)
02. The Story Is Over (4:01)
03. King Kong (Extended Version) (6:08)
————– ————– ————– ————– ————–
2003.Max Don’t Have Sex With Your Ex 2003
01. Max Don’t Have Sex With Your Ex 2003 (Radio Edit) (3:20)
02. Max Don’t Have Sex With Your Ex 2003 (Radio Dance Edit) (3:43)
03. Max Don’t Have Sex With Your Ex 2003 (Flashrider Remix) (6:58)
04. Max Don’t Have Sex With Your Ex 2003 (Extended Version) (5:29)
05. Max Don’t Have Sex With Your Ex 2003 (Extended Dance Version) (5:24)
06. Max Don’t Have Sex With Your Ex 2003 (Club Mix) (5:55)

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↧

VA – Kuscheljazz (Kuschel Jazz) (2009-2011) [FLAC]

April 23, 2013, 2:59 am

≫ Next: The Durutti Column – Collection (29 Albums) (1979-2012) [FLAC]

≪ Previous: E-Rotic – Singles & Remixes (1994-2003) [FLAC]

VA – Kuscheljazz (Kuschel Jazz) (2009-2011) [FLAC]

Tracklist:
2009 – Kuscheljazz vol.6
CD1

01. Katie Melua & Eva Cassidy – What A Wonderful World (4:19)
02. Till Bronner – My Secret Love (4:25)
03. Charlie Hunter Quartet&Norah Jones – More Than This (4:00)
04. Al Jarreau – My Foolish Heart (5:33)
05. Lisa Ekdahl – Only You (4:27)
06. Malia – Mr. Candy (3:27)
07. Vonda Shepard – Get It Back (2:52)
08. Roger Cicero – Fachmann In Sachen Anna (3:20)
09. Tom Gaebel – Dancing Senorita (4:44)
10. Carmen Cuesta – Endless Is Love (4:28)
11. Cassandra Wilson – Love Is Blindness (4:54)
12. Corinne Bailey Rae – Like A Star (4:01)
13. Will Young – Light My Fire (3:29)
14. Patricia Barber – You’re The Top (3:38)
15. Avishai Cohen – Shir Preda (4:02)
16. Kenny G – If I Ain’t Got You (4:02)
17. Tony Bennett & K.D.Lang – La Vie En Rose (3:24)
18. Sade Adu – Love Is Stronger Than Pride (4:19)
19. Miles Davis – My Ship (4:32)

CD2

01. Grover Washington & Jr. With Bill Withers – Just The Two Of Us (3:57)
02. Marvin Gaye – Walkin’ In The Rain (2:55)
03. Amy Winehouse – Back To Black (4:01)
04. George Michael – Kissing A Fool (4:35)
05. Alicia Keys – Butterflyz (4:10)
06. John Legend – Save Room (3:57)
07. Joy Denalane – Geh Jetzt (4:49)
08. George Benson – On Broadway (5:10)
09. Randy Crawford – You Might Need Somebody (4:15)
10. Billy Paul – Let’s Stay Together (6:26)
11. Holly Cole – Calling You (4:39)
12. Helen Schneider – Only You (3:22)
13. Anthony Hamilton – Never Love Again (4:40)
14. Laura Lopez Castro – Oracion (2:57)
15. Chris Botti – Ever Since We Met (5:08)
16. Tok Tok Tok – Nothing Stays The Same (3:10)
17. Jazzamor – Summertime (4:47)
18. Nouvelle Vague&Eloisa – Love Will Tear Us Apart (3:19)
19. De-Phazz – Jazz Music (3:36)

2010 – Kuscheljazz vol.7
CD1

01. Jamie Cullum – High And Dry (4:55)
02. Melody Gardot – Baby I’m A Fool (3:32)
03. Till Bronner – Your Way To Say Goodbye (3:27)
04. Eva Cassidy – Fields Of Gold (4:43)
05. Justin Timberlake – (Another Song) All Over Again (5:47)
06. Katie Melua – The Closest Thing To Crazy (4:14)
07. Viktoria Tolstoy – Upside Out (3:56)
08. Ingrid Michaelson – The Way I Am (2:15)
09. Teitur – Don’t Want You To Wake Up (5:14)
10. Kings Of Convenience – Mrs. Cold (3:09)
11. Suzanne Vega – Pornographer’s Dream (3:25)
12. Graziella Schazad – Take On Me (3:34)
13. Goldfrapp – Lovely Head (3:45)
14. Zero 7 – In The Waiting Line (4:34)
15. Smoke City – Underwater Love (3:59)
16. Kinobe – Slip Into Something More Comfortable (4:55)
17. Morcheeba – Undress Me Now (3:27)
18. Jazzamor – Back To The Moon (4:14)

CD2

01. James Brown – All The Way (3:44)
02. Diana Krall – I’m Just A Lucky So And So (4:22)
03. Aretha Franklin – What A Difference A Day Made (3:34)
04. George Michael – Cowboys & Angels (7:14)
05. Sade – By Your Side (4:22)
06. Tom Gaebel – My Song To You (4:09)
07. Paul Carrack – Sunny (3:20)
08. The Neville Brothers – Yellow Moon (4:05)
09. Alicia Keys – How Come You Don’t Call Me (4:00)
10. Otis Redding – (Sittin’ On) The Dock Of The Bay (2:44)
11. Bette Midler – Do You Want To Dance (2:45)
12. K.D. Lang – The Air That I Breathe (6:01)
13. Vonda Shepard – Finally Home (2:13)
14. Joss Stone – Spoiled (4:05)
15. Miles Davis – Human Nature (4:32)
16. Roger Cicero – Bin Heute Abend Bei Dir (3:11)
17. Dusty Springfield – Nothing Has Been Proved (4:42)
18. Frank Sinatra & Paula Kelly – Sunshine Cake (3:08)
1:12:12

2011 – Kuscheljazz vol.8

CD1

01. Jamie Cullum – Singin’ In The Rain (4:06)
02. Katie Melua – Piece By Piece (3:23)
03. Duffy – Warwick Avenue (3:47)
04. Till Bronner – And I Love Her (3:36)
05. Tom Gaebel – One Day I’ll Fly Away (4:20)
06. Vince Benedetti & Diana Krall – My Love (3:17)
07. Tony Bennett – I Left My Heart In San Francisco (2:51)
08. Dean Martin – That’s Amore (That’s Love) (3:07)
09. Doris Day – Dream A Little Dream Of Me (3:44)
10. Ana Belen & Antonio Banderas – No Se Por Que Te Quiero (3:33)
11. Jose Padilla – El Sueno de Ibiza (3:52)
12. Nouvelle Vague – Eisbaer (3:42)
13. Joy Denalane – Bin und bleib dein (4:13)
14. Lyambiko – Feeling Good (4:13)
15. Eva Cassidy – True Colors (4:48)
16. Oh Land – Wolf & I (4:34)
17. Morcheeba – Even Though (4:20)
18. Jazzamor – Time Is Running (4:20)

CD2

01. Michael Buble – Me And Mrs. Jones (4:31)
02. Norah Jones – Sunrise (3:20)
03. Marvin Gaye – It’s Madness (3:21)
04. Aretha Franklin – Angel (4:27)
05. Terence Trent D’Arby – Sign Your Name (4:35)
06. Al Jarreau – We’re in This Love Together (3:46)
07. Tok Tok Tok – Walk On The Wild Side (4:37)
08. Jose Feliciano – And I Love Her (4:02)
09. Gipsy Kings – Inspiration (3:41)
10. Laura Lopez – Castro Estate (5:05)
11. Joshua Radin – One Of Those Days (3:01)
12. Malia – Rainbows (4:12)
13. Y’akoto – Tamba (3:10)
14. Patricia Kaas – Where Do I Begin (3:45)
15. Randy Crawford – Rainy Night In Georgia (4:18)
16. Dionne Warwick – What The World Needs Now (3:09)
17. Sade – Smooth Operator (4:18)
18. Miles Davis – I Fall In Love Too Easily (6:47)

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http://uploaded.net/file/aq5gpvvj/alllossless.com_VAKuscheljazzKuschelJazz20092011FLAC.part1.rar
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↧

The Durutti Column – Collection (29 Albums) (1979-2012) [FLAC]

April 23, 2013, 3:51 am

≫ Next: Bruce Willis – Albums Collection (1987-1999) [FLAC]

≪ Previous: VA – Kuscheljazz (Kuschel Jazz) (2009-2011) [FLAC]

The Durutti Column – Collection (29 Albums) (1979-2012) [FLAC]

The Durutti Column are an English post-punk band formed in 1978 in Manchester, England.[2] The band is an ongoing project of guitarist (and occasional pianist) Vini Reilly who is often accompanied by drummer Bruce Mitchell and Keir Stewart (on bass, keyboards and harmonica).
Chris Ott summed up Vini Reilly in 2003: “Friend to Ian Curtis and New Order, a borderline New Age celebrity within European muso circles and the creative force behind much of Morrissey’s Viva Hate, Vini Reilly has unleashed untold volumes of music over the last twenty-five years. Delving into modern classical composition with 1984′s Without Mercy, his low-key reputation as an independent auteur was cemented with 1989′s Vini Reilly, a masterpiece recorded in just twenty days’ time after finishing Viva Hate with Morrissey and Stephen Street.

http://en.wikipedia.org/wiki/The_Durutti_Column

Tracklist:
1979 – The Return of the Durutti Column (Remastered 1996)
01 Sketch For Summer (3:02)
02 Requiem For A Father (5:07)
03 Katharine (5:29)
04 Conduct (5:02)
05 In ?D? (1:40)
06 Jazz (1:39)
07 Sketch For Winter (2:25)
08 Collette (2:23)
09 Sketch For Winter (Mix) (2:26)
10 Lips That Would Kiss (3:49)
11 Madeleine (3:04)
12 First Aspect Of The Same Thing (3:41)
13 Second Aspect Of The Same Thing (2:59)
14 Sleep Will Come (1:48)
15 Experiment In Fifth (3:35)
1981 – LC (Expanded Edition 2013)
Disc 1
01. Sketch for Dawn (1)
02. Portrait for Frazier
03. Jaqueline
04. Messidor
05. Sketch for Dawn (2)
06. Never Known
07. The Act Committed
08. Detail for Paul
09. The Missing Boy
10. The Sweet Cheat Gone
11. Danny
12. Enigma
13. For Mimi
14. For Belgian Friends
15. Self-Portrait
16. Favourite Painting
17. Zinni
Disc 2
01. Mavuchka
02. Experiment in Fifth
03. Portrait for Paul
04. The Act Committed
05. Portrait for Frazier
06. Never Known
07. Untitled LC Demo
08. For Patti
09. Weakness and Fever
10. The Eye and the Hand
11. Party
12. One Christmas for Your Thoughts
13. Homage to Martinu
14. Sleep Will Come
15. Piece for an Ideal
16. Piece of Out of Tune Grand Piano
1982 – Another Setting (Remastered 1998)
01 Prayer 3:26
02 Response 1:31
03 Bordeaux 3:33
04 For A Western 2:51
05 The Beggar 4:57
06 Francesca 3:03
07 Smile In The Crowd 5:07
08 You’ve Heard It Before 4:41
09 Dream Of A Child 5:26
10 Second Family 2:39
11 Spent Time 4:24
12 Amigos Em Portugal 3:57
13 Menina Ao Pe Duma Piscina 3:21
14 Lisboa 4:12
15 Sara E Tristana 2:58
16 Estoril A Noite 2:54
17 Favourite Descending Intervals 4:50
18 To End With 1:24
1983 – Live At The Venue London (Remastered 2003)
01. Party
02. Mother From Spain
03. Jacqueline
04. Conduct
05. Sketch For Summer
06. The Beggar
07. Never Known
08. The Missing Boy
09. Sigh Becomes A Scream
10. Self Portrait
11. Friends In Belgium
1983 – Amigos em Portugal (Remastered 2005)
01. Amigos em Portugal
02. Small Girl By A Pool
03. Lisboa
04. Sara e Tristana
05. Estoril à Noite
06. Vestido Amarratado
07. Wheels Turning
08. Lies Of Mercy
09. Saudade
10. Games Of Rhythm
11. Favourite Descending Intervals
12. To End With
1984 – Without Mercy (Remastered 1998)
01] Without Mercy 1
02] Without Mercy 2
03] Goodbye
04] The Room
05] A Little Mercy
06] Silence
07] E.E.
08] Hello(w)
09] All That Love and Maths Can Do
10] Sea Wall
1986 – Circuses and Bread (Expanded & Remastered 2007)
01. Pauline (02:47)
02. Tomorrow (04:05)
03. Dance II (05:39)
04. Hilary (03:15)
05. Street Fight (04:04)
06. Royal Infirmary (04:20)
07. Black Horses (08:31)
08. Dance I (05:00)
09. Blind Elevator Girl (10:19)
10. All That Love And Maths Can Do (3:37)
11. I Get Along Without You Very Well (3:39)
12. Verbier (For Patti) (2:40)
13. The Aftermath (4:26)
14. A Silence (4:43)
15. Cocktail (2:07)
16. Telephone Call (1:43)
17. Mirror A (2:10)
18. Mirror B (3:44)
1986 – Domo Arigato (Expanded & Remastered 1998)
01] Sketch for Summer
02] Sketch for Dawn
03] Mercy Theme
04] Little Mercy
05] Dream of a Child
06] Mercy Dance
07] The Room
08] E. E.
09] Blind Elevator Girl
10] Tomorrow
11] For Belgian Friends
12] Missing Boy
13] Self Portrait
14] Audience Noise
15] Our Lady of The Angels
16] White Rabbit
17] When the World (Newson Mix)
1987 – The Guitar And Other Machines (Expanded & Remastered 1996)
01] Arpeggiator
02] What Is It To Me (Woman)
03] Red Shoes
04] Jongleur Grey
05] When The World
06] U.S.P.
07] Bordeaux Sequence
08] Pol In B
09] English Landscape Tradition
10] Miss Haymes
11] Don’t Think You’re Funny
12] LFO Mod
13] Dream Topping
14] 28 Oldham Street
15] Otis [live]
16] English Landscape Tradition [live]
17] Finding The Sea [live]
18] Bordeaux [live]
1987 – Live At The Bottom Line New York (Reissue 1993)
01 Prayer 3:48
02 Arpeggiator 3:52
03 Our Lady Of The Angels 5:51
04 Pol In B 3:03
05 Miss Haymes 5:45
06 For Mother 5:24
07 Requiem 3:46
08 Jacqueline 5:22
09 Elevator Sequence 5:24
10 Missing Boy 7:53
11 Tomorrow 3:17
1989 – Vini Reilly (Expanded & Remastered 2011)
CD 1
01] Love No More
02] Pol in G
03] Opera I
04] People’s Pleasure Park
05] Red Square
06] Finding the Sea
07] Otis
08] William B
09] They Work Every Day
10] Opera II
11] Homage to Catelonea
12] Requiem Again
13] My Country
CD 2
01] Opera II (Demo)
02] Finding the Sea (1)
03] PPP (Demo)
04] Juan Montero (Sketch 1)
05] Sample Tune
06] Finding the Sea (2)
07] Juan Montero (Sketch 2)
08] William B (Demo)
09] Sketches on Stratocaster
1990 – Obey the Time (Remastered 1998)
01] Vino Della Casa Bianco
02] Hotel of the Lake, 1990
03] Fridays
04] Home
05] Art and Freight
06] Spanish Reggae
07] Neon
08] The Warmest Rain
09] Contra-indications
10] Vino Della Casa Rossa
11] The Together Mix
12] Fridays
13] Kiss of Def
1990 – Lips That Would Kiss (Form Prayers To Broken Stone)
01. La Douleur (with Blaine L. Reininger on violin) 2:34
02. Madeleine 3:04
03. Lips That Would Kiss 3:50
04. Danny 3:41
05. The Sea Wall 3:32
06. All That Love And Maths Can Do 3:39
07. Snowflakes 4:26
08. Little Horses Of Tarquina 1:43
09. Experiment In Fifth 3:37
10. Take Some Time Out 3:31
11. At First Sight 4:17
12. Journeys By Vespa 3:21
13. Destroy, She Said 3:47
14. The Square 4:00
15. Enigma 3:04
16. Hommage To Martinu 3:11
17. Piece For An Ideal 2:11
18. Zinni 6:03
19. Piece For Out Of Tune Grand Piano 12:56
1994 – Sex and Death
01 Anthony
02 The Rest of My Life
03 For Colette”
04 The Next Time
05 Beautiful Lie
06 My Irascible Friend
07 Believe in Me
08 Fermina
09 Where I Should Be
10 Fado
11 Madre Mio
12 Blue Period
1998 – Fidelity (Remastered 2007)
01. Fidelity
02. For Suzanne
03. Future Perfect
04. Abstract of Expression
05. G & T
06. Remember Me
07. Sanko
08. Grace
09. Guitar for Mother
10. Storm for Steve
11. My Only Love [Bonus Track]
1998 – Time Was Gigantic … When We Were Kids
01 Organ donor
02 Pigeon
03 I B Yours
04 Twenty Trees
05 Abuse
06 Drinking song
07 Sing to me
08 My last kiss
09 For Rachel
10 Highfield Choir
11 Epilogue
2001 – Rebellion
01] 4 Sophia
02] Longsight Romance
03] Geh Cak Af En Yam
04] The Fields of Athenry
05] Overlord Part One
06] Falling
07] Voluntary Arrangement
08] Mello Part One
09] Mello Part Two
10] Protest Song
11] Meschugana
2003 – Someone Else’s Party
01 Love Is A Friend 4:22
02 Spanish Lament 4:30
03 Somewhere 3:52
04 Somebody’s Party 4:34
05 Requiem For My Mother 4:23
06 Remember 5:28
07 Vigil 5:52
08 Blue 4:55
09 No More Hurt 5:34
10 Spasmic Fairy 3:14
11 American View 4:27
12 Drinking Time 3:29
13 Woman 6:54
14 Goodbye 3:15
2004 – Tempus Fugit
01. counting…
02. shooting
03. lullabye for Nina
04. mystery
05. guitar-woman
06. violence
07. bollywood
08. love song on quattro
09. tempus fugit
10. the man who knows
11. slipping away
12. trip for an opera
13. untitled for you
14. Salford harmonics
15. …shopping
2004 – The Best Of The Durutti Column
Disc 1
01. Sketch For A Summer
02. Conduct
03. Sketch For Winter
04. Lips That Would Kiss
05. For Belgian Friends
06. Danny
07. Never Known
08. Jacqueline
09. The Missing Boy
10. Prayer
11. Spent Time
12. Without Mercy 1
13. Without Mercy 2
14. The Room
15. Tomorrow
16. LFO Mod
Disc 2
01. What Is It To Me (Woman)
02. Otis
03. Requiem Again
04. Home
05. Contra – Indications
06. People’s Pleasure Park
07. My Irascible Friend
08. Fado
09. Sing To Me
10. Pigeon
11. Mello (Part 1)
12. Falling
13. Woman
14. Requiem for Mother
2006 – Keep Breathing
01] Nina
02] It’s Wonderful
03] Maggie
04] Helen
05] Neil
06] Big Hole
07] Let Me Tell You Something
08] Lunch
09] Gun
10] Tuesday
11] Agnus Dei
12] Waiting
2007 – Sporadic Three
01. birthday present
02. dig a hole
03. mama and papa
04. in the city
05. the best dream
06. the end of the journey
07. for Loretta
08. New Order tribute
09. I B yours
10. natural mystics
11. drinking time – version
12. trust the art not the artist
13. fate
14. for Danny
2007 – Idiot Savants
01. Better Must Come (06:13)
02. Interleukin 2 (for Anthony) (06:13)
03. Please Let Me Sleep (09:04)
04. 2 Times Nice (06:12)
05. No Last Surprise (05:43)
06. Gathering Dust (06:04)
07. Whisper to the Wind (08:31)
08. That Blows My Name Away (for Rachel) (04:15)
2008 – Sunlight to Blue…Blue to Blackness
01. Glimpse (4:26)
02. Contact (5:57)
03. Messages (3:59)
04. ged (5:06)
05. Ananda (3:58)
06. Never Known Version (5:41)
07. So Many Crumbs and Monkeys! (4:10)
08. Head Glue (8:06)
09. Demo for Gathering Dust (5:05)
10. Cup A Soup Romance (4:36)
11. Grief (4:54)
2008 – Live In Bruxelles 13.8.1981
01 Sketch For Dawn (5:09)
02 Messidor (2:29)
03 Jacqueline (3:53)
04 Conduct (2:38)
05 Sketch For Summer (2:14)
06 Danny (3:23)
07 Stains (Useless Body) (3:10)
08 The Missing Boy (8:01)
09 Self Portrait (Version) (5:44)
10 For Belgian Friends (2:06)
11 Interview (15:30)
2008 – Treatise on the Steppenwolf (Soundtracks)
01 A Beautiful Thought (Pt 1) 3:45
02 The Mothers And The Fathers 5:52
03 A Wolf Of The Steppes 5:10
04 Interlude 3:53
05 The Title On The Cover 3:27
06 Divided 2:59
07 Magic Theatre 2:38
08 Soul Track 4:26
09 Harry Dreams The Dream 4:00
10 A Beautiful Thought (Pt 2) 3:40
11 Stupid Steppenwolf (Pt 1) 4:02
12 Stupid Steppenwolf (Pt 2) 6:46
13 Lullaby (Live) 4:58
14 Mello (Live) 2:54
2009 – A Paean To Wilson
01] Or Are You Just A Technician
02] Chant
03] Quatro
04] Requiem
05] Stuki
06] Along Came Poppy
07] Brother
08] Duet With Piano
09] Darkness Here
10] Catos Revisited
11] The Truth
12] How Unbelievable
Bonus Disc
01] Bruce
02] Keir
03] Neil
04] Mike
05] Alan
06] Anthony
2009 – Love in the Time of Recession
01. In memory of Anthony
02. Rant
03. More rainbows
04. I’m alive
05. For Bruce
06. Painting
07. Wild beast tamed
08. Rainbow maker
09. My Poppy
10. Loser
11. Lockdown
2012 – Short Stories for Pauline
01] At First Sight
02] Duet
03] College
04] Invitations
05] Destroy, She Said
06] Model
07] Journeys by Vespa
08] Take Some Time Out
09] A Silence
10] Mirror A
11] Cocktail
12] Telephone Call
13] Mirror B
14] A Room in Southport
Bonus Disc
01] Sketch For Dawn
02] Messidor
03] Jacqueline
04] Conduct
05] Sketch For Summer
06] Danny
07] Stains (Useless Body)
08] The Missing Boy
09] Self Portrait (Version)
10] For Belgian Friends
11] Interview

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Bruce Willis – Albums Collection (1987-1999) [FLAC]

April 24, 2013, 8:53 pm

≫ Next: David Bowie – 5x Blu-SpecCD2 Collection. 1993-2003 (2013) [FLAC]

≪ Previous: The Durutti Column – Collection (29 Albums) (1979-2012) [FLAC]

Best known as the action hero behind cinema’s Die Hard series, Bruce Willis (b. March 19, 1955; Penns Grove, NJ) became a twice-over recording artist during the late ’80s. His debut album, The Return of Bruno, became a surprise seller after the single “Respect Yourself” hit the Top Five in early 1987. Willis had two other modest hits, and recorded another LP two years later, but has remained outside music for the most part — performing only occasionally to inaugurate several Planet Hollywood restaurants.

Bruce Willis – The Return Of Bruno (1987)

The Return of Bruno is the debut album by actor Bruce Willis. Released by Motown in 1987, this album is an eclectic gathering of R&B music sung by Willis, with backing musicians including Booker T. Jones, Ruth Pointer and The Temptations.
The album peaked at #14 on the Billboard 200 album chart. Leadoff single “Respect Yourself” received considerable airplay, peaking at #5 on the Billboard Hot 100 singles chart and number 7 in the UK. Follow-up singles “Young Blood” and “Under the Boardwalk” did not fare nearly as well, peaking at #68 and #59, respectively. However, in Britain “Under the Boardwalk” was a massive success, reaching #2 in the charts and becoming the UK’s 12th best-selling single of 1987.

At the height of Moonlighting mania and after the Seagram’s wine cooler commercials showcased his vocal skills, Motown asked Bruce Willis to record a full album of blues, R&B, and soul — hence, The Return of Bruno. Willis has more vocal talent than, say, Cybill Shepherd, but he doesn’t quite have the conviction or skill of the Blues Brothers. Often, it’s difficult to hear him strain for notes on familiar items like “Under the Boardwalk,” “Young Blood,” and “Respect Yourself,” but that same limited talent makes the ready-made originals “Jackpot,” “Down in Hollywood,” and “Flirting with Disaster” appealing kitsch. And, really, The Return of Bruno isn’t anything more than a kitsch artifact — Willis may deeply believe he has vocal talent, but the album stands more as a testament to the excesses of Reagan-era celebrity and baby-boomer nostalgia than as a piece of music. Reviewed by Stephen Thomas Erlewine allmusic.com

Track Listing
01. Comin’ Right Up (Brock Walsh) – 3:30
02. Respect Yourself (Luther Ingram, Mack Rice) – 3:53
03. Down in Hollywood (Ry Cooder, Tim Drummond) – 5:20
04. Young Blood (Jerry Leiber, Doc Pomus, Mike Stoller) – 4:08
05. Under the Boardwalk (Kenny Young, Arthur Resnick) – 3:03
06. Secret Agent Man / James Bond Is Back (Steve Barri, P.F. Sloan) / (John Barry) – 4:48
07. Jackpot (Bruno’s Bop) (Robert Kraft, Bruce Willis) – 4:12
08. Fun Time (Allen Toussaint) – 3:38
09. Lose Myself (Larry John McNally, Jon Lind) – 3:56
10. Flirting with Disaster (Brock Walsh, Jeff Lorber) – 4:33
Album Released: January 20, 1987

Bruce Willis – If It Don’t Kill You, It Just Makes You Stronger (1989)

Bruce Willis’s second studio album for Motwon Records.

It’s hard to fully explain the lukewarm reception that Willis’s second album received, especially after the generally warm reception for The Return of Bruno. It’s possible it was the rather dull cover artwork, possibly the long album title. It could even have been the choice of music and musical styles, which covers R&B from the ’40s to the ’60s for the most part — horn-driven, powerhouse music that has Stax all over it. Rather than trying to appeal to everyone and coming up with abysmal vanity projects, Willis, one of many actors who decided to try the music world, has thrown himself at the music he loves best, and has come up looking good on the second release. Willis is no opera tenor, but he has a powerful bluesy shout (not to mention a mean harmonica talent) that deserves its thundering presence in generally thundering mixes (this band works, sweats, and rocks out with a nice live sound in the studio). He also writes fairly decent Iyrics, which is a major plus, and he has a distinct sense of humor, which goes even further toward making the man likable. The exceptions are the somewhat pedestrian cover of “Save the Last Dance for Me,” which has the disadvantage of a beautiful, unsurpassable original to compare it against (Willis doesn’t seem to know what to do with it, and sort of wanders around vocally) and the cover of Louis Jordan’s “Barnyard Boogie,” executed from Jordan’s charts. Overall, though, this is a hyped-up and extremely energizing album. Reviewed by Steven McDonald allmusic.com

Track Listing
01. Pep Talk (4:33)
02. Crazy Mixed-Up World (3:28)
03. Turn It Up (A Little Louder) (4:08)
04. Soul Shake (2:53)
05. Here Comes Trouble Again (4:55)
06. Save The Last Dance For Me (3:52)
07. Blues For Mr. D (5:28)
08. Tenth Avenue Tango (4:07)
09. Can’t Leave Her Alone (3:57)
10. Barnyard Boogie (2:58)
11. Love Makes The World Go Round (2:58)
12. I’ll Go Crazy (3:30)
Album Released: September 20, 1989

Bruce Willis – Classic Bruce Willis (1999)

The Universal Masters Collection: Classic Bruce Willis

Track Listing
01. Under The Boardwalk
02. Respect Yourself
03. Down In Hollywood
04. Young Blood
05. Comin’ Right Up
06. Secret Agent Man/James Bond Is Back
07. Save The Last Dance For Me
08. Fun Time
09. Lose Myself
10. Flirting With Disaster
11. Jackpot (Bruno’s Bop)
12. Blues For Mr D
13. Tenth Avenue Tango
14. Love Makes The World Go Round
15. Here Comes Trouble Again
16. Soul Shake
17. I’ll Go Crazy
18. Respect Yourself (Extended 12′ Version)
Album Released: January 3, 2000

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David Bowie – 5x Blu-SpecCD2 Collection. 1993-2003 (2013) [FLAC]

May 3, 2013, 10:58 am

≫ Next: Robbie Williams – Albums Collection 1997-2010 (13CD) [FLAC]

≪ Previous: Bruce Willis – Albums Collection (1987-1999) [FLAC]

David Bowie – 5x Blu-SpecCD2 Collection. 1993-2003 (2013) [FLAC]

Features the high-fidelity Blu-spec CD2 format (compatible with standard CD players). Comes with lyrics and a description. Part of a 5-album David Bowie Blu-spec CD2 reissue series featuring albums “Outside,” “Earthling,” “Hours,” “Heathen,” and “Reality.” Blu-spec CD2 is the next generation Compact Disc that employs the Phase Transition Mastering, the technology developed for mastering of Blu-ray discs, to further perfect the acclaimed characteristics of Blu-spec CD. Fully compatible with standard CD players, Blu-spec CD2 completely alters the experience of music.

David Bowie – Outside (1995)
Year & Label: 2013, Sony Music Japan International, Inc. | CD#: SICP 30151

David Bowie seemed like an artist without direction ever since the success of Let’s Dance, switching styles and genres with a speed that made him appear nervous, not innovative. Recorded with his former collaborator Brian Eno, Outside was intended to return some luster to his rapidly tarnishing reputation. Instead of faux soul or mainstream pop — or even dissonant hard rock, for that matter — Bowie concentrates on the atmospheric, disturbing electronic soundscapes of his late-’70s “Berlin” trilogy (Low, Heroes, and Lodger), adding slight, but detectable, elements of industrial, grunge, and ambient techno. Bowie also raised the stakes by making Outside the first in a series of concept albums about mystery, murder, art, and cyberspace. Everything that would have made Outside a triumphant comeback seemed to be in place, but the album is severely flawed. Not only is the story poorly developed and confusing, but the album is simply too long. Throughout the record, good ideas bubble to the surface, yet are never fully explored, and the sheer bulk of the album means that the good songs — “Hallo Spaceboy,” “Strangers When We Meet,” “The Hearts Filthy Lesson” — are buried underneath the weight of the mediocre material. Furthermore, nothing on the album is a departure from Bowie’s late-’70s records; when he does experiment with newer musical forms or write about futuristic technology, he seems unsure of himself. That said, Outside is Bowie’s most satisfying and adventurous album since Let’s Dance. It’s clear that he’s trying once again, and when he does hit his mark, he remains a brilliant artist.

Musicians:
David Bowie – Vocals, Saxophone, Guitar &Keyboards
Brian Eno – Synthesizers, Treatments & Strategies
Reeves Gabrels – Guitar
Erdal Kizilcay – Bass & Keyboards
Mike Garson – Grand Piano
Sterling Campbell – Drums
Carlos Alomar – Rhythm Guitar
Joey Barron – Drums
Yossi Fine – Bass
Tom Frish – Additional Guitar on ” Strangers When We Meet”
Kevin Armstrong – Additional Guitar on ‘Thru’ These Architects Eyes”
Bryony, Lola, Josey ft Ruby Edwards – Backing Vocals on The Hearts Filthy Lesson’ and ‘I Am With Name’
Produced by David Bowie & Brian Eno
Co-Produced & Engineered by David Richards
Assistant Engineers: Ben Fenner, Andy Grassi, Jon Goldberger, Demonik Tarqua
Track List:
01. Leon Takes Us Outside [1:25]
02. Outside [4:05]
03. The Hearts Filthy Lesson [4:58]
04. A Small Plot Of Land [6:35]
05. Segue – Baby Grace (A Horrid Cassette) [1:40]
06. Hallo Spaceboy [5:14]
07. The Motel [6:51]
08. I Have Not Been To Oxford Town [3:49]
09. No Control [4:33]
10. Segue – Algeria Touchshriek [2:04]
11. The Voyeur Of Utter Destruction (As Beauty) [4:21]
12. Segue – Ramona A. Stone/I Am With Name [4:01]
13. Wishful Beginnings [5:09]
14. We Prick You [4:35]
15. Segue – Nathan Adler [1:01]
16. I’m Deranged [4:31]
17. Thru’ These Architects Eyes [4:22]
18. Segue – Nethan Adler [0:29]
19. Strangers When We Meet [5:07]
20. Get Real (Japanese Bonus Track) [2:51]

David Bowie – Earthling (1997)
Year & Label: 2013, Sony Music Japan International, Inc. | CD#: SICP 30152

Jumping on the post-grunge industrial bandwagon with Outside didn’t successfully rejuvenate David Bowie’s credibility or sales, so he switched his allegiance to techno and jungle for the follow-up, Earthling. While jungle is a more appropriate fit than industrial, the resulting music is nearly as awkward. Though he often gets the sound of jungle right, the record frequently sounds as if the beats were simply grafted on top of pre-existing songs. Never are the songs broken open by a new form; they are fairly conventional Bowie songs with fancy production. Fortunately, Bowie sounds rejuvenated by this new form, and songs like “Little Wonder” and “Seven Years in Tibet” are far stronger than the bulk of Outside. Still, the record falls short of its goals, and it doesn’t offer enough intrigue or innovations to make Earthling anything more than an admirable effort.

Musicians:
David Bowie – Vocals, Guitar, Alto Saxophone, Samples, Keyboards
Reeves Gabrels – Programming, Synthesisers, Real and Sampled Guitars, Vocals
Mark Plati – Programming, Loops, Samples, Keyboards
Gail Ann Dorsey – Bass, Vocals
Zachary Alford – Drum Loops, Acoustic Drums, Electronic Percussion
Mike Garson – Keyboards, Piano
Produced by David Bowie
Engineered and mixed by Mark Plati
Mastered by Bob Ludvig at Gateway mastering, Portland
Track List:
01. Little Wonder [6:02]
02. Looking For Satellites [5:21]
03. Battle For Britain (The Letter) [4:49]
04. Seven Years In Tibet [6:22]
05. Dead Man Walking [7:26]
06. Telling Lies [4:50]
07. The Last Thing You Should Do [4:58]
08. I’m Afraid Of Americans [5:00]
09. Law (Earthlings On Fire) [4:52]
10. Telling Lies (Adam F Mix) (Japanese Bonus Track) [4:01]

David Bowie – ‘Hours…’ (1999)
Year & Label: 2013, Sony Music Japan International, Inc. | CD#: SICP 30153

Since David Bowie spent the ’90s jumping from style to style, it comes as a shock that Hours, his final album of the decade, is a relatively straightforward affair. Not only that, but it feels unlike anything else in his catalog. Bowie’s music has always been a product of artifice, intelligence, and synthesis. Hours… is a relaxed, natural departure from this method. Arriving after two labored albums, the shift in tone is quite refreshing. “Thursday’s Child,” the album’s engaging mid-tempo opener, is a good indication of what lays ahead. It feels like classic Bowie, yet recalls no specific era of his career. For the first time, Bowie has absorbed all the disparate strands of his music, from Hunky Dory through Earthling. That doesn’t mean Hours… is on par with his earlier masterworks; it never attempts to be that bold. What it does mean is that it’s the first album where he has accepted his past and is willing to use it as a foundation for new music. That’s the reason why Hours… feels open, even organic — he’s no longer self-conscious, either about living up to his past or creating a new future. It’s a welcome change, and it produces some fine music, particularly on the first half of the record, which is filled with such subdued, subtly winning songs as “Something in the Air,” “Survive,” and “Seven.” Toward the end of the album, Bowie branches into harder material, which isn’t quite as successful as the first half of the album, yet shares a similar sensibility. And that’s what’s appealing about Hours… — it may not be one of Bowie’s classics, but it’s the work of a masterful musician who has begun to enjoy his craft again and isn’t afraid to let things develop naturally.

Musicians:
David Bowie – Vocals, keyboards & 12 string acoustic guitar, Roland 707 drum programming.
Reeves Gabrels – Lead & rhythm, electric & 6 and 12 string acoustic guitars, drum loops, synth and drum programming.
Mark Plati – Bass, acoustic & electric 12 string guitar, synth and drum programming and mellotron on “Survive”.
Mike Levesque – Drums.
Sterling Campbell – Drums on “Seven,” “New Angels of Promise” and “The Dreamers”.
Chris Haskett – Rhythm guitar on “It I’m Dreaming My Life”.
Everett Bradley – Percussion on “Seven”,
Holly Palmer – Backing vocals on “Thursday’s Child”.
Produced by David Bowie and Reeves Gabrels.
Additional Production and Engineering by Mark Plati.
Engineerede by Kevin Paul, mixed by Mark Plati.
Overdubs and Mix: Looking Glass and Chung Krng Studios, New York.
Mastered by Andy Van Dette at Masterdisk
Track List:
01. Thursday’s Child [5:23]
02. Something In The Air [5:46]
03. Survive [4:11]
04. If I’m Dreaming My Life [7:05]
05. Seven [4:05]
06. What’s Really Happening? [4:10]
07. The Pretty Things Are Going To Hell [4:41]
08. New Angels Of Promise [4:37]
09. Brilliant Adventure [1:52]
10. The Dreamers [5:13]
11. We All Go Through (Japanese Bonus Track) [4:08]

David Bowie – Heathen (2002)
Year & Label: 2013, Sony Music Japan International, Inc. | CD#: SICP 30154

Heathen marks a new beginning for David Bowie in some ways — it’s his first record since leaving Virgin, his first for Columbia Records, his first for his new label, ISO — yet it’s hardly a new musical direction. Like Hours, this finds Bowie sifting through the sounds of his past, completely at ease with his legacy, crafting a colorful, satisfying album that feels like a classic Bowie album. That’s not to say that Heathen recalls any particular album or any era in specific, yet there’s a deliberate attempt to recapture the atmosphere, the tone of his ’70s work — there’s a reason that Bowie decided to reteam with Tony Visconti, the co-producer of some of his best records, for this album — even if direct comparisons are hard to come by. Which is exactly what’s so impressive about this album. Bowie and Visconti never shy away from electronic instrumentations or modern production — if anything, they embrace it — but it’s woven into Bowie’s sound subtly, never drawing attention to the drum loops, guitar synths, and washes of electronica. For that matter, guest spots by Dave Grohl and Pete Townshend (both on guitar) don’t stand out either; they’re merely added texture to this an album that’s intricately layered, but always plays smoothly and alluringly. And, make no mistake, this is an alluring, welcoming, friendly album — there are some moody moments, but Bowie takes Neil Young’s eerie “I’ve Been Waiting for You” and Pixies’ elusively brutal, creepy “Cactus” and turns them sweet, which isn’t necessarily a bad thing, either. In the end, that’s the key to Heathen — the undercurrent of happiness, not in the lyrics, but in the making of music, a realization by Bowie and Visconti alike that they are perfect collaborators. Unlike their previous albums together, this doesn’t boldly break new ground, but that’s because, 22 years after their last collaboration, Scary Monsters, both Bowie and Visconti don’t need to try as hard, so they just focus on the craft. The result is an understated, utterly satisfying record, his best since Scary Monsters, simply because he’d never sounded as assured and consistent since.

Musicians:
David Bowie – Vocals, Keyboards, Guitars, Saxophone, Stylophone, Backing vocals, Drums
Tony Visconti – Bass guitar, Guitars, Backing vocals
Matt Chamberlain – Drums, Drum loop programming, Percussion
David Torn – Guitars, Guitar loops, Omnichord
Produced by David Bowie AND Tony Visconti
Recorded At The Looking Glass Studios
Mastered At The Lodge, New York
Track List:
01. Sunday 4:45
02. Cactus 2:55
03. Slip Away 6:05
04. Slow Burn 4:41
05. Afraid 3:28
06. I’ve Been Waiting For You 3:00
07. I Would Be Your Slave 5:14
08. I Took A Trip On A Gemini Spaceship 4:07
09. 5.15 The Angels Have Gone 5:02
10. Everyone Says ‘Hi’ 3:58
11. A Better Future 4:11
12. Heathen (The Rays) 4:18
13. Wood Jackson (Bonus Track / Japan Only) 4:46

David Bowie – Reality (2003)
Year & Label: 2013, Sony Music Japan International, Inc. | CD#: SICP 30155

Instead of being a one-off comeback, 2002′s Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003′s Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-’70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair — and if those two ingredients were key to the feeling and effect of that album, it’s a credit to Bowie that he’s found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting. Since part of the appeal of Monsters is the creeping sense of unease and its icy detachment, it would seem that a warmer, mature variation on that would not be successful, but Bowie and Visconti are sharp record-makers, retaining what works — layers of voices and guitars, sleek keyboards, coolly propulsive rhythms — and tying them to another strong set of songs. Like Heathen, the songs deliberately recall classic Bowie by being both tuneful and adventurous, both hallmarks of his ’70s work. If this isn’t as indelible as anything he cut during that decade, that’s merely the fate of mature work by veteran rockers. So, Reality doesn’t have the shock of the new, but it does offer some surprises, chief among them the inventive, assured production and memorable songs. It’s a little artier than Heathen, but similar in its feel and just as satisfying. Both records are testaments to the fact that veteran rockers can make satisfyingly classicist records without resulting in nostalgia or getting too comfortable. With any luck, Bowie will retain this level of quality for a long time to come.

Musicians:
David Bowie – Vocals, Guitar, Keyboards, Percussion, Saxophone, Stylophone, Synthesiser
Sterling Campbell, Matt Chamberlain – Drums
Gerry Leonard – Guitar
Earl Slick – Guitar
Mark Plati – Bass guitar, Guitar
Mike Garson – Piano
David Torn – Guitar
Gail Ann Dorsey – Backing vocals
Catherine Russell – Backing vocals
Recorded at The Looking Glass Studios and The Hitching Post Studio
Mastered by Emily Lazar at The Lodge, New York
Produced by David Bowie and Tony Visconti
Track List:
01. New Killer Star [4:40]
02. Pablo Picasso [4:06]
03. Never Get Old [4:25]
04. The Loneliest Guy [4:12]
05. Looking For Water [3:28]
06. She’ll Drive The Big Car [4:35]
07. Days [3:19]
08. Fall Dog Bombs The Moon [4:04]
09. Try Some, Buy Some [4:25]
10. Reality [4:24]
11. Bring Me The Disco King [7:51]
12. Waterloo Sunset (Japanese Bonus Track) [3:28]

Download:

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Robbie Williams – Albums Collection 1997-2010 (13CD) [FLAC]

May 5, 2013, 11:46 pm

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Robbie Williams – Albums Collection 1997-2010 (13CD) [FLAC]

Collection includes eight studio albums, one live album and two compilations.

Out of all the members of Take That, Robbie Williams never really seemed to fit in. Roguishly handsome where his bandmates were merely cute, Williams was tougher and sexier than the rest, which made him more distinctive. He also fought regularly with the other members and their management, primarily because he was occasionally adverse to being so heavily packaged. So it didn’t come as a surprise that he was the first to leave the band, departing early in the summer of 1995 to pursue a solo career (by some accounts, he was fired from the group).
Although he was the first out of the gate, it took Williams a while to get started. For most of 1995, he attempted to boost his credibility by tagging along with Oasis, hoping that Noel Gallagher would give him a couple of songs. He never did, but all of his time with Oasis launched Williams into a world of heavy partying, drinking, and drugging. Over the course of 1996, he was only heard from in gossip columns, and every published picture indicated he had put on considerable weight. Occasionally, he was quoted as saying his new music would abandon lightweight dance-pop for traditional Brit-pop, but his first single was a cover of George Michael’s “Freedom ’90.” Released late in 1996, the single was a disaster, but his second single, 1997′s “Old Before I Die,” was more in the vein of his early pronouncements, featuring a distinct Oasis influence.
Williams finally released his first solo album, Life Thru a Lens, in 1997. The album became a big hit in Britain, prompting his second, I’ve Been Expecting You, to go multi-platinum upon its release in 1998. (The Ego Has Landed, a U.S.-only compilation designed for breaking Williams to American audiences, was released stateside in the spring of 1999.) Sing When You’re Winning followed in late 2000, gaining success with the video hit “Rock DJ,” while a big-band album of standards (Swing When You’re Winning) appeared a year later. By this point, Robbie Williams had become one of Europe’s premier pop stars, known for his headline-grabbing behavior as much as his hit-studded albums. Moreover, his solo work had sold far more copies than his work with Take That.
During 2002, Williams celebrated an enormous new contract with EMI (rumored to be upwards of 80 million dollars), but suffered the loss of his longtime production partner, Guy Chambers. Escapology, the fifth Robbie Williams album (and the last including Chambers’ input), sold millions of copies in Europe, though it failed to persuade American audiences. As a result, the 2003 concert record Live at Knebworth wasn’t released in the States. He introduced a new musical partner, Stephen Duffy, with a pair of songs from his compilation Greatest Hits, then reappeared in 2005 with Intensive Care. Although the album topped charts in Europe and helped Williams set an impressive concert record — his 2006 world tour sold over one-and-a-half-million tickets in one day — a certain creative atrophy was setting in, despite the new input of Duffy.
Within a year, he had recorded and released Rudebox, a dance album recorded with half-a-dozen outside producers, some featured guests, and several covers instead of self-penned material. Rudebox hit number one across Europe but only went double platinum in the U.K., becoming his lowest-selling studio album to date. Accordingly, Williams’ next album — the 2009 release Reality Killed the Video Star — found him returning to the sound of his older albums, with the Buggles’ Trevor Horn handling all production duties.
The following year, most news of Robbie Williams surrounded his reunion with Take That, which took the form of a new album, Progress, plus a few new songs recorded with bandmate Gary Barlow that were released on a new Williams hits collection, In and Out of Consciousness: Greatest Hits 1990-2010. Barlow also figured in the writing and production of the ninth Robbie Williams studio album, Take the Crown, released in late 2012. Produced by Williams alongside Jacknife Lee (Snow Patrol, R.E.M., Bloc Party), the album saw Williams return to the eclectic pop sound of his earlier work, with a trailer single (“Candy”) written by Williams and Barlow.

Biography by Stephen Thomas Erlewine, Allmusic.com

http://en.wikipedia.org/wiki/Robbie_Williams

Life Thru a Lens (1997) Japan 1st Press

One of the best U.K. debuts of the ’90s, Life Thru a Lens is an uninhibited joyride through all manner of British music, from glam to alternative to soft-rock to dance-pop. Beginning with the joyous “Lazy Days,” the album continually betrays overt influences from Oasis and other Britpop stars, but triumphs nevertheless due to gorgeous production, Williams’ irresistible personality, and the overall flavor of outrageous, utterly enjoyable pop music. Whether he’s romping through aggressive burners like “Ego A Go Go” and “South of the Border,” crooning on the ballad “Angels,” or offering a slice of life — working-class style — on the title track and “Lazy Days,” Williams is a pop star through and through. For those who appreciate great pop with plenty of cheek, Life Thru a Lens is an excellent album.

Review by John Bush, Allmusic.com

Tracklist:
01. Lazy Days (03:54)
02. Life Thru A Lens (03:07)
03. Ego A Go Go (03:34)
04. Angels (04:25)
05. South Of The Border (03:53)
06. Old Before I Die (03:53)
07. One Of God’s Better People (03:33)
08. Let Me Entertain You (04:22)
09. Killing Me (03:56)
10. Clean (03:55)
11. Baby Girl Window (03:17)
12. Teenage Millionaire (Bonus Track) (03:11)
13. She Makes Me High (Bonus Track) / Hello Sir (Hidden Poem) (11:51)

A more mature, calculated album from a pop star who’s often gloried in being immature and spontaneous, I’ve Been Expecting You may suffer from comparisons to its excellent predecessor, but it also finds Robbie Williams weathering the sophomore storm quite well. While Williams’ debut was infectious and outrageous, the second is indeed a more studied album. The opener, “Strong,” begins very well, with the spot-on lyrics: “My breath smells of a thousand fags/And when I’m drunk I dance like me Dad,” and “Early morning when I wake up/I look like Kiss but without the makeup.” Many of the tracks on I’ve Been Expecting You show an undeniable growth, both in songwriting and in artistic expression; two of the highlights, “No Regrets” and “Phoenix From the Flames,” are sensitive, unapologetically emotional songs that may not be as immediately catchy as those on his debut, but pack a greater punch down the road. Williams does indulge his sense of fun occasionally, playing up James Bond during the transcontinental hand-waver “Millennium” (which samples Nancy Sinatra’s theme for You Only Live Twice), and simply roaring through “Win Some Lose Some” and “Jesus in a Camper Van.”

Review by John Bush, Allmusic.com

Tracklist:
01. Strong (04:39)
02. No Regrets (05:10)
03. Millennium (04:07)
04. Phoenix From The Flames (04:02)
05. Win Some Lose Some (04:18)
06. Grace (03:13)
07. Jesus In A Camper Van (03:39)
08. Heaven From Here (03:05)
09. Karma Killer (04:28)
10. She’s The One (04:18)
11. Man Machine (03:35)
12. These Dreams / Stand Your Ground* / Stalker’s Day Off* (*Hidden Tracks) (31:24)

Poised for global domination with his third album, Robbie Williams and producer Guy Chambers hardly dared mess with the formula of their 1998 crossover hit I’ve Been Expecting You. As such, Sing When You’re Winning has plenty of introspective balladry akin to “Angels,” and a few irresistible party time tracks in similar company to “Millennium.” The album also moves Williams farther away from the increasingly dated visions of Oasis-style Brit-pop to embrace post-millennial dance-pop, complete with the bruising beats and extroverted productions to match. And Chambers certainly knows his production playbook well, conjuring a panoply of classic British rock touchstones like psychedelia, slick country-rock, Ian Dury, the Who, Elton John, and Madchester. Despite a small drop in songwriting from its predecessor, Sing When You’re Winning ultimately succeeds, and most of the credit must go to Williams himself. Amidst a few overly familiar arrangements and lyrical themes, Williams proves the consummate entertainer, delivering powerful, engaging vocals — no matter the quality of the material — and striking the perfect balance between tongue-in-cheek, self-mocking humor (“Knutsford City Limits”) and genuine feeling (tender ballads like “Better Man” and “If It’s Hurting You”). The radio-ready single “Rock DJ” is a piece of immediately gratifying pop candy floss with a surprisingly endless shelf life, though “Kids,” a vivacious, vacuous vamp of a duet with Kylie Minogue, doesn’t even hold its own after one listen. Toss in a few beautiful album tracks (the opener “Let Love Be Your Energy,” “Love Calling Earth,” “Singing for the Lonely”), but then counter them with a few bland singalongs (“Supreme,” “Forever Texas”), and the result is a scattered, entertaining album whose real star is Robbie Williams’ personality.

Review by John Bush, Allmusic.com

Tracklist:
01. Let Love Be Your Energy (04:59)
02. Better Man (03:22)
03. Rock DJ (04:18)
04. Supreme (04:18)
05. Kids (With Kylie Minogue) (04:46)
06. If It’s Hurting You (04:10)
07. Singing For The Lonely (04:31)
08. Love Calling Earth (04:05)
09. Knutsford City Limits (04:45)
10. Forever Texas (03:37)
11. By All Means Necessary (04:45)
12. The Road To Mandalay (03:57)
13. Often (Live In Manchester) (02:49)

Performance dynamo and chameleonic entertainment personality Robbie Williams made a rapid transformation — from English football hooligan to dapper saloon singer — for his fourth LP, Swing When You’re Winning. Still, Williams’ tribute to the great American songbook is a surprisingly natural fit with its intended target: ’50s trad-pop patriarchs like Frank Sinatra and Dean Martin. And just like those two loveable rogues, Williams has brawled and boozed in the past, but isn’t afraid to wear his heart on his sleeve; in fact, he’s one of the few modern pop stars to fully embrace affecting balladry and nuanced singing. Williams and longtime producer Guy Chambers are also extremely careful with their product, so it shouldn’t be surprising that Swing When You’re Winning has innumerable extra-musical touches to carry it over: the cover features Williams relaxing in the studio in a period suit; his contract with EMI enabled the addition of the treasured Capitol logo at the top of the sleeve, and several tracks were even recorded at the famed Capitol tower in Hollywood.
Fortunately, Williams is no less careful with his performances. Since he lacks the authoritative air of master crooners like Sinatra and Bing Crosby (along with the rest of humanity), he instead plays up his closer connections to the world of Broadway. His readings are dynamic and emotional — sometimes a consequence of trying to put a new spin on these classics (six of the covers are Sinatra standards, three are Bobby Darin’s). He also invited, with nearly universal success, a series of duet partners: Nicole Kidman for the sublime “Somethin’ Stupid,” Jon Lovitz for the irresistibly catty “Well, Did You Evah,” Rupert Everett for “They Can’t Take That Away From Me,” longtime Sinatra accompanist Bill Miller on “One for My Baby,” even Sinatra himself for a version of “It Was a Very Good Year” on which Williams takes the first two verses (over the 1965 arrangement), then bows out as Sinatra’s original counsels him concerning the later stages of life. Though it may be an overly close tribute to a familiar original (like many of the songs here), Williams’ considerable skills with expression and interpretation largely overwhelm any close criticism. He’s definitely much better on the comedy songs, especially the hilarious “Well, Did You Evah” (originally a duet for Crosby and Sinatra in the 1956 film High Society). Lovitz’s rounded tones and faux-affected airs are a spot-on interpretation of Brother Cros, while Williams’ emulation of a boorish lug (“That’s a nice dress — think I could talk her out of it?”) is nearly perfect as well. Though arranger Steve Sidwell hasn’t done many charts (and those for the movies Moulin Rouge, Bridget Jones’ Diary, and Romeo + Juliet), he also acquits himself nicely aping classic scores for “One for My Baby” and “Beyond the Sea.” The lone Robbie Williams original is “I Will Talk and Hollywood Will Listen,” a sweeping pipe-dream fantasy of true American superstardom for Britain’s biggest pop star. It could happen, too; Pierce Brosnan surely isn’t growing any younger.

Review by John Bush, Allmusic.com

Tracklist:
01. I Will Talk And Hollywood Will Listen (03:17)
02. Mack The Knife (03:18)
03. Somethin’ Stupid (With Nicole Kidman) (02:50)
04. Do Nothin’ Till You Hear From Me (02:58)
05. It Was A Very Good Year (With Frank Sinatra) (04:28)
06. Straighten Up And Fly Right (02:36)
07. Well, Did You Evah (With Jon Lovitz) (03:50)
08. Mr. Bojangles (03:17)
09. One For My Baby (04:18)
10. Things (With Jane Horrocks) (03:22)
11. Ain’t That A Kick In The Head (02:28)
12. They Can’t Take That Away From Me (With Rupert Everett) (03:07)
13. Have You Met Miss Jones? (02:34)
14. Me And My Shadow (With Jonathan Wilkes) (03:16)
15. Beyond The Sea / Outtakes (Hidden Track) (28:14)

With the news that Escapology would be the last Robbie Williams album recorded with producer/songwriter phenom Guy Chambers, fans began to wonder whether one of Britain’s most durable pop forces would execute a disappearing act from the charts with a single album. Unfortunately, Escapology makes it sound as though Chambers has already left. Backed by stale songs, formulaic arrangements, and mediocre songwriting, Williams is forced to rely on his volcanic personality to bring this album across — and despite a few strong performances, he sinks into lame self-parody time and time again. It’s nearly impossible to reflect seriously on themes he’s already broached several times before, as often happens here; “Feel” and “Love Somebody” are the usual looking-for-love songs, the latter with a set of trite lyrics cribbed from 30 years of rock & roll: “Always and forever, is forever young/Your shadow on the pavement, the dark side of the sun/Gotta dream the dream all over and sleep it tight/You don’t wanna sing the blues in black and white.” The Oasis flag-waver “Something Beautiful” finds Williams trying to keep on despite being tired with the modern world, while “Monsoon” and “Handsome Man” chart the usual celebrity regrets with an odd sense of arrogance and self-deprecation that isn’t half as interesting at this point in his career as before. The highlights here are songs that barely would’ve made it onto Sing When You’re Winning (much less his first two albums), and the sound is MOR throughout. Robbie Williams has never been an innovative artist, but previously his strong delivery and sly, ironic wit — along with savvy production and songwriting — kept any glimpse of cheese at bay. Escapology shows he’s unable to avoid the trap.

Review by John Bush, Allmusic.com

Tracklist:
01. How Peculiar (03:14)
02. Feel (04:24)
03. Something Beautiful (04:48)
04. Monsoon (03:46)
05. Sexed Up (04:21)
06. Love Somebody (04:10)
07. Revolution (05:44)
08. Handsome Man (03:56)
09. Come Undone (04:38)
10. Me And My Monkey (07:12)
11. Song 3 (03:51)
12. Hot Fudge (04:08)
13. Cursed (04:01)
14. Nan’s Song (15:40)

From most accounts, Robbie Williams’ appearance at Knebworth over three August nights in 2003 wasn’t just the largest concert in British music history (reportedly 375,000 attended over the course of the weekend), but a display of Williams’ mastery of an audience and a confirmation that, American listeners aside, he’s one of the biggest pop stars in the world. Live at Knebworth followed just two months later, a 72-minute collection from his two-hour live extravaganza. While the audio document isn’t nearly as exciting as the live experience that made fans gush, the disc does transmit the massive amounts of energy at a Robbie Williams concert. Opening with his anthem “Let Me Entertain You” (as he always does), Williams keeps the crowd hanging on his every note, changing lyrics to fit the venue, indulging in his usual blend of faux arrogance and self-deprecation, and coaxing the audience on during every song. (“Show me love, Knebworth!”) However, what could have been an excellent look at Britain’s foremost pop entertainer in action is marred by its focus on material from his dreadful fifth album, Escapology. After a splendid beginning (including a brief flirtation with Queen’s “We Will Rock You”), Williams performs four consecutive songs from Escapology: “Monsoon,” “Come Undone,” “Me and My Monkey” (which drags on for over seven minutes), and “Hot Fudge.” The compilers found room to fit in two of his biggest songs (“Angels,” “Kids”), but apparently didn’t think superior hits like “Rock DJ,” “Millennium,” or “No Regrets” (all of which he performed at the show) needed to appear on this disc. A solid live album with the exception of the gaping hole in its midsection, Live at Knebworth is a missed opportunity, one that Chrysalis will hopefully rectify within a few years.

Review by John Bush, Allmusic.com

Tracklist:
01. Let Me Entertain You (05:55)
02. Let Love Be Your Energy (04:44)
03. We Will Rock You (01:19)
04. Monsoon (05:09)
05. Come Undone (05:34)
06. Me And My Monkey (07:21)
07. Hot Fudge (05:45)
08. Mr. Bojangles (05:25)
09. She’s The One (05:43)
10. Kids (07:21)
11. Better Man (02:11)
12. Nan’s Song (04:51)
13. Feel (05:17)
14. Angels (05:55)

A near-perfect look at the career of Britain’s brightest singles artist during the late ’90s and early 2000s, Robbie Williams’ Greatest Hits chronologically consolidates Williams’ canon of Top Tens — 19 of them in all, as of its release in late 2004. (Not all of his Top Ten singles are present, since the disc closes with a pair of new songs.) In the late ’90s, Robbie Williams proved that a pop artist with a dodgy artistic background — witness his membership in Take That — was still capable of joining the long line of British artists (T. Rex, Madness, Pet Shop Boys, Blur) who completely embraced danceable pop music without selling their souls in the bargain. Williams’ biggest up-tempo hits, “Millennium” and “Rock DJ,” were loved by middle-aged housewives and young teens alike (slightly less so by the latter, of course). Sugary and infectious but not disposable, they were made-to-order as great radio product, an art increasingly being lost. And as shown by “Angels,” the biggest hit of his career, Williams also had a winning way with balladry. He also forged a comfortable performing personality via his excitable, self-effacing cad who takes himself far too seriously and can get intensely emotional every now and then, but is usually good for a laugh. (See “Strong” for the details.) The two new tracks introduce Stephen Duffy — an original member of Duran Duran who later made his own name in the Lilac Time — as the replacement for Guy Chambers as Williams’ new producer/songwriter/contributor (of course, the two songs, “Radio” and “Misunderstood,” can’t help but sound weak in this context). Despite pop fans being sick of his omnipresence in British pop culture, history will likely be kind to Robbie Williams. After all, would a disposable pop artist quote Latin on the back of a CD booklet? (Granted, in typical Robbie fashion the epigraph translates as, “If it has tits or wheels, it will make life difficult.”)

Review by John Bush, Allmusic.com

Tracklist:
01. Old Before I Die (03:53)
02. Angels (04:27)
03. Let Me Entertain You (04:22)
04. Millennium (03:46)
05. No Regrets (04:43)
06. Strong (04:19)
07. She’s The One (04:19)
08. Rock DJ (04:16)
09. Kids (04:19)
10. Supreme (04:15)
11. Let Love Be Your Energy (04:06)
12. Eternity (05:00)
13. The Road To Mandalay (03:18)
14. Feel (03:43)
15. Come Undone (03:54)
16. Something Beautiful (04:01)
17. Sexed Up (04:10)
18. Radio (03:51)
19. Misunderstood (04:01)

The press playback of Robbie Williams’ eighth solo album was nothing if not a unique event. It was one of the great teeth-grinding, face-behind-a-cushion disasters of recent rock history, easily eclipsing Pete Doherty at Live 8, harking back to the great musical embarrassments of the 1980s: All About Eve forgetting to mime on Top of the Pops and the kid on Going Live! asking Five Star why they were “so fucking shit”.
Williams had spent the previous evening printing out old reviews we had written and going through the bits he didn’t like with a highlighter pen. He remonstrated about misinterpreted lyrics and accusations of singing flat. The hacks argued back, one on the not-unreasonable grounds that he hadn’t actually written the article Williams kept berating him for, the rest because they couldn’t understand how a man who has sold 35m albums, has Britain’s biggest-ever record deal and lives a life of unimaginable luxury and wall-to-wall shagging could possibly care that someone got the wrong end of the stick about the words of Hot Fudge.
But the evening confirmed two things about Britain’s biggest pop star. Firstly, Williams is now so successful no one is either able or willing to tell him what to do. Someone within his organisation must have realised the confrontational playback was a bad idea, but it still went ahead. Secondly, he clearly really cares what people think about him, to the point of seeming slightly crackers.
The former might give his record company pause at a critical juncture in his career. Intensive Care is his first album without longstanding co-writer Guy Chambers, and Williams’ choice of replacement can hardly have quelled their anxieties. Stephen Duffy is a fantastic songwriter, but his career is not one of untrammelled commercial triumph. He abandoned mid-1980s pop stardom to form a critically-revered, low-selling folk-rock band, the Lilac Time. Initially, it seemed that reckless spirit had rubbed off. Intensive Care’s first single, Tripping, is pretty skewed by mainstream standards, a melange of choppy ska guitars, falsetto vocals and Bollywood strings. The rest of Intensive Care, however, suggests that Williams’ need to be loved has overridden any desire to venture further leftfield.
Instead, he and Duffy have crafted a beautifully-turned pop-rock album that pricks the myth about Guy Chambers’ dominant role in Williams’ success. Make Me Pure and The Trouble With Me are every bit as beguiling and inclusive as Supreme or Feel. The ballad Advertising Space is so effective that they may as well cordon off the Christmas Number One spot now. Given that Duffy’s songwriting speciality is understated and affecting rather than brash and populist, it seems that Williams may have had more to do with the tracks that made him famous than was previously assumed. The lovely, lambent melodies of Advertising Space and The King of Bloke and Bird may well be Duffy, the Smiths-like guitar of Spread Your Wings and the autoharp on Please Don’t Die definitely is, but their epic qualities seem to stem entirely from Williams.
Intensive Care also reins in Williams’ worst excesses. If his talents as a lyricist have been overlooked, it may be because for every example of his facility with words – Strong, for example – he has written something trite and smug, like the horrible Handsome Man or Me and My Monkey. The latter category of lyric is noticeable by its absence from Intensive Care. Instead, there’s Spread Your Wings’ affecting eye for period detail: it remembers watching a teenage crush “jack her body to the sound of Oran ‘Juice’ Jones”.
Of course, whatever Williams’ songs purport to be about – everything from gangsters to the Human League’s 1986 hit Louise – they end up being about Robbie Williams. On Advertising Space, he can’t depict Elvis’s twilight years without making a priapic cameo appearance, lusting after Lisa Marie. He writes about a relative’s death from cancer, but his primary concern is “what on earth becomes of me?” From anyone else, this would count as solipsism. Taking into account the British public’s unending fascination with every aspect of Williams’ life, it seems a smart move.
It also means that the songs on Intensive Care avoid the usual pitfall encountered by artists who want to reach the back of immense sports arenas: the temptation to deal in lyrical platitudes, the kind of windy generalities that bedevilled Coldplay’s X and Y. It ends up that most unusual of things, a stadium rock album with a personality of its own.

Review by Alexis Petridis, Guardian

Tracklist:
01. Ghosts (03:42)
02. Tripping (04:36)
03. Make Me Pure (04:33)
04. Spread Your Wings (03:51)
05. Advertising Space (04:37)
06. Please Don’t Die (04:47)
07. Your Gay Friend (03:21)
08. Sin Sin Sin (04:09)
09. Random Acts Of Kindness (04:15)
10. The Trouble With Me (04:20)
11. A Place To Crash (04:34)
12. King Of Bloke And Bird (06:13)

The careers of most music celebrities are like passenger ships, able to steam along nearly indefinitely without the least chance of modifying course. With his work of the 21st century, Robbie Williams appeared to have set himself on a course that was guaranteed to keep him working for decades, remaining important to thousands of fans, but never varying from the type of adult alternative singer/songwriter material expected of him. Then came Rudebox, which proves he’s not that simple — or at least, not that satisfied with himself. It may be a good album because it says little about his inner life and emotional troubles, which are unceremoniously dropped in favor of hyper-sexualized or sarcastic dance music and ironic laugh-getters (“Make your body shake like you stood on a land mine,” “Dance like you just won at the Special Olympics”). It may be a good album because it has some of the best productions of his career, usually amped-up electro-disco from the duo Soul Mekanik or goofy hip-hop soul from Mark Ronson (which makes him come across as Justin Timberlake at some points and Gnarls Barkley at others). It’s certainly a good record in comparison to its two predecessors, which suffered from a lack of vitality. (For example, while 2005′s Intensive Care desultorily attempted to rewrite the Human League’s “Louise,” Rudebox simply covers the song, with much more feeling.) Compared to Escapology and Intensive Care, Rudebox is not only loose and fun but, for the first time in Williams’ career, receptive to outside help; aside from the producers, Lily Allen and the Pet Shop Boys make appearances, and Robbie covers songs from Manu Chao, Lewis Taylor, Stephen Duffy, and the indie band My Robot Friend. Not that the record is perfect; in fact, it has a few of the most embarrassing moments in Williams’ career. The lyrics occasionally devolve into hip-hop nonsense (“Got no strings, but I think with my ding-a-ling/Wu-Tang with the bling-bling, sing a song of Sing Sing”). “The 80s” is even worse, a nostalgic but monotone rap that oddly balances adolescent trauma and pop culture (“Auntie Jo died of cancer/God didn’t have an answer/Rhythm was a dancer”). Still, the next track after “The 80s” is “The 90s,” a surprisingly bewitching chronicle of his boy-band years from 1990 to 1995. The fact remains that every track here is better and more interesting than anything from the previous two LPs, despite the occasional embarrassing couplet or misguided musical idea.

Review by John Bush, Allmusic.com

Tracklist:
01. Rudebox (04:45)
02. Viva Life On Mars (04:50)
03. Lovelight (04:02)
04. Bongo Bong And Je Ne T’aime Plus (04:48)
05. She’s Madonna (04:16)
06. Keep On (04:18)
07. Good Doctor (03:16)
08. The Actor (04:06)
09. Never Touch That Switch (02:46)
10. Louise (04:46)
11. We’re The Pet Shop Boys (04:56)
12. Burslem Normals (03:50)
13. Kiss Me (03:16)
14. The 80′s (04:17)
15. The 90′s (05:33)
16. Summertime (05:42)
17. Lonestar Rising / Dickhead (Japan Bonus Track) (09:04)

In 1967, the Beatles were planning a new film. In search of a suitable script, they approached Joe Orton. He handed in a dark, lavishly camp farce called Up Against It, the plot of which variously required the Fab Four to become embroiled in a plan to assassinate the prime minister, cross-dress, be caught in flagrante and commit murder. Alas, the Beatles rejected Up Against It, Paul McCartney having smartly spotted that both the script and its author were “a bit gay”. “We didn’t do it because it was gay,” he explained. “We weren’t gay. Brian Epstein was gay. He and the gay crowd could appreciate it. It wasn’t that we were anti-gay,” he added. “It’s just that we, the Beatles, weren’t gay.”
Having established fairly thoroughly that they weren’t gay, the Beatles went on to make Yellow Submarine instead: not bad, but, no insurrectionist transvestite humping-and-murder-fest. Up Against It joined the pantheon of tantalising rock what-ifs, alongside the Rolling Stones’ film version of A Clockwork Orange, the acid house album Shane McGowan lobbied the Pogues to make, and Paddy MacAloon’s concept album about Michael Jackson.
To that illustrious list, we can now add the improbable name of Robbie Williams. In 2007, he apparently recorded an album he later described as “career suicide” and “Robbie’s gone mad music”, presumably a sonic expression of the period in which he grew a beard, put on weight, searched the California desert for aliens and helpfully began dressing as a pop star who’d gone crackers. It sounds fascinating, but instead, Williams opted to make his comeback with Reality Killed the Video Star, a Trevor Horn-produced album that, he notes, “ticks all the boxes”.
It certainly does. Williams and his songwriting team have recovered their ability to write ruthlessly effective radio-friendly songs. The album bulges with fantastic melodies and undemanding pop references: the opening Morning Sun nods to I Am the Walrus, You Know Me boasts a string arrangement based on John Barry’s Theme From Midnight Cowboy. Alas, Williams’s less lovable traits are also present and correct, among them his apparently irrepressible desire to release jokey novelty tracks – here represented by an entirely ghastly bit of cod cock-rock called Do You Mind? – and his penchant for groan-inducing wordplay, most of which doesn’t even count as punning, because puns are supposed to make sense. You listen to him singing “you would never be my trouble and strife, if I made you my Swiss army wife”, groan, then think: what’s that actually supposed to mean? Perhaps she’s good at getting stones out of horses’ hooves.
You might expect an album this musically surefooted to be triumphalist in tone, but Reality Killed the Video Star is more complicated and interesting than that. The lyrics tremble with uncertainty about Williams’s return. Morning Sun worries about reviews and star ratings. “Don’t call it a comeback,” pleads Last Days of Disco. A lovely, languid sigh of a song called Deceptacons touches on the beardy UFO-hunting years – it carries a definite hint of Calling Occupants of Interplanetary Craft – and their effect on perceptions of his sanity: “Well, he’s never been right.” On Starstruck and the brilliant electro-wriggle Difficult for Weirdoes, he aligns himself with society’s outsiders, including make-up-wearing teenage boys and, a little bafflingly, the Futurists.
You might reasonably suggest that the precise similarity between Robbie Williams and Filippo Marinetti is a trifle difficult to work out. You might also reasonably suggest that pop music has come to a pretty pass when Robbie Williams can present himself as some kind of leftfield artist. Nevertheless, he has a point. The pop stars that have emerged during his absence have tended to cleave to the US model: bland, orthodontically perfect, deprived of their personality via the complex surgical process known as media training. By contrast, Williams belongs to a grand, possibly dying, British tradition of flawed, wonky pop stars, people whose appeal rests at least partially on the fact that they appear to have ended up at the top of the charts almost despite themselves. In that light, Reality Killed the Video Star’s neurotic self-obsession seems not merely like honesty, but a rather canny move. Anyone can hire Trevor Horn and some crack writers and knock out an album of polished pop-rock, but perhaps only Robbie Williams would release an album of polished pop-rock consumed with angst, self-doubt and songs justifying his interest in extraterrestrial life forms. If it’s not as daring and confounding as the tantalising what-if of his abandoned career-suicide comeback album, it’s still a pretty unusual ploy given the current climate. Under the circumstances, it would seem churlish not to welcome him back.

Review by Alexis Petridis, Guardian

Tracklist:
01. Morning Sun (04:07)
02. Bodies (04:03)
03. You Know Me (04:21)
04. Blasphemy (04:19)
05. Do You Mind (04:06)
06. Last Days Of Disco (04:50)
07. Somewhere (01:02)
08. Deceptacon (05:01)
09. Starstruck (05:21)
10. Difficult For Weirdos (04:29)
11. Superblind (04:46)
12. Won’t Do That (03:38)
13. Morning Sun Reprise (01:24)
14. Arizona (Japan Bonus Track) (05:30)

A two-disc set that is expanded even further in accompanying CD/DVD editions, In and Out of Consciousness: Greatest Hits 1990-2010 presents, even in its most basic edition, no less than 39 examples of what made Robbie Williams a fascinating millennial superstar. Seemingly all things to all pop fans — ambitious and self-deprecating, sensitive and boorish, dynamic and introverted — Williams never lacked for people with a strong opinion of his work (although the number and force of the detractors seem at least equal to that of the supporters). Unlike his previous compilation, Greatest Hits, which was six years old in 2010, In and Out of Consciousness: Greatest Hits 1990-2010 presents a much richer picture of Williams’ discography. All the hits are here plus, for the first time, a wealth of album tracks capable of supplementing any casual fan’s understanding of what made Williams occasionally great, sometimes infuriating, and nearly always worth hearing. The collection proceeds from newest to oldest, beginning with a pair of new songs (both of which are Gary Barlow co-compositions; the two were famously at odds during their Take That days) and ending over two hours later with tracks from his debut album plus the Take That single “Everything Changes” from 1994. (The very unhappy Williams was invited to leave the group one year later, although Take That management contracts prevented him from releasing solo material for nearly two years.) The compilers have chosen well, taking slightly fewer songs from infamous duds like Escapology and Intensive Care (although those tracks appear on the first disc) and spending more time on his precocious, entertaining ’90s albums I’ve Been Expecting You and Life Thru a Lens (plus the non-album single “Freedom,” a George Michael cover that out-performed the original on the British charts). The compilation even finds time for four tracks from Swing When You’re Winning, his standards side project, and the new track from his previous Greatest Hits, “Eternity.” In the end, whether listeners want Greatest Hits or In and Out of Consciousness: Greatest Hits 1990-2010 (or the original albums themselves) will depend mostly on the amount of time and money they’re willing to spend, but In and Out of Consciousness certainly offers a full portrait of Robbie Williams, the greatest pop star of the ’90s and 2000s that few people appeared to respect but everyone enjoyed.

Review by John Bush, Allmusic.com

Tracklist:
CD1:
01. Shame (04:00)
02. Heart And I (04:41)
03. Morning Sun (04:06)
04. You Know Me (04:20)
05. Bodies (04:02)
06. She’s Madonna (04:00)
07. Lovelight (04:02)
08. Rudebox (03:47)
09. Sin Sin Sin (04:03)
10. Advertising Space (04:38)
11. Make Me Pure (03:48)
12. Tripping (04:03)
13. Misunderstood (04:00)
14. Radio (03:51)
15. Sexed Up (04:10)
16. Something Beautiful (04:01)
17. Come Undone (03:54)
18. Feel (03:41)
19. Mr Bojangles (03:20)
CD2:
01. I Will Talk And Hollywood Will Listen (03:15)
02. Somethin’ Stupid (02:51)
03. The Road To Mandalay (03:18)
04. Eternity (05:00)
05. Let Love Be Your Energy (04:04)
06. Supreme (04:15)
07. Kids (04:19)
08. Rock DJ (04:17)
09. It’s Only Us (02:51)
10. She’s The One (04:19)
11. Strong (04:19)
12. No Regrets (04:44)
13. Millennium (03:45)
14. Let Me Entertain You (04:23)
15. Angels (04:27)
16. South Of The Border (03:54)
17. Lazy Days (03:54)
18. Old Before I Die (03:53)
19. Freedom (04:18)
20. Everything Changes (03:35)
CD3:
01. Often (02:47)
02. Karaoke Star (04:07)
03. Toxic (03:48)
04. 1 Giant Leap feat. Robbie Williams & Maxi Jazz / My Culture (05:38)
05. Nobody Someday (02:53)
06. Get A Little High (03:54)
07. One Fine Day (03:35)
08. Coffee, Tea And Sympathy (04:35)
09. Do Me Now (03:17)
10. The Postcard (03:11)
11. Meet The Stars (04:27)
12. Don’t Stop Talking (04:46)
13. Don’t Say No (04:24)
14. Lonestar Rising (03:52)
15. Lola (04:11)
16. Mark Ronson feat. Robbie Williams / The Only One I Know (03:57)
17. Elastik (04:36)
18. Long Walk Home (05:12)

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Neneh Cherry – 3 Studio Albums + Single [1989-1996] (4CD) [FLAC]

May 6, 2013, 12:32 am

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Neneh Cherry – 3 Studio Albums + Single [1989-1996] (4CD) [FLAC]

EAC | FLAC | Tracks (Cue&Log) ~ 1.36 Gb (incl 5%) | Scans included
Genre: Hip Hop, Alternative Hip Hop, R&B, Trip Hop, Downtempo, Dance Pop | Time: 02:55:16

Neneh Mariann Cherry is a Swedish singer-songwriter, rapper, and occasional DJ and broadcaster. Blending hip hop with other influences, Cherry experienced mainstream success with several of her recordings. Collection includes solo studio albums and collaboration single ’7 Seconds’.

The stepdaughter of jazz trailblazer Don Cherry, vocalist Neneh Cherry forged her own groundbreaking blend of pop, dance, and hip-hop, presaging the emergence of both alternative rap and trip-hop. She was born Neneh Mariann Karlssson on March 10, 1964, in Stockholm, Sweden, the daughter of West African percussionist Amadu Jah and artist Moki Cherry. Raised by her mother and her trumpeter stepfather in both Stockholm and New York City, Cherry dropped out of school at age 14, and in 1980 she relocated to London to sing with the punk group the Cherries.
Following brief flings with the Slits and the Nails, she joined the experimental funk outfit Rip Rig + Panic, and appeared on the group’s albums God (1981), I Am Cold (1982), and Attitude (1983). When the band broke up, Cherry remained with one of the spinoff groups, Float Up CP, and led them through one album, 1986′s Kill Me in the Morning. The band proved short-lived, however, and Cherry began rapping in a London club, where she earned the attention of a talent scout who signed her to a solo contract. Her first single, “Stop the War,” railed against the invasion of the Falkland Islands.
After attracting some notice singing backup on the The’s “Slow Train to Dawn” single, she became romantically and professionally involved with composer and musician Cameron McVey, who, under the alias Booga Bear, wrote much of the material that would comprise Cherry’s 1989 debut LP, Raw Like Sushi. One song McVey did not write was “Buffalo Stance,” the album’s breakthrough single; originally tossed off as a B-side by the mid-’80s pop group Morgan McVey, Cherry’s cover was an international smash that neatly summarized the album’s eclectic fusion of pop smarts and hip-hop energy.
A pair of hits — the eerie “Manchild” and “Kisses on the Wind” — followed, but shortly after the record’s release Cherry was sidelined with Lyme disease, and apart from a cover of Cole Porter’s “I’ve Got You Under My Skin” for the 1990 Red Hot + Blue benefit album, she remained silent until 1992′s Homebrew. A more subdued collection than Raw Like Sushi, it featured cameos from Gang Starr and R.E.M.’s Michael Stipe, as well as writing and production assistance from Geoff Barrow, who layered the track “Somedays” with the same distinct trip-hop glaze he later perfected as half of the duo Portishead. While the album was not as commercially successful as its predecessor, Cherry returned to the charts in 1994 duetting with Youssou N’Dour on the global hit “Seven Seconds.”
After another lengthy layoff spent raising her children, she resurfaced with the atmospheric Man in 1996. A remix version of the album, simply titled Remixes, would follow in 1998; then family life became a priority once again, with some guest appearances (including the 1998 single “Walk into this Room” with Live’s Edward Kowalczyk and a guest spot on Peter Gabriel’s 2000 album OVO) and work with her husband Burt Ford band’s Cirkus carrying her into the new millennium. She returned in 2012 with The Cherry Thing, an album in which she fronted the Thing, the experimental Scandinavian jazz trio whose founding mission was to play her stepfather’s music.

Biography by Jason Ankeny, Allmusic.com

http://en.wikipedia.org/wiki/Neneh_Cherry

Those arguing that the most individualistic R&B and dance music of the late ’80s and early to mid-’90s came out of Britain could point to Neneh Cherry’s unconventional Raw Like Sushi as a shining example. An unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music, Sushi enjoyed little exposure on America’s conservative urban contemporary radio formats, but was a definite underground hit. Full of personality, the singer/rapper is as thought-provoking as she is witty and humorous when addressing relationships and taking aim at less-than-kosher behavior of males and females alike. Macho homeboys and Casanovas take a pounding on “So Here I Come” and the hit “Buffalo Stance,” while women who are shallow, cold-hearted, or materialistic get lambasted on “Phoney Ladies,” “Heart,” and “Inna City Mamma.” Cherry’s idealism comes through loud and clear on “The Next Generation,” a plea to take responsibility for one’s sexual actions and give children the respect and attention they deserve.

Review by Alex Henderson, Allmusic.com

Tracklist:
01. Buffalo Stance (05:42)
02. Manchild (03:52)
03. Kisses On The Wind (03:57)
04. Inner City Mama (04:51)
05. The Next Generation (05:05)
06. Love Ghetto (04:29)
07. Heart (05:09)
08. Phoney Ladies (03:54)
10. So Here I Come (04:03)
11. My Bitch (05:27)
12. Heart (It’s A Demo) (04:52)
13. Buffalo Stance (Sukka Mix) (05:21)
14. Manchild (The Old School Mix) (05:31)

Neneh Cherry doesn’t get into the studio nearly often enough. Three years passed before the British singer/rapper came out with a second album. Thankfully, she more than lived up to the tremendous promise of Raw Like Sushi on the equally magnificent and risk-taking Homebrew. Cherry shows no signs of the dreaded sophomore slump — everything on the CD is a gem. She triumphs with a seamless and unorthodox blend of hip-hop, R&B, dance music, and pop, and on “Money Love” and “Trout,” the presence of R.E.M.’s Michael Stipe brings rock to the eclectic mix. As humorous as Cherry can be, her reflections on relationships and social issues are often quite pointed. While “Money Love” decries the evils of materialism, the moving “I Ain’t Gone Under Yet” describes an inner-city woman’s determination not to be brought down by the poverty and drugs that surround her. And “Twisted” is about keeping yourself sane in a world gone insane. Unfortunately, Homebrew wasn’t the commercial breakthrough Cherry was more than deserving of.

Review by Alex Henderson, Allmusic.com

Tracklist:
01. Sassy (02:33)
02. Money Love (03:39)
03. Move With Me (05:18)
04. I Ain’t Gone Under Yet (04:03)
05. Twisted (04:37)
06. Buddy X (02:49)
07. Somedays (03:35)
08. Trout (Featuring Michael Stipe) (05:04)
09. Peace In Mind (05:35)
10. Red Paint (05:28)

“7 Seconds” is a song composed by Youssou N’Dour, Neneh Cherry, Cameron McVey and Jonathan Sharp, released in 1994 as a single performed by Youssou N’Dour and Neneh Cherry. It reached the top three in various countries including the United Kingdom, France,Portugal, Germany, Italy, Australia, Russia and Poland. The single stayed at #1 for 16 consecutive weeks on the French Singles Chart, which was the record of the most weeks at the top at the time. The song also appeared on N’Dour’s album The Guide (Wommat), released shortly after the single. In 1996, it was included on Neneh Cherry’s album Man.

Tracklist:
01. 7 Seconds (04:10)
02. Mame Bamba (04:57)
03. 7 Seconds (R&B To The Hip Hop Drop Mix) (06:24)
04. 7 Seconds (Dub Mix) (06:07)

Neneh Cherry, the critically acclaimed singer/songwriter and “rapstress” who burst onto the scene in 1989 with the mega-hit “Buffalo Stance,” did not even see the release of her third album, Man, in the United States. This set differs from her previous efforts in that there is absolutely no rap to be found anywhere on the disc, and all of the songs are slow-burning, midtempo alt-rock numbers, as opposed to anything remotely resembling dance or rap (though there are some hip-hop styled beats). There are really no immediate hits on this album, although it includes the international chart-topping duet with Youssou N’Dour, “7 Seconds,” as well as several other highlights, including “Woman,” “Hornbeam,” and “Everything.” Also included here is a tribute cover she recorded of Marvin Gaye’s “Trouble Man.” The album is a high-quality collection of alt-rock womens’ anthems, at times bluesy, at times folksy, and much more akin to her previous rock-leaning effort Homebrew than her breakthrough Raw Like Sushi. The songs have an organic, earthy feel, in tune with the Lilith Fair alternative-style musical movement going on at the time. A good deal of alterna-sexual references are found, especially considering some of the song titles (first single “Kootchi” and “Beastiality,” to mention two). A solid album, but definitely not very commercial. Still, it should have been given a chance in the U.S. market, especially given her previous track record.

Review by Jose F. Promis, Allmusic.com

Tracklist:
01. Woman (04:30)
02. Feel It (05:40)
03. Hornbeam (05:04)
04. Trouble Man (03:58)
05. Golden Ring (03:43)
06. 7 Seconds (Feat. Youssou N’Dour) (05:01)
07. Kootchi (05:07)
08. Beastiality (02:51)
09. Carry Me (04:26)
10. Together Now (03:10)
11. Everything (04:57)

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http://rapidgator.net/file/073cd3b4e8d999a0b9939628a23a80c0/Neneh_Cherry_-_1989_-_Raw_Like_Sushi_(FLAC).rar.html
http://rapidgator.net/file/6dc4eba4c5531518ad6f8b8259d1053f/Neneh_Cherry_-_1992_-_Homebrew.rar.html
http://rapidgator.net/file/bd000bebad57bfad979c87e158bc6d24/Neneh_Cherry_-_1996_-_Man.rar.html
http://rapidgator.net/file/b498a5b88a0c84d6e27aef399ca2475f/Youssou_NDour_Neneh_Cherry_(1994)_7_Seconds.rar.html

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http://uploaded.net/file/zqsrms1z/Neneh_Cherry_-_1996_-_Man.rar
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http://uploaded.net/file/916qm42a/Neneh_Cherry_-_1992_-_Homebrew.rar

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Midnight Oil – Complete Studio Albums 1978-2002 (11CD) [FLAC]

May 6, 2013, 1:10 am

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Midnight Oil – Complete Studio Albums 1978-2002 (11CD) [FLAC]

Collection includes all studio albums by Australian alternative rock band from Sydney. In 2010, their album Diesel and Dust ranked no. 1 in the book The 100 Best Australian Albums.

Australia’s Midnight Oil brought a new sense of political and social immediacy to pop music: not only did incendiary hits like “Beds Are Burning” and “Blue Sky Mine” bring global attention to the plight of, respectively, aboriginal settlers and impoverished workers, but the group also put its money where its mouth was — in addition to mounting benefit performances for groups like Greenpeace and Save the Whales, frontman Peter Garrett even ran for the Australian Senate on the Nuclear Disarmament Party ticket.
The band formed in Sydney in 1971 as Farm, and originally comprised guitarists Jim Moginie and Martin Rotsey, drummer Rob Hirst, and bassist Andrew “Bear” James; Garrett, a law student known for his seven-foot-tall stature and shaven head, assumed vocal duties in 1975, and the group soon rechristened itself Midnight Oil. After months of sporadic gigs, they began making the rounds to area record companies; following a string of rejections, the group formed its own label, Powderworks, and issued their self-titled debut — a taut, impassioned collection of guitar rock which quickly established the Midnight Oil sound — in 1978.
After declaring their independence from the music industry, Midnight Oil grew increasingly active and outspoken in the political arena; after performing in opposition to uranium mining, they supported the Tibet Council before turning their attentions to the unfair practices of the local music industry, and formed their own booking agency in response to the monopoly exerted by area agents and promoters. With their 1979 sophomore effort, Head Injuries, the band scored their first hit single, “Cold Cold Change,” and earned a gold record. James left the band the following year due to health problems; with new bassist Peter Gifford, they cut the EP Bird Noises, another chart success.
With 1981′s Place Without a Postcard (recorded with producer Glyn Johns), Midnight Oil achieved platinum status on the strength of the smash “Armistice Day,” which won the group an American deal with Columbia Records. Their follow-up, 1983′s 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, spent over two years in the Australian Top 40; after 1984′s Red Sails in the Sunset, Garrett made his run at Senate, losing by only a narrow margin. Participation in the Artists United Against Apartheid project followed, leading directly into Midnight Oil’s increased interest in the battles of Australia’s aboriginal settlers and a tour, dubbed “Black Fella White Fella,” with the aborigine group the Warumpi Band.
The aborigines’ plight came to the fore on 1987′s Diesel and Dust, the Oils’ breakthrough record; sparked by the hit single “Beds Are Burning,” the album reached the U.S. Top 20 and made the band a household name. After bassist Dwayne “Bones” Hillman (ex-Swingers) replaced Gifford, Midnight Oil returned with 1990′s Blue Sky Mining, which they followed with a concert outside of the Exxon corporation’s Manhattan offices in protest of the company’s handling of the Alaskan oil spill. (A film of the performance titled Black Rain Falls was later released, with profits going to Greenpeace.) The album Earth and Sun and Moon appeared in 1993, followed three years later by Breathe. Midnight Oil next resurfaced in 1998 with Redneck Wonderland. The Real Thing, only available in Australia, followed in 2001. It was a solid collection of new songs and live tracks from Midnight Oil’s magnificent run at the Metro Theatre in Sydney. Capricornia, issued on Liquid 8 in spring 2002, marked the band’s 14th album of their career.
In December, Peter Garrett announced his split from the band after 25 years. Garrett, who left Midnight Oil on good terms, wished to pursue other challenges.

Biography by Jason Ankeny, Allmusic.com

http://en.wikipedia.org/wiki/Midnight_Oil

From early on, Midnight Oil earned their sound the way many great bands do — playing wherever and whenever they could, and their eponymous debut shows the influence of their days immersed in Sydney’s pub rock scene. Though they hadn’t quite hit on a signature sound, the raw, punkish energy of their guitar-driven debut is exciting, resulting in some excellent songs, especially the powerful opening track “Powderworks.” But as great as the songs are, the attitude propelling them is equally important. Setting them apart from similar bands of this era was their spiking of hard rock (with its decidedly non-punk fetish for wailing guitar solos) with the amateurish zeal of punk, both leavened by an impressive yet subtle command of dynamics. Peter Garrett’s voice bounces between a soaring falsetto and a strong, baritone bellow, Jim Moginie and Martin Rotsey trade licks (Moginie switches often between guitar and organ), while Andrew James and Rob Hirst anchor the proceedings. Because of this, the album shifts moods frequently, but the transitions don’t sound awkward because the band is firmly in control. The brevity of the album’s length enhances this feeling — from the roaring “Used and Abused” to the moody “Surfing With a Spoon” and from the rapid-fire “Run By Night” to the down-tempo prog rock of “Nothing Ventured, Nothing Gained,” the album is a pretty short ride, but an interesting one for the fan already acquainted with 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, Diesel and Dust, and Blue Sky Mining and who is curious about the band’s beginnings.

Review by James Haag, Allmusic.com

Tracklist:
01. Powderworks (05:35)
02. Head over heels (04:05)
03. Dust (03:20)
04. Used and abused (03:12)
05. Surfing with a spoon (05:22)
06. Run by night (03:57)
07. Nothing lost – nothing gained (08:27)

Still recording on their own Powderworks label, Midnight Oil broke through to commercial success in their native Australia with their second album, Head Injuries, which, like their debut, was a record full of tightly arranged, furiously played and sung, fast-paced rock & roll numbers. Lead singer Peter Garrett, singing angry, sometimes politically oriented (but not, at least to international listeners, entirely clear) lyrics, took a backseat to the guitar work of Jim Moginie and Martin Rotsey and especially to the driving drumming of Rob Hirst. Head Injuries was a stirring collection that served notice Midnight Oil was ready to compete beyond the borders of Australia.

Review by William Ruhlmann, Allmusic.com

Tracklist:
01. Cold Cold Change (03:27)
02. Section 5 {Bus To Bondi} (03:00)
03. Naked Flame (03:27)
04. Back On The Borderline (03:08)
05. Koala Sprint (05:09)
06. No Reaction (02:57)
07. Stand In Line (04:48)
08. Profiteers (03:45)
09. Is It Now? (04:22)

Midnight Oil went to England to record and turned to a major label (CBS Records) and a name producer (Glyn Johns) for its third full-length album. You might have expected this to make for a sonic breakthrough, but you’d be wrong. The band was experiencing growing pains, trying to stretch musically, and, at least at first, this made for a dilution of their hard rock focus moving toward a pop style they hadn’t fully developed. Place Without a Postcard had its share of powerfully performed songs, but its sound was light compared to the band’s first two albums, the stylistic experiments were not yet bearing fruit, and, with an emphasis placed on the vocals, Peter Garrett sounded overly strident.

Review by William Ruhlmann, Allmusic.com

Tracklist:
01. Don’t Wanna Be the One (03:03)
02. Brave Faces (04:47)
03. Armistice Day (04:26)
04. Someone Else to Blame (02:48)
05. Basement Flat (04:33)
06. Written in the Heart (03:14)
07. Burnie (04:44)
08. Quinella Holiday (02:34)
09. Loves on Sale (02:21)
10. If Ned Kelly Was King (03:38)
11. Lucky Country (04:48)

Midnight Oil were already one of Australia’s most popular bands when they made their American debut with 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, and while some knowledge of the intelligent but physical hard rock of the group’s first three albums might have made it a bit easier for U.S. audiences to swallow, 10, 9, 8… was a daunting first listen even for loyal fans. Blending an art rocker’s sense of adventure and fondness for odd textures, a hard rocker’s muscular force and love of power chords, and a peace punk’s passion for an intelligent rant, Midnight Oil bore small resemblance to anyone on 10, 9, 8…, running from the dreamy but ominous “Outside World” and “Maralinga” to the bone-crushing fury of “Only the Strong” and “Somebody’s Trying to Tell Me Something” while making a number of stops in between. Nick Launay’s deliberately eccentric production made the most of the band’s dramatically oddball approach (dig that panning! check out that drum sound!), and for an album that so often goes for the purposeful left turn, it’s remarkably listenable and catchy, offering up one passionate anthem after another. The band’s politics are both well considered and unapologetically upfront throughout, which probably didn’t help much with sales in the United States, where dance singles traditionally don’t feature the chant “Better to die on your feet than to live on your knees,” and questioning American foreign policy is uncommon on Top Ten albums (the album stayed on the Aussie charts for over two years, and “Power and the Passion” was a major success on the singles chart). As catchy as the Easybeats, as sweaty and hard-hitting as Rose Tattoo, and lots smarter than either, Midnight Oil were among the finest bands to emerge from Australia during the 1980s, and 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 was their first undeniably great album and still ranks with their very best.

Review by Mark Deming, Allmusic.com

Tracklist:
01. Outside World (04:21)
02. Only the Strong (04:35)
03. Short Memory (03:53)
04. Read About It (03:52)
05. Scream In Blue (06:21)
06. US Forces (04:06)
07. Power and the Passion (05:39)
08. Maralinga (04:44)
09. Tin-Legs and Tin Mines (04:20)
10. Somebody’s Trying To Tell Me Something (04:04)

Midnight Oil’s second international release found them ambitiously taking on a variety of lyrical causes in a variety of musical styles. Their basic approach, with its martial rhythms, chanted vocals, and guitar textures, served as a jumping-off place, but they always sounded more assured when they stuck to that, rather than trying other things. And the unrelentingly judgmental tone of the lyrics, sung with dead seriousness by Peter Garrett, tended to douse the album’s potential enjoyment, too. (It’s hard to dance when you’re being lectured to.) It wasn’t much of a surprise when Garrett decided to run for the Australian Senate shortly after this album’s release.

Review by William Ruhlmann, Allmusic.com

Tracklist:
01. When the Generals Talk (03:33)
02. Best of Both Worlds (04:04)
03. Sleep (05:09)
04. Minutes to Midnight (03:07)
05. Jimmy Sharman’s Boxers (07:32)
06. Bakerman (00:55)
07. Who Can Stand in the Way (04:35)
08. Kosciusko (04:41)
09. Helps Me Helps You (03:47)
10. Harrisburg (03:50)
11. Bells and Horns in the Back of Beyond (03:27)
12. Shipyards of New Zealand (05:53)

Midnight Oil frontman Peter Garrett has long been active in elective politics in Australia, and like any good politician, he knows that sometimes the most important thing is to get your message out to the masses, even it means speaking with a bit less force than might be your custom. While the hard edges and challenging angles of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and Red Sails in the Sunset made Midnight Oil bona fide superstars in Australia, they were little more than a rumor in most of the rest of the world, and for their sixth album, Diesel and Dust, Midnight Oil made some changes in their approach. On Diesel and Dust, there’s less in the way of bruising hard rock like “Best of Both Worlds,” nothing as eccentric as “Outside World,” and very little as esoterically regional as “Jimmy Sharman’s Boxers,” while the production favors the tuneful side of the band’s songwriting (which, truth to tell, was always there) and buffs away some of the group’s harsher edges. As a result, Diesel and Dust isn’t an album for hardcore Oils fans, but as a bid for a larger audience, it was both shrewd and well executed — it was the group’s first real worldwide success, going platinum in America and spawning a massive hit single, “Beds Are Burning.” While the album lacks the kick-in-the-head impact of their earlier work, Diesel and Dust also makes clear that the bandmembers could apply their intelligence and passion to less aggressive material and still come up with forceful, compelling music, as on the haunting “The Dead Heart” and the poppy but emphatic “Dreamworld.” And as always, there was no compromise in the band’s forceful political stance — most of the album’s songs deal openly with the issues of Aboriginal rights (hardly an issue pertinent only to Australians), and one of Midnight Oil’s greatest victories may well be writing a song explicitly demanding reparations for indigenous peoples, and seeing it top the charts around the world. And the closer, “Sometimes,” may be the finest and most moving anthem the band ever wrote (“Sometimes you’re beaten to the core/Sometimes you’re taken to the wall/But you don’t give in”). Diesel and Dust is that rarity, a bid for the larger audience that’s also an artistic success and a triumph for leftist politics — even the Clash never managed that hat trick this well.

Review by Mark Deming, Allmusic.com

Tracklist:
01. Beds Are Burning (04:16)
02. Put Down That Weapon (04:38)
03. Dream World (03:37)
04. Artic World (04:21)
05. Warakurna (04:38)
06. The Dead Heart (05:11)
07. Whoah (03:51)
08. Bullroarer (04:59)
09. Sell My Soul (03:37)
10. Sometimes (03:53)
11. Gunbarrell Highway (03:38)

Success didn’t change Midnight Oil with their 1990 album Blue Sky Mining. The Australian band had finally broken through with their previous record, Diesel and Dust, but chart accomplishments didn’t temper the group. Blue Sky Mining found lead singer Peter Garrett and the boys singing about familiar themes with their usual passion. The songs aren’t quite on par with those from Diesel and Dust, but there’s still enough here to make it a worthy follow-up. The lead track “Blue Sky Mine” deals with the oppression of the lower working class within the context of a mining company. The immediately catchy cut managed to find mid-chart success. Other notable tracks are the driving “Forgotten Years,” which also managed a bit of airplay, and the menacing “Mountains of Burma.” The band stumble only once, on the clumsy love song “Shakers and Movers.”

Review by Tom Demalon, Allmusic.com

Tracklist:
01. Blue Sky Mine (04:15)
02. Stars of Warburton (04:54)
03. Bedlam Bridge (04:32)
04. Forgotten Years (04:16)
05. Mountains of Burma (04:57)
06. King of the Mountain (03:51)
07. River Runs Red (05:22)
08. Shakers and Movers (04:28)
09. One Country (05:53)
10. Antarctica (04:18)

If Earth and Sun and Moon isn’t Midnight Oil’s best effort, it’s certainly close. The band still sticks to themes that are close to its heart — the environment, native peoples, and other social causes — but rarely has it managed to fashion an album full of songs that are as musically intoxicating as on this 1993 release. “My Country” is full of jangling guitars and keyboards; the punchy title track has an infectious singalong harmony; and “Bushfire” adds some mean wah-wah guitar. The Oils managed to score some radio play on AOR and modern rock stations with the bracing “Truganini,” the dramatic, piano-tinged rocker “Drums of Heaven,” and the grinding shuffle of “Outbreak of Love.” A satisfying release for longtime fans and new converts alike.

Review by Tom Demalon, Allmusic.com

Tracklist:
01. Feeding Frenzy (05:07)
02. My Country (04:51)
03. Renaissance Man (04:41)
04. Earth And Sun And Moon (04:33)
05. Truganini (05:11)
06. Bushfire (04:36)
07. Drums Of Heaven (05:31)
08. Outbreak Of Love (05:14)
09. In The Valley (04:41)
10. Tell Me The Truth (04:06)
11. Now Or Never Land (05:22)

Breathe strips away some of the big, detailed production of Earth and Sun and Moon, replacing it with a more direct sound while keeping the anthemic melodicism of the group’s more recent records intact. The result is an album that is less ambitious than its predecessor, yet also more forceful, and Midnight Oil sounds enlivened in this less constricted setting. Breathe may not have the overall impact of Diesel and Dust and Earth and Sun and Moon, but it remains one of the group’s best latter-day records.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Underwater (05:03)
02. Surf’s Up Tonight (03:05)
03. Common Ground (04:26)
04. Time To Heal (03:53)
05. Sins Of Omission (04:35)
06. One Too Many Times (03:29)
07. Star Of Hope (04:57)
08. In The Rrain (02:28)
09. Bring On The Change (03:50)
10. Home (04:29)
11. E-Beat (04:31)
12. Barest Degree (03:08)
13. Gravelrash (03:27)

For this, its 12th full-length album, Midnight Oil re-hired producer Warne Livesey, who had worked with them on their biggest international successes, Diesel and Dust and Blue Sky Mining. He helped them to achieve a sound that was a virtual compendium of familiar late-’60s rock styles — Led Zeppelin on the title track, the Beatles on “Safety Chain Blues,” the Who on “Blot,” the Beach Boys on “Drop in the Ocean.” At least, that was true musically; the vocals were sometimes so compressed they sounded like they were coming out of a bullhorn. Given the lyrics, that was appropriate, since the album was, as the band’s press bio put it, “written and recorded in response to the rise of anti-Asia MP Pauline Hanson and her far-right One Nation Party.” Outside of Australia, that could make the songs difficult to understand completely, although, for example, the environmentalist sense of “Concrete” and “Seeing Is Believing” were unmistakable, and the group’s anger fueled its performances. Still, lines like “triumphalism gotta be a curse or even worse” probably sent more fans to the dictionary than the barricades. In Australia, the album went Top Ten, though it failed to chart in the U.S., which is less an indication of its local focus than of the group and/or its record company’s diminished interest in the international market.

Review by William Ruhlmann, Allmusic.com

Tracklist:
01. Redneck Wonderland (03:09)
02. Concrete (04:12)
03. Cemetery in My Mind (03:57)
04. Comfortable Place on the Couch (04:08)
05. Safety Chain Blues (04:21)
06. Return to Sender (03:31)
07. Blot (03:24)
08. The Great Gibber Plain (04:38)
09. Seeing Is Believing (04:28)
10. White Skin Black Heart (04:01)
11. What Goes On (03:00)
12. Drop in the Ocean (04:14)

With Capricornia, the Australian political rockers return with their first album of new material in four years. More than 25 years into their career, there’s nothing surprising about Midnight Oil’s approach at the turn of the millennium, but Capricornia finds them delivering their expected blend of melodic, muscular, and thoughtful guitar rock. They’re still as righteously indignant as ever over the plight of the common man, although perhaps not quite as direct or focused. There’s plenty of fire in the belly, though, on driving cuts like “Golden Age” and the tempered optimism of “World That I See,” while they exhibit their trademark resilience on “Tone Poe.” From its lovely, stripped-down intro, “Under the Overpass” (about the homeless) builds to a powerful climax, providing one of the album’s highlights, and they work up a good head of steam on the forceful “Say Your Prayers” (which, musically, is reminiscent of U2′s “Zoo Station”). Capricornia isn’t likely to garner them a new audience, but it’s equally unlikely to disappoint Oil’s devoted fan base.

Review by Tom Demalon, Allmusic.com

Tracklist:
01. Golden Age (03:41)
02. Too Much Sunshine (03:47)
03. Capricornia (03:17)
04. Luritja Way (04:00)
05. Tone Poem (04:53)
06. A Crocodile Cries (01:08)
07. Mosquito March (03:09)
08. Been Away Too Long (03:16)
09. Say Your Prayers (04:26)
10. Under The Overpass (04:02)
11. World That I See (04:08)
12. Poets And Slaves (05:56)

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Joseph Arthur – Albums Collection 1997-2011 (11CD) [FLAC]

May 6, 2013, 1:23 am

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Joseph Arthur – Albums Collection 1997-2011 (11CD) [FLAC]

EAC | FLAC | Tracks (Cue&Log) ~ 4.37 Gb
Genre: Singer/Songwriter, Alternative Rock, Folk Rock | Time: 09:24:00 | Scans included

Joseph Arthur is an American singer-songwriter and artist from Akron, Ohio. Combining poetic lyrics with a layered sonic palette, Arthur has built his reputation over the years through critically acclaimed releases and constant touring; his unique solo live performances incorporate the use of a number of distortion and loop pedals, and his shows are recorded live at the soundboard and made available to concertgoers immediately following the show on recordable media. Arthur was discovered by Peter Gabriel in the mid-’90s, and signed to Gabriel’s Real World label as the first North American artist on the label’s roster.

Ohio native Joseph Arthur was discovered by Peter Gabriel, who signed the folk-rock songwriter to Real World Records in the mid-’90s. Arthur’s debut, Big City Secrets, was released in 1997 and went fairly unnoticed, despite an eclectic, brooding sound influenced by the likes of Leonard Cohen, Joe Henry, and the late Jeff Buckley. Gabriel influenced Arthur’s music, too, exposing his songwriting to a global palette, roping him into Gabriel’s annual WOMAD shows, and giving him a roster of fellow labelmates — including Ben Harper and Gomez — to tour with during the decade’s latter half. Arthur steadily earned an audience of his own, attracting some attention for his work as a visual artist as well.
In 1999, Arthur released the seven-song EP Vacancy and received a Grammy nomination for Best Recording Package, thanks to the hand-folded design by art director Zachary Larner. The sophomore effort Come to Where I’m From appeared one year later, featuring production from alt-country icon T-Bone Burnett and distribution from Virgin Records. The album showed Arthur’s musical fondness for basic country-rock and Americana, and he spent the rest of 2000 headlining club shows across North America and serving as an opening act for The The. Two years later, Arthur issued the four-EP series Junkyard Hearts, a precursor to his third opus, Redemption’s Son. North American dates with Tracy Chapman followed in summer 2003, then one year later the critically acclaimed Our Shadows Will Remain appeared.
After starting his own label, Lonely Astronaut (distributed by Sony), Arthur published a collection of his artwork entitled We Almost Made It, complete with a mostly instrumental accompaniment, The Invisible Parade, during the spring of 2006. A few months later, fans were greeted with his fifth record, Nuclear Daydream, as well as a tour that featured Arthur with a full live band, something he had never done before. Arthur also provided vocals for “Sublime,” from the Twilight Singers’ iTunes-only five-song EP A Stitch in Time. In April 2007, he partnered with his band once again to record Let’s Just Be, the second album released on his own label.
The following year brought even more material, with Arthur releasing no less than four EPs during the first seven months of the year (Could We Survive, Crazy Rain, Vagabond Skies, Foreign Girls) and a full album, Temporary People, in September. In February 2010, Arthur teamed up with Dhani Harrison and Ben Harper to form Fistful of Mercy, a folk-rock trio whose debut album, As I Call You Down, was released later that year. The band toured off and on during 2010 and continued playing sporadic shows in 2011, but that didn’t stop Arthur from furthering his solo career with The Graduation Ceremony, which appeared in May 2011. Early the following year, he self-released his next solo work, the double album Redemption City, as a digital download (the LP issue followed later that year).

Biography by MacKenzie Wilson, Allmusic.com

http://en.wikipedia.org/wiki/Joseph_Arthur

Joseph Arthur refers to his music as “someone struggling to heal over experimental folk-rock.” His major-label career began after he received an unexpected answering machine message from Peter Gabriel offering him a contract on Gabriel’s Real World label. Arthur’s music employs a wide range of musical influences, adorning his songs with instruments as diverse as hurdy gurdy, corn horn, Venetian xylophone, caxixi, birimbau and harmonic missles. Experimental folk-rock is an apt label for such eclectic instrumentation. As for “struggling to heal,” Arthur’s strategy appears to be to heal through catharsis. His lyrics are populated with angsty lines like “You’re easy for me to bleed on,” “Put my daddy on Prozac, I don’t think I want him back” and “You became a spider as I fed you the blood from my nose.” All that “healing” can get to be a bit overbearing, especially when expressed in Arthur’s tortured vocals. In his most restrained moments, his voice resembles David Rice or Jeffrey Gaines, but at his most extreme he’s a dead ringer for Billy Corgan of the Smashing Pumpkins. The songwriting is at its best when Arthur uses his sharp ear for melody, as on “Mikel K,” “Big City Secret,” and the harmonica-driven “Mercedes,” which features background vocals from Brian Eno and Gabriel himself. The album’s weaker offerings (“Desert,” “Porcupine”) have a tendency to drone tunelessly. But even then the weakness of the melody is somewhat mitigated by the inventiveness of the arrangements, and it’s easy to see what attracted Gabriel to this promising artist.

Review by Evan Cater, Allmusic.com

Tracklist:
01. Big City Secret (04:37)
02. Mercedes (06:18)
03. Mikel K (03:54)
04. Good About Me (04:58)
05. Daddy’s on Prozac (04:05)
06. Marina (04:03)
07. Birthday Card (05:36)
08. Crying Like a Man (06:16)
09. Porcupine (04:42)
10. Dessert (01:05)
11. Haunted Eyes (04:44)
12. Bottle of You (05:29)

With Come to Where I’m From, Joseph Arthur shows a willingness to ease up on the stifling angst that dominated his previous efforts. To be sure, the album still has more than its share of gut-wrenching misery — there’s no shortage of lines like “I feel like taking a razor blade and on my wrist write an invitation” — but this time out, the anguish is balanced by healthy doses of self-awareness and a winking sense of humor. “Ashes Everywhere,” a wistful guitar and harmonica breakup ballad, induces intentional chuckles with its meandering, dopey melody and lines like “I’m just trying to be all that I can be without destroying you or joining the army.” In the ferocious and whimsical rap “Creation or a Stain” — a strange sort of crossbreed of Beck, the Beastie Boys and OMC — Arthur whines about “a guy in my head” and says, “I’ve come back from the dead so anything can happen/ I’m obsessed with tragic endings standing out like Eric Clapton.” In addition to the somewhat lighter tone, Come to Where I’m From exhibits a more polished and accessible sound, without sacrificing the adventurous spirit that has been Arthur’s greatest asset. Arthur undoubtedly benefited greatly from the shrewd ear of veteran producer T-Bone Burnett, a master of art-folk melancholy whose resumé includes records by the Wallflowers, Counting Crows, Elvis Costello, and Sam Phillips. Burnett’s input seems to have had the effect of honing Arthur’s untamed talent. The melodies are tighter and catchier, demonstrating more restraint without seeming constrained. The U2-influenced “Chemical” has the sound of an alternative-radio hit. Arthur, who once described his music as “someone trying to heal over experimental folk-rock,” is clearly still hurting. But somehow it seems significant that he’s now able to sing, “I’m trying to enjoy the pain.”

Review by Evan Cater, Allmusic.com

Tracklist:
01. In The Sun (05:36)
02. Ashes Everywhere (04:51)
03. Chemical (04:11)
04. History (05:40)
05. Invisible Hands (05:14)
06. Cockroach (03:02)
07. Exhausted (04:46)
08. Eyes On My Back (04:03)
09. Tattoo (04:10)
10. The Real You (05:27)
11. Creation Or A Stain (04:34)
12. Speed Of Light (04:30)

Two years after his sophomore effort Come To Where I m From, and proving that he s ever his own man, Joseph Arthur independently produced a series of four EPs under the collective name of Junkyard Hearts (I-IV) – which were never commercially offered except at his 2002 tour appearances.
Now, a decade later, these rare recordings are being reissued as a two-CD set as part of Real World Records newly-launched Gold series. These half-forgotten gems demand your attention, with 19 compelling tracks that showcase a man at the peak of his substantial artistic powers. Always a gifted painter as well as a musician, Joseph also designed the artwork of this very covetable package.
Co-produced with Ben Findlay, and mixed by Tchad Blake, this release showcases a unique and prolific talent at a critical point in his career.

Tracklist:
CD1:
01. The Coldest Sea (06:29)
02. This Heart Will Swallow Us (05:09)
03. Jumping in with You (02:32)
04. Take Me Back Home (03:11)
05. Hold on Dear (04:08)
06. Marmalade Eyes (04:50)
07. Queen of Brooklyn (03:04)
08. Glue Sniffer (04:44)
09. Dear Lord (04:40)
10. Bill Wilson (06:05)
11. Tiny Echoes (02:25)
CD2:
01. Space Needle (05:40)
02. Be My Friend (03:38)
03. The Termite Song (09:27)
04. Favorite Girl (06:14)
05. Crackerjack Box (03:31)
06. Voices Will Fight (02:24)
07. Still the Same (05:26)
08. In the Middle of the Night (06:02)

Though time had passed since his Real World apprenticeship, the Peter Gabriel influence looms larger than ever on Joseph Arthur’s third release. In particular, Redemption’s Son achieves a sophisticated marriage of traditional songwriting craft and avant-garde production, a combination that guides Gabriel’s best work as well. The singer/songwriter foundation is clearer with Arthur, however; many of these tracks grow from a bedrock of acoustic guitar and vocals, with gauzy electronics shimmering across the surface rather than glistening within the fabric of the tune. Aside from a few inspired images, such as his admission that “I’ve been so happy being unhappy with you” in “Favorite Girl,” Arthur’s writing is steady and workmanlike; by giving prominent position to lines like “I wish I could follow you to the shore of freedom,” from “Honey and the Moon,” he tends to build in the verses toward slightly disappointing resolutions in the choruses. Even so, the sonic range achieved on these tracks, ranging from a filmy folk-rock evocation on “Dear Lord” to the collision of “Strawberry Fields” Mellotron and Duane Eddy twang on “I Would Rather Hide,” suggests that Arthur may have even more promise as a producer than as an artist in years to come.

Review by Robert L. Doerschuk, Allmusic.com

Tracklist:
01. Redemption’s Son (04:34)
02. Honey and the Moon (04:44)
03. Dear Lord (04:05)
04. I Would Rather Hide (04:03)
05. Innocent World (03:53)
06. September Baby (04:52)
07. Nation of Slaves (05:54)
08. Evidence (04:18)
09. Buya Bag (03:15)
10. Termite Song (09:23)
11. Permission (05:18)
12. Favorite Girl (06:09)
13. You Are the Dark (03:37)
14. In the Night (02:20)
15. Blue Lips (04:19)
16. You’ve Been Loved (04:11)

Joseph Arthur, who had been a critic’s darling since his debut in 1998, scored a kind of sleeper hit on the fringes with 2002′s Redemption’s Son. His searing poetic lyrics and quirky, left-of-the-dial rock and pop sensibilities shone like a flickering beacon from the underside of human emotion and vulnerability. On Our Shadows Will Remain, he takes a further left turn from the heart of isolation and darkness into the broken heart of humanity, seeking to reveal the commonality of experience on the emotional and societal fringes via a sonically labyrinthine tapestry that is by turns raucous, tender, brash, and beautiful. On “Can’t Exist,” the glissando pop layers of organ and electric guitars underscore his broken, unapologetically confessional lyrics — “Well I can’t exist when you disappear/Disintegrate and I swallow everything/Sister don’t be scared, a thousand times or more, I’ve walked away alive/On my feet again.” As the chorus comes roaring from the center, a wall of squalling guitars ushers in a chorus of voices singing a mutant, netherworld gospel of determination and tears. On “Stumble and Pain,” a muddied bass and drum pulse plods from the heart of the mix, as a fuzzed-out electric guitar and a forlorn, wasted bluesy acoustic carry Arthur’s sung poetry over a string section played by the Prague Philharmonic — though they sound like they are a forgotten string quartet playing for its life at the end of time itself.
The spidery rock of “Devil’s Broom” is more straight-ahead at the front but somehow more ominous: “In the time when I can’t enough to make it/Give me back half the sense that I used to have/Waking up in the sun face down on the pavement/Everything I own in a garbage bag” — but by the time the refrain slides around everything becomes lush, nightmarishly euphoric, and utterly strange and beautiful. Another standout is “Echo Park.” The wonderfully arranged strings provide a patchy cushion that is elegant, graceful, and nearly pastoral, as they hover above and float though Arthur’s poignant yet hopeful love song. “Even Tho” is a mutant pop song, with drum loops, wispy, shimmering keyboards, and a killer falsetto soul vocal from Arthur. The muscular drum loop “Wasted” undercuts the vulnerable vocal and dubby organ and electric piano lines. And so it goes on into the nocturnal, narcotic faux R&B groove of “Failed,” the fractured overdrive lullaby that is “I Am,” and the spindly, skeletal tenderness that is “A Smile That Explodes.” The set closes with the spooky, harrowing narrative of “Leave Us Alone,” closing the record on a fractured note. But the fragmentation, disintegration, and outsider narratives that are at the heart of the protagonists in Arthur’s songs are familiar, too. Though they may live on the stiletto edges, they speak our language in that they bravely and even innocently articulate the most hidden of emotions, the ones we are afraid to admit let alone speak. And in doing so they bring them into the scope of the reachable, the mentionable, and their weight can be shared even among those of us lucky or fearful enough to never experience their consequences. Arthur is in a class of his own and Our Shadows Will Remain is a monstrous, memorable outing, his finest moment in a career that is thus far full of them.

Review by Thom Jurek, Allmusic.com

Tracklist:
01. In Ohio (00:47)
02. Can’t Exist (04:08)
03. Stumble and Pain (04:43)
04. Devil’s Broom (04:46)
05. Echo Park (02:51)
06. Even Tho (04:47)
07. Puppets (03:53)
08. Wasted (04:13)
09. Failed (04:22)
10. I Am (04:14)
11. A Smile That Explodes (03:21)
12. Leave Us Alone (03:49)

The flagship release on Joseph Arthur’s own Lonely Astronaut label, Nuclear Daydream is a lushly produced and exquisitely delivered collection of 12 new songs, linked by his never-less-than florid eye for sometimes-’60s pop arrangements, and a lyricism that would put you in mind of a host of other performers, if you didn’t know that the likes of Michael Stipe and Chris Martin are as influenced by Arthur as he is by them. The single “Too Much to Hide” opens the set on a blustering wall of symphonics; elsewhere, Nuclear Daydream aims for a more stripped-back approach, just Arthur’s curiously vulnerable vocal against an acoustic guitar, or the sounds of a blues band, rehearsing in another room. Occasionally, it does get a little too calculated — the half-falsetto that strains through “Slide Away” puts one in mind of the preposterous squawking that Mick Jagger layered through the Stones’ “Emotional Rescue.” But the stark “Electrical Storm” and the raw “When I Was Running out of Time” celebrate Arthur at his very finest, while the closing title track has a Dylan-ish edge that also turns the cycle full-circle. Without it ever deliberately going for the jugular, Nuclear Daydream is nevertheless an album that is difficult to shake out of your ears; moreover, it’s one that only grows stronger with every repeated play. With that in mind, it’s too early to proclaim it Arthur’s best ever effort. But it’s certainly one of the year’s most compulsive.

Review by Dave Thompson, Allmusic.com

Tracklist:
01. Too Much To Hide (03:18)
02. Black Lexus (03:14)
03. Enough To Get Away (02:47)
04. Slide Away (04:07)
05. Electrical Storm (04:50)
06. You Are Free (04:15)
07. Automatic Situation (03:29)
08. When I Was Running Out Of Time (03:01)
09. Don’t Tell Your Eyes (03:13)
10. Don’t Give Up On People (02:36)
11. Woman (04:49)
12. Nuclear Daydream (04:20)

Now that he has his own studio and label, Joseph Arthur must feel a lot of freedom when it comes to recording material, and this newfound liberation is most certainly evidenced on Let’s Just Be, his second release on Lonely Astronaut. The album has the feel of an improvisational session, as if Arthur called up his band late one night, asked them to bring their instruments, showed them the sketches of 16 songs he’d been working on, and then told them to play (the occasional spoken direction of “then we go into a verse” only helps this theory along). Arthur is a talented writer, but there’s an air of sloppy experimentation, of demos and B-sides and other things that probably won’t interest more than the heartiest fan. There are some worthwhile tracks here — the sad and lovely “Take Me Home,” the poetic “Chicago” — but unfortunately, these are few and far between the Mick Jagger-esque falsetto screeching, the cocky ’70s-rock guitars, the repetitive lines of songs like “Shake It Off,” “Diamond Ring,” or “Let’s Just Be.” Arthur spends more of his time meandering around different riffs and rhymes (like in “Lonely Astronaut,” which clocks in at 20 minutes, at least a quarter of which is an acoustic guitar layered with emerging and disappearing instruments, the word “I” sung continuously on the fourth beat). Unlike another prolific writer, Ryan Adams, who limits the accessibility of his wanderings to his website, Arthur is packaging his as a legitimate album. This may be creatively beneficial for him, and it may be a necessary part of his composition process, but for those not involved, it’s less enlightening and interesting.

Review by Marisa Brown, Allmusic.com

Tracklist:
01. Diamond Ring (03:26)
02. Good Life (04:24)
03. Precious One (03:28)
04. Spaceman (04:33)
05. Take Me Home (04:41)
06. Chicago (05:01)
07. Cockteeze (01:46)
08. Lonely Astronaut (20:32)
09. Cocaine Feet (03:43)
10. Let’s Just Be (02:31)
11. Shake It Off (01:32)
12. Lack a Vision (04:45)
13. Gimmie Some Company (03:01)
14. I Will Carry You (03:55)
15. Yer the Reason (02:20)
16. Star Song (08:57)

Temporary People is one of the most anticipated albums of Joseph Arthur’s career (first place going to his debut, Big City Secrets). Capping over a year of release activity, with no less than four EPs leading up to his full-length for 2008, the LP seems fit to function as a cap on Arthur’s continuing development as a songwriter (as well as the ongoing cohesion of his band, the Lonely Astronauts). Right from the opening title track, Arthur’s songwriting shows refreshing vigor given all the activity. Arthur and his band are just as endearingly ramshackle as ever, quickly taking their place as one of the best alternative bands since the Replacements at sounding ragged and delightfully off the rails (especially so ever since Wilco became such willful perfectionists). Blistering rockers (“Sunrise Dolls”) sit well next to heartbroken ballads (“Say Goodbye”), and the band’s roller-coastering aesthetic is perfectly suited for Arthur’s rambling, half-coherent delivery. If nothing here is as immediate as the highlights of Let’s Just Be, the songs grow into an effortless blend of contemporary singer/songwriter quality and retro bar band flair. (More than even the recent EPs, Temporary People displays the Lonely Astronauts becoming one of the best backing bands in the business, a worthy complement to the heart-on-his-sleeve emphasis of Arthur’s songwriting.) Not all of Arthur’s lines scan perfectly, though; one head-scratcher comes from “Say Goodbye” — “The letter you left me was laced with your perfume/Like a butterfly tryin’ to fly back into her cocoon.” If fans are expecting Temporary People to be a giant leap following a four-EP run down the track, they might be disappointed. Temporary People is simply another ragged-but-right release from one of contemporary alternative’s most natural-sounding bands.

Review by John Bush, Allmusic.com

Tracklist:
01. Temporary People (05:06)
02. Faith (04:41)
03. Say Goodbye (04:03)
04. Dead Savior (03:37)
05. Look Into The Sky (04:09)
06. Sunrise Doll (03:58)
07. Dream Is Longer Than The Night (02:25)
08. Heart’s A Soldier (04:01)
09. Turn You On (04:41)
10. Winter Blades (03:49)
11. Drive (05:00)
12. Good Friend (03:44)

Vagabond Skies is an EP from singer-songwriter, multi-instrumentalist Joseph Arthur. The six song EP is the third in a series of four EPs to be released in anticipation for the release of Joseph’s seventh studio album Temporary People on September 16, 2008. Vagabond Skies, according to Joseph, will be “more stripped-down, more acoustic and slower…it’s more of a late-night type of music.” The EP also marks the first studio recording of “She Paints Me Gold,” a song Joseph has often played at his live shows since November 2004.

Tracklist:
01. Slow Me Down (03:01)
02. Even When Yer Blue (03:17)
03. Pretty Good Company (03:05)
04. She Paints Me Gold (05:33)
05. Second Sight (03:58)
06. it’s Too Late (03:28)

Having dedicated most of 2010 to his supergroup side project, Fistful of Mercy, Joseph Arthur returns to his solo career with The Graduation Ceremony. “There’s nothing to do in the Midwest but dream,” he sings on the album, which dresses up Arthur’s heartland pop songs with sweeping, atmospheric arrangements. Strings, pianos, synths, and female harmonies all make frequent appearances, adding some swirls of color to what might otherwise be a stark break-up album. Arthur is definitely hurting, and the song titles alone provide enough evidence of a relationship gone awry: “Out on a Limb,” “Almost Blue,” “Face in the Crowd,” “Love Never Asks You to Lie.” To cheer himself up, he gets a little help from his friends, leading a three-person band through these 12 songs and enlisting friends like Madi Diaz and Liz Phair to sing backup. The result is an album that doesn’t sound as sad as its content. Instead, we’re treated to the sort of elegantly weary, vaguely melancholic music that Ed Harcourt makes, with wistful melodies sung in either a smoky, folksy croon or a high falsetto register. Heartbreak makes for some some long, lonely nights. But it also makes for solid albums, provided you’ve got the right person in the driver’s seat.

Review by Andrew Leahey, Allmusic.com

Tracklist:
01. Out on a Limb (03:24)
02. Horses (04:10)
03. Almost Blue (04:18)
04. Someone to Love (04:22)
05. Watch Our Shadows Run (03:54)
06. This is Still My World (03:35)
07. Over the Sun (04:01)
08. Face in the Crowd (04:25)
09. Midwest (02:56)
10. Gypsy Faded (04:01)
11. Call (03:48)
12. Love Never Asks You to Lie (03:31)

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VA – Cafe Del Mar – Dreams Collection: Vol.1 – Vol. 4 (2000-2006) [APE]

May 8, 2013, 7:34 pm

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VA – Cafe Del Mar – Dreams Collection: Vol.1 – Vol. 4 (2000-2006) [APE]

Tracklist:

Cafe Del Mar – Dreams (2000)

1. A Man Called Adam – Estelle (6:49)
2. D’ Note – D’ Votion (7:02)
3. Sabres Of Paradise – Haunted Dancehall (5:50)
4. Miro – Emotions of Paradise (7:57)
5. Nightmares On Wax – Nights Interlude (Original Version) (3:29)
6. Sabres of Paradise – Smokebelch II (Beatless Mix) (4:19)
7. Afterlife – Blue Bar (6:51)
8. Underworld – Second Hard (9:04)
9. A Man Called Adam with Eddie Parker – Easter Song (8:05)
10. Penguin Cafe Orchestra – Music for A Found Harmonium (2:36)
11. Nacho Sotomayor – Cafe Del Mar (6:44)

Cafe Del Mar – Dreams 2 (2001)

1. Sonic Adventure Project – Forty-Two (5:24)
2. Vargo – Get Back To Serenity (Beach Mix) (6:06)
3. Deep & Wide – Castillos De Arena (6:11)
4. Cottonbelly vs Trumpet Man – Don’t Move (4:42)
5. Ohm-G – Chilli Conkani (4:18)
6. Rue Du Soleil – Dreaming of… (5:58)
7. Plastyc Buddha – Voyeur De Luxe (5:03)
8. Raccon feat. Christine Lucas – Beautiful Smile (5:04)
9. David Hertz – Believe (6:57)
10. Jaffa – Do It Again (4:18)
11. Cool Water feat. Time Passing – The Last Night (6:03)
12. Orange & Tusnelda – Stay Asleep (7:07)
13. Ypey – Mellow (3:14)

Cafe Del Mar – Dreams 3 (2003)

1. Bliss – Sleep Will Come (6:00)
2. Ohm-G & Bruno – Jungle Light (4:59)
3. Gaia Project – Oasis (4:52)
4. Luminius – Hold On (6:32)
5. Silent Sounds by Deise Mikhail – The Picasso Suite-Theme From Summer Of 42 (4:15)
6. Zino & Tommy – Ain’t Feel Nothing (3:44)
7. Gelka – Please Keep Your Ticket Till The End (6:05)
8. Martin Bottcher – Old Shatterhand (Orbient Mix) (4:16)
9. Rue Du Soleil – Manush (5:10)
10. Buffalo Sanchez – By Your Side (4:25)
11. Hibiki Connection – Cha-Ka-Too (Sunset Mix) (7:29)
12. Andre Andreo – Themes From New Earth (3:46)
13. Dab – Have A Smoke (6:53)
14. Jose Luis Zafra – Ritmo Del Mar (4:22)

Cafe Del Mar – Dreams 4 CD1 (2006)

1. Gary B – It’s Alright (5:05)
2. DJ Ino – Linda (4:34)
3. Luminous – Feel Safe (4:20)
4. Mads Arp – Alive (5:33)
5. Gelka – Rising (5:02)
6. Pshycodelic Farm – El Sonho (7:28)
7. Sonic Adventure Project – Inner Journey (4:11)
8. Ludvig & Stelar – Sunset (4:33)
9. Alejandro De Pinedo – Cancer (5:14)
10. Melibea – Fusion (5:23)
11. Florian Sagner’s – Deep Breath (7:30)
12. Nouvelle Vedette – Dreaming (5:21)
13. Koru – Submariner (5:09)
14. Camino Del Sol – L’etoile d’or (3:42)

Cafe Del Mar – Dreams 4 CD2 (2006)

1. Teri Richardson – Eyes Wide Open (4:40)
2. Aisen – Another Day (5:06)
3. Blank & Jones – Twilight (3:59)
4. Aaron Taylor – Let You Go (6:05)
5. Groove Lovers – Mediterranean Star (4:48)
6. Allesandro Boschi – Cuevas Del Drach (4:17)
7. DAB – The Call (5:23)
8. Alexander Vogele – Ibizarre (4:54)
9. Rue Du Soleil – In My Heart (5:12)
10. Cardinal Zen – Far From Home (4:59)
11. Vargo – Precious (Part 1) (4:30)
12. OHM-G & M Bussian – By Chance (5:04)
13. Aware – Esperando La Lluvia (5:51)
14. La Caina – Bailando Va (5:31)

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↧

VA – Cafe Del Mar Chillhouse Collection: Vol.1 – Vol.5 (1999-2007) [APE]

May 8, 2013, 7:45 pm

≫ Next: Roxette – 7 albums (Digital Remastered) (2009) [APE]

≪ Previous: VA – Cafe Del Mar – Dreams Collection: Vol.1 – Vol. 4 (2000-2006) [APE]

VA – Cafe Del Mar Chillhouse Collection: Vol.1 – Vol.5 (1999-2007) [APE]

Tracklist:

Cafe Del Mar Chillhouse Mix 1

CD1 (Time: 0:56:44 )

1. Deep & Wide – Private Matter (5:07)
2. Solaris Heights – Fusique (6:59)
3. Fredrik Stark & Citydreams – Loungin (4:40)
4. Johnny Fiasco – Fallin (4:52)
5. Arsenal – Release (Attaboy Vocal Mix) (7:25)
6. Weekender – Hugo A Gogo (7:56)
7. Trumpet Man – So Good (4:21)
8. LHK Productions – Changes (4:37)
9. East West Connection – The More I Get, The More I Want (Teddy’s House Groove) (4:17)
10. Freil – Mississippi Rollcall (6:30)

CD2 (Time: 0:57:36)

1. Sun Trust – How Intensitive (6:59)
2. Bone City – Feeling Kinda Blue (4:00)
3. Kerry Chandler – I Know (5:45)
6. Kamasutra feat. Corrina Joseph – Burnin’ [Baron's Vibes Mix] (6:04)
7. Irving Project – k Me Up [Shroom Tea Mix] (5:45)
8. Mateo & Matos – In The Mood (4:45)
9. Terra Deva – Inside [Naked Lovers Dub] (7:04)
10. Julius Papp & Dave Warrin – Come Morning [Jazz Excursion Mix] (5:35)

Cafe Del Mar Chillhouse Mix 2

CD1 (Time: 1:04:46 )

1. C & M Productions feat. Marsel – True House (Jask’s House-Apella) (3:39)
2. Deep & Wide – Esa Magia (4:12)
3. Solar House – Got 2 B U (6:58)
4. Mark Grant – Jazzy Kinda Sum’n (original mix) (5:25)
5. Roy Davis JR. – Michael (Love Sun Francisco Vocal Mix) (6:35)
6. Mimosa – Wind Chime (Summer Mix) (5:41)
7. Little Green Men – Time Changes (6:12)
8. Project: PM – When The Voices Come (5:02)
9. Jamie Anderson – Oceanic (3:29)
10. Petalpursher – Surrender (original mix) (5:25)
11. STP feat. Kevin Yost – ‘An American In Paris’ (4:54)
12. Rubba J. – Meeting Point (7:15)

CD2 (Time: 1:05:07)

1. Mettle Music – Tranquility [Original Mix] (7:48)
2. Acuarian Dream – Love And Tears [Soul Creatures - Reworked Live Mix] (7:14)
3. Next Evidence – Blowin Drums (7:21)
4. Julius Papp – Control [Original Groove] (4:54)
5. Bebel Gilberto – Sem ConteCCo [Ugo & Sanz Mix] (5:41)
6. Teddy G – Brazillian City [Mix] (6:12)
7. Joshua – Watch The Bass (5:33)
8. To-Ka Project – Two Stones Ahead (3:44)
9. Fish Go Deep – Flying Funk (4:08)
10. Natural Calamity – And That’s Saying A Lot [Groove Armada 2nd Take] (6:12)
11. Restless Soul feat. Nathan Haines – After Ours [Dennis F's Purgatory Mix] (6:22)

Cafe Del Mar Chillhouse Mix 3

CD1 (Time: 1:08:01 )

1. Mettle Music – Moodswing (7:44)
2. Duran y Garcia – Dream Love (4:54)
3. Primary Colours feat. Nicole – Say That U Love Me (F-Thing Vocal Mix) (5:40)
4. Dave Barker – Meanwhile (5:41)
5. Solar House – Freedom (6:44)
6. Patrick Green – Feel the Vibes (Path Session Mix) (6:33)
7. 75 Modd feat. Dexter Porter – My Love (Kiko Navarro’s So Deep Mix) (8:00)
8. Mark Gorbulew – Manhattan Groove (Ernest Bonzet Start Stop Remix) (4:15)
9. Serjaye – Mahal Kita (I Love You) (Sound of Soul’s Funkessential Mix) (6:04)
10. East West Connection – East West (Club Mix) (6:58)
11. Frankie Valentine – Moogrock (5:27)

CD2 (Time: 0:59:53 )

1. The Amalgamation Of Soundz – Maze (Original Mix) (6:51)
2. Jay J & Andrew Macari – Little Bit Of Jazz (6:21)
3. Khaimar – Music For The People (Vincent Kwok’s Mood Funk Remix) (4:50)
4. Alexkid – Night Lines (5:56)
5. Richard Les Crees – Until The Day (4:19)
6. Timewriter – So Free (5:35)
7. Echomen – Thru 2 You (Cj One Vocal Mix) (5:35)
8. Trumpetman – Siempre (4:04)
9. T Kolai – The Most High (Centrix Mix) (5:20)
10. Lo-Motion – Give Me Your Soul (6:31)
11. Minus 8 – Thaia (4:30)

Cafe Del Mar Chillhouse Mix 4

CD1 (Time: 1:00:01)

1. The Defloristics – Back In The Days (6:19)
2. John Dahlback – Magic Touch (4:59)
3. Steven Garcia – Rise & Fall (6:18)
4. BRS – Spring Dom (6:49)
5. Filur – Release (3:56)
6. Numaro – Losing Control (3:58)
7. Aya – Sean (5:23)
8. Wei-Chi – Faces And Places (5:54)
9. Downtown Brooklin, Inc. – Jay Street (4:43)
10. Inverse Cinematics – It’s Music (6:18)
11. Lockhart – Looking Across The River (5:25)

CD2 (Time: 1:02:16)

1. Martinez – Antares Pt. 1 (6:09)
2. Eminence feat. Syreeta Neal – Slave To The Poison (5:53)
3. Ross Couch – Fell It (5:32)
4. Yoyo – Take It (5:23)
5. JT Donaldson – Trust Me (5:53)
6. Gutbrod + Bruno from Ibiza – Electric Blues (4:15)
7. Soul Khula feat. Miss Identity – Fire (5:53)
8. Onda – Waiting For Your Love (6:27)
9. Colette – Didn’t Mean To Turn You On (5:00)
10. Milesart Orchestra – Time For Peace (7:10)
11. Jerome Sydenham and Mikael Nordgren – Stockholm-Go Bang! (4:40)

Cafe Del Mar Chillhouse Mix 5

CD1 (Time: 0:55:19)

1. Deep Collective – Lies (5:17)
2. Steven Garcia – Mesmerize (6:00)
3. DJ Ino – Maruxa Wanna Dance (6:24)
4. Robin Masters Orchestra – Searching My Soul (4:34)
5. Trouble feat. Ian Whitelaw & Meitz – Phonique (5:54)
6. Dr. Deep House – Beautiful Morning (5:00)
7. Dennis Ferrer feat. Malena Perez – I Can’t Go Under (5:25)
8. Francois Dubois – I Try (Original mix) (4:21)
9. Two Armadillos – Tunnel Of Light (5:23)
10. Fat Freddy’s Drop – Hope (3 Generations Walking Remix) (7:00)

CD2 (Time: 1:10:17)

1. Sunshine Jones – Anywhere You Are (10:48)
2. Hugo Giner – Dark Children (6:06)
3. Valentin H. & C. Banx – German Boys (6:09)
4. Franck Roger – Re-Birth (7:16)
5. Chubby Dubz – See It Thru (Machomovers Remix) (8:00)
6. Da Funk – Dig Dis (Cloudsteppers Remix) (6:57)
7. Jean F. Cochois – Electronique Love (Remix) (5:40)
8. Sendos Fuera – Running (7:54)
9. Audio Soul Project – Community (Fish Go Deep Vocal Mix) (6:24)
10. Solar Sides – Booty Call (5:04)

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Roxette – 7 albums (Digital Remastered) (2009) [APE]

May 31, 2013, 2:52 am

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≪ Previous: VA – Cafe Del Mar Chillhouse Collection: Vol.1 – Vol.5 (1999-2007) [APE]

Roxette – 7 albums (Digital Remastered) (2009) [APE]

Quality: APE image+.cue | Bitrate: lossless | Total time: ~500 min | Total Size: 3.27 GB
Genre : Euro pop

http://en.wikipedia.org/wiki/Roxette

Roxette Archives Vol.1 ? Pearls of passion
2. Secrets that she keeps
3. Goodbye to you
4. I call your name
5. Surrender
6. Voices
7. Neverending love
8. Call of the wild
9. Joy of a toy
10. From one heart to another
11. Like lovers do
12. So far away
13. Pearls of passion [Bonus track]
14. Neverending love (Demo) [Bonus track]
15. Secrets that she keeps (Demo) [Bonus track]

Roxette Archives Vol.2 ? Look Sharp!
2. Dressed for success
3. Sleeping single
4. Paint
5. Dance away
6. Cry
7. Chances
8. Dangerous
9. Half a woman, half a shadow
10. View from a hill
11. (I could never) Give you up
12. Shadow of a doubt
13. Listen to your heart
14. The Voice [Bonus track]
15. One is such a lonely number (Demo September 1987) [Bonus track]
16. Don?t believe in accidents (Demo Spring 1988) [Bonus track]

Roxette Archives Vol.3 ? Joyride
2. Hotblooded
3. Fading like a flower (Every time you leave)
4. Knockin? on every door
5. Spending my time
6. I remember you
7. Watercolours in the rain
8. The big L.
9. Soul deep
10. (Do you get) Excited?
11. Church of your heart
12. Small talk
13. Physical fascination
14. Things will never be the same
15. Perfect day
16. The sweet hello, the sad goodbye [Bonus track]
17. Love spins (Demo) [Bonus track]
18. Seduce me (Demo) [Bonus track]

Roxette Archives Vol.4 ? Tourism
2. Fingertips (Studio)
3. The Look (Live)
4. The heart shaped sea (Studio)
5. The Rain (Studio)
6. Keep me waiting (Studio)
7. It must have been love (Live/Studio)
8. Cinnamon street (Studio)
9. Never is a long time (Nightclub)
10. Silver blue (Studio)
11. Here comes the weekend (Hotelroom)
12. So far away (Nightclub)
13. Come back (Before you leave) (Studio)
14. Things will never be the same (Live)
15. Joyride (Live)
16. Queen of rain (Studio)
17. Fingertips ?93 [Bonus track]
18. 2 Cinnamon street [Bonus track]

Roxette Archives Vol.5 ? Crash! Boom! Bang!
2. Crash! Boom! Bang!
3. Fireworks
4. Run to you
5. Sleeping my car
6. Vulnerable
7. The first girl on the moon
8. Place your love
9. I love the sound of crashing guitars
10. What?s she like?
11. Do you wanna go the whole way?
12. Lies
13. I?m sorry
14. Love is all (Shine your light on me)
15. Go to sleep
16. Almost unreal [Bonus track]
17. Crazy about you [Bonus track]
18. See me [Bonus track]

2. Wish I could fly
3. You can?t put your arms around what?s already gone
4. Waiting for the rain
5. Anyone
6. It will take a long long time
7. 7Twenty7
8. I was so lucky
9. Stars
10. Salvation
11. Pay the price
12. Cooper
13. Staring at the ground
14. Beautiful things
15. It hurts [Bonus track]
16. Myth (Demo) [Bonus track]
17. Makin? love to you [Bonus track]

Roxette Archives Vol.7 ? Room service
2. The centre of the heart
3. Milk and toast and honey
4. Jefferson
5. Little girl
6. Looking for Jane
7. Bringing me down to my knees
8. Make my head go pop
9. Try (Just a little bit harder)
10. Fool
11. It takes you no time to get here
12. My world my love my life
13. Entering your heart [Bonus track]
14. The weight of the world [Bonus track]
15. Bla bla bla bla bla (You broke my heart) [Bonus track]

Download:

http://uploaded.net/file/fzq28sx8/alllossless.com_Roxette7albumsDigitalRemastered2009.part1.rar
http://uploaded.net/file/ul4181hh/alllossless.com_Roxette7albumsDigitalRemastered2009.part2.rar
http://uploaded.net/file/dlf1oy6k/alllossless.com_Roxette7albumsDigitalRemastered2009.part3.rar
http://uploaded.net/file/bsla2gcq/alllossless.com_Roxette7albumsDigitalRemastered2009.part4.rar
http://uploaded.net/file/0xq99mzc/alllossless.com_Roxette7albumsDigitalRemastered2009.part5.rar
http://uploaded.net/file/coyjrfh3/alllossless.com_Roxette7albumsDigitalRemastered2009.part6.rar
http://uploaded.net/file/rvqs00yb/alllossless.com_Roxette7albumsDigitalRemastered2009.part7.rar
http://uploaded.net/file/6macacb8/alllossless.com_Roxette7albumsDigitalRemastered2009.part8.rar

↧

Alison Moyet – Albums Collection (1984-2013) [FLAC]

June 5, 2013, 1:17 am

≫ Next: OneRepublic – Studio Albums (2007-2013) [FLAC]

≪ Previous: Roxette – 7 albums (Digital Remastered) (2009) [APE]

Alison Moyet – Albums Collection (1984-2013) [FLAC]

EAC | FLAC | Image/Tracks (Cue&Log) ~ 2 Gb
Genre: New Wave, Pop Rock, SynthPop, Alternative | Scans jpg or png | Time: 05:04:59

Collection includes: Alf (1984); Raindancing (1987); Hoodoo (1991); Essex (1994); Hometime (2002); Voice (2004); The Minutes (2013)

Alison Moyet, a British pop singer with a remarkably bluesy voice, began her professional career with synth pop duo Yazoo (Yaz in the U.S.) in the early ’80s. In 1983, Moyet began a solo career, releasing her debut album, Alf, the following year. Alf was a major success in Britain, hitting number one on the charts and launching the hit singles “Invisible,” “All Cried Out,” and “Love Resurrection”; it was a minor hit in the U.S., with “Invisible” cracking the Top 40. In 1985, Moyet toured with a jazz band led by John Altman; the group recorded a version of Billie Holiday’s “That Ole Devil Called Love,” which became her biggest British hit, even though the group received poor reviews.
In 1986, Moyet had another major U.K. hit with “Is This Love?,” which was released while she was recording her second soloalbum. Raindancing appeared in 1987 and it was another big British hit, peaking at number two and featuring the Top Ten hits “Weak in the Presence of Beauty” and “Love Letters.” The record wasn’t quite as successful in the U.S., peaking at number 94. In 1991, she released her third album, Hoodoo, which was her most musically ambitious collection to date. However, it didn’t match the commercial success of her previous albums, failing to chart in America. Essex, her fourth album, appeared in 1994 and she released a greatest-hits collection, Singles, the following year. After a near-nine-year layoff, she returned with Hometime produced by the production team the Insects. Two years later and filled with standards, Voice arrived. In 2005, the album was reissued in America with her version of “Alfie” as a bonus track. After signing with the W14 Music label in late 2006, Moyet released The Turn in October 2007. In wouldn’t be until 2013 that she returned. Signing a new worldwide deal with London-based label Cooking Vinyl, Moyet returned to a more electronic sound with her eighth studio album, The Minutes.
Biography by Stephen Thomas Erlewine, Allmusic.com

Alf (1984)

Alison Moyet’s solo debut moves away from the all-electronic backing of her two-album partnership with Vince Clarke in Yaz, but ironically, those two albums sound much less dated in retrospect than Alf itself. Hooking up with Bananarama’s producers, Tony Swain and Steve Jolley, Moyet delivers an enormous, walloping mid-’80s pop sound that constantly threatens to overwhelm both the songs, which are a mixed bag, and occasionally even the formidably voiced singer herself. Several tracks make it through the production mill unscathed, notably the singles “All Cried Out” and “Love Resurrection,” but the album’s pinnacle is the remarkable “Invisible,” a soulful shouter penned by Motown great Lamont Dozier that’s among the great R&B pop singles of the ’80s. Moyet tears into the song’s emotional chorus with more ferocity than on the rest of the album, and the song is as melodically sturdy as any of Dozier’s previous hits. Some of the other tracks would benefit from less-overbearing production, most notably the chilling “Where Hides Sleep,” making Alf one of those albums that sounds better once the listener has mentally undressed the songs a bit.
Review by Stewart Mason, Allmusic.com

Tracklist:
01. Love resurrection (03:53)
02. Honey for the bees (04:12)
03. For you only (04:06)
04. Invisible (04:00)
05. Steal me blind (03:16)
06. All cried out (06:50)
07. Money mile (03:44)
08. Twisting the knife (03:28)
09. Where hides sleep (04:20)

Raindancing (1987)

Raindancing is the second studio album by singer/songwriter Alison Moyet. The album includes four single releases; “Is This Love?” (co-written by the Eurythmics’ David A. Stewart under his ‘Jean/Manu Guiot’ pseudonym), “Weak in the Presence of Beauty”, “Ordinary Girl” and “Sleep Like Breathing”, a duet with David Freeman of the band The Lover Speaks. The US version of Raindancing was released with a different cover and the tracks in re-arranged order.
Tracklist:
01. Week in the presence of beauty (03:48)
02. Ordinary girl (03:28)
03. You got me wrong (04:06)
04. Without you (03:29)
05. Sleep like breating (04:25)
06. Is this love? (04:02)
07. Bow wind bow (05:49)
08. Glorious love (04:23)
09. When i say (02:57)
10. Stay (03:27)

Hoodoo (1991)

On her third post-Yaz release, songstress Alison Moyet puts her bluesy vocal abilities to good use on possibly her most soulfulcollection yet. She hasn’t lost her knack for breezy, adult pop, evident on the lilting, melodic “Wishing You Were Here” (with Kirsty MacColl lending some assistance on backing vocals) and “It Won’t Be Long,” but tracks like the horn-driven “Footsteps” and high-energy title song form the core of Hoodoo. With the lyrics squarely focused on relationships, Moyet is often brassy and assertive as on “Back Where I Belong,” which features a catchy electro-reggae beat and contributions from ex-Fine Young Cannibals Andy Cox and David Steele. She’s still more than capable of expressing heart-aching vulnerability, though, especially on the gorgeous “This House,” where a split-second pause gives way to her passionately imploring, “Who will take your place?” Other highlights include a pair of gospel-flavored numbers, the jumpy “Rise” (on which she adds harmonica) and the anthemic closer, “Find Me.” It all makes Hoodoo another strong offering from the distinctive Moyet.
Review by Tom Demalon, Allmusic.com

Tracklist:
01. Footsteps (05:00)
02. It Won’t Be Long (04:14)
03. This House (03:56)
04. Rise (03:46)
05. Wishing You Were Here (03:57)
06. Hoodoo (04:43)
07. (Meeting With My) Main Man (04:40)
08. Back Where I Belong (03:51)
09. My Right A.R.M. (04:47)
10. Never Too Late (03:29)
11. Find Me (05:25)

Essex (1994)

On her fourth solo album, Essex, named after her home county, Alison Moyet continues to search for valid alternatives to her natural gifts. A singer with a remarkably forceful voice and emotional delivery, she had succeeded both as a jazz and blues interpreter and when her singing was inventively contrasted with Vince Clarke’s synthesizer tracks in Yaz. While her solo work at first showed promise of combining those styles with contemporary Brit-pop and produced some hits, by this point she is struggling to sound distinctive against the overeager production style of Ian Broudie, whose work is somewhat offset by the more sedate tracks produced by Pete Glenister. “Whispering Your Name,” the first single, written by Jules Shear, with a lyric intended to be sung by one man to another, sounds curious coming out of Moyet’s mouth, but at least the words are about something definite, which is more than you can say for Moyet’s own elliptical expressions of anger and romantic discord. Musically, thealbum veers from the Revolver-era Beatles sound of the second single, “Falling,” to the Motown rhythm of “So Am I” and an unnecessary remake of Yaz’s “Ode to Boy” arranged to sound like “Pinball Wizard.” The best song, the Glenister-produced ballad “Satellite,” is buried in the middle of the record — what makes it the best is that the arrangement actually allows Moyet the space to sing and to be as moving as she can be.
Review by William Ruhlmann, Allmusic.com

Tracklist:
01. Falling (03:40)
02. And I Know (03:49)
03. Whispering Your Name (03:28)
04. Getting Into Something (04:16)
05. So Am I (03:46)
06. Satellite (04:17)
07. Ode To Boy (02:53)
08. Dorothy (03:27)
09. Another Living Day (03:45)
10. Boys Own (04:05)
11. Take Of Me (04:10)
12. Ode To Boy II (02:58)
13. Whispering Your Name (Single mix) (03:47)

Hometime (2002)

After a near-nine-year layoff, Alison Moyet’s fifth solo album is a posh, lavish, elegant affair that shows she’s lost none of her chops throughout the long layoff. Production by the Insects, best known for their soundtrack work, adds a torchy, dreamy quality to these tunes, all but two of which were co-written by the singer. Between the intricately crafted songs, the ornate production, and Moyet’s soulful voice, this is arguably her most fully realized and cohesive work. Strings, keyboards, and multiple guitars layer into a big, lush, sophisticated sound perfect for Moyet’s husky voice. While there is nothing that reminds the listener of Yaz, the synths, drum programming, and loops recall the more techno aspects of her old band, while adding an organic, if not quite rootsy, feel. If Dusty Springfield still made records in the millennium, it’s likely they would be similar to Hometime. Personal yet expansive with just the right touch of ghostly R&B, this is a remarkably moving collection of European-style ballads. Somewhat reminiscent of Portishead’s live work, Moyet sinks into these tracks as if lounging in an overstuffed chair. The elements combine most poignantly on the stirring “If You Don’t Come Back to Me.” With its hypnotic strings, reverbed guitar, and jazzy bass, it seems like she’s interpreting an existing classic instead of writing a new one. Classy, subtle, yet often mesmerizing, this album is never less than affecting. It strives to be — and often is — a perfect vehicle for Moyet’s talent, reaching heights that have only been hinted at in her previous work.
Review by Hal Horowitz, Allmusic.com

Tracklist:
01. Yesterday’s Flame (04:28)
02. Should I Feel That It’s Over (04:01)
03. More (03:59)
04. Hometime (03:47)
05. Mary, Don.t Keep Me Waiting (03:38)
06. Say It (04:00)
07. Ski (04:22)
08. If You Don’t Come Back To Me (04:30)
09. Do You Ever Wonder (03:10)
10. The Train I Ride (05:03)
11. You Don’t Have To Go (04:17)

Voice (2004)

One of the U.K.’s most popular and best-selling vocalists of the past two decades, Alison Moyet’s husk-and-honey voice has made her equally successful as a blues wailer and a dancefloor diva. Equal focus has always been paid to her sharp songwriting, but her new path keeps listeners firmly focused on the intimacy of those vocals, which sound better than ever on this mature and soul-stirring, lushly produced and arranged (by British film composer Anne Dudley) collection of standards — some old (Legrand, Gershwin), some new (Elvis Costello), a few in French, and all surprising. Edging sweetly into pop-classical territory, Moyet reels us into the “Windmills of Your Mind” before ruminating on “The Man I Love” and exploring the concept of feeling “Almost Blue” (the Costello chestnut). Another highlight is her soaring, ethereal turn on the Costello/Burt Bacharach tune “God Give Me Strength,” rendered here like a passionate prayer. She also tackles classical pieces by Bizet and Purcell. Although the tempo and tone of the arrangements are fairly similar, as per the album title, Dudley’s restraint allows Moyet’s voice to take center stage, where it always belongs. The key to creating a successful standards album is finding unique ways to render familiar material, and peppering the set with obscure pieces that will inspire a deeper study of musical history. Moyet achieves all this and more on this winsome future classic.
Review by Jonathan Widran, Allmusic.com

Tracklist:
01. Windmills Of Your Mind (03:51)
02. The Man I Love (03:49)
03. Almost Blue (03:53)
04. Je Crois Entendre Encore (03:30)
05. What Are You Doing The Rest Of Your Life? (03:15)
06. God Give Me Strength (05:36)
07. The Wraggle Taggle Gypsies-O! (03:30)
08. Dido’s Lament: When I Am Laid In Earth (03:20)
09. La Chanson Des Vieux Amants (05:08)
10. Cry Me A River (05:39)
11. Bye Bye Blackbird (03:01)

The Minutes (2013)
On May 6th Cooking Vinyl are proud the present ‘the minutes’, a new album by world-renowned musical icon Alison Moyet, who has achieved sales of more than 20 million, both as a solo artist and half of influential duo Yazoo. Her first album since 2007,’the minutes’ was produced by Guy Sigsworth, known for his work with Robyn, Bjork, Goldie and Madonna. It finds Alison’s voice as strong and seductive as ever, with immaculate-quality songs that are powerful, dramatic and captivating. It’s experimental, but also keeps standards high-in-line with her illustrious track-record of pop hits. Clearly indicating a new artistic lease of life,’the minutes’ is arguably Alison’s most creatively- brimming album ever. It has subtle parallels to her synthpop past, but is also bang up-to-date, taking in elements of high-end pop smashes, R&B, modern club sounds and electronic experimentation.

Tracklist:
01. Horizon Flame (03:39)
02. Changeling (02:57)
03. When I Was Your Girl (03:39)
04. Apple Kisses (03:32)
05. Right As Rain (03:07)
06. Remind Yourself (03:48)
07. Love Reign Supreme (03:45)
08. A Place To Stay (04:03)
09. Filigree (03:44)
10. All Signs Of Life (03:54)
11. Rung By The Tide (04:35)

Download

http://uploaded.net/file/j5eiy6c4/AM_2004_-_Voice.rar
http://uploaded.net/file/kw69i20w/AM_2002_-_Hometime.rar
http://uploaded.net/file/e83wh2hj/AM_1994_-_Essex.rar
http://uploaded.net/file/scfqo60b/AM_1991_-_Hoodoo.rar
http://uploaded.net/file/04pshvvw/AM_1984_-_Alf.rar
http://uploaded.net/file/mdxj9v40/AM_1987_-_Raindancing.rar
http://uploaded.net/file/wvl180x1/AM_2013_-_The_Minutes.rar

or

http://rapidgator.net/file/49300a7d3dbfc6af56ccd5bca499b671/AM_1984_-_Alf.rar.html
http://rapidgator.net/file/8f2564e52944076b8b8fd30bdb05b522/AM_1987_-_Raindancing.rar.html
http://rapidgator.net/file/d9ed4aaf7d70cc31da26ec819a050cbb/AM_1991_-_Hoodoo.rar.html
http://rapidgator.net/file/5bb64853591fb587ffa42597ab23771e/AM_1994_-_Essex.rar.html
http://rapidgator.net/file/f18b8660e3bcae11faf4cb296d185f5e/AM_2002_-_Hometime.rar.html
http://rapidgator.net/file/fa232c02a0adebfed3a01c7e170ff32b/AM_2004_-_Voice.rar.html
http://rapidgator.net/file/018ac726df11a3d51d2faeab05028527/AM_2013_-_The_Minutes.rar.html

↧

OneRepublic – Studio Albums (2007-2013) [FLAC]

June 5, 2013, 2:03 am

≫ Next: George Michael – 5 Studio Albums + 2 Best Of + 7 Singles (1987 – 2006) [FLAC]

≪ Previous: Alison Moyet – Albums Collection (1984-2013) [FLAC]

OneRepublic – Studio Albums (2007-2013) [FLAC]

EAC | FLAC | Image (Cue&Log) ~ 1.4 Gb
Genre: Pop Rock, Alternative Pop Rock | Time: 03:19:08 | Complete Scans

Collection includes: Dreaming Out Loud (2007); Waking Up (2009) 2CD Deluxe Edition; Native (2013) Deluxe Edition.

Featuring the anthemic songwriting of Ryan Tedder, OneRepublic rose to prominence in 2007, when “Apologize” began its reign as the most popular digital download in American history. Although the song proved to be a quick success, OneRepublic had spent five years touring the musical minor leagues before its release, with Tedder splitting his time between the band’s work and production gigs for other artists. Tedder and Zach Filkins formed the band in 2002 and relocated to Los Angeles shortly thereafter, adding keyboardist Drew Brown, bassist/cellist Brent Kutzle, and drummer Eddie Fisher to the lineup in the process. OneRepublic then signed with Sony BMG’s Columbia label in 2003; three years later, however, the bandmates returned from a performance at Coachella to find themselves dropped from Columbia’s roster.
Nevertheless, OneRepublic’s popularity continued to soar on MySpace, and Tedder helped raise the group’s profile by penning songs for artists like Blake Lewis and Hilary Duff. Hip-hop producer Timbaland (with whom Tedder had already worked for several years) took notice of the group’s audience and signed OneRepublic to his own Mosley Music Group, a joint venture with Interscope Records. Timbaland also remixed one of the group’s most promising tracks, “Apologize,” and included it on his own album, 2007′s Timbaland Presents Shock Value. The song quickly became a platinum-selling single in many countries, breaking airplay records in the U.K. and selling an unprecedented 4.3 million digital downloads in America alone.
Later that year, OneRepublic stepped out on their own with Dreaming Out Loud, a debut album filled with piano-fueled songwriting and pop/rock melodies. The album quickly went gold, and “Apologize” continued to top the singles charts in multiple countries. Another Tedder-penned track, Leona Lewis’ “Bleeding Love,” experienced similar success at the same time, thus making Tedder one of the year’s most celebrated songwriters. OneRepublic began writing songs for a second album in 2008, and the group later decamped to Colorado Springs to avoid outside distractions. Although initially planned for a summer release, Waking Up wasn’t completed until September 2009. “All the Right Moves,” the album’s lead single, was released to radio that same month, while the entire album followed in November. In 2013, OneRepublic returned with its third studio album, Native, featuring the singles, “Feel Again” and “If I Lose Myself.

http://en.wikipedia.org/wiki/OneRepublic

Dreaming Out Loud (2007)

When a remixed version of “Apologize” found its way onto Timbaland Presents Shock Value in early 2007, OneRepublic were faced with an odd predicament — the group had a number one pop hit without an accompanying album. Dreaming Out Loud corrected that problem, delivering a marketable brand of piano-led pop/rock that combined the melodicism of the Fray with the vocal acrobatics of Maroon 5′s Adam Levine. It’s a testament to the band’s appeal that “Apologize” sounds better in its original setting than in the Timbaland remix, a fact that owes as much to the musicianship itself as frontman Ryan Tedder’s own experience as a producer. He was one of the industry’s hottest commodities in 2007, co-writing material for Hilary Duff, Ashley Tisdale, and Natasha Bedingfield while producing tracks for Jennifer Lopez and American Idol runner-up Blake Lewis. Tedder alsosaved some material for OneRepublic’s debut, and his band wound up eclipsing many of his past clients in popularity.
Tedder kept working with other artists during the following years, penning hit songs like “Bleeding Love” and “Halo” in the process. Dreaming Out Loud had its own share of hits, too — “Apologize” enjoyed a healthy residence on the charts, as did “Stop and Stare” — but the album still sounded derivative, almost as if it were mimicking the popular trends that Tedder helped create with his production gigs. “All We Are” was particularly Fray-like, with Tedder wailing a radio-ready melody over layers of piano and swelling guitar, while the ghost of Coldplay loomed large on other tracks. None of this made Dreaming Out Loud a bad album, particularly, but it did make it an unoriginal one, and Tedder continued to fare better whenever he was writing for groups other than his own.
Review by Andrew Leahey, Allmusic.com

Tracklist:
01. Say (All I Need) (03:50)
02. Mercy (04:01)
03. Stop And Stare (03:43)
04. Apologize (03:28)
05. Goodbye, Apathy (03:32)
06. All Fall Down (04:05)
07. Tyrant (05:03)
08. Prodigal (03:55)
09. Won’t Stop (05:03)
10. All We Are (04:28)
11. Someone To Save You (04:15)
12. Come Home (04:23)
13. Dreaming Out Loud (Bonus) (04:40)
14. Apologize (Timbaland Remix) (Bonus) (03:04)

Waking Up (2009) Deluxe Edition

Success is the gateway to many indulgences, not just those born of the flesh. Success opens the gates to any numbers of pretensions: sawing strings, children’s choirs, minor-key piano lines reminiscent of Nigel Tufnel, cavernous U2 reverb, long ponderous instrumental sections of piano and orchestra duets. OneRepublic hits every one of these marks on their second album, Waking Up, along with numerous other excesses, including a title track that bears echoes of the Killers, only with their goofy pomp replaced with po-faced circumstance. There?s no room for humor, intentional or otherwise, within OneRepublic?s music: everything is tightly controlled and serious, with love songs playing as blood oaths and the group?s modern R&B affectations – the one thing that keeps them from dipping into an adult contemporary morass – playing like a graceless assault, a cold clinical wall of synths. Chief songwriter/producer/singer Ryan Tedder can construct some chilly hooks out of this iciness, just like he did with “Apologize? and Leona Lewis?s ?Bleeding Love,? but there?s no joy, only dogged diligence, an alienating insistence that texture means more than warmth or melody.
Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
CD1:
01. Made for you (04:17)
02. All the right moves (03:58)
03. Secrets (03:44)
04. Everybody loves me (03:39)
05. Missing persons 1&2 (04:59)
06. Good life (04:12)
07. All this time (03:35)
08. Fear (03:47)
09. Waking up (06:09)
10. Marchin on (04:13)
11. Lullaby (04:37)
12. Sleep (Bonus) (05:55)
13. Shout (Bonus) (04:24)
CD2:
01. Passenger (04:02)
02. It’s A Shame (04:52)
03. Trap Door (03:56)
04. Sucker Punch (04:27)

Native (2013) Deluxe Edition

The Deluxe Edition of Native includes 5 bonus tracks in an exclusive collectible package. Native was mostly recorded at lead singer/songwriter/keyboardist and GRAMMY? winner Ryan Tedder’s Patriot Studios in Denver. Produced by Tedder and fellow band mate Brent Kutzle, OneRepublic also collaborated with leading-edge producers like Philippe Zdar (the French composer known for his work with artists like Phoenix, The Beastie Boys, Cat Power, and Depeche Mode), Jeff Bhasker (Kanye West, Jay Z, the Rolling Stones, fun.) and Benny Blanco (Maroon 5, Rihanna, Gym Class Heroes) infusing their high-powered rock-pop hybrid with elements of electronic music, gospel, blues, and folk.?
?As a songwriter for other contemporary pop stars, Ryan Tedder has proven his talent for writing intensely catchy songs that stick in people’s heads whether they like it or not. But of course, plenty of people do like it, as evidenced not only by Tedder’s success producing songs for such artists as Adele, Leona Lewis, and Maroon 5, but also with his own band, OneRepublic. And as with 2006′s Dreaming Out Loud and 2009′s Waking Up, OneRepublic’s 2013 third studio album, Native, once again gives Tedder a vehicle to turn his hitmaking abilities on himself, and in the process, steal just a little bit of the spotlight away from his more recognizable clients. And why shouldn’t he? Tedder has a burnished, resonant singing voice and a passionate, emotive vocal style that’s perfectly suited for the uplifting crossover songs he so expertly writes. And that’s kind of the dilemma for Tedder and OneRepublic, now three albums out. How do they stand out in a sea of other artists who sound so similar to them, primarily because as a songwriter, Tedder has largely defined much of the entire modern pop sound? In many ways, OneRepublic are a clearing house for mainstream pop sensibilities, and Native is no exception, with songs such as “If I Lose Myself Again,” “I Lived,” and “Au Revoir” touching upon the soaring, piano-driven alt-rock of Coldplay, the funky, synthetic, blue-eyed-soul of Maroon 5, and the slick yet earnest R&B balladry of any number of modern divas. Which isn’t to say that the songs on Native are unremarkable. On the contrary, Tedder reveals a broad palette of stylistic inspiration, and cuts like the roiling, romantic “Light It Up” and atmospheric and yearning “Can’t Stop” touch upon the ruminative qualities of indie rock, the falsetto-heavy tones of Prince-style lead vocals, and the wide-eyed drama of ’80s Peter Gabriel and Kate Bush. In some ways, Tedder’s talent lies in re-appropriating the latest pop trend to fit his own songwriting style. Here, on tracks like “Counting Stars,” Tedder has clearly been listening to the British folk-rockers Mumford & Sons and, as evidenced by the percussive operatic of “Feel Again,” Florence and the Machine. Of course, with Tedder having possibly worked with any one of the artists mentioned here prior to recording Native, one could argue that he’s merely re-appropriating his own sound. Ultimately, all of this might seem like more of a knock against OneRepublic as pop opportunists, if the music weren’t so dang catchy.
Review by Matt Collar, Allmusic.com

Tracklist:
01. Counting Stars (04:17)
02. If I Lose Myself (04:01)
03. Feel Again (03:05)
04. What You Wanted (04:01)
05. I Lived (03:54)
06. Light It Up (04:10)
07. Can’t Stop (04:09)
08. Au Revoir (04:50)
09. Burning Bridges (04:17)
10. Something I Need (04:00)
11. Preacher (04:08)
12. Don’t Look Down (01:37)
13. Something’s Gotta Give (04:51)
14. Life In Color (03:22)
15. If I Lose Myself (Acoustic) (03:50)
16. What You Wanted (Acoustic) (03:23)
17. Burning Bridges (Acoustic (04:35)

Download

http://rapidgator.net/file/25556d456b30a70dc4a44dc995dadd87/OneRepublic_-_Dreaming_Out_Loud_(2007).rar.html
http://rapidgator.net/file/b37ffe7cb521664ee7ed0d29c9196a5e/OneRepublic_-_Native_(Deluxe_Edition).rar.html
http://rapidgator.net/file/c3e241ffe6f94a23e776f8aa9537ccba/OneRepublic_-_Waking_Up_(Deluxe_Edition)_(2009).rar.html

http://uploaded.net/file/cippr87u/OneRepublic_-_Native_%28Deluxe_Edition%29.rar
http://uploaded.net/file/t3tiw7hn/OneRepublic_-_Waking_Up_%28Deluxe_Edition%29_%282009%29.rar
http://uploaded.net/file/q00shhp4/OneRepublic_-_Dreaming_Out_Loud_%282007%29.rar

↧

George Michael – 5 Studio Albums + 2 Best Of + 7 Singles (1987 – 2006) [FLAC]

August 14, 2013, 8:27 am

≫ Next: The Band – 6 Albums Collection (1968-1975) (MFSL Hybrid SACD USA, 2009-2012) [FLAC]

≪ Previous: OneRepublic – Studio Albums (2007-2013) [FLAC]

George Michael – 5 Studio Albums + 2 Best Of + 7 Singles (1987 – 2006) [FLAC]

EAC rip | 14 Releases | FLAC – Log – Cue | Release: 1987-2006 | 5.75 GB
Genre: Pop

George Michael is an English musician, singer, songwriter, multi-instrumentalist and record producer. Michael rose to fame in the 1980s when he formed the pop duo Wham! with his school friend, Andrew Ridgeley. His first solo single, “Careless Whisper”, was released while he was still in the duo and sold about six million copies worldwide. As one of the world’s best-selling music artists, Michael has sold more than 100 million records worldwide as of 2010. His 1987 debut solo album, Faith, has sold more than 20 million copies worldwide and made several records and achievements in the United States. Michael has garnered seven number one singles in the UK and eight number one hits on the Billboard Hot 100 in the US. In 2008, Billboard magazine ranked Michael the 40th most successful artist on the Billboard Hot 100 Top All-Time Artists list.

http://en.wikipedia.org/wiki/George_Michael

Tracklist:

1987 – Faith – 58:02
1. Faith
2. Father Figure
3. I Want Your Sex (Parts 1 & 2)
4. One More Try
5. Hard Day
6. Hand To Mouth
7. Look At Your Hands
8. Monkey
9. Kissing A Fool
10. Hard Day (Shep Pettibone Remix)
11. A Last Request (I Want Your Sex, Part 3)

1990 – Listen Without Prejudice – 48:19
1. Praying for Time
2. Freedom! ’90
3. They Won’t Go When I Go
4. Something To Save
5. Cowboys And Angels
6. Waiting For That Day
7. Mother’s Pride
8. Heal the Pain
9. Soul Free
10. Waiting (Reprise)

1995 – Jesus To A Child CDS – 17:41
1. Jesus To A Child
2. One More Try (live Gospel Version)
3. Older (Instrumental)

1996 – Fastlove CDS – 19:01
1. Fast Love (Part I)
2. I`m Your Man
3. Fast Love (Part II – Fully Extended Mix)

1996 – Older – 58:56
1. Jesus to a Child
2. Fastlove
3. Older
4. Spinning the Wheel
5. It Doesn’t Really Matter
6. The Strangest Thing
7. To Be Forgiven
8. Move On
9. Star People
10. You Have Been Loved
11. Free

1996 – The Older E.P. – 20:22
1. Older
2. I Can’t Make You Love Me
3. Desafinado
4. The Strangest Thing (Live)

1996 – The Spinning The Wheel E.P. – 18:44
1. Spinning the Wheel (Radio Edit)
2. You Know That I Want To
3. Safe
4. Spinning the Wheel (Forthright Edit)

1997 – Star People/The Strangest Thing CDM – 42:45
1. Star People ’97 (Forthright Club Mix)
2. Star People ’97 (Forthright Dub Mix)
3. Star People ’97 (Galaxy Mix)
4. Star People ’97 (Club Dub Mix)
5. Star People ’97 (MTV Unplugged Edit)
6. The Strangest Thing (live)

1998 – Ladies & Gentlemen (2CD The Best Of) – 147:00
DISC 1
1. Jesus to a Child
2. Father Figure
3. Careless Whisper
4. Don’t Let the Sun Go Down on Me
5. You Have Been Loved
6. Kissing a Fool
7. I Can’t Make You Love Me
8. Heal the Pain
9. Moment With You
10. Desafinado
11. Cowboys And Angels
12. Praying for Time
13. One More Try
14. A Different Corner
DISC 2
1. Outside
2. As
3. Fastlove
4. Too Funky
5. Freedom 90
6. Star People 97
7. Killer – Papa Was A Rollin’ Stone
8. I Want Your Sex (Part II)
9. The Strangest Thing 97
10. Fantasy
11. Spinning The Wheel
12. Waiting For That Day
13. I Knew You Were Waiting (For Me)
14. Faith 04:14
15. Somebody To Love

1999 – Songs From The Last Century – 43:11
1. Brother Can You Spare A Dime
2. Roxanne
3. You’ve Changed
4. My Baby Just Cares For Me
5. The First Time Ever I Saw Your Face
6. Miss Sarajevo
7. I Remember You
8. Secret Love
9. Wild Is The Wind
10. Where Or When

2002 – Freak CDS – 14:38
1. Freeek
2. Freeek (Max Reich Mix)
3. The Long And Winding Road

2002 – Shoot The Dog CDS – 16:21
1. Shoot The Dog (Explicit Album Version)
2. Shoot The Dog (Moogymen Mix)
3. Shoot The Dog (Alexkid Shoot The Radio Remix)

2004 – Patience – 70:00
1. Patience
2. Amazing
3. John And Elvis Are Dead
4. Cars And Trains
5. Round Here
6. Shoot The Dog
7. My Mother Had A Brother
8. Flawless (Go To The City)
9. American Angel
10. Precious Box
11. Please Send Me Someone (Anselmo’s Song)
12. Freeek! ’04
13. Through
14. Patience (Pt.2)

2006 – Twenty Five (3CD Set The Best Of) – 218:00
DISC 1
1. Everything She Wants (Wham!)
2. Wake Me Up Before You Go-Go (Wham!)
3. Freedom
4. Faith
5. Too Funky
6. Fastlove
7. Freedom! ’90
8. Spinning The Wheel
9. Outside
10. As (George Michael & Mary J. Blige)
11. Freeek!
12. Shoot the Dog
13. Amazing
14. Flawless (Go to the City)
15. An Easier Affair
DISC 2
1. Careless Whisper
2. Last Christmas
3. A Different Corner
4. Father Figure
5. One More Try
6. Praying for Time
7. Heal The Pain (George Michal & Paul McCartney)
8. Don’t Let the Sun Go Down On Me
9. Jesus To A Child
10. Older
11. Round Here
12. You Have Been Loved
13. John and Elvis Are Dead
14. This Is Not Real Love (George Michael & Mutya)
DISC 3
1. Understand
2. Precious Box
3. Roxanne
4. Fantasy
5. Cars and Trains
6. Patience
7. You Know That I Want To
8. My Mother Had a Brother
9. If You Were There
10. Safe
11. American Angel
12. My Baby Just Cares for Me
13. Brother Can You Spare a Dime?
14. Please Send Me Someone (Anselmo’s Song)
15. Through

Download

↧

The Band – 6 Albums Collection (1968-1975) (MFSL Hybrid SACD USA, 2009-2012) [FLAC]

August 14, 2013, 8:45 am

≫ Next: VA – Times Ain’t Like They Used To Be: Early American Rural Music – Classic Recordings from the 1920s and 30s, Vol. 1-8 (1997-2003) [FLAC]

≪ Previous: George Michael – 5 Studio Albums + 2 Best Of + 7 Singles (1987 – 2006) [FLAC]

The Band – 6 Albums Collection (1968-1975) (MFSL Hybrid SACD USA, 2009-2012) [FLAC]

Year of Publication drive : 2009-2012 | Audio Codec : FLAC (*. flac) | Rip type : image +. cue | Bitrate : lossless | Duration : 05:19:14 | 2.93 GB
Publisher (label) : Warner Bros. Records / Mobile Fidelity Sound Lab / Hybrid SACD | Catalogue number : UDSACD 2044 ~ 48, 2082
Genre : Rock, Folk Rock, Blues Rock

Structure
Rick Danko – Bass, vocals, double Bass, Fiddle, trombone, Guitar
Levon Helm – drums, vocals, Mandolin, Guitar, Bass, Bass double
Garth Hudson – Keyboards, saxophone, accordion, pedalboard, Woodwinds, Brass
Richard Manuel – piano, vocals , drums, Organ, Marimba, LAP Slide Guitar
Robbie Robertson – Guitar, vocals, autoharp, Melodica
John Simon – Baritone horn, electric piano, piano, Tenor saxophone, tuba

Extras. information
Warner Bros. Records / Mobile Fidelity Sound Lab
Hybrid SACD / Remastered / DSD / Ultradisc UHR ? GAIN 2 ? Series
Special Numbered Limited Edition / Made in the US
Catalog CDs / number:
UDSACD 2044 (? 04061) ? UDSACD 2048 (? 001538) ? UDSACD 2045 (? 02198)
UDSACD 2046 (? 03560) ? UDSACD 2082 (? 02145) ? UDSACD 2047 (? 03158)
Dynamic Range: 13/12/13/14/12/14

Tracklist

1968 – Music From Big Pink 00:41:40
01. Tears Of Rage 05:21
02. To Kingdom Come 03:20
03. In A Station 03:32
04. Caledonia Mission 02:57
05. The Weight 04:35
06. We Can Talk 03:04
07. Long Black Veil 03:03
08. Chest Fever 05:15
09. Lonesome Suzie 04:02
10. This Wheel’s On Fire 03:12
11. I Shall Be Released 03:12

1970 – Stage Fright 00:36:32
01. Strawberry Wine 02:38
02. Sleeping 03:19
03. Time To Kill 03:30
04. Just Another Whistle Stop 03:56
05. All La Glory 03:39
06. The Shape I’m In 04:03
07. The WS Walcott Medicine Show 03:05
08. Daniel And The Sacred Harp 04:15
09. Stage Fright 03:45
10. The Rumor 04:17

1971 – Cahoots 00:43:29
01. Life Is A Carnival 03:55
02. When I Paint My Masterpiece 04:19
03. Last Of The Blacksmiths 03:39
04. Where Do We Go From Here? 3:49
05. 4% Pantomime 04:32
06. Shootout In Chinatown 02:52
07. The Moon Struck One 04:17
08. Thinkin ‘Out Loud 03:18
09. Smoke Signal 05:09
10. Volcano 03:03
11. The River Hymn 04:40

1972 – Rock Of Ages 01:19:12
01. Don’t Do It 06:19
02. King Harvest (Has Surely Come) 04:02
03. Caledonia Mission 03:36
04. Get Up Jake 03:31
05. WS Walcott Medicine Show 03:51
06. Stage Fright 04:35
07. The Night They Drove Old Dixie Down 04:32
08. Across The Great Divide 03:57
09. This Wheels On Fire 04:05
10. Rag Mama Rag 04:31
11. The Weight 05:29
12. The Shape I’m In 04:12
13. Unfaithful Servant 04:45
14. Life Is A Carnival 04:14
15. The Genetic Method 07:43
16. Chest Fever 05:21
17. (I Don’t Want To) Hang Up My Rock And Roll Shoes 04:21

1975 – The Basement Tapes (The Band & Bob Dylan) 01:17:36
01. Odds And Ends 01:47
02. Orange Juice Blues (Blues For Breakfast) 03:39
03. Million Dollar Bash 02:32
04. Yazoo Street Scandal 03:29
05. Goin ‘To Acapulco 05:27
06. Katie’s Been Gone 02:48
07. Lo And Behold 02:46
08. Bessie Smith 04:18
09. Clothes Line Saga 02:58
10. Apple Suckling Tree 02:48
11. Please, Mrs. Henry 02:33
12. Tears Of Rage 04:16
13. Too Much Of Nothing 03:03
14. Yea! Heavy And A Bottle Of Bread 02:14
15. Ain’t No More Cane 02:58
16. Crash On The Levee (Down In The Flood) 02:04
17. Ruben Remus 03:15
18. Tiny Montgomery 02:51
19. You Ain’t Goin ‘Nowhere 02:42
20. Don’t Ya Tell Henry 03:13
21. Nothing Was Delivered 04:43
22. Open The Door, Homer 02:49
23. Long Distance Operator 03:39
24. This Wheel’s On Fire 03:51

1975 – Northern Lights-Southern Cross 00:40:44
01. Forbidden Fruit 05:56
02. Hobo Jungle 04:12
03. Ophelia 03:30
04. Acadian Driftwood 06:40
05. Ring Your Bell 03:52
06. It Makes No Difference 06:30
07. Jupiter Hollow 05:17
08. Rags & Bones 04:43

Download

http://uploaded.net/file/imq4vkbp/TB_1968_Music_From_Big_Pink_MFSL_Hybrid_SACD_2009.rar
http://uploaded.net/file/y84ln68g/TB_1970_Stage_Fright_MFSL_Hybrid_SACD_2011.rar
http://uploaded.net/file/vpb2bwbp/TB_1971_Cahoots_MFSL_Hybrid_SACD_2010.rar
http://uploaded.net/file/7dbh0f98/TB_1972_Rock_Of_Ages_MFSL_Hybrid_SACD_2010.rar
http://uploaded.net/file/1n7uwsub/TB_1975_Northern_Lights_-_Southern_Cross_MFSL_Hybrid_SACD_2010.rar
http://uploaded.net/file/yjzuhgyp/TB_1975_The_Basement_Tapes_MFSL_Hybrid_SACD_2012.rar

http://rapidgator.net/file/4efe2abfb53cf151ef31d7b0eb19ae1d/TB_1968_Music_From_Big_Pink_MFSL_Hybrid_SACD_2009.rar.html
http://rapidgator.net/file/2725aa4296c4b3b4563d4befd2ba3108/TB_1970_Stage_Fright_MFSL_Hybrid_SACD_2011.rar.html
http://rapidgator.net/file/8c09bb8a2ee9ff77ad53cfba40146867/TB_1971_Cahoots_MFSL_Hybrid_SACD_2010.rar.html
http://rapidgator.net/file/d10635c3e935c693a526bb02328b6cd3/TB_1972_Rock_Of_Ages_MFSL_Hybrid_SACD_2010.rar.html
http://rapidgator.net/file/7054a5023aa74ca9095a9a6de32292b7/TB_1975_Northern_Lights_-_Southern_Cross_MFSL_Hybrid_SACD_2010.rar.html
http://rapidgator.net/file/e423b45ba680d3f857c5ad0ecaa112f6/TB_1975_The_Basement_Tapes_MFSL_Hybrid_SACD_2012.rar.html

↧

VA – Times Ain’t Like They Used To Be: Early American Rural Music – Classic Recordings from the 1920s and 30s, Vol. 1-8 (1997-2003) [FLAC]

September 5, 2013, 8:51 am

≫ Next: Art Garfunkel – 7 Albums Blu-spec CD Collection (2012) (Sony Music Japan SICP-20426-33 DSD Mastering) [FLAC]

≪ Previous: The Band – 6 Albums Collection (1968-1975) (MFSL Hybrid SACD USA, 2009-2012) [FLAC]

VA – Times Ain’t Like They Used To Be: Early American Rural Music – Classic Recordings from the 1920s and 30s, Vol. 1-8 (1997-2003) [FLAC]

Tracklist

Vol. 1
1. Prince Albert Hunt – Blues In A Bottle
2. Charlie Jordon – Dollar Bill Blues
3. Bascom Lamar Lundsford – Lost John Dean
4. AA Gray & Seven Foot Dilly – Streak of Lean, Streak of Fat
5. Richard ‘Rabbit’ Brown – Sinking of the Titanic
6. Dykes Magic City Trio – Tennessee Girls
7. Bob Campbell – Shotgun Blues
8. JP Nestor & Norman Edmonds – Train On The Island
9. The Four Wanderers – The Fault’s In Me
10. Happy Hayseeds – The Tail of Haley’s Comet
11. The Oaks Family – Wake Up You Drowsy Sleeper
12. Louis Lasky – How You Want Your Rollin ‘Done
13. Frank Blevins & His Tar Heel Rattlers – Fly Around My Pretty Little Miss
14. Memphis Jug Band – On The Road Again
15. Buell Kazee – The Dying Soldier
16. Buddy Boy Hawkins – Voice Throwin ‘Blues
17. Wilmer Watts & The Lonely Eagles – Been On The Job Too Long
18. Ken Maynard – Fannie Moore
19. Nugrape Twins – I Got Your Ice Cold Nugrape
20. Cars Brothers & Sprinkle – The Old Miller’s Will
21. Winston Holmes & Charlie Turner – Skinner
22. Southern Moonlight Entertainers – How To Make Love
23. Grayson & Whitter – Old Jimmie Sutton

Vol. 2
1. Earl Johnson – John Henry Blues
2. Allen Shaw – Moanin ‘the Blues
3. Ernest Stoneman – Lonesome Road Blues
4. Bobby Leecan and Robert Cooksey – Washboard Cut Out
5. Henry Thomas – Bob McKinney
6. Richard “Rabbit” Brown – Swanee River
7. Uncle Dave Macon – James Alley Blues
8. Cannon’s Jug Stompers – Sail Away Ladies
9. AA Gray – The Rooster’s Crowing Blues
10. The Shelor Family – Tallapoosa Bound
11. The Massey Family – Billy Grimes The Rover
12. AA Gray – Brown Skin Girl Down The Lane
13. Joe McCoy – You Know You Done Me Wrong
14. Sid Harkreader – Old Joe
15. Blind Alfred Reed – Beware
16. Wilmer Watts – Knocking Down Casey Jones
17. Tommy Bradley – Four Day Blues
18. Georgia Crackers – Riley the Furniture Man
19. Emmett Lundy – Piney Woods Girl
20. Louie Bluie – State Street Rag
21. Tweedy Brothers – Sugar in the Ground
22. Southern Moonlight Entertainers – Then I’ll Move to Town
23. Rev. DC Rice – Lord Keep Me With a Mind

Vol. 3
1. I Know His Blodd Can Make Me Whole – Blind Willie Johnson
2. Bath House Blues – Ashley’s Melody Men
3. Worried Blues – Frank Hutchison
4. Snake Doctor Blues – Jelly Jaw Short
5. Acorn Stomp – East Texas Serenaders
6. Sal Got A Meatskin – Carlisle Brothers
7. Streetcar Blues – Sleepy John Estes
8. Fort Smith Breakdown – Luke Highnight & His Ozark Strutters
9. Sleepy Desert – Wilmer Watts & His Lonely Eagles
10. Walking Blues – Son House
11. Sweet Rivers – Allison’s Sacred Harp Singers
12. Gonna Die With My Hammer In My Hand – Williamson Brothers & Curry
13. Mean Black Cat – Charlie Patton
14. Billy In The Lowground – Lowe Stokes
15. Good Time Blues – Jelly Roll Anderson
16. Christmas Time Will Soon Be Over – Fiddling John Carson & His Virginia Reelers
17. Steel Driving Man – Fruit Jar Guzzlers
18. I’m So Glad – Skip James
19. Rock About My Sara Jane – Uncle Dave Macon & His Fruit Jar Drinkers
20. I’m Taking My Auditon To Sing Up In The Sky – Cap, Andy, And Flip
21. Undertaker Blues – Buster Johnson & James Cole’s Washboard Band
22. Sally Johnson – Oscar Harper’s Texas String Band
23. I’ll Stay On The Right Road Now – Fa Sol La Singers

Vol. 4
1. Lowe Bonnie – Jimmie Tarlton
2. Early Morning Blues – William Harris
3. Billy In The Lowground – Burnett & Rutherford
4. Rambling Gambler – Dixon Brothers
5. Every Day In The Week Blues – Pink Anderson / Simmie Dooley
6. I Got A Bulldog – Sweet Brothers
7. Tom Cat Blues – Cliff Carlisle
8. Preacher Blues – Hi Henry Brown
9. Salt River – Kessinger Brothers
10. Blushing Bride – Golden Melody Boys
11. Kiss Me Quick – Georgia Yellow Hammers
12. Magnolia Blues – Charlie Patton
13. Perrodin Two Step – Angelas Le Jeunne
14. Bachelor’s Hall – Fiddling John Carson
15. Walking Shoes (Button Up Shoes) – Tommy Johnson
16. Wolves Howling – Stripling Brothers
17. Mistreated The Only Friend You Had – James Cole & His Washboard Band
18. Havana River Glide – Martin & Hobbs
19. I Want Two Wings To Veil My Face – Cotton Top Mountain Sanctified Singers
20. Make Down The Bed And We’ll All Sleep Together – Jess Hillard & His West Virginia Hillbillies
21. Special Rider Blues – Skip James
22. Walk Right In Belmont – Watts & Wilson
23. Leaving All To Follow Jesus – Rev. Rice & Congregation

Vol. 5
01. Sam McGee – Railroad Blues [3:17]
02. Floyd County Ramblers – Step Stone [3:02]
03. Skip James – Hard Time Killin ‘Floor Blues [2:50]
04. Weems String Band – Greenback Dollar [3:10]
05. Jimmie Davis – Doggone That Train [2:48]
06. Eli Framer – Framer’s Blues [3:06]
07. Roy Harvey & Jess Johnston – No Room for a Tramp [3:15]
08. Garland Brothers & Grinstead – Just Over the River [2:49]
09. Ben Covington – Mule Skinner Moan [3:02]
10. Reaves White County Ramblers – Shortening Bread [2:54]
11. JP Nestor & Norman Edmonds – Black-Eyed Susie [2:59]
12. Buddy Boy Hawkins – A Rag Blues [3:00]
13. Roy Harvey & Jess Johnston – Railroad Blues [3:22]
14. Grayson County Railsplitters – Way Down in North Carolina [2:31]
15. The Swamp Rooters (AA Gray & Lowe Stokes) – Citaco [3:04]
16. Unknown Artist – Pistol Blues [3:02]
17. Murphy Brothers Band – Boat Song March [3:02]
18. Frank Blevins & His Tar Heels Rattlers – I’ve Got No Honey Babe Now [2:59]
19. Wilmer Watts and The Lonely Eagles – Bonnie Bess [2:57]
20. Blind Joe Reynolds – Cold Woman Blues [2:57]
21. Wyzee, Tucker & Lecroy – Hamilton’s Special Breakdown [2:54]
22. Bull Mountain Moonshiners – Johnny Goodwin [2:56]
23. Charley Patton – Some Happy Day [3:09]

Vol. 6
01. Birkhead & Lane – Robinson County [3:06]
02. Floyd County Ramblers – Aunt Dinah’s Quilting Party [3:09]
03. Mississippi Moaner – It’s Cold in China [2:51]
04. Parker & Dodd – Sail Away Lady [2:59]
05. Uncle Dave Macon and his Fruit Jar Drinkers – I’m Going Away in the Morn [3:08]
06. Tenderfoot Edwards – Seven Sister Blues [2:55]
07. Virginia Mountain Boomers – Cousin Sally Brown [2:54]
08. Girls of the Golden West – Whoopee Ti-Yi-Yo Git Along Little Dogies [2:46]
09. Skip James – Cherry Ball Blues [2:50]
10. Roy Harvey & Jess Johnston – Milwaukee Blues [3:20]
11. Weems String Band – Davy [2:55]
12. Eli Framer – God Didn’t Make Me No Monkey Man [3:13]
13. Eck Robertson – Sally Gooden [3:11]
14. Jess Johnston & Byrd Moore – My Trouble Blues [3:09]
15. Charley Patton – Prayer of Death, Part 2 [2:49]
16. Red Headed Fiddlers – Cheat ‘Em [2:33]
17. Dewey & Gassie Bassett – Jesus Paved the Way [2:42]
18. Louis Lasky – Caroline [2:51]
19. The Swamp Rooters – Swamp Cat Rag [3:07]
20. Reaves White County Ramblers – Ten Cent Piece [3:03]
21. Blind Joe Reynolds – Ninety Nine Blues [2:40]
22. Jess Hillard and his West Virginia Hillbillies – Rolling River [3:45]
23. Turney Brothers – At the Cross [23:45]

Vol. 7
1. Dilly & His Dill Pickles – Bust Down Stomp
2. Jimmie Tarlton – Dixie Mail
3. King Solomon Hill – Times Has Done Got Hard
4. East Texas Serenaders – Meneola Rag
5. Sheffield Male Quartet Christ Arose
6. “Gitfiddle Jim” – Rainy Night Blues
7. Three Tobacco Tags – Good Gal Remember Me
8. Red Headed Fiddlers – Texas Quickstep
9. Ed Bell – Ham Bone blues
10. David Miller _ Cannonball Rag
11. Fiddlin John Carson & His Virginia Reelers – Little More Sugar in the
12. Bo Weavil Jackson – Devil and my Brown Blues
13. Stripling Brothers – Horseshoe Bend
14. Daniels-Deason Sacred Harp Singers – Primrose Hill
15. Skip James – Hard Luck child
16. Uncle Dave Macon & Sam McGee – Go On, Nora Lee
17. Dennis McGee – Jeunes Gens Campagnard
18. Jay Bird Coleman – I’m Gonna Cross The River Of Jordon Some Of These Days
19. Uncle Pete & Louise – Only A Tramp
20. Ben Jarrell & Frank Jenkins – Jack of Diamnds
21. Son Houe – Dry Spell Blues – Park 1
22. “Ted” Sharp, Hinman & Sharp – Pike’s Peak
23. Old Southern Sacred Singers – I’ll Go Where You Want Me To Go

Vol. 8
1. Vaughan Quartet – It’s Just Like Heaven
2. Red Headed Fiddler – The Steeley Rag
3. “Gitfiddle Jim” – Paddllin ‘Blues
4. Dilly & His Dill Pickles – Sand Mountain
5. Dock Boggs – Sugar Baby
6. King Solomon Hill – My Buddy Blind Papa Lemon
7. Stripling Brothers – The Lost Child
8. Frank Hutchison – The Train That Carried My Girl From Town
9. Bo Weavil Jackson – You Can’t Keep No Brown
10. Wright Brothers Quartet – Mother Is With The Angels
11. Dick Reinhart – Rambling Lover
12. Skip James – 4 O’Clock Blues
13. Da Costa Woltz’s Southern Broadcasters – Yellow Rose of Texas
14. Johnny Barfield – Gonna Ride Till The Sun Goes Down
15. Ed Bell – Mamlish Blues
16. “Ted” Sharp, Hinman and Sharp – Robinson County
17. Dennis McGee – Vaise Des Vachers
18. David Miller – Jailhouse Rag
19. Tommy Johnson – I Want Someone To Love Me
20. Uncle Dave Macon & McGee Bros. – Tennessee Tornado
21. Frank Jenkins – Roving Cowboy
22. Shelor Family – Big Bend Gal
23. Rev. WM Mosely – Yes! Tis Me

Download

http://uploaded.net/file/hb3r5x67/alllossless.com_VATimesAintLikeTheyUsedToBeVol.1819972003.part1.rar
http://uploaded.net/file/nykz49xc/alllossless.com_VATimesAintLikeTheyUsedToBeVol.1819972003.part2.rar
http://uploaded.net/file/olj5frpm/alllossless.com_VATimesAintLikeTheyUsedToBeVol.1819972003.part3.rar
http://uploaded.net/file/jz1dsa79/alllossless.com_VATimesAintLikeTheyUsedToBeVol.1819972003.part4.rar
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http://rapidgator.net/file/e067381117a5476eb96fdd83a69d4890/alllossless.com_VATimesAintLikeTheyUsedToBeVol.1819972003.part1.rar.html
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Art Garfunkel – 7 Albums Blu-spec CD Collection (2012) (Sony Music Japan SICP-20426-33 DSD Mastering) [FLAC]

September 12, 2013, 6:53 am

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Art Garfunkel – 7 Albums Blu-spec CD Collection (2012) (Sony Music Japan SICP-20426-33 DSD Mastering) [FLAC]

On edition
Cardboard sleeve reissue from Art Garfunkel featuring the high-fidelity Blu-spec CD format (compatible with standard CD players) and 2012 DSD remastering. Part of A Six-Art Garfunkel album Blu-spec CD Cardboard Sleeve Reissue series featuring albums “Angel Clare,” “Breakaway,” “Watermark,” “Fate For Breakfast,” “Scissors Cut,” and “Lefty.”
The Singer: Greatest hits album release from Art Garfunkel including two new songs recorded in 2012. Features the High-fidelity Blu-spec CD format (compatible with standard CD players)
cdjapan.co.jp
Artist (Group)
Ira Arthur (Art) Garfunkel (born Arthur Ira Garfunkel; November 5, 1941, Forest Hills, New York, USA) – American singer, actor, traveler and writer, who from 1957 to 1970 performed a duet with Paul Simon called Simon and Garfunkel. All the songs for this project wrote Simon, Garfunkel main contribution was his pure, high voice. His ancestors came from the Jews of Iasi (Romania), which was a major center of Jewish culture.
After the collapse of the duo Garfunkel walked away from the music played in the movie “Catch-22″ and “Carnal Knowledge.” In 1973 he released his first solo album, which consisted mostly of cover versions of well-known hits. Subsequently, he worked with songwriters such as Jimmy Webb and Randy Newman. Double-headed British pop charts – in 1975 (?I Only Have Eyes for You?) and 1979 (?Bright Eyes?). Recently, writes songs for himself alone.

xtras. information
Columbia Records / Sony Music Japan
Cardboard Sleeve (Mini LP) / Limited Release / Blu-Spec CD
2012 DSD Remastering
CDs Catalog: SICP-20428 ~ 33 / SICP-20426 ~ 7
Made in Japan
Dynamic Range: 10/10/11/10 / 9/9/10 ? 11

Tracklist

1973 – Angel Clare 00:45:34

01. Travelling Boy 05:02
02. Down In The Willow Garden 04:03
03. I Shall Sing 03:37
04. Old Man 03:26
05. Feuilles-Oh / Do Space Men Pass Dead Souls On Their Way To The Moon? 03:11
06. All I Know 03:50
07. Mary Was An Only Child 03:26
08. Woyaya 03:22
09. Barbara Allen 05:26
10. Another Lullaby 03:33
Bonus Tracks:
11. Travelling Boy (Single Version) 03:41
12. Second Avenue 02:50

1975 – Breakaway 00:34:06

01. I Believe (When I Fall In Love It Will Be Forever) 03:49
02. Rag Doll 03:07
03. Break Away 03:56
04. Disney Girls 04:33
05. Waters Of March 03:39
06. My Little Town 03:54
07. I Only Have Eyes For You 03:42
08. Looking For The Right One 03:22
09. 99 Miles From L.A. 03:31
10. The Same Old Tears On A New Background 03:48

1977 – Watermark 00:40:38

01. Crying In My Sleep 04:06
02. Marionette 02:34
03. Shine It On Me 03:31
04. Watermark 02:53
05. Saturday Suit 03:17
06. All My Love’s Laughter 03:581
07. (What A) Wonderful World 03:30
08. Mr. Shuck ‘N’ Jive 04:49
09. Paper Chase 02:38
10. She Moved Through The Fair 03:46
11. Someone Else (1958) 02:19
12. Wooden Planes 03:12

1979 – Fate For Breakfast 00:39:43

01. In A Little While (I’ll Be On My Way) 03:27
02. Since I Don’t Have You 03:38
03. And I Know 03:40
04. Sail On A Rainbow 03:47
05. Miss You Nights 03:46
06. Bright Eyes 03:58
07. Finally Found A Reason 02:38
08. Beyond The Tears 03:51
09. Oh How Happy 02:39
10. When Someone Doesn’t Want You 03:33
11. Take Me Away 04:39

1981 – Scissors Cut 00:31:41

01. A Heart In New York 03:53
02. Scissors Cut 03:13
03. Up In The World 02:18
04. Hang On In 03:47
05. So Easy To Begin 02:54
06. Bright Eyes 03:23
07. Can’t Turn My Heart Away 03:11
08. The French Waltz 03:13
09. In Cars 03:48
10. That’s All I’ve Got To Say (Theme From ‘The Last Unicorn’) 01:55

1988 – Lefty 00:42:13

01. This Is The Moment 04:32
02. I Have A Love 04:28
03. So Much In Love 02:25
04. Slow Breakup 03:46
05. Love Is The Only Chain 04:08
06. When A Man Loves A Woman 04:30
07. I Wonder Why 03:23
08. King Of Tonga 03:26
09. If Love Takes You Away 03:48
10. The Promise 03:59
Bonus Track:
11. Sometimes When I’m Dreaming 03:41

2012 – The Singer (2CD Set) 02:01:20

Disc One 01:03:26
01. Bridge Over Troubled Water / Simon & Garfunkel 04:51
02. All I Know 02:06
03. Perfect Moment 03:54
04. For Emily, Whenever I May Find Her (Duet With James Taylor) 02:18
05. Crying In The Rain 03:33
06. I Only Have Eyes For You / Simon & Garfunkel 03:09
07. 99 Miles From L.A. 03:24
08. (What A) Wonderful World (With James Taylor And Paul Simon) 03:23
09. Bright Eyes 03:57
10. Two Sleepy People 03:37
11. Skywriter 04:12
12. Scarborough Fair/Canticle / Simon & Garfunkel 03:09
13. Some Enchanted Evening 03:33
14. The Promise 03:55
15. The Thread 04:13
16. Lena 04:39
17. Barbara 05:24

Disc Two 00:57:53
01. Kathy’s Song / Simon & Garfunkel 03:42
02. Long Way Home 04:30
03. Scissor Cut 03:51
04. The Sound Of Silence / Simon & Garfunkel 03:06
05. Breakaway 03:31
06. So Long, Frank Lloyd Wright / Simon & Garfunkel 03:15
07. Waters Of March 03:35
08. The Decree 03:27
09. I Wonder Why 03:22
10. Disney Girls 04:29
11. My Little Town / Simon & Garfunkel 03:48
12. O Come All Ye Faithful 02:05
13. A Heart In New York 03:03
14. I’ve Grown Accustomed To Her Face 02:46
15. April Come She / Simon & Garfunkel 01:48
16. When A Man Loves A Woman 04:13
17. In Cars 03:13

Download

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