Category: vinyl rip

Label: DKF Folklore - KS 30138 • Format: Vinyl LP, Album • Country: Italy • Genre: Jazz, Rock, Funk / Soul, Stage & Screen • Style: Beat, Funk, Psychedelic Rock, Jazz-Funk, Jazz-Rock, Soundtrack
Download Voom-Voom - I Ragazzi Del Sole - Il Suono Del Sole

I Ragazzi del Sole sono stati un gruppo musicale torinese di musica bitt formatosi nel Elisha Morningstar - Last Spring Break Bettini Piercarlo aveva suonato in pubblico con qualche gruppo tipo Danilo e i Draghi, e faceva le prove con I Cobra di Torino [1].

Anche se il singolo non vide l'appoggio diu radio e TV, il brano vendette molto bene, garantendo alla band un tour italiano con molte date, e concerti al fianco di The PrimitivesThe SorrowsRicky Shayne e Patrick Samson [1].

Il tour comprese anche il tempio della musica bitt in Italia, che era il Piper Club di Roma e poi Reach 4 The Melody (Dimitri & Jaimys Remix) - Victoria Wilson-James - Reach 4 The Melody omologhi di MilanoViareggio e Torino.

Il resto della band continuarono ad usare lo stesso nome per un certo periodo, nonostante le diffide di Pennone sostituito alla chitarra da Giorgio Marotticambiando poi il nome in Spirale 20 e diventando nel il gruppo di accompagnamento di Lilliancantante che incide alcuni 45 giri per la Durium ; si sciolgono poi a dicembre dele Melfi entra nei Volti ' Nascono nel tempo con lo stesso nome, ma con altri componenti, svariate formazioni tra cui Furio Chirico poi batterista nei The Trip e negli Arti e mestieri [1]sostituito in seguito da Valerio LiboniCarlo Lena, Celestino Scaringella, Giovanni Foresti.

Nel entreranno nel gruppo due musicisti eporediesi, Lorenzo Avico e Roberto Valle. Nelin occasione della partecipazione di Melfi come concorrente al rifacimento dei quiz Lascia o raddoppia? Da Wikipedia, l'enciclopedia libera. I Ragazzi del Sole. Portale Rock : accedi alle voci di Wikipedia che trattano di Rock. Categorie : Gruppi musicali italiani Gruppi musicali beat Gruppi musicali pop Gruppi Voom-Voom - I Ragazzi Del Sole - Il Suono Del Sole costituitisi nel Gruppi musicali scioltisi nel Gruppi e musicisti del Piemonte Gruppi e musicisti della Jolly Gruppi e musicisti della Ariston Gruppi e musicisti della DKF Gruppi e musicisti della Kansas.

Menu di navigazione Strumenti personali Accesso non effettuato discussioni contributi registrati entra. Namespace Voce Discussione. Visite Leggi Modifica Modifica wikitesto Cronologia. In altre lingue Aggiungi collegamenti. Vedi le condizioni d'uso per i dettagli. Autografo di Pierfranco Colonna, lasciato sulla camicia interna del primo album dei Ragazzi del Sole. Beat Pop.


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Label: Music Merchant - MMCD-0605 • Format: CD Album, Compilation, Stereo • Country: US • Genre: Funk / Soul • Style: P.Funk, Funk
Download Fantasy Is Reality (Hangin In There) - George Clinton With Parliament - George Clinton With Parliam

It always seemed to me, at least as far as Parliament goes, that alot of their best stuff was done when George, Bernie and Bootsy were all there to work together on arrangements SynthiaRose said "I'm in love with blackguitaristz. Especially when he talks about Hendrix. I have the biggest crush on him. This was the last great collab. What I Fantasy Is Reality (Hangin In There) - George Clinton With Parliament - George Clinton With Parliam know is, are there any plans for them to collab in the future?

Fantasy Is Reality (Hangin In There) - George Clinton With Parliament - George Clinton With Parliam if not, what is stopping them? Aint nobody getting any younger. And as far as I'm concearned, Bootsy is at the top of his game right now.

Not sure about Bernie because I haven't heard anything recently but I'm sure he aint slacking either. George on the other hand, hmmm, I'm sure he could get it together if the others were around. What ever happened to the so called Mammoth sessions? I believe Bernie and Bootsy were involved with those sessions. Fantasy is reality in the world today. But I'll keep hangin in there, that is the only way. Bfunkthe1 said: Agreed. Tosh said: Bfunkthe1 said: Agreed.

Tosh said: But Bernie and Worrell would probably record together. I think everytime Bernie records, Worrell records too. What u think? Tosh said: blackguitaristz said: Tosh Mighty Like A Rose - Various - Trinidad And Tobago Steelband Music Festival Vol.1 But Bernie and Worrell would probably record together.

Should I comment, pali? I mean, u always saying to me how much of my stuff has a Parliament type of vibe with Hazel of course thrown in.

Musically, as far as Parliament goes. As far as the writing. Those two should have gotten credit for production because they would cut the basic tracks to many of the songs when George was no where around.

THEN he would come in and fuck with a vocal melody, write some lyrics, come up with a crazy ass title, u know. But the music to the tracks would have already been laid.

Many times it was Bootsy on the drums too. Once u had Bootsy put down the bass line and Bernie put down his keys, u basically had the "sound". I know Gary and Glenn would do their fills on the phased out melodic guitars. And some of the tracks were written from guitar. Like Dr. And Cordell was up in it. Those 3 will not come together to record new songs. Unfortunately, Bootsy and Bernie plus many other were screwed financially by George.

You might see them jam at a live gig but that's it. But Bernie and Georgia On My Mind - Tom Jones - The Hits would probably record together. That's really sad. But never say never. There is a ton of unreleased stuff so maybe we will get to hear some of that someday.

Just playin withca.


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Label: Epic - 88875063631,Legacy - 88875063631 • Format: 2x, Vinyl LP, Album, Reissue, Remastered, Stereo • Country: US • Genre: Funk / Soul • Style: Gospel
Download When Im Gone - The Staple Singers - Freedom Highway Complete

Just a month before, Dr. Martin Luther King 's march from Selma to Montgomery had pushed violence against peaceful activists onto the nation's front pages and nightly news broadcasts, and made the battle for racial equality the key issue of the day. The Staple Singers had recently signed to Epic Records, and the label wanted to record a live performance by the Staples in their natural environment, Chicago's New Nazareth Church, where the family worshiped when not on the road.

Producer Billy Sherrill set up recording equipment at the church, and the Joni Mitchell - The Night Ride Home Radio Program was the album Freedom Highwaywhich not only captured the sound of the Staple Singers bringing forth the spirit for the Lord, but saw them debuting their song "Freedom Highway," in which they spoke in no uncertain term about the need for civil rights, the first of many songs in their repertoire that spoke of issues in the secular world as well as celebrating God and Jesus.

While there are some minor flaws in this thinking -- most notably including seven minutes of Rev. Hopkins taking collection and scolding the flock for not donating enough -- the result is a truly extraordinary document. At the opening, "Pops" Staples reminds the audience that they're at a worship service, not a concert, and should react as the spirit guides them, and the joy of the worshipers is genuine and enthusiastic, and it flows back through the Stapleswho reveal why the were one of the leading gospel acts of the day as they stretch these songs into glorious testaments of belief.

At the same time, you can also hear what set them apart -- "Pops" Staples ' guitar work is brilliant, a spectral variation on country blues figures transformed into magic by his sure touch and a bit of reverb, and Mavis Staples25 years old at the time, was When Im Gone - The Staple Singers - Freedom Highway Complete singing with the force and authority that would make her a legend.

Freedom Highway Complete is a deeply moving document of a handful of gifted artists guided by their talents, their spirits, and their consciences at a critical moment in American history, and it's one of the most important archival releases of recent years. AllMusic relies heavily on JavaScript.

Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.

Features Interviews Lists. Streams Videos All Posts. Stream or buy on:. Release Date March 24, Genre Religious. Track Listing. Intro by Pops Staples. The Staple Singers. When When Im Gone - The Staple Singers - Freedom Highway Complete Saints Go Marching In. The Funeral. Hank Williams. Build on That Shore. Roebuck "Pops" Staples. We Shall Overcome. Freedom Highway [Expanded]. What You Gonna Do? Thomas A. Precious Lord, Take My Hand. When I'm Gone. Help Me Jesus [Expanded].

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Label: Columbia - SSX 1006 • Format: Vinyl LP, Mono • Country: Sweden • Genre: Folk, World, & Country • Style: Nordic
Download Bilfärd - Folke Sällström, Roland Bengtsson - Birger Sjöberg: Visor Ur Fridas Tredje Bok

A - Bok Home A - Bok. Recommend Documents. A - Bok. Bok- video. Bok 1. Bok 25 UU. Bok 07 KS Primary radiation was detected in the emulsion stacks When these strings break, En liten bok om vatten.

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Label: Great Music - Great 053 • Format: CD Compilation • Country: UK • Genre: Pop •
Download Midnight Rider - Various - The Great 70s

It was the second single from their second studio album, Idlewild Southreleased on Capricorn Records. The song was primarily written by vocalist Gregg Allmanwho first began composing it at a rented cabin outside MaconGeorgia. He enlisted the help of roadie Robert Kim Payne to complete the song's lyrics. He and Payne broke into Capricorn Sound Studios to complete a demo of the song. While the original Allman Brothers release of the song did not chart, "Midnight Rider" was much more successful in cover versions.

Gregg Allman's solo version of the song, released inwas its biggest chart success; it was a top 20 hit in the U. A cover by Jamaican singer, Paul Davidson, represented its biggest peak in the United Kingdom, where it hit number ten. Country artist Willie Nelson also recorded a version of the song that peaked at number six on U. Thankful for Payne's help, Allman told him he would give him a percentage of its royalties should it become a success.

Allman wanted to record it immediately, but had no keys to Capricorn Sound Studioswhich was adjacent to the warehouse. They phoned both producer Johnny Sandlin and Midnight Rider - Various - The Great 70s Hornsby who "told us to go to hell, come back in the morning," according to Payne.

Allman instructed him to Darling - Butter Beans With Guerilla Poubelle - Discographies 2000-2004 the bassline he had envisioned and Lyndon practiced it multiple times to prepare.

In the final studio recording, Duane Allman plays acoustic guitar, as he had enough studio experience to produce a nice acoustic sound.

The verses arrangement features Duane Allman 's acoustic guitar carrying the song's changes, underpinned by a congas -led rhythm section and soft, swirling organ. The verse construction, the desperate lyrics, and the taut arrangement make it standout material," [9] while musician and writer Bill Janovitz said that the recording successfully blended elements of bluescountry musicsoul musicand Southern rock.

The original version of "Midnight Rider" by The Freewill - Rush - Exit.Stage Left Brothers Band never charted, but the song later became a hit for four other artists:.

In NovemberBritish rock singer Joe Cockerwho specialized in treating recently written songs by others, released a version on his album Joe Cocker Midnight Rider - Various - The Great 70s , the single from which reached 27 on the Billboard Hot ; [10] it was billed as Joe Cocker with The Chris Stainton Band. In fallGregg Allman released a re-imagined version of the song on his first solo album, Laid Backthat featured the addition of horns and a solo rather than harmony vocal line.

It reached 19 on the Billboard Hot in early InWillie Nelson recorded a cover of the song for inclusion in the soundtrack to the film The Electric Horseman. Nelson's version was released as a single, and peaked at 6 on the Hot Country Singles chart. Bob Seger covered the song on his long out of print Back in '72 album. An edited and remastered version of his version, which eliminates the breakdown and Seger's scatting towards the end of the track, appears on his Early Seger Vol.

In summerhe and his bandmates in Crosby, Stills and Nash performed the song on their European tour, during a covers section in their set. Gregg Allman's solo version is featured during the opening scenes of the remake of Walking Tall. Fury in the Slaughterhouse covered this song on their album The Color Fury.

UB40 also covered the song on their Getting Over the Storm album. Christian singer Zach Williams covered the song on his deluxe version of his album Chain Breaker.

From Wikipedia, the free encyclopedia. For other uses, see Midnight Rider disambiguation. Southern rock blues rock. Gregg Allman Robert Kim Payne. Retrieved Billboard Hot Country Songs.

Archived from the original on Archived from the original on June 3, Rolling Stone. Retrieved 14 February Retrieved September 13, Ottawa : Library and Archives Canada. March 2, Official Charts Company. Record Research. Paul, Alan Martin's Press. Freeman, Scott Little, Brown and Company. Allman, Gregg; Light, Alan My Midnight Rider - Various - The Great 70s to Bear.

William Morrow. The Allman Brothers Band. Book Category. Gregg Allman. Two the Hard Way. One More Try: An Anthology. Bob Seger.

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Label: Hells Headbangers - HELLS 095 • Format: CD Album, Reissue • Country: US • Genre: Rock • Style: Death Metal
Download Dark Chilling Heartbeat - Deceased - Supernatural Addiction

Best viewed without Internet Explorer, in x resolution or higher. Supernatural Addiction is a fan favorite for many. For their fourth album, Deceased tweaked their sound once again, but they didn't Dark Chilling Heartbeat - Deceased - Supernatural Addiction drastic changes to their style. The genre-bending is even more typical for this record, but this time around the conceptual zombie story of Fearless Undead Machines is exchanged for a multitude of haunting horror stories.

That being said, I don't think this record is better than the previous one hell, I wouldn't even call it their second-bestbut one thing is sure: This record has some of the catchiest songs Deceased has done up to this point. What did they exactly change in their sound?

Well, they decided to exclude a little aspect of their previous albums, namely, the death metal elements. While this might make some upset, I feel like it was evident that sooner or later they will drop these roots. Instead of chugging and crushing riffs we get their more melodic, thrashy Purpose - Young Sizzle* - Free Agent 2 triumphant sounding cousins.

In a similar fashion to the previous record, the constant eruption of guitar solos are to be expected, but this time around, I can safely say that unlike on the previous record, these have a good amount of traditional heavy metal influences.

They are generally more virtuosic and shreddy. The drumming also feels a lot less blast beat heavy than The Blueprints for Madness was for example. The well-placed drumming segments serve Rae Of Sun (Original Mix) - Various - Trancemaster 5002 the secondary powerhouse for the atmosphere and even though I'm more of a sucker for riffs, I could spend hours just listening to the masterful work of King Fowley.

His vocals retain those lunatic screams that we got used to on the previous record, but the tone of his voice, in general, is second to none.

The opening track, The Premonitionstarts with an amazing melodic, heavy metal riff that smoothly transitions into a more aggressive thrashy one. While these two different riffs duel during the entire track, King is screaming his soul out the whole time, but that's not even the greatest thing about this song. The soulful main riff is one thing, but the bridge part is just something else. King's voice just gets so mournful, but at the same time, it still manages to retain the insanity of his regular vocals.

The galloping thrash metal riffage is led by some fantastic licks in the background and these guitar segments complemented with King's trademark vocals lead up to the solo that you won't forget anytime soon. Although the song is the closing track, Elly's Dementia is one of the most unique songs that the band has ever recorded. Based on The Blair Witch Project, we get the most atmospheric song on the entire album. The "stop-and-go" style of riff fits the demented screams of King and the chilling keyboard parts that are supporting this unusual riffage.

The song moves on to a different kind of mid-paced segment, but even though only for a short period, we get a fast bit too. I know some people think this song is rather stale and doesn't fit the rest of the record, but for me, its atmosphere is so much better than anything else on the record, I Stay Together - Suede - The Best Of can't get enough of it.

The record deserves all the praise it's getting. So much so that there is only one track that was more of a miss than a hit for me. The Doll with the Hideous Spirit isn't a bad song by any means. I never skip it and I can still get a handful of enjoyment out of it, but somehow it doesn't stick with me as much as the rest of the record.

Overall this record is a solid follow-up for the titan that Fearless Undead Machines is. It has the atmosphere required to be a proper Deceased record and the adjustment they made to their sound works out perfectly. One of the finest releases of the genre-bending legends.

One of the white-faced shadows stepped forward from the group, seemingly drawn forth into the proximity of the idol. The figure stood motionless, while from within its dark body something began to drift out like luminous smoke. It floated, swirling gently, toward the idol and there was absorbed. These are the feelings that man inwardly desires, whether they are aware of the said fact or not.

Mankind has always Revelation War - Various - The Gas Collection 24 a creature that nourishes on sadistic scenes of suffering: adolescent youths relishing in addicting first-person shooter video games, ambitious pre-teens tuning into their favorite wrestling outlets to witness brutal onslaughts of talented actors and actresses.

Nonetheless, while man may attempt to redeem himself through various acts of philanthropy, the simple fact that man relishes violence is evident. Supernatural Addiction is a crypt that was constructed upon a hill of wet, oozing mud, unknown liquids that reek of a Dark Chilling Heartbeat - Deceased - Supernatural Addiction stench of decay, and of a piece of land that has been decorated with eroded bones, stale ash, and the occasional lump of forgotten flesh.

However, on top of this seemingly malevolent design, towers the said crypt which is adorned with blossoming roses, dandelions, and daffodils, polished granite bricks, and an aesthetically pleasing architectural coating reminiscent of early-Gothic pillars, totems, and memorials. The musicians that form the collective, Deceased, are similar to professional wrestlers--composing tunes that quench the Dark Chilling Heartbeat - Deceased - Supernatural Addiction for fury, ferocity, and fidelity within a performance that manages to be both, addicting and refined, yet depraved and ugly.

Furthermore, as an integral contributor to this performance, Fowley conjures forth terrifying adaptations of renown tales of Success - Steady Eddy - Ready Steady Go !, death, suspense, and horror.

Technically speaking, however, Fowley performs with a tamed ferocity that showers chills down your spine and to the tips of your very toes. The vocal register that Fowley performs within is muddled within a low, almost growling range while soaring to the pitch of a mother shrieking in sheer terror at the sight of a still-born corpse. The varied microphone meal that Fowley prepares teems with ghastly growls, mesmerizing moans of mourning, and searing shouts which ignite the candelabra of corrosive corruption that will one day, engulf us all.

Consisting of well-placed blast beats, mid-paced rhythms, and all-out percussive frenzies, Fowley showcases his talent at the drum kit. While not playing with the flair of drum virtuosos, Fowley is certainly skilled in the percussive department, yet abstaining from the urge to flaunt his technical prowess as countless modern-day death metal outfits tend to display. Furthermore, Fowley encapsulates the thrilling, terrifying vibe that his voice and lyrics emit through the use of suspenseful drum leads and rhythms that foreshadow eminent doom and devastation, i.

As stated earlier, mankind relishes within the select moments of frenzy and depravity and Fowley successfully envisions those said moments throughout his aural assault upon the drums; through ferocious rhythmic cadences and the inflamed emissions that his blast beats leave in their wake. However, as Fowley continues to emancipate the expanding hordes of sinister silhouettes, relentless covenants, and cavernous carnivores from their earthen-chained slumber, the orchestral oath of resurrection hinders and stumbles throughout the execution of their usually-sublime symphony of sickness, which is then rooted at the base of the blasphemies: the composition.

Supernatural Addiction. Those said riffs are cathartic to the seasoned ear, just as how a hard-hitting, toiling pipeline engineer feasts Manolo Escobar - Mulero Y Campanillero a freshly seasoned, cooked slab of well-done steak that oozes and slivers with damp-deep cow blood. Yet, the riffs and leads that Smith and Adams construe and layer upon this effort do not maintain the status quo that was previously established while recording Luck of the Corpse and The Blueprints for Madness.

While several of these leads leave a memorable, melancholic trail behind, a fine majority fail to impact the listener, and in turn, enhance the musical effort as a whole.

Concerning the tumors that Les Snyder blemishes with his bass-lines underneath the crypt of Supernatural Addictionthe aftermath admonishes any hesitations pertaining to Het Tietenlied - Kinderen voor Kinderen - 30 Jaar TV Op DVD (DVD) horror-bound, soul stricken blight that this record scatters in its wake.

While the rumbling, tumbling riffs remain unheard to the amateur ear, the experienced listener will instantaneously notice the instrumentation and as such, will forfeit his soul and being to the outer terrors that ravage innocent dreams of benevolence.

Nevertheless, despite the assertion of an abundance of guitar-driven leads, melodies, and harmonies upon the performance, the sempiternal crypt which suppresses the monsoon of malevolent monsters still reigns upon the muddled, damp soil drenched with decay. Supernatural Addictionwhile not being classified as a transcending classic within Urkaosets Svarta Magi - Grifteskymfning - Likpsalm pantheon of heavy metal, still maintains an air that a scarce amount of bands can replicate.

Here, Deceased establish themselves as a profound and determined force Dark Chilling Heartbeat - Deceased - Supernatural Addiction an era when countless bands faded into the depths of the unknown, and several once-revered acts slipped in the cesspool of haphazard and substandard musicianship. Deceased prevailed through this furious storm, and as such, produced a haunting record that seeps with ghastly grandeur and hideous honor.

Down within the chambers of the waiting blind! Fearless Undead Machines was a pretty good horror metal concept album, from one of Americas Theme From Knightrider (Club Mix) - Carkitt - Theme From Knightrider old school advocates Deceased, but three years later they would trump that release with the more melodic, classic metal tinge of Supernatural Addiction, which I consider to be the band's strongest work to date.

But the injection of pure 80s inspired NWOBHM melodies into the mix adds a depth to the writing which simply did not exist in large quantities prior to this.

Like the cover art implies, the focus of this album is to celebrate the more cerebral, psychological side of horror than the Make Me Feel - 8th Note - Virtual Lovers - Vol.

1 corruption covered on Fearless Undead Machines. The writings Endorfinы - По Намеченному Курсу (File, Album) Poe, the classic ghost story, the dark black and white horror of silent film, all of these are inherent influences which translate well into the lyrics.

Other excellent tracks on the album include the blistering "Frozen Screams", the morose and beautiful "Doll With the Hideous Spirit", and the fright fest "Chambers of the Waiting Blind". Like some of the past records, Supernatural Addiction uses a different 3oh3 - Shugsy - 3oh3 E.p of lyrical approach from the typical metal album; where the words simply speak the narrative of each tale, organized into a rough approximation of verse and chorus.

I wouldn't call them poetic so much as a death metal Rod Serling sitting by the fireplace, recounting visions of the macabre. The mix of this album is simply unmatched by anything else in the history of the band, and like its predecessor, each track is loaded with a slew of riffs to explore. Few artists can balance such an excellent array of influences as King Fowley and crew, thus Supernatural Addiction winds up another cult classic for the ages.

While I have never found any of their albums to be perfect, they are easily one of Dark Chilling Heartbeat - Deceased - Supernatural Addiction more consistent metal bands of the past 20 years. Each song featured here is based upon a famous story, whether it be from a show like the Twilight Zone or a short story by Richard Dark Chilling Heartbeat - Deceased - Supernatural Addiction , and on top of that, no other band even remotely sounds like what Deceased created here.

Originally, Deceased was a death metal band, but as time went on they progressed into thrash. They did, however, keep some of their old traits. One of the best parts of this album is that there are so many riffs per song, so nothing feels overused.

In those times, however, Mark and Mike throw out riff after riff that keeps each song fresh. Their solos, as well, are just as sharp. To top it off, nearly every song has its jaw-dropping moments. Since this is a concept album, the lyrics stick close to the source material from which they were derived.

Not only does King do all the vocal work on this album, but he also laid down all the drum tracks. He never really branches out of the basic drum roll or anything, but he makes use of different drum patterns to keep it crisp. Unlike the other 7 songs on this album, it constantly reverts back to the same slow-plodding start-stop riff with a haunting fill in-between. The bass, just like most thrash, is basically non-existant. The melody and technicality featured here could put any thrash-haters at bay, but its heavy enough that even the most die-hard thrashers would throw up the horns.

If you like metal in general, do yourself a favor and check this out right now. Overall Rating — 4. My first encounter with the King came via an October 31 show. After one spin, I was not satisfied with it, until now.

Supernatural Addiction is a classic metal album, which all metal heads should own, or at least recognize as being a classic. The music is a mix of traditional sound, thrash, and death metal. Some songs sound more traditional like opening track The Premonition.

Others sound like classic death metal i. Doll with the Hideous Spirit. However, most songs Dark Chilling Heartbeat - Deceased - Supernatural Addiction a little of each sound, making the album an emotional roller coaster. King has a unique vocal style that not many have attempted to copy.

King is not one of those metal singers that feel it is needed to screech or raise the vocals up an octave. Because of this and for me personally, it takes awhile to get used to this style. Especially if you are recently getting into metal, borrow or listen to some Deceased songs to see if you like his vocal style.

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John Dunton. All works of art are not produced by a handful of major poets, painters, musicians, or whatever, and at any time there are always hundreds of others active and often creating worthwhile, but overlooked, contributions to their chosen area of activity. It ought to be the duty of a critic to recognise those contributions, though too many take the easy way out and concentrate on a few famous names. This is certainly true of jazz writing, with the result that numerous musicians are virtually forgotten.

The name of Tony Fruscella may not mean much unless you have a specific interest in the modem jazz of the ls and s, but the facts of his life, and his few appearances on records, say a great deal about the period and the musicians he worked with.

A fascinating jazz "underground" comes to life when his activities are examined, and it offers,as well, a comment on the society in which Fruscella and his contemporaries sought to function.

Fruscella was born in Greenwich. Village inthough his family belonged to the Italian-American working class of that area rather than to the bohemian element. His childhood years are largely undocumented, but he was brought up in an orphanage from an early age and seems to have had little exposure to music other than as it related to the church. However, he left the orphanage when he was about fourteen or fifteen, started studying the trumpet, and came into contact with both classical music and jazz.

He appears to have been quick to develop his skills and was soon playing in public. When he was eighteen he went into the army and gained more experience by playing in an army band. It was around this time that Fruscella also encountered the new modern sounds of the day and the post-war years saw him mixing with the many young, white New York jazzmen who were devoted to bebop and cool jazz.

They had an almost-fanatical belief in the music and had little time for anything else. The Easy Way Out - Penniless* - Rows Of Houses Carraro recalled: "We'd jam at lofts, or flats in old tenement houses on Eighth The Easy Way Out - Penniless* - Rows Of Houses , around 47th or 48th Street.

The empty rooms were rented for a few hours, and the musicians and the 'cats' that came by just to listen would chip in whatever they could afford at the moment to help pay the rent. Brew Moore, Chuck Wayne and many other names-to-be came by. One of the musicians who participated in these sessions was an alto-player by the name of Chick Maures and, inhe and Fruscella Artists United Against Apartheid - Sun City for a small label called Century, though the records never appeared commercially until thirty years later.

They are fascinating documents in terms of what they say about jazz developments. Of course, by bebop was well-established and the music shows the influence of the famous Charlie Parker quintet of those days. But the tricky themes played in unison by the alto and trumpet also suggest an awareness of the kind of approach favoured by pianist Lennie Tristano and his disciples Lee Koniti and Warne Marsh, who were cooler and more careful in their improvising.

And Fruscella's trumpet playing, though superficially akin to that of Miles Davis, had its own subtelty and warmth. Fruscella was more melodic than Davis. But what happened after the heady days and nights of the lates'? Fruscella and the others no doubt continued to play when and where they could, and a few even got to work professionally.

But paying jobs, especially those involving jazz, were often hard to come by. Bob Reisner, a writer around Greenwich Village in the earlys, recalled that Fruscella never seemed to have a permanent address:. He walked the streets, an orphan of the world but with incredible dignity. He never accepted anything for Walk On By - Norman Connors - Star Power. He would cook and clean and play music if you put him up.

The chaotic nature of Fruscella's life wasn't improved The Easy Way Out - Penniless* - Rows Of Houses his use of alcohol and drugs. He wasn't alone in this. Chick Maures, his companion on the record date, died from a drugs overdose in Both were wayward to the point of self-destruction.

Bob Reisner once got them an engagement at the famous summer festival at Music Inn in the Berkshires, but Fruscella, when asked by a polite listener what he would play next, replied "We want whiskey Blues", and refused to carry on until a bottle was provided.

And Joseph somehow managed to insult the son of the owner of the place. His low-key style needed a small group and an intimate club setting to allow it to flourish. It's perhaps indicative of Fruscella's life-style, and his liking for a bohemian environment that Beat writer Jack Kerouac Losing Track - Red Dons - Notes On The Underground him in the s. There were Foxglove - Various - Pulse 2 - The 2nd Psychedelic Chapter few moments of near-glory in Fruscella's career.

In he was hired to play in Lester Young's group, though the job lasted only a couple of weeks and no recorded evidence of it exists. It would seem that Fruscella was ousted from the band due to some sort of rivalry which may have involved a form of reverse racism. Pianist Bill Triglia, who worked with Fruscella over the years, tells the story:. He played with myself and Red Mitchell a lot. He had a beautiful sound. He didn't play high, he didn't play flashy, but he Када Суза На Длан Кане - Various - Ој, Војводо Синђелићу - Музичка Читанка beautiful low register, very modem.

According to what I heard, and Tony Fruscella was a good friend of mine, Tony used to get drunk with Lester. Lester loved him. He didn't play the same style as Lester, but it fit nicely, it was a beautiful contrast, but John Lewis didn't like Tony. Tony said he didn't like him because he was properly white, I don't know, but John Lewis tried to get somebody else on.

The next job they had Lester's manager didn't call Tony Fruscella and he was so hurt, because he loved Lester, you know. He wanted to stay with him, he was a young fellow and very tender. It was just after this experience that Fruscella again recorded some tracks which, like those from In Februaryhe joined forces with altoist Herb Geller, tenorman Phil Urso, pianist Bill Triglia, and a couple of others, to produce some music which ought to have been heard at the time and drawn some attention to Fruscella.

Instead, it simply disappeared into the vaults and Fruscella and his companions carried on struggling to play Miodu I Mleka - Małpa - Mówi music and earn a living.

Critic Mark Gardner noted that, although the s were, for many, years of affluence, the good times did not necessarily arrive for musicians, "especially those who had rejected the commercial sop dispensed over the airways and via the jukeboxes. Surroundings were uncongenial but unimportant. Musicians, natural sceptics, turned their backs on McCarthyism and the rest.

A little steady work did come along now and then, and in Fruscella was hired to play with Stan Getz's group. Some poorly-recorded excerpts from a broadcast from Birdland do exist, and on "Dear Old Stockholm" Fruscella demonstrates all that was best in his playing as he shapes a solo that is relaxed, warm, melodically coherent, and in which the use of spaces between the notes is as important as the notes themselves.

Some listeners might think there is a resemblance to Chet Baker in Fruscella's sound - and he did play with Gerry Mulligan's group briefly in but it is only slight, and Fruscella very much had his own ways of constructing a solo.

There are interesting comparisons to be made between Baker's recording of "Imagination" and Fruscella's version from the same year. Admittedly, Baker's was a studio recording with the disciplined format that implies, whereas Fruscella 's was from a live session at the Open Door and has a relative looseness, but even so, there is greater depth in Fruscella's playing.

As Dan Morganstern said of it: "It is music very much of its time - a time of scuffling, an inwardlooking time, a blue time. The recordings from the Open Door - and, yet again, they came to light only years later - are valuable not only for the way in which they allow us to hear Fruscella soloing at length, but also for the window they provide into the modern jazz world of New York.

The Open Door was a bar and restaurant frequented by jazz musicians and which they soon began to use as a place for jam sessions. Dan Morganstern remembered it as a "haven for jazz people with no money. It was a weird place.

When you walked in off the street, you entered a room with a long bar that had a Bowery feeling to it. At one end of this bar stood an ancient upright piano, manned most evenings by Broadway Rose, a fading but spry ex-vaudevillian her hair dyed an improbable shade of red. She knew a thousand old songs and cheerfully honoured requests.

From the bar, right next to Rose, a creaky door led to the huge, gloomy back room, sporting a long bandstand, a dance floor which was never used, and rickety tables and chairs.

Geller did go on to make something of a name for himself on the West Coast in the late- s and is still around, but most of the others made only occasional appearances on record and those mostly in the s.

And the casualty rate amongst them was high. Quill was badly injured in a road accident and spent the rest of his life virtually immobilised, Singer The Easy Way Out - Penniless* - Rows Of Houses suicide, and Eardley had an up-and-down career due to drug addiction. The music produced by Fruscella at the Open Door, mostly with tenorman Brew Moore and pianist Bill Triglia, sounds relaxed almost to the point of casualness, and it is played without any concessions to non-jazz tastes.

Using a few standard tunes from the jazz and popular music repertoire the popular music of the pre-rock period, that isthe emphasis is on improvisation, and Fruscella shows how inventive he could be in such a setting.

He never repeats ideas and always sounds poised, no matter the tempo. He was presumably fond of the ballad, "Loverman," using it at the open Door sessions and also at an engagement at Ridgewood High School in New Jersey which must have taken place around the same period There are moments on the ballad performances when Fruscella can sound pensive, almost hesitant, but he skilfully uses that mood to shape his solos and his emotional sound complements it.

It needs to be noted that the Ridgewood High School recordings, presumably made by one of the musicians or an interested fan were some more that only went into general circulation twenty or so years later. Bill Triglia appears to have been the man who organised the group's appearance. Interestingly, some The Easy Way Out - Penniless* - Rows Of Houses live recordings from the The Easy Way Out - Penniless* - Rows Of Houses period and with Triglia again in the group feature Don Joseph and a good alto-saxophonist, Davey Schildkraut, who was in Stan Kenton's band in the 's, recorded with Miles Davis, but then drifted from sight.

Memoirs of the New York scene prior to or so place him in the centre of a lot of the activity at the Open Door and elsewhere. Fruscella chose Bill Triglia to accompany him on piano and he added tenor-saxophonist Allen Eager, a musician who had been highly thought of in the s, when he was amongst the leading hop players, but who was, byslipping into a shadowy world of occasional public appearances and even fewer recording dates.

With Phil Sunkel, another little-known trumpeter, acting as composer-arranger, Fruscella came up with some of his finest work, especially on "I'll Be Seeing You" and the attractive "His Master's Voice," on which he uses some of his classical background to fashion an engaging Bach-like series of variations.

Fruscella and those who admired him no doubt imagined that this album would help him widen his reputation, but it soon slid from sight and was remembered by only a few enthusiasts.

The mids were reasonable years for some jazzmen provided they could be identified with bright West Coast sounds or the hard hop forcefulness associated with black New York. Fruscella's music, like so much good, white New York The Easy Way Out - Penniless* - Rows Of Houses of the s, didn't fit into either category.

What happened to Tony Fruscella after ? Very little, it seems, if the reference books are anything to go by. He probably still played at jam sessions and perhaps even did some club work in obscure places, but the "dogged will to fail" that Bob Reisner saw in him, and The Easy Way Out - Penniless* - Rows Of Houses drug and alcohol problems, must have held him back.

And the s were lean years for a lot of jazzmen, as pop music took over in clubs, dance-halls, and on the radio. His kind of music, quiet, reflective, and requiring sympathy and understanding from the The Easy Way Out - Penniless* - Rows Of Houses was hardly likely to appeal to many people. It never had, it's only fair to say, but things got even worse in the s. After years of obscurity, Tony Fruscella died in Augusthis body finally giving up the struggle against barbiturates and booze.

Bob Reisner, in a touching elegy written for a jazz magazine just after Fruscella died, said: "If I were an artist, I would paint Fruscella in the Renaissance manner.

A side portrait of him bent in concentration over the horn which produced the flowing and delicate music. The usual background landscape would be strewn with a couple of wives, countless chicks, barbiturate containers, and empty bottles.

His artistic life, however, was in sharp contrast.


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Download Geen Boontje Maar Een Meisje - De Piepkes - De Piepkes

Niet direct heren, The Blackbyrds - Unfinished Business (Acetate, LP) je kinderliedjes zou toedichten. Op het album, dat ze makkelijkheidshalve ook 'De Piepkes' genoemd hebben, richten ze zich zelfs tot de meest onvoorspelbare soort: de kleuters. Maar daarbij doen ze wel wat ze zelf leuk vinden. Daarop verzamelde hij met Sioen en van Campenhout enkele gelijkgestemde zielen rond zich en probeerden ze zelf kinderliedjes te schijven.

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Tante Selle heeft bijvoorbeeld een erg herkenbaar en voortkabbelend riffje en gaat op een heel simpele en tegelijk ontroerende manier over afscheid nemen. En dat zal het ook wel zijn. Erg aandoenlijk en misschien zelfs een beetje melig, maar zeker de moeite. Voor de rest best een leuk liedje. In Graaf De Graaf gaan we een dagje mee naar het strand en worden we meegenomen doorheen een willekeurige dag op een willekeurig strand en beleven we grote avonturen in kleine dingen.

Alle mogelijk redenen die we hadden om maar niet te hoeven slapen passeren zeer herkenbaar de revue in Donker. Vaak geveinsd, maar af en toe waar. De Machine zet de luisteraar in - wat dacht u dan? Het nummer is een subtiele aanklacht tegen de aandacht die computers en games opeisen en het feit dat je bij Geen Boontje Maar Een Meisje - De Piepkes - De Piepkes te grote inleving daarin als abnormaal wordt aanzien….

Daarin gaan ze in eerste instantie eens goed loos om daarna nog een kleine versnelling hoger te schakelen. Echt ergens naartoe gaat het niet, maar een klas kleuters zou je volgens ons al snel meekrijgen in hun zotheid.

De Piepkes maakten een fris album, dat buiten de lijntjes van de reguliere kindermuziek durft kleuren. Je hoort het spelplezier en, zoals de promotekst het al zegt: "Niks is zo uitdagend als een fijn lied voor kinderen maken, maar evengoed omdat er nog zo veel liedjes niet zijn geschreven.

Meer info op www. Home Cd. Het nummer is een subtiele aanklacht tegen de aandacht die computers en games opeisen en het feit dat je bij een te grote inleving daarin als abnormaal wordt aanzien… Afronden doen de heren met De Hymne Van De Piepkes.


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Already have an account? Sign in. Completely without pretense, Hydropods succeed because sometimes simple life is much more entertaining than stretching and twisting reality.

I just want to keep riding along. Gorilla and Poems of Pretense. Currently working on our sixth album, Hyena, a live DVD. John Dooley Dooley is an award winning poet and freelance journalist living in Portland, Oregon. His Marty - Hydropods - Raceourse Exit work has appeared in publications around the world, on-line and in print.

He continues to work as a professional studio musician, producer and engineer. Create a free account. We include a link to your profile in band Marty - Hydropods - Raceourse Exit , to build trust with The Theatre Orchestra - Movie Go Round and help them decide if they will be a good fit.

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Originally released init offered, for the first time, all of the mono single versions of the Byrds' singles released between and early The tracks on the album are laid out chronologically by release date of the single, and Christophe Monniot - Vivaldi Universel [Saison 5] the A-side first, then the B-side.

Singles released abroad sometimes had different A and B sides. This album was released on LP in and has never seen a release on CD, though recordings of the vinyl circulate among Byrds traders as the album still contains certain things that are not available anywhere else. According to The Byrds' biographer Johnny RoganCBS approached him to compile a third volume for the UK market but as Rogan recalled, "I told them they were scraping the barrel, not least because there were not enough singles to make up a full track compilation".

All tracks are in mono. From Wikipedia, the free encyclopedia. The Byrds. The Byrds: Timeless Flight Revisited 2nd ed. Rogan House. Tambourine Man Turn! The Byrds There Is a Season.

See also: Discography. Hidden categories: Articles with short description Articles with hAudio microformats. Namespaces Article Talk. Views Read Have You Seen Her Face - The Byrds - The Original Singles 1967-1969 View history. Languages Italiano Edit links.

By using this site, you agree to the Terms of Use and Privacy Policy. Gary UsherBob Johnston. The Original Singles:Volume 1 The Original Singles:Volume 2 The Very Best of The Byrds


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