.:bLUZER:.

ponedjeljak, 31.07.2006.

VA - What's Shakin' (1966)

An odd, erratic, but interesting anthology of rare performances recorded by Elektra in the mid-'60s, when the label was just getting its feet wet with rock. Leading the way are the Paul Butterfield Blues Band, whose five tracks are very much in the style of their first LP; the Butterfield original "Lovin' Cup" is about as good as anything he ever did. Eric Clapton and the Powerhouse are a most interesting aggregation, also featuring Stevie Winwood, Paul Jones, Jack Bruce, and Spencer Davis Group drummer Pete York; their three tracks include early versions of "Steppin' Out" and "Crossroads," which Clapton would record with the Bluesbreakers and Cream, respectively. The Lovin' Spoonful's four tracks date from before reaching stardom with the Kama Sutra label; here they concentrate on blues and early rock & roll-style songs, which frankly don't measure up to their folk-rock. Rare tracks by Tom Rush and Al Kooper (who reworked his contribution "Can't Keep from Crying Sometimes" with the Blues Project) round out the set.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1424

CACTUS - Cactus (1970)

Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as "You Can't Judge a Book By the Cover," "Let Me Swim," and, most notably, a manic, turbocharged version of "Parchman Farm." The fact that Cactus chose to tackle this classic blues song just a year after it'd been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays -- at best -- a healthy competitive spirit within the early-'70s hard rock milieu, and at worst it suggests something of a mercenary nature to Cactus' motives, but that's an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress -- for the blistering closing duo of "Oleo" and "Feel So Good" (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed.


"DOWNLOAD"
http://rapidshare.de/files/25865508/Cactus.rar

"PASSWORD"
xxxrockrula.blogspot.com

CACTUS - One Way...Or Another (1971)

One Way... Or Another (1971) was the second and final studio outing to feature the incipient incarnation of supergroup Cactus, comprised of Vanilla Fudge rhythm section Carmine Appice (drums) and Tim Bogert (bass), as well as former Amboy Dukes lead vocalist Rusty Day (vocals/mouth harp), and Jim McCarty (guitar) from Mitch Ryder & the Detroit Wheels and the Buddy Miles Express. Even as their debut was ostensibly rawer, they retained the same amp'ed-up electric blues reminiscent of early Grand Funk Railroad and Foghat. The more polished outcome heard on their sophomore effort is undoubtedly the direct result of assistance from recording engineer extraordinaire Eddie Kramer and their upgraded digs at the recently completed Electric Lady Studios, which they inhabited shortly after the passing of the facilities' owner, Jimi Hendrix. Immediately, the proceedings are thrust into high gear with a languorous and seething interpretation of Little Richard's "Long Tall Sally." While not the extended barnburner it became in concert, it gets things off to a rousing start. The lightweight up-tempo "Rockout, Whatever You Feel Like" could easily be mistaken for Jo Jo Gunne, especially in Day's vocal asides, strongly recalling Jay Ferguson and company. "Rock 'N' Roll Children" is a heavier number with McCarty unleashing rounds of impressive and impellent fretwork churning atop the simmering backbeat. Cactus do what they do best, returning to their boogie rock roots on the suitably named "Big Mama Boogie -- Parts 1 & 2." McCarty's pumping acoustic opening is perfectly augmented by some organic mouth harp courtesy of Day before launching into an explosive assault of pure, unadulterated proto- metal. The cover of Chuck Willis' "Feel So Bad" is given a sizable shakedown, yet doesn't quite seem to live up to its potential. The opposite can be said of the understated "Song for Aries." Although clocking in at just under three minutes, the instrumental is a showcase for McCarty's immorally underrated lead guitar. The long-player concludes with two full-blown centerpieces, revealing Cactus' strength as a formidable powerhouse combo on the autobiographically-inspired rave-up "Hometown Bust." Fittingly, this lineup and album come to an end on a high note with the title track "One Way...Or Another." The number is quite possibly the finest original to have been worked up by the band. The cut blazes from tip-to-tail and if the primary riff seems familiar, that may be because it was lifted almost verbatim from Jeff Beck's Beck-Ola-era tune "Rice Pudding." However in Cactus' care, it stomps with a bit more crunch and no-nonsense attitude.


"DOWNLOAD"
http://rapid.forumw.org/files/12312717/cactus_-_one_way...zip.html

CACTUS - 'Ot 'N' Sweaty (1972)

This is the last album recorded by Cactus, and the one and only official release of live material by this fabulous band. The original LP had only three live songs (Swim, Bad Mother Boogie and Our Lil' Rock'n'Roll Thing), recorded at Mar Y Sol Festival, and five others recorded in the studio. The band had passed by some changes: original members Rusty Day (lead singer) and Jim McCarty (guitar)were replaced by Pete French (vocals), Werner Fritzschings (guitar)and Duane Hitchings (keyboards), all of the fine musicians. The live portion of this album is frantic and plenty of energy, and the studio tracks are all very interesting (Bedroom Mazurka is my favourite, by the way), but Cactus were falling apart. Founder members Tim Bogert and Carmine Appice would play with Jeff Beck, and Hitchings formed The New Cactus Band, with disappointing results. But if you really like rock'n'roll, boogie and hard rock, don't miss this album, it will make you smile every time that you play it


"DOWNLOAD"
http://rapid.forumw.org/files/21136053/
Cactus__ot__n__Sweaty.rar.html

CACTUS - Restrictions (1971)

With a mixture of members from Vanilla Fudge, Mitch Ryder and the Detroit Wheels, and the Amboy Dukes, it's hard to believe that Cactus didn't really succeed in their time. Often derided for being second-rate boogie rock, the band simply did what it did, and part of the allure of the style is its sloppy, second-rate nature. This 1971 release may not see the band at their peak, but it surely showcases the occasionally thundering rhythm section of Tim Bogert and Carmine Appice. Why a song like "Token Chokin'" was never a hit and why it has yet to be embraced by the classic rock-loving public is a complete mystery. The song is some of the most heels-up, thundering, so-brainless-it's-genius rock that has ever been to tape. It's complete with big guitars, big sing-alongs, and a bass-and-drum combo that could knock out windows. Somebody needs to revive this track. Songs like "Evil" and "Sweet Little Sixteen" are all scorching guitars and long-haired riffing. It's a testament to the blues-inspired power they could surely muster up onstage. Other tracks seem to fall apart like the opener, "Restrictions," and "Guiltless Glider," which starts off thick and heavy á la Blue Oyster Cult's "Godzilla," but goes on for about six minutes too long.
To buffer some of the more blustery elements of the record, there are competent acoustic blues numbers like "Mean Night in Cleveland" and "Alaska," the latter an ode to said state featuring lyrics about penguins, Santa Claus, and the aurora borealis. Nobody has ever said that boogie rock is grad school material, and Cactus are certainly no exception -- they did manage to make a big, bearded racket that is both groan-inducing and a lot of fun.


"DOWNLOAD"
http://rapidshare.de/files/26123025/CRestrictions.rar

"PASSWORD"
xxxrockrula.blogspot.com

CACTUS – V (Jul 18, 2006)

Oh, the Cactus boys are back!!! Okay, three of the four originals have gotten together again to bring back the thunderous sounds of 30 years gone by and what a return it is. With Rusty Day watching over his former band mates (from a better place), Cactus has returned to what it does best - crunching, crashing, blues-rock, music that insures that you cannot sit down. Get on your feet!!!! Carmine Appice, Tim Bogert, Jim McCarty, and, new lead vocalist, Jimmy Kunes, are back and they ARE - CACTUS! (and, I'm sure that Rusty is booging along with them!)... CACTUS V!!!!!!!!


"DOWNLOAD"
http://rapidshare.de/files/27372280/CactV.zip

CACTUS - Cactology (1996)

Cactology is the definitive collection of music from one of the most underrated and overlooked hard rock bands of the '70s. From the opening notes of Howlin' Wolf's "Evil" (cast by Cactus as a Black Sabbath/Led Zeppelin-type monster riff sludge rocker), the listener is swept into a dark world of beer-swilling, testosterone-fueled stud boogie. On the CD's second track, the band gives Mose Allison's lightly swinging jazz/blues classic "Parchman Farm" a hyper-speed freight train treatment that shames even the Who's thunderous Live at Leeds version of Allison's "Young Man." All the while, bassist Tim Bogert and drummer Carmine Appice (both of whom are better-known for their work with Vanilla Fudge and Jeff Beck) add a thunderous, chops-heavy bottom end. This rhythm section is perhaps the most distinctive element of the Cactus sound, a kind of missing link between Cream's Jack Bruce/Ginger Baker tandem and the virtuoso grooves of Rush's Geddy Lee and Neil Peart. Although Cactus never had an actual hit song, Cactology includes all of the band's best-known recorded moments as well as two previously unreleased tracks. The first of the these is the gem, a reworked version of fuzz guitar pioneer Link Wray's "Rumble," entitled "Rumblin' Man." This track must rank among the heaviest music ever recorded prior to the advent of Metallica. A slow, steamroller-like goliath of a song, "Rumblin' Man" sounds like the upset digestive tract of some evil giant. Although this disc makes clear that Cactus lacked the songwriting skills to ever reach a mainstream Top 40 audience, it also gives the band its due as one of the most energetic pure heavy rock ensembles ever to enter a recording studio.


"DOWNLOAD"
http://rapidshare.de/files/27538800/Cactus-Cactology.part1.rar.html
http://rapidshare.de/files/27544149/Cactus-Cactology.part2.rar.html

"PASSWORD"
xxxrockrula.blogspot.com

FRANK MARINO & MAHOGANY RUSH - Live (1978)

They just don't make them like this anymore. In fact, even in the day they may have made albums similar to this, but they made few live albums of the genre that were this good. Frank Marino always seemed more real and more accessible than many of his contemporary guitar heroes. He had a sense of melody and taste that most of them never really got down in the same way he did. That is what makes this live album as good as it is. It is no wonder after listening to this one that many think he is the true rock guitar hero -- despite what Ted Nugent and his supporters might say. From the opening notes of "The Answer," it is obvious that the band came to rock, and they know how to do it right. There really are no weak cuts on this one, as it is truly one of the quintessential live albums of the '70s. It is also a fine showcase for Marino's style of bluesy rock jams. It's really a shame that this band never got the credit they deserved, because they were one of the greats. Marino even shows his courage by covering "Purple Haze" (amongst a few other covers), despite all the negative press he received as being a Hendrix wannabe. Truth be told, Frank Marino was the guitar man of the 1970s, and this album really bears witness to that fact.


"DOWNLOAD"
http://rapidshare.de/files/27093174/FM_-_L.part1.rar.html
http://rapidshare.de/files/27102204/FM_-_L.part2.rar.html
http://rapidshare.de/files/27079747/FM_-_L.part3.rar.html

"PASSWORD"
blacky

JOHNNY WINTER - Nothing But The Blues (1977)

After a long period making rock records, Winter fronts the Muddy Waters band (with Waters singing) on this Chicago blues workout. He sounds happier than ever before.


"DOWNLOAD"
http://rapidshare.de/files/27415233/J_W_-_N_B_TB.part1.rar.html
http://rapidshare.de/files/27418173/J_W_-_N_B_TB.part2.rar.html
http://rapidshare.de/files/27430711/J_W_-_N_B_TB.part3.rar.html

"PASSWORD"
blacky

nedjelja, 30.07.2006.

JOHN MAYALL & THE BLUESBREAKERS - BluesBreakers With Eric Clapton (1966)

Bluesbreakers with Eric Clapton was Eric Clapton's first fully realized album as a blues guitarist — more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall's Bluesbreakers. Standing midway between Clapton's stint with the Yardbirds and the formation of Cream, this album featured the new guitar hero on a series of stripped-down blues standards, Mayall pieces, and one Mayall/Clapton composition, all of which had him stretching out in the idiom for the first time in the studio. This album was the culmination of a very successful year of playing with John Mayall, a fully realized blues creation, featuring sounds very close to the group's stage performances, and with no compromises. Credit has to go to producer Mike Vernon for the purity and simplicity of the record; most British producers of that era wouldn't have been able to get it recorded this way, much less released. One can hear the very direct influence of Buddy Guy and a handful of other American bluesmen in the playing. And lest anyone forget the rest of the quartet: future pop-rock superstar John McVie and drummer Hughie Flint provide a rock-hard rhythm section, and Mayall's organ playing, vocalizing, and second guitar are all of a piece with Clapton's work. His guitar naturally dominates most of this record, and he can also be heard taking his first lead vocal, but McVie and Flint are just as intense and give the tracks an extra level of steel-strung tension and power, none of which have diminished across four decades. In 1998, Polygram Records issued a remastered version of this album on CD, featuring both the stereo and mono mixes of the original tracks and new notes.


"DOWNLOAD"
http://rapidshare.de/files/24848121/JMATBBmfsl.part1.rar
http://rapidshare.de/files/24858696/JMATBBmfsl.part2.rar
http://rapidshare.de/files/24837612/JMATBBmfsl.part3.rar

"PASSWORD"
www.AvaxHome.ru

OR

"DOWNLOAD"
http://rapidshare.de/files/25626816/JMB66.rar.html

"PASSWORD"
SimplyYuri

JOHN MAYALL & THE BLUESBREAKERS - Hard Road (1967)

Eric Clapton is usually thought of as John Mayall's most important right-hand man, but the case could also be made for his successor, Peter Green. The future Fleetwood Mac founder leaves a strong stamp on his only album with the Bluesbreakers, singing a few tracks and writing a couple, including the devastating instrumental "Supernatural." Green's use of thick sustain on this track clearly pointed the way to his use of this feature on Fleetwood Mac's hits "Albatross" and "Black Magic Woman," as well as providing a blueprint for Carlos Santana's style. Mayall acquits himself fairly well on this mostly original set (with occasional guest horns), though some of the material is fairly mundane. Highlights include the uncharacteristically rambunctious "Leaping Christine" and the cover of Freddie King's "Someday After a While (You'll Be Sorry)."


"DOWNLOAD"
http://rapidshare.de/files/11517192/JM_hard_road.part1.rar
http://rapidshare.de/files/11519403/JM_hard_road.part2.rar

OR

"DOWNLOAD"
http://rapidshare.de/files/25629379/JMB67.rar.html

"PASSWORD"
SimplyYuri

OR

"DOWNLOAD"
http://rapidshare.de/files/6077019/covers_1-2-3-4_.rar.html
http://rapidshare.de/files/6078728/_5-6-7-8_.rar.html
http://rapidshare.de/files/6079540/_9-10-11_.rar.html
http://rapidshare.de/files/6080570/_12-13-14_.rar.html

JOHN MAYALL - Crusade (1967)

The final album of an (unintentional) trilogy, Crusade is most notable for the appearance of a very young, pre- Rolling Stones Mick Taylor on lead guitar. Taylor's performance is indeed the highlight, just as Eric Clapton and Peter Green's playing was on the previous album. The centerpiece of the album is a beautiful instrumental by Taylor titled "Snowy Wood," which, while wholly original, seems to combine both Green and Clapton's influence with great style and sensibility. The rest of the record, while very enjoyable, is standard blues rock fare of the day, but somewhat behind the then-progressive flavor of the period 1967. Mayall, while being one of the great bandleaders of London, simply wasn't really the frontman that the group needed so desperately, especially then. Nevertheless, Crusade is important listening for Mick Taylor aficionados.


"DOWNLOAD"
http://rapidshare.de/files/5671520/maycrus.part1.rar
http://rapidshare.de/files/5672553/maycrus.part2.rar

"PASSWORD"
kero

OR

"DOWNLOAD"
http://rapidshare.de/files/7577940/JMC.part1.rar
http://rapidshare.de/files/7577813/JMC.part2.rar

"PASSWORD"
sth_lives_11-13-05

JOHN MAYALL - The Blues Alone (1967)

The Blues Alone was the first Mayall "solo" album (without the Bluesbreakers). Mayall played and overdubbed all instruments except drums, which were handled by Bluesbreaker Keef Hartley. The album also tried to serve notice that, despite his band being a spawning ground for several British stars by now, the real star of the group was its leader. But it didn't quite prove that, since Mayall, while certainly competent on harmonica, keyboards, and guitars, doesn't display the flair of an Eric Clapton or Peter Green, and the overdubbing, as is so often the case, robs the recording of any real sense of interplay.


"DOWNLOAD"
http://rapidshare.de/files/26360448/JM-TBA1967.zip

JOHN MAYALL - Blues From Laurel Canyon (1968)

Mayall's first post-Bluesbreakers album saw the man returning to his roots after the jazz/blues fusion that was Bare Wires. Blues From Laurel Canyon is a blues album, through and through. Testimony to this is the fact that there's a guitar solo only 50 seconds into the opening track. Indeed, Mayall dispersed the entire brass section for Blues From Laurel Canyon, and instead chose the solid but relatively limited backing of Mick Taylor (guitar), Colin Allen (drums), and Stephen Thompson (bass). Instantly, it is apparent that John Mayall hasn't lost his touch with the blues. "Vacation," the album's opener, reminds one exactly why this artist is so celebrated for his songwriting ability. The staggering Mick Taylor (here still in his teens) truly proves his worth as a blues guitarist, while Stephen Thompson (also in his late teens) works superbly with one of the genre's most interesting drummers, Colin Allen. Blues From Laurel Canyon is as unerring as Bluesbreakers With Eric Clapton, and equally as musically interesting. Not only is this one of the finest John Mayall albums, it is also a highlight in the blues genus.


"DOWNLOAD"
http://rapidshare.de/files/14835260/laurablue.rar

"PASSWORD"
beowulf

JOHN MAYALL - The Turning Point (1969)

Recorded just after Mick Taylor departed for the Stones, John Mayall eliminated drums entirely on this live recording. With mostly acoustic guitars and John Almond on flutes and sax, Mayall and his band, as his typically overblown liner notes state, "explore seldom-used areas within the framework of low volume music." But it does work. The all-original material is flowing and melodic, with long jazzy grooves that don't lose sight of their bluesy underpinnings. Lyrically, Mayall stretches out a bit into social comment on "The Laws Must Change" on this fine, meditative mood album.


"DOWNLOAD"
http://rapidshare.de/files/26786264/John_Mayall_-_The_Turning_Point__1969_.rar.html

"DOWNLOAD"
http://rapidshare.de/files/25732641/JMA69.part1.rar.html
http://rapidshare.de/files/25733693/JMA69.part2.rar.html

JOHN MAYALL - Memories (1971)

Having gone Back to the Roots, John Mayall returned to his forward-looking musical explorations with 1971's Memories, the true follow-up to USA Union, on which he retained bassist Larry Taylor, replaced Harvey Mandel with guitarist Jerry McGee of The Ventures, and dropped Sugarcane Harris, for an unusually small trio session. Actually, he was still looking back on a set of autobiographical lyrics about growing up, starting with the title track, and including "Grandad," and "Back from Korea." (Forced to compete with the simultaneous release of the London Records compilation Thru the Years, Memories managed to reach only Number 179 in the U.S. charts.)


"DOWNLOAD"
http://rapidshare.de/files/26361755/JM--mem1971.zip

JOHN MAYALL - Back To The Roots (1971)

"DOWNLOAD"
http://rapidshare.de/files/25737212/JMA71.part1.rar.html
http://rapidshare.de/files/25739901/JMA71.part2.rar.html
http://rapidshare.de/files/25741558/JMA71.part3.rar.html

"PASSWORD"
SimplyYuri

JOHN MAYALL - Jazz Blues Fusion (1972)

You can't go wrong when you put this album on when it's time to party; it is impossible to listen to this and not tap, dance or otherwise get movin'. "Country Road" and "Dry throat" contain some of the best jazz/blues you'll ever hear. All the cuts on the album rock. "Mess around" is another great cut. There is one slightly tedious cut which features everyone and lets face it, bass and drum soloes can become a bit "longer than they are". But it is a live performance and that's usually part of a live show; but, for me, that is only a small glitch in this album; it is still one of my favorite Mayall works. Whatever happened to Freddy Robinson? Great guitarist. The horns on this album are also great. Mayall does some of his best harp work too. Having been a musician in an earlier life, I remember times when during a jam or performance that the music is so tight and everyone is so locked in that the volume increases slightly, the energy goes up and the precision is just unbelieveable...you can hear many such moments like that during this performance--and the audience's response is right there! You won't find a live album engineered and performed much better than this...these guys are all great musicians and they had excellent sets those nights! This album just flat out cooks...

"DOWNLOAD"
http://rapidshare.de/files/15686343/JazzBlues.rar.html
http://rapidshare.de/files/15696226/Fusion.rar.html

JOHN MAYALL & THE BLUESBREAKERS - Latest Edition (1974)

The title makes a virtue of necessity, as John Mayall introduces another all-new lineup (actually, bassist Larry Taylor is returning from an older edition). Two guitarists, Hightide Harris and Randy Resnick, lead the band in more of an up-tempo R&B style than has been used in much of Mayall's music during the past several years, starting with the timely "Gasoline Blues" (1974 was the year of the gas lines, remember?) and going on to "Troubled Times" (which advises impeaching President Nixon). Still, this was a lackluster set, which is only appropriate since it was Mayall's swan song with Polydor, and the album became his first to miss the charts in the U.S. since 1967.

"DOWNLOAD"
http://rapidshare.de/files/25375445/JM-LEdition1974.rar.html

JOHN MAYALL - Archives To Eighties (1988)

In 1988, Mayall went back into the studio and revisited eight songs from 1971's Back to the Roots album and tacked on five tracks from the original record to make this haphazard compilation. His remixing and restructuring of old material (which includes extended guitar work from Eric Clapton not found on Roots) is, for the most part, unobtrusive. But Mayall also chose to overdub new solos and such onto the recordings, which is more troublesome. It's nearly two decades later and it often sounds like it. Still, it's Mayall's history to rewrite; it's your choice whether or not to listen. [Later reissued as part of an expanded version of Back to the Roots in 2001.]


"DOWNLOAD"
http://rapidshare.de/files/25374104/JM-AtoE1990.rar.html

subota, 29.07.2006.

JOHN MAYALL - London Blues (1964-1969) (1992)

This two-hour-plus compilation of the first five years of the history of John Mayall and his band the Bluesbreakers in their many permutations covers all the expected bases and then some. Eric Clapton, Peter Green, and Mick Taylor are all represented, but so are Bernie Watson and Roger Dean, both of whom preceded Clapton in the guitarist's spot in the band. What's more, they're not bad; they may not have been the assertive soloist that Clapton came to embody, but Dean plays a pretty hot solo on "Crocodile Walk," which was good enough to make the A-side of a single in 1965. Moreover, there was more to any of the Mayall bands than their guitarists, and Mayall's blues harmonica is showcased throughout, on tracks such as "Crawling Up a Hill" and "Blues City Shakedown." The familiar Immediate and Decca/London sides featuring Clapton are here, though the lion's share of space on this set is devoted to the Peter Green version of the lineup, spread over two discs. Other highlights include a handful of tracks from 1967 featuring Paul Butterfield, and a handful of cuts featuring Green working in a lineup that includes saxmen John Almond and Nick Newell as well as trumpeter Henry Lowther. The Mick Taylor lineup, which also includes Dick Heckstall-Smith as one of the reedmen, takes up the bulk of the second disc and shows no diminution of the group's authoritative approach to the blues. Indeed, the Clapton sides represented on this collection, being the most familiar and widely circulated, may well prove to be the least interesting; distilling down the best work of everyone else, including Mayall, on the other hand, is a welcome service and makes this package particularly useful, and short of a Mayall box — an unlikely prospect — this is as good an overview as you're likely to see of his early work.


"DOWNLOAD"
http://rapidshare.de/files/19417926/JMlb.part1.rar
http://rapidshare.de/files/19419164/JMlb.part2.rar
http://rapidshare.de/files/19420540/JMlb.part3.rar
http://rapidshare.de/files/19421931/JMlb.part4.rar

JOHN MAYALL - Room To Move 1969-1974 (1992)

The majority of Mayall and the Bluesbreakers' best material from the early '70s is collected on this 29-track, double-disc set. Although Clapton appears on a couple of songs, the playing on Room to Move isn't as universally breathtaking as it is on London Blues, but the collection is thoroughly listenable, and it does feature many fine musicians.


"DOWNLOAD"
http://rapidshare.de/files/25353470/RTMD1-19691974.part1.rar.html
http://rapidshare.de/files/25354752/RTMD1-19691974.part2.rar.html
http://rapidshare.de/files/25356539/RTMD2-19691974.part1.rar.html
http://rapidshare.de/files/25357710/RTMD2-19691974.part2.rar.html

OR

"DOWNLOAD"
http://rapidshare.de/files/19518520/JMrtm.part1.rar.html
http://rapidshare.de/files/19520130/JMrtm.part2.rar.html
http://rapidshare.de/files/19521830/JMrtm.part3.rar.html
http://rapidshare.de/files/19523463/JMrtm.part4.rar.html
http://rapidshare.de/files/19524667/JMrtm.part5.rar.html

JOHN MAYAL - New Bluesbreakers [THE BLUES COLLECTION] (1994)

"DOWNLOAD"
http://rapidshare.de/files/22850560/08NEWBLUE.rar.html

"PASSWORD"
zinhof

JOHN MAYALL - Spinning Coin (1995)

Somehow the grandfather of British blues still had the fire in his belly to record a strong album almost 40 years after he began his storied career. Buddy Whittington acquits himself well as the latest in a long line of hotshot guitarists for this multi-instrumentalist, who still does his best work on harmonica. He still admires long-dead bluesman J.B. Lenoir, including "Voodoo Music" here. A lot of credit for this strong outing goes to R.S. Field, lyricist and sometime producer for Webb Wilder. "Long Story Short" would pass for a Wilder tune were it not for Mayall's distinctive voice.


"DOWNLOAD"
http://rapidshare.de/files/15614765/Spinning.rar.html
http://rapidshare.de/files/15617086/Coin.rar.html

OR

"DOWNLOAD"
http://rapidshare.de/files/25630845/JMB95.rar.html

"PASSWORD"
SimplyYuri

JOHN MAYALL - John Lee Boogie (1994)

"DOWNLOAD"
http://rapidshare.de/files/6938676/Parte-1.rar.html
http://rapidshare.de/files/6945463/Parte-2.rar.html
http://rapidshare.de/files/6954575/Parte-3.rar.html

OR

"DOWNLOAD"
http://ifolder.ru/64927

"PASSWORD"
SimplyYuri

JOHN MAYALL & THE BLUESBREAKERS - The Power Of Blues (1997)

"DOWNLOAD"
http://rapidshare.de/files/25377231/NB1987POTB.rar.html

JOHN MAYALL & THE BLUESBREAKERS - Padlock On The Blues (1999)

John Mayall's career may be distinguished but it's also been checkered, as he's swung from a celebrated talent scout to a journeyman bandleader. At times, he's in fashion, at others he's not. The late '90s was one of the times when he wasn't in fashion. Because of this, he was one of the first artists that Cleopatra signed when they began to move into high-profile new releases. Padlock on Blues, his first effort for the label and his first album in four years, finds Mayall pulling out all the stops, contributing 11 new tunes and lining up an impressive array of guest stars, including John Lee Hooker, Coco Montoyo and Ernie Watts. All the extra effort has resulted in a solid record — but one that's not all that notably different from his Silvertone releases of the early '90s. The main difference is that the production isn't as impeccably clean as it was on the Silvertone albums. That doesn't mean it's grittier since, after all, he's still attempting the same sort of modern electric blues. Still, his performances have enough weight to be enjoyable, even if the songwriting is a little spotty. And, in that sense, it isn't all that different from any latter-day Mayall record — it's the kind of album that will generally please the faithful, no matter what the faults are. However, it may also frustrate them, since it is no better nor no worse — simply no different — than any record he's released since the beginning of the '80s.


"DOWNLOAD"
http://rapidshare.de/files/5666921/maypad.part1.rar
http://rapidshare.de/files/5667791/maypad.part2.rar

"PASSWORD"
kero

OR

"DOWNLOAD"
http://rapidshare.de/files/25632671/JMB99.rar.html

"PASSWORD"
SimplyYuri

OR

"DOWNLOAD"
http://rapidshare.de/files/17962949/JMTBPOTB.rar.html

"PASSWORD"
zinhof

JOHN MAYALL & FRIENDS - Along For The Ride (2001)

By the time this was released in 2001, John Mayall was more known for the people who played in his seminal British band, the Bluesbreakers rather than his own accomplishments. The success of 1999's Padlock on the Blues afforded Mayall the opportunity to fulfill his dreams and gather an all-star lineup of blues and rock luminaries. "A World of Hurt" and "That's Why I Love You So" both typify the good but not great groove that permeates Along for the Ride. Better tracks "Yo Yo Man" and "Early in the Morning" are easygoing blues that feature the great rhythm section of John McVie and Mick Fleetwood. Fellow Fleetwood Mac and Bluesbreaker alum, the reclusive Peter Green plays acoustic slide guitar on "Yo-Yo Man." "So Many Roads" has Mayall dueting with Otis Rush, and it soon becomes a contest on who sounds more disgruntled. The playful "Testify" features vocals and subtle guitar lines from blues phenom Shannon Curfman. This ends on the strong note. The powerful and wry "She Don't Play By the Rules" has Mayall with arguably the strongest and most subtle band with Mick Taylor on lead guitar and Andy Fairweather Low on acoustic guitar. Along for the Ride is produced, engineered, and mixed by David Z. Despite the camaraderie, a lot of the hooks here don't stick, and fans of Mayall and superstar sessions will get the most from this effort.


"DOWNLOAD"
http://rapidshare.de/files/12096998/jomayfri_part1.rar.html
http://rapidshare.de/files/12110117/jamayfri_part2.rar.html

"PASSWORD"
www.AvaxHome.ru

JOHN MAYALL - Stories (2002)

John Mayall, 69 years of age at the time of this recording, is at the very least irrepressible. He and his many versions of the Bluesbreakers have hit the road every year for decades, and the five years leading up to the release of Stories offer a flurry of activity that hasn't been seen from him since the 1970s. The Bluesbreakers lineup here has been with him since Spinning Coin, and includes Joe Yuele on drums, guitarist Buddy Whittington, Hank Van Sickle on bass, and Tom Canning on keyboards. Like the young hip-hop kids who self reference ubiquitously, Mayall writes more songs about blues music or playing the blues than virtually any musician in history, and Stories seems to be a series of narrative songs that are, for the most part, about various blues giants of the past, such as a reminiscence about seeing Little Walter in "Southside Story" or a paean to Leadbelly in "Oh, Leadbelly," various blues myths such as "I Thought I Heard the Devil" and "The Witching Hour," or exhortations for young people to take up the blues mantle ("Kids Got the Blues"). There are other tracks, however, like the excellent political minor-key shuffle "Dirty Water" — no, not that one. The best track on the album is a country-style Bo Diddley shuffle called "Feels Just Like Home," the only love song on the record and it's a stunner. The production is crisp, perhaps a little too, and the playing is inspired. Mayall's harmonica playing is as fine as ever, and if there is one complaint about the last few records, it's the overplaying of Whittington, who is a stunning guitar player in the modern style. Mayall reins him in a bit here (though not enough) and as a result the songs — because Mayall is a fine writer — come shining through the instrumental prowess. This is a worthy inclusion in one of the most prolific and consistent catalogs in blues-rock history.


"DOWNLOAD"
http://rapidshare.de/files/26364243/JMstore2002.part1.rar
http://rapidshare.de/files/26365529/JMstore2002.part2.rar
http://rapidshare.de/files/26362942/JMstore2002.part3.rar

OR

"DOWNLOAD"
http://rapidshare.de/files/27405515/3442666.rar.html

JOHN MAYALL - 70th Birthday Concert At Liverpool Docks On July 19th, (2003)

After 38 long years, John Mayall and Eric Clapton finally reunited on stage and tore through some of the greatest rock and blues songs ever produced. Do I really need to say any more before you run out and pick this one up? Well, for all you stubborn fools, who are not easily convinced, I'll give you a few more reasons why you should.

Back in the summer of 2003, the father of British blues, John Mayall, celebrated his 70th birthday by fulfilling a long-standing dream of his to bring together some of his old Bluesbreakers' bandmates for an unforgettable live concert event. The 70th Birthday Concert was recorded on July 19, 2003 in Liverpool, England, and was also a benefit for UNICEF's fight against child exploitation. Along with Clapton, who played with Mayall on the landmark 1966 Bluesbreakers with Eric Clapton album, former Mayall and Rolling Stones guitarist Mick Taylor also showed up to wish the old man a happy birthday and lend his fretboard skills to a few numbers.


"DOWNLOAD"
http://rapidshare.de/files/21085021/J_M__Birthday_.part1.rar.html
http://rapidshare.de/files/21088203/J_M__Birthday_.part2.rar.html
http://rapidshare.de/files/21091655/J_M__Birthday_.part3.rar.html
http://rapidshare.de/files/21095170/J_M__Birthday_.part4.rar.html
http://rapidshare.de/files/21096627/J_M__Birthday_.part5.rar.html

"PASSWORD"
blacky

JOHN MAYALL - A Big Man

"DOWNLOAD"
http://rapidshare.de/files/27197329/JMayallgrossermann.rar

petak, 28.07.2006.

ALBERT COLLINS - Ice Axe Cometh (1999)

"DOWNLOAD"
http://rapidshare.de/files/25442967/my52.rar

"PASSWORD"
schlln

ALBERT COLLINS - Deluxe Edition (1997)

Deluxe Edition is a solid, albeit imperfect, 13-track collection of highlights from Albert Collins' latter-day recordings for Alligator. There are only a handful of genuine classics, but there are a lot of great performances that spotlight Collins' stinging guitar work and impassioned vocals. Nevertheless, it's only adequate as an introduction, since Ice Pickin' remains the place to become acquainted with Collins' blistering blues.


"DOWNLOAD"
http://rapidshare.de/files/19736172/DeluxeEdition.rar

ALBERT COLLINS & BARRELHOUSE - Live (1995)

This is a live recording of Albert Collins playing with a band from Europe. The band includes guys with names like Hans and Guus. The band is good. Albert Collins is hot. The CD includes a couple of tracks that do not include Albert's telecaster or his voice. The lead singer of Barrelhouse has a voice similar to that of Ashlee Simpson. But on the tracks that Mr. Collins plays on, he is hot, and his telecaster is just as smooth. This CD shows his versatility, his ability to play in different situations. Overall, a good CD.


"DOWNLOAD"
http://rapidshare.de/files/19755447/BarrelhouseLive.rar

ALBERT COLLINS - Molten Ice (1992)

Reissued domestically in 1998, Molten Ice captures Albert Collins live in Toronto in 1973 with backing by that city's Moe Peters Band.


"DOWNLOAD"
http://rapidshare.de/files/25440649/my51.part1.rar
http://rapidshare.de/files/25441603/my51.part2.rar

"PASSWORD"
schlln

ALBERT COLLINS - Iceman (1991)

Albert Collins doesn't change anything for his major label debut, Iceman. Like its predecessors, it is slick and professional, featuring a variety of shuffles, R&B tunes, and slow blues, all stamped with Collins's trademark icy wail. None of the songs or performances are particularly noteworthy, but Iceman is a solid set that delivers the goods for fans of his style.


"DOWNLOAD"
http://rapidshare.de/files/25437652/my49.part1.rar
http://rapidshare.de/files/25437723/my49.part2.rar

"PASSWORD"
schlln

ALBERT COLLINS - Live in Japan (1984)

Compared to Frozen Alive!, Live in Japan is a little more drawn-out and funky, featuring extended jamming on several songs. That isn't necessarily a bad thing — Collins and his bandmates can work a groove pretty damn well. Of course, the main reason to listen to an Albert Collins album is to hear the man play. And play he does throughout Live in Japan, spitting out piercing leads with glee. On the whole, it's not quite as consistent as Frozen Alive!, but that's only by a slight margin.


"DOWNLOAD"
http://rapidshare.de/files/25436364/my48.part1.rar
http://rapidshare.de/files/25436369/my48.part2.rar

"PASSWORD"
schlln

ALBERT COLLINS - Don't Lose Your Cool (1983)

Keeping up with his "Iceman" moniker, Albert Collins delivers with his fourth Alligator release Don't Lose Your Cool. The title cut was one of his first instrumental hits back in the late '50s and here it's given a gritty, organ-driven workout ŕ la one of his heroes and onetime collaborators, Jimmy McGriff. Forging on in this impressively diverse set, Collins revels in the humorous, spoken commentary of Oscar Brown, Jr.'s "But I Was Cool" (reminiscent of Collins' spoken interludes on the John Zorn piece "Spillane"), updates the jump-blues antics of Big Walter Price's "Get to Gettin'," and closes the set out with a faithful take on Guitar Slim's "Quicksand." He also adds a few of his own impressive cuts here, including the funky, syncopated New Orleans groove "Melt Down" and the Stax 'n' blues cut "Ego Trip." Throughout, of course, Collins comes up with plenty of his grating, barbed wire guitar licks and rough-hewn vocals. Riding atop his crack, seven-piece Ice Breakers band (including a fine horn section), Collins certainly keeps things burnin' on this set, while still living up to all the icy allusions with some of the most cool and urbane modern blues on record.


"DOWNLOAD"
http://rapidshare.de/files/25350126/my47.rar

"PASSWORD"
schlln

ALBERT COLLINS - Frostbite (1980)

Frostbite was the first indication that Albert Collins's Alligator albums were going to follow something of a formula. The album replicated all of the styles and sounds of Ice Pickin', but the music lacked the power of its predecessor. Nevertheless, there was a wealth of fine playing on the album, even if the quality of the songs themselves is uneven.


"DOWNLOAD"
http://rapidshare.de/files/25424048/my46.part1.rar
http://rapidshare.de/files/25424089/my46.part2.rar

"PASSWORD"
schlln

ALBERT COLLINS - Ice Pickin' (1978)

Ice Pickin' is the album that brought Albert Collins directly back into the limelight, and for good reason, too. The record captures the wild, unrestrained side of his playing that had never quite been documented before. Though his singing doesn't quite have the fire or power of his playing, the album doesn't suffer at all because of that — he simply burns throughout the album. Ice Pickin' was his first release for Alligator Records and it set the pace for all the albums that followed. No matter how much he tried, Collins never completely regained the pure energy that made Ice Pickin' such a revelation.


"DOWNLOAD"
http://rapidshare.de/files/25419716/my45.rar

"PASSWORD"
schlln

ALBERT COLLINS - Truckin' With Albert Collins (1969)

"DOWNLOAD"
http://rapidshare.de/files/25416767/my44.rar

OR

"DOWNLOAD"
http://rapidshare.de/files/25439066/my50.part1.rar
http://rapidshare.de/files/25439272/my50.part2.rar

"PASSWORD"
schlln

četvrtak, 27.07.2006.

STING - The Dream Of The Blue Turtles (1985)

The Police never really broke up, they just stopped working together — largely because they just couldn't stand playing together anymore and partially because Sting was itching to establish himself as a serious musician/songwriter on his own terms. Anxious to shed the mantle of pop star, he camped out at Eddy Grant's studio, picked up the guitar, and raided Wynton Marsalis' band for his new combo — thereby instantly consigning his solo debut, The Dream of the Blue Turtles, to the critical shorthand of Sting's jazz record. Which is partially true (that's probably the best name for the meandering instrumental title track), but that gives the impression that this is really risky music, when he did, after all, rely on musicians who, at that stage, were revivalists just developing their own style, and then had them jam on mock-jazz grooves — or, in the case of Branford Marsalis, layer soprano sax lines on top of pop songs. This, however, is just the beginning of the pretensions layered throughout The Dream of the Blue Turtles. Only twice does he delve into straightforward love songs — the lovely measured "Consider Me Gone" and the mournful closer, "Fortress Around Your Heart" — preferring to consider love in the abstract ("If You Love Somebody Set Them Free," one of his greatest solo singles, and the childish, faux-reggae singalong "Love Is the Seventh Wave"), write about children in war and in coal mines, revive a Police tune about heroin, ponder whether "Russians love their children too," and wander the streets of New Orleans as the vampire Lestat. This is a serious-minded album, but it's undercut by its very approach — the glossy fusion that coats the entire album, the occasional grabs at worldbeat, and studious lyrics seem less pretentious largely because they're overshadowed by such bewilderingly showy moves as adapting Prokofiev for "Russians" and calling upon Anne Rice for inspiration. And that's the problem with the record: with every measure, every verse, Sting cries out for the respect of a composer, not a pop star, and it gets to be a little overwhelming when taken as a whole. As a handful of individual cuts — "Fortress," "Consider Me Gone," "If You Love Somebody," "Children's Crusade" — he proves that he's subtler and craftier than his peers, but only when he reins in his desire to show the class how much he's learned.


"DOWNLOAD"
http://www.megaupload.com/?d=KGU4A2HQ
http://www.sendspace.com/file/loyrbj

"PASSWORD"
remidalver.blogspot.com

STING - Nothing Like The Sun (1987)

If Dream of the Blue Turtles was an unabashedly pretentious affair, it looks positively lighthearted in comparison to Sting's sophomore effort, Nothing Like the Sun, one of the most doggedly serious pop albums ever recorded. This is an album where the only up-tempo track, the only trifle — the cheerfully stiff white-funk "We'll Be Together" — was added at the insistence of the label because they believed there wasn't a cut on the record that could be pulled as a single, one that would break down the doors to mainstream radio. And they were right, since everything else here is too measured, calm, and deliberately subtle to be immediate (including the intentional throwaway, "Rock Steady"). So, why is it a better album than its predecessor? Because Sting doesn't seem to be trying so hard. It flows naturally, largely because this isn't trying to explicitly be a jazz-rock record (thank the presence of a new rhythm section of Sting and drummer Manu Katche for that) and because the melodies are insinuating, slowly working their way into memory, while the entire record plays like a mood piece — playing equally well as background music or as intensive, serious listening. Sting's words can still grate — the stifling pompousness of "History Will Teach Us Nothing" the clearest example, yet calls of "Hey Mr. Pinochet" also strike an uneasy chord — but his lyricism shines on "The Lazarus Heart," "Be Still My Beating Heart," "They Dance Alone," and "Fragile," a quartet of his very finest songs. If Nothing Like the Sun runs a little too long, with only his Gil Evans-assisted cover of "Little Wing" standing out in the final quarter, it still maintains its tone until the end and, since it's buoyed by those previously mentioned stunners, it's one of his better albums.


"DOWNLOAD"
http://rapidshare.de/files/15912421/Sting_-_Nothing_like_the_sun.part1.rar
http://rapidshare.de/files/15913128/Sting_-_Nothing_like_the_sun.part2.rar

STING - Bring On The Night [live] (1986)

Sting really got carried away with the idea that his supporting crew for Dream of the Blue Turtles was a real jazz band, and technically, he was kind of right. He did pluck them straight out of Wynton Marsalis' backing band (thereby angering Wynton and emboldening his anti-rock stance, while flaring up a sibling rivalry between the trumpeter and his saxophonist brother Branford — a veritable hat trick, that), and since he was initially a jazz bassist, it seemed like a good fit. At the very least, it seemed like a monumental occasion because he documented the entire development of the band and making of Dream with a documentary called Bring On the Night, releasing a double live album as its soundtrack just a year after the debut hit the stores. This could be called hubris (and it will be called that here), especially because the appearance of the live album feels like a way of showcasing Sting's jazz band and jazz chops. Most of the songs run around five minutes long and there are no less than three melodies, two of which marry an old Police number with a tune from Dream. Arriving as a second solo album, it can't help but feel a little unnecessary, even if the loose, rather infectious performances show what Sting was trying to achieve with his debut. Even so, this is a record for the cult, and while it will satisfy them, to others it will seem like, well, hubris.


"DOWNLOAD"
http://rapidshare.de/files/16048790/ST_1986BOTN.part1.rar
http://rapidshare.de/files/16050863/ST_1986BOTN.part2.rar
http://rapidshare.de/files/16052885/ST_1986BOTN.part3.rar

"PASSWORD"
aglihp

STING - Englishman In New York (1987)

"DOWNLOAD"
http://rapidshare.de/files/8854830/Sting.rar

"PASSWORD"
d-t-o

STING - ...Nada Com El Sol (1988)

This album consists of five songs from Nothing Like the Sun... re-recorded in Spanish and Portugese. This was a well-done project — the translations are good and Sting manages the Spanish and Portugese pronunciations well. However, unless you are huge fan, or enjoy hearing the songs sung in different languages, this is an album you'll want to pass over.


"DOWNLOAD"
http://rapidshare.de/files/18297450/
05_Sting__www.newshot.ru_.rar.html

STING - Ten Summoner's Tales (1993)

After two albums of muted, mature jazz-inflected pop, the last being an explicit album about death, Sting created his first unapologetically pop album since the Police with Ten Summoner's Tales. The title, a rather awkward pun on his given last name, is significant, since it emphasizes that this album is a collection of songs, without any musical conceits or lyrical concepts tying it together. And, frankly, that's a bit of a relief after the oppressively somber The Soul Cages and the hushed, though lovely, Nothing Like the Sun. Sting even loosens up enough to crack jokes, both clever (the winking litany of celebrity pains of "Epilogue [Nothing 'Bout Me]") and condescending (the sneeringly catchy cowboy tale "Love Is Stronger Than Justice [The Munificent Seven]"), and the result is his best solo record. In places, it's easily as pretentious as his earlier work, but that's undercut by writing that hasn't been this sharp and melodic since the Police, plus his most varied set of songs since Synchronicity. True, there isn't a preponderance of flat-out classics — only the surging opener "If I Ever Lose My Faith in You," the understated swing of "It's Probably Me," and the peaceful ballad "Fields of Gold" rank as classics — but, as an album, Ten Summoner's Tales is more consistently satisfying than anything else in his catalog.


"DOWNLOAD"
http://rapidshare.de/files/16058112/ST_1995TST.part1.rar
http://rapidshare.de/files/16059962/ST_1995TST.part2.rar

"PASSWORD"
aglihp

STING - The Soul Cages (1991)

Emboldened by the enthusiastic response to the muted Nothing Like the Sun and reeling from the loss of his parents, Sting constructed The Soul Cages as a hushed mediation on mortality, loss, grief, and father/son relationships (the album is dedicated, in part, to his father; its predecessor was dedicated to his mother). Using the same basic band as Nothing Like the Sun, the album has the same supple, luxurious tone, stretching out leisurely over nine tracks, almost all of them layered mid-tempo tunes (the exception being grinding guitars of the title track). Within this setting, Sting hits a few remarkable peaks, such as the elegant waltz "Mad About You" and "All This Time," a deceptively skipping pop tune that hides a moving tribute to his father. If the entirety of The Soul Cages was as nimbly melodic and urgently emotional as these two cuts, it would have been a quiet masterpiece. Instead, it turns inward — not just lyrically, but musically — and plays as a diary entry, perhaps interesting to those willing to spend hours immersing themselves within Sting's loss, finding parallels within their own life. This may be too much effort for anyone outside of the devoted, since apart from those two singles (and perhaps "Why Should I Cry for You"), there are few entry points into The Soul Cages — and, once you get in there, it only rewards if your emotional state mirrors Sting's.


"DOWNLOAD"
http://rapidshare.de/files/16054605/ST_1991TSC.part1.rar
http://rapidshare.de/files/16056274/ST_1991TSC.part2.rar

"PASSWORD"
aglihp

STING - Mercury Falling (1996)

Falling somewhere between the pop sensibilities of Ten Summoner's Tales and the searching ambition of The Soul Cages, Mercury Falling is one of Sting's tighter records, even if it fails to compel as much as his previous solo albums. Though he doesn't flaunt his jazz aspirations as he did in the mid-'80s, Mercury Falling feels more serious than The Dream of the Blue Turtles, primarily because of its reserved, high-class production and execution. Building from surprisingly simple, memorable melodies, Sting creates multi-layered, vaguely soul-influenced arrangements that carry all of the hallmarks of someone who has studied music, not lived it. Of course, there are many pleasures in the record — for all of his pretensions, Sting remains an engaging melodicist, as well as a clever lyricist. There just happens to be a distinct lack of energy, stemming from the suffocating layers of synthesizers. Mercury Falling is a record of modest pleasures; it's just not an infectious, compulsive listen.


"DOWNLOAD"
http://rapidshare.de/files/16062514/ST_1996MF.part1.rar
http://rapidshare.de/files/16065034/ST_1996MF.part2.rar
http://rapidshare.de/files/16067554/ST_1996MF.part3.rar

"PASSWORD"
aglihp

STING - Fields Of Gold: The Best Of Sting 1984-1994 (1994)

Early in his solo career, Sting defined himself as a man of taste, choosing to work with jazz musicians instead of rockers. Inevitably, this meant he walked the thin line between sophisticated pop and adult contemporary, but he did it with grace from 1985's Dream of the Blue Turtles to 1993's Ten Summoner's Tales. Unfortunately, Fields of Gold: The Best of Sting doesn't illustrate what a deft trick he pulled off with that quartet of albums. Naturally, Fields of Gold concentrates on his hit singles, just like any other greatest-hits collection, but Sting's material sounds surprisingly tame in this context. Sure, there is a number of great songs here — enough to state his case as a fine songwriter or to satisfy his casual fans. Still, these songs are safe choices and all share a similarly tranquil quality, which means the collection itself becomes a little monotonous. Nevertheless, Fields of Gold performs the necessary service of rounding up all of the big hits — "If You Love Somebody Set Them Free," "All This Time," "Fortress Around Your Heart," "They Dance Alone," "If Ever Lose My Faith in You," "Fragile," and an alternate version of "We'll Be Together" — and offering them on one disc, which is reason enough to make it worthwhile, even with its flaws.


"DOWNLOAD"
http://rapidshare.de/files/15909667/Sting_-_Fields_of_gold.part1.rar
http://rapidshare.de/files/15910944/Sting_-_Fields_of_gold.part2.rar
http://rapidshare.de/files/15911091/Sting_-_Fields_of_gold.part3.rar

STING - Brand New Day (1999)

By the late '90s, Sting had reached a point where he didn't have to prove his worth every time out; he had so ingrained himself in pop culture, he really had the freedom to do whatever he wanted. He had that attitude on Mercury Falling, but it was too somber and serious, everything that its successor, Brand New Day, is not. Light, even effervescent, Brand New Day feels like little else in Sting's catalog. Not that it represents a new beginning, contrary to what the title may promise. The album is not only firmly within his tradition, it sounds out of time — it's odd how close Brand New Day comes to feeling like a sequel to Nothing Like the Sun. Musically, that is. The sparkling, meticulous production and the very tone of the music — ranging from light funk to mellow ballads to the Lyle Lovett tribute "Fill Her Up" — are of a piece with Sting's late-'80s work. That's the main thing separating it from Ten Summoner's Tales, his other straight pop album — well, that, and the levity. There are no overarching themes, no political messages on Brand New Day — only love songs, story songs, and, for lack of a better term, inspirational exhortations. This is all a good thing, since by keeping things light he's managed to craft an appealing, engaging record. It may not ask as much from its audience as Sting's other '90s efforts, but it's immediately enjoyable, which isn't the case for its cousins. Brand New Day doesn't boast any new classics, and it does sound a little dated, but it's well-crafted, melodic, and has a good sense of humor — exactly the kind of record Sting should be making as he embarks on the third decade of his career.


"DOWNLOAD"
http://rapidshare.de/files/16069628/ST_1999BND.part1.rar
http://rapidshare.de/files/16071662/ST_1999BND.part2.rar
http://rapidshare.de/files/16073357/ST_1999BND.part3.rar

"PASSWORD"
aglihp

STING - OST "Demolition Man" [#1] (1993)

A dismal re-recording of an old Police song is matched with several unremarkable live tracks. Normally, this would only be a single, but for some reason this retails for over ten dollars, making it an enormous waste of money.


"DOWNLOAD"
http://rapidshare.de/files/18296714/
07_Sting__www.newshot.ru_.rar.html

STING - Sacred Love (2003)

Sting scored a moderate comeback success greater than most had imagined possible with 1999's Brand New Day, re-establishing himself as a viable commercial artist instead of merely settling for living legend status. Part of this success was due to "Desert Rose," featuring vocalist Farhat Bougallagui's careening cadences that garnered attention, particularly when they were showcased in a car commercial that kicked the album into high commercial gear. Sting picks up on this, adding three guest vocalists to the ten-track Sacred Love album (the 11th track is a remix of the lead single, "Send Your Love" — which happens to be better, since it eliminates the rather annoying Indian-styled hook) — Vincente Amigo and Anoushaka Shankar are paired with Mary J. Blige, who in this context is presented as a world music artist. None of the guests makes much of an impression here, but neither does Sting, since this is an album that puts sound over song or performance. Sacred Love is to Brand New Day what Mercury Falling was to Ten Summoner's Tales — a fussy, overworked stab at maturity, one that has impeccable craft but is obscured by its own meticulousness. It is professional to a fault, using its maturity and preciseness to obscure the fact that the songs don't really work. Sting isn't always hemmed-in, even ending "Inside" with a hysterical rant that makes him seem like a madman, but it has the effect of making the rest of the album seeming too deliberate and far from adventurous. It's far from a bad listen, nor is it embarrassing, but it's entirely too predictable, coming across as nothing more than well-tailored, expensive mood music, which is certainly far less than what Sacred Love could have been.


"DOWNLOAD"
http://rapidshare.de/files/16077322/ST_2003SL.part1.rar
http://rapidshare.de/files/16081385/ST_2003SL.part2.rar
http://rapidshare.de/files/16095404/ST_2003SL.part3.rar
http://rapidshare.de/files/16100869/ST_2003SL.part4.rar

"PASSWORD"
aglihp

STING - OST "The Living Sea" (1995)

"DOWNLOAD"
http://rapidshare.de/files/18296163/
09_Sting__www.newshot.ru_.rar.html

STING - OST "Dolphins" (2000)

"DOWNLOAD"
http://d.turboupload.com/d/523936/
12_Sting_www.newshot.ru.rar.html

srijeda, 26.07.2006.

RORY GALAGHER & TASTE - The Irish Werewolf (1970)

"DOWNLOAD"
http://rapidshare.de/files/21892195/Rory_Gallagher___Taste_-_The_Irish_Werewolf__1970_.rar.html

WISHBONE ASH - Live Dates (1973)

No surprise — in concert was the best way to hear Wishbone Ash, because the studio was just too sterile an environment, at least for their hardest-rocking stuff to take off. Anyone really into the group should own this record.


"DOWNLOAD"
http://rapidshare.de/files/5056181/sonictrooperu1.rar
http://rapidshare.de/files/5056131/sonictrooperu2.rar
http://rapidshare.de/files/5056164/sonictrooperu3.rar
http://rapidshare.de/files/5055671/sonictrooperu4.rar

"PASSWORD"
sonic

JIMI HENDRIX - Unsurpassed Masters (Studio Reels)

Jimi Hendrix - Unsurpassed Masters (Studio Reels) [no label 5 CDs] 5 Hours 34 Minutes of studio sessions 1969-1970 taken from 1st or 2nd gen studio reels. "This particular set was put together by a Hendrix preservation group about 5 or 6 years ago." Ex SBD stereo.

"DOWNLOAD"
http://rapidshare.de/files/26861845/jhum1.wma
http://rapidshare.de/files/26864436/jhum2.wma
http://rapidshare.de/files/26865207/jhum3.wma
http://rapidshare.de/files/26863262/jhum4.wma
http://rapidshare.de/files/26863843/jhum5.wma

JIMI HENDRIX - The Complete PPX Studio Recordings Vol.1 - Vol.6 (2000)

JIMI HENDRIX - PPX Recordings Vol. 1 GET THAT FEELING




"DOWNLOAD"
http://www.badongo.com/file/1096892

01-Get That Feeling
02-How Would You Feel
03-Hush Now
04-No Business
05-Simon Says
06-Gotta Have A New Dress
07-Strange Things
08-Welcome Home


JIMI HENDRIX - PPX Recordings Vol. 2 FLASHING




"DOWNLOAD"
http://www.badongo.com/file/1097051

01-Love, Love
02-Day Tripper
03-Gloomy Monday
04-Fool For You Baby
05-Don't Acuse Me
06-Hornet's Nest
07-Flashing
08-Oddball
09-Happy Birthday


JIMI HENDRIX - PPX Recordings Vol. 3 BALLAD OF JIMI




"DOWNLOAD"
http://www.badongo.com/file/1097245

01-UFO
02-Don't Want Me (instr.)
03-Better Times Ahead
04-Future Trip
05-Wah Wah (instr.)
06-Everybody Knew But Me
07-Merci Lady Day (instr.)
08-If You Gonna Make A Fool Of Somebody
09-My Best Friend (instr.)
10-The Ballad Of Jimi
11-Second Time Around (instr.)


JIMI HENDRIX - PPX Recordings Vol. 4 LIVE AT GEORGE`S CLUB




"DOWNLOAD"
http://www.badongo.com/file/1097429

01-Drivin' South
02-Ain't That Peculiar
03-I'll Be Doggone
04-I've Got A Sweet Little Angel
05-Bright Light, Big City
06-Get Out Of My Life Woman
07-Last Night
08-Sugar Pie, Honey Pie
09-What I Say
10-Shotgun


JIMI HENDRIX - PPX Recordings Vol. 5 SOMETHING ON YOUR MIND




"DOWNLOAD"
http://www.badongo.com/file/1097622

01-California Night
02-Level
03-I Feel Good
04-Left Alone
05-Knock Yourself Out
06-Something On Your Mind
07-I Should've Quit You
08-Hard Night
09-I'm A Man
10-Instrumental Jamming


JIMI HENDRIX - PPX Recordings Vol. 6 ON THE KILLING FLOOR




"DOWNLOAD"
http://www.badongo.com/file/1097756

01-On The killing Floor
02-Money
03-Nobody Loves Me
04-Love
05-You Got Me Running
06-Mr. Pitful
07-Torture Me Honey
08-Sleepy Fate
09-Satisfaction

utorak, 25.07.2006.

BAD COMPANY - Bad Company (1974)

Bad Company's 1974 self-titled release stands as one of the most important and accomplished debut hard rock albums from the '70s. Though hardly visionary, it was one of the most successful steps in the continuing evolution of rock & roll, riding on the coattails of achievement from artists like the Eagles and Crosby, Stills, Nash and Young. From the simple electric guitar lick on "Can't Get Enough" to the haunting bassline in "Bad Company" and the fast beats of "Movin' On," Bad Company exemplified raw rock & roll at its best. Erupting out of an experimental period created by the likes of Pink Floyd, Bad Company signified a return to more primal, stripped-down rock & roll. Even while labelmates Led Zeppelin's Houses of the Holy and IV featured highly acclaimed, colorful album artwork, Bad Company's austere black and white record cover stood out in stark contrast. Six years later, AC/DC used the same idea on their smash Back in Black. Throughout the 35-minute album, Paul Rodgers' mesmerizing and gritty vocals hardly vary in tonal quality, offering a perfect complement to Mick Ralphs' blues-based guitar work. Several songs include three-chord verses offset by unembellished, distorted choruses, filled rich with Rodgers' cries. Bad Company is an essential addition to the rock & roll library; clearly influential to '70s and '80s hard rock bands like Tom Petty, Lynyrd Skynyrd, and Boston.


"DOWNLOAD"
http://rapidshare.de/files/16129019/bcbc1.rar
http://rapidshare.de/files/16129379/bcbc2.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17511016/1024.rar.html

"PASSWORD"
frankd

BAD COMPANY - Straight Shooter (1975)

One year after Bad Company's multi-platinum self-titled debut, the British band returned to London to record a follow-up. Utilizing material written earlier in 1973, vocalist and songwriter Paul Rodgers wrote two acoustic-based rock ballads that would live on forever in the annals of great rock history. "Shooting Star" and the Grammy-winning "Feel Like Makin' Love" helped Straight Shooter rise quickly through the charts to reach Billboard's number three spot both in the U.S. and U.K. However, critically and commercially the album never achieved the tremendous success of its predecessor, largely due to the lack of strong follow-up singles and supporting tracks. Simon Kirke stepped out from behind the drum-set to help produce and write "Anna" and "Weep No More," two slower and less aggressive ballads indicative of the overall diminishing quality of the album. Following the release of Straight Shooter, Bad Company headlined their first North American tour.


"DOWNLOAD"
http://rapidshare.de/files/16331276/bcss1.rar
http://rapidshare.de/files/16333843/bcss2.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17546775/1033.rar.html

"PASSWORD"
frankd

BAD COMPANY - Run With The Pack (1976)

By this, their third album, it was becoming increasingly clear that Bad Company's music was a formula, and an unusually restrictive one. (They did try adding strings on the title track, which is one of the rewrites of the song "Bad Company.") With the band touring the world and momentum on their side, Run with the Pack shot up the charts, too, but it didn't get quite as high or stay quite as long as its predecessors, mostly because of the lack of really memorable material — the biggest single was a cover of the Coasters' hit "Young Blood."


"DOWNLOAD"
http://rapidshare.de/files/16328260/bcrwtp1.rar
http://rapidshare.de/files/16329539/bcrwtp2.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17550056/1031.rar.html

"PASSWORD"
frankd

BAD COMPANY - Burnin Sky (1977)

The string finally ran out for Bad Company with their fourth album, Burnin' Sky. Their approach was so simple that it almost inevitably became formulaic, and although Mick Ralphs continued to screech with his sparse guitar leads and Paul Rodgers continued to present his lust in a soulful voice — well, it'd been heard several times. By Burnin' Sky, Bad Company were getting sloppy around the edges, but the real reason this was the first Bad Company to miss the Top Ten in the U.S. and the U.K. is that there was no hit single. Clearly, it was time to try something new.


"DOWNLOAD"
http://rapidshare.de/files/16130128/bcbs1.rar
http://rapidshare.de/files/16130829/bcbs2.rar
http://rapidshare.de/files/16130969/bcbs3.rar

"PASSWORD"
PW = sh33pd1p

BAD COMPANY - Desolation Angels (1979)

By the time Bad Company released Desolation Angels, it was evident that even Rodgers and Ralphs were getting tired of their '70s-styled, conveyor-belt brand of rock & roll, so they decided to add keyboards and some minor string work to the bulk of the tracks. Although this change of musical scenery was a slight breath of fresh air, it wasn't enough to give Desolation Angels the much added depth or distinction which was intended, and only the vocal passion of "Rock 'n' Roll Fantasy" really comes out on top, eventually becoming a gold single. The good news is that Desolation Angels is a noticeable improvement from 1977's Burnin' Sky, with Bad Company's sound taking on a smoother, more polished feel than its predecessor. "Gone, Gone, Gone," "Lonely for Your Love," and "She Brings Me Love" work best in Rodgers' favor, and fans did prove their loyalty, pushing the album to the number ten mark in the U.K. and to number three in the U.S. The campaign toward a new sound does cause a few of the cuts ("Crazy Circles," "Evil Wind") to appear a bit forced and overly glitzy (especially the use of electronic drums), and the album spawns a smattering of a few attractive moments rather than evolving as a complete, constructive listen. Things didn't get much better for Bad Company, and it was after the release of 1979's Rough Diamonds, a much weaker and unattached effort, that Rodgers decided to call it quits.


"DOWNLOAD"
http://rapidshare.de/files/16136395/bcdesan1.rar
http://rapidshare.de/files/16137811/bcdesan2.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17517195/1026.rar.html

"PASSWORD"
frankd

BAD COMPANY - 10 From 6 (1985)

10 From 6 means ten songs from six albums — namely, Bad Company's first six records, all of which were big hits on album-oriented rock radio. This brief yet very effective collection gathers all of the group's best-known songs ("Can't Get Enough," "Feel Like Makin' Love," "Shooting Star," "Bad Company," "Rock 'n' Roll Fantasy," "Ready for Love") in one place. Although most album-oriented hard rock acts are better heard on the original albums, Bad Company's records tended to be more uneven than those of their peers, making 10 From 6 a valuable collection for the group's casual fans, who will want to bypass the cluttered studio albums and just get the cream of the crop.


"DOWNLOAD"
http://rapidshare.de/files/16313829/bcom1061.rar
http://rapidshare.de/files/16315727/bcom1062.rar
http://rapidshare.de/files/16316097/bcom1063.rar

"PASSWORD"
sh33pd1p

BAD COMPANY - Rough Diamonds (1982)

Instead of capitalizing on their "Rock 'N' Roll Fantasy" resurgence, Bad Company disappeared for another three years before trying it again with Rough Diamonds. Remember, it was not yet common in the music business for major groups to stay away from the marketplace that long. In Bad Company's case, the results were disastrous: the album didn't even make the Top 25 in the U.S. or go gold, much less platinum, and the music was softer and less distinctive than on their earlier records.


"DOWNLOAD"
http://rapidshare.de/files/16319349/bcrd1.rar
http://rapidshare.de/files/16320801/bcrd2.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17549238/1030.rar.html

"PASSWORD"
frankd

BAD COMPANY - Fame And Fortune (1986)

"DOWNLOAD"
http://rapidshare.de/files/16139856/bcfaf1.rar
http://rapidshare.de/files/16141081/bcfaf2.rar

"PASSWORD"
sh33pd1p

"DOWNLOAD"
http://rapidshare.de/files/17518864/1028.rar.html

"PASSWORD"
frankd

BAD COMPANY - Dangerous Age (1988)

Bad Company launched a major comeback in 1988 with Dangerous Age. It wasn't the original lineup, lacking Paul Rodgers, but Mick Ralphs was still on board, and he could still turn out some pretty solid numbers, like the title track and "One Night." The album also suffers from a slick, late-'80s AOR production, but compared to some of the albums that came later, Dangerous Age was satisfying.


"DOWNLOAD"
http://rapidshare.de/files/16133505/bcda1.rar
http://rapidshare.de/files/16134871/bcda2.rar
http://rapidshare.de/files/16134963/bcda3.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17547499/1027.rar.html

"PASSWORD"
frankd

BAD COMPANY - Holy Water (1990)

Bad Company's last platinum album, Holy Water is a formulaic yet reasonably engaging collection of AOR hard rock. Although the only original members on Holy Water are guitarist Mick Ralphs and drummer Simon Kirke, the band does a fair job of approximating the sound of classic Bad Company while adding enough elements of '80s pop-metal to make the record appealing to teenagers who grew up on power ballads. And the band does turn in a first-rate power ballad with "If You Needed Somebody," which rose all the way to number 16 on the singles chart. Surprisingly, that was one of three hits from the album — "Holy Water" and "Walk Through Fire" also received a fair amount of airplay. What that success signals is not a creative rebirth for Bad Company, but that the group knew how to follow a formula very well. Holy Water hasn't aged as well as their original hit albums — instead of the clean, ballsy attack of Bad Company and Straight Shooter, it's awash in echo and synths — but it is a finely crafted, big-budget record of the late '80s and early '90s. It's just as indicative of its era as Bad Company is.


"DOWNLOAD"
http://rapidshare.de/files/16220506/bchw1.rar
http://rapidshare.de/files/16223409/bchw2.rar
http://rapidshare.de/files/16224250/bchw3.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17548499/1029.rar.html

"PASSWORD"
frankd

BAD COMPANY - Here Comes Trouble (1992)

Down to a trio of Mick Ralphs, Simon Kirke, and Brian Howe, the band that called itself Bad Company relies on studio musicians to fill out the sound and Howe and producer Terry Thomas to write most of the material on this anonymous-sounding fourth album by the second edition of the group. Even those willing to tolerate Ralphs/Kirke/Howe calling themselves "Bad Company" didn't show much interest, so the band fell off from the platinum showing of 1990's Holy Water to much more modest sales this time around, despite the chart singles "How About That" (number 38) and "This Could Be the One" (number 87).


"DOWNLOAD"
http://rapidshare.de/files/16216036/bchct1.rar
http://rapidshare.de/files/16218341/bchct2.rar
http://rapidshare.de/files/16218951/bchct3.rar

"PASSWORD"
sh33pd1p

BAD COMPANY - Company Of Strangers (1995)

Company of Strangers was another installment from the reunited Bad Company. While the music is certainly accomplished, and the musicians are all tasteful professionals, very little on the album is noteworthy. None of the songs offer anything distinctive — there are no memorable melodies and hooks, no impressive guitar solos. Bad Company don't embarrass themselves on Company of Strangers, but they don't offer old fans any reason to get reacquainted with the band.


"DOWNLOAD"
http://rapidshare.de/files/16273077/bccos1.rar
http://rapidshare.de/files/16304525/bccos2.rar
http://rapidshare.de/files/16305342/bccos3.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17513379/1025.rar.html

"PASSWORD"
frankd

BAD COMPANY - Stories Told & Untold (1996)

The title of Stories Told & Untold refers to the fact that this contains some old songs, and some new — but these aren't old recordings, mind you. Instead, it's the 1996 lineup of Bad Company, featuring Robert Hart on vocals, who also contributes several originals to the lineup as well. Those originals naturally aren't as good as the hits, but they're reliable enough, and the band sounds pretty good, even if the production winds up being a bit too slick. Certainly this is one for the diehards, the ones that do want to hear the new band playing the old songs (not the ones that would get angry about that very thing); and while it's not one they'll put on a lot, it's not bad as far as latter-day platters from arena rock veterans go.


"DOWNLOAD"
http://rapidshare.de/files/16337033/bcstu1.rar
http://rapidshare.de/files/16338675/bcstu2.rar
http://rapidshare.de/files/16340106/bcstu3.rar

"PASSWORD"
sh33pd1p

OR

"DOWNLOAD"
http://rapidshare.de/files/17551460/1032.rar.html

"PASSWORD"
frankd

BAD COMPANY - The Original Bad Company Anthology (1999)

Somehow or other, Bad Company got lumped in with other '70s rock dinosaurs. In a way they were — not because their music was excessive or dated, but because when Bad Company walked the earth, the ground shook. Featuring the voice of Paul Rodgers, one of rock's greatest singers, the thoroughly excellent Original Bad Company Anthology re-establishes Bad Company as a force in the music world. The 33-song, two-CD set contains all the classic songs that made the band a top-selling recording and concert attraction, as well as four brand new songs and six B-sides and outtakes. The new songs are (surprise!) awesome. All four tracks (two by Mick Ralphs, two by Paul Rodgers) sound like they could be on the band's classic early albums. The first single, "Hey Hey," is a blustery rocker; "Tracking Down a Runaway," a totally exhilarating number, sounds like a future hit. The rarities include "Easy on My Soul," a remade Free song from the Straight Shooter sessions — complete with Paul Rodgers' signature piano — that blows the Free version out of the water, and might just be the best track Bad Company has ever done. Other highlights include "Superstar Woman," a soulful outtake from the first LP sessions, and "Smokin' 45" from the Burnin' Sky sessions. "Little Miss Fortune," with its cool lyrics and groove, is a former B-side finally seeing the light of day in the CD age. The set draws from all of their albums, emphasizing the first two, but the band even found two good tracks from the utterly pathetic Rough Diamonds; if those songs are good you can be sure the rest kick some serious butt as well.


"DOWNLOAD"
http://rapidshare.de/files/16341713/bctobca1.rar
http://rapidshare.de/files/16342603/bctobca2.rar
http://rapidshare.de/files/16344004/bctobca3.rar
http://rapidshare.de/files/16345319/bctobca4.rar
http://rapidshare.de/files/16346466/bctobca5.rar
http://rapidshare.de/files/16347148/bctobca6.rar

"PASSWORD"
sh33pd1p

BAD COMPANY - In Concert - Merchants Of Cool (2002)

Oddly enough, on this 2002 live recording by Bad Company, vocalist Paul Rodgers sounds younger than he ever has on record. And no, that's not necessarily a good thing. Bad Company's original members number two: Rodgers and drummer Simon Kirke; bassist Jaz Lochrie and guitarist Dave Colwell have replaced Boz Burrell and Mick Ralphs, who were smart enough to bail after the obligatory reunion tour that resulted in a previous live album. True enough, Bad Company was once able to inspire legions of rock fans with their melodic, memorable, tough, and lean bluesy paeans to lovers, losers, gamblers, and ramblers, and one would hope that even with a new lineup some of that inspiration and fire remained. But those days are long, long gone. One wonders why anyone, even a die-hard fan, would appreciate this tired, plodding, going-through-the-motions set of hits. The singalong on "Can't Get Enough" is nauseating, and the redone "Feel Like Makin' Love" sounds like a cover band in a bar doing Bad Company songs. This should have been called Former Merchants of Cool Ready for the Old Rock Stars' Home.

"DOWNLOAD"
http://rapidshare.de/files/16308069/bcmoc1.rar
http://rapidshare.de/files/16309828/bcmoc2.rar
http://rapidshare.de/files/16311647/bcmoc3.rar
http://rapidshare.de/files/16312044/bcmoc4.rar

"PASSWORD"
sh33pd1p

ponedjeljak, 24.07.2006.

STEVE MILLER BAND - Children Of The Future (1968)

A psychedelic blues rock-out, 1968's Children of the Future marked Steve Miller's earliest attempt at the ascent that brought him supersonic superstardom. Recorded at Olympic Studios in London with storied producer Glyn Johns at the helm, the set played out as pure West Coast rock inflected with decade-of-love psychedelia but intriguingly cloaked in the misty pathos of the U.K. blues ethic. Though bandmate Boz Scaggs contributed a few songs, the bulk of the material was written by Miller while working as a janitor at a music studio in Texas earlier in the year. The best of his efforts resonate in a side one free-for-all that launches with the keys and swirls of the title track and segues smoothly through "Pushed Me Through It" and "In My First Mind," bound for the epic, hazy, lazy, organ-inflected "The Beauty of Time Is That It's Snowing," which ebbs and flows in ways that are continually surprising. The second half of the LP is cast in a different light — a clutch of songs that groove together but don't have the same sleepy flow. Though it has since attained classic status — Miller himself was still performing it eight years later — Scaggs' "Baby's Callin' Me Home" is a sparse, lightly instrumentalized piece of good old '60s San Francisco pop. His "Steppin' Stone," on the other hand, is a raucous, heavy-handed blues freakout with a low-riding bass and guitar breaks that angle out in all directions. And whether the title capitalized at all on the Monkees' similarly titled song, released a year earlier, is anybody's guess. Children of the Future was a brilliant debut. And while it is certainly a product of its era, it's still a vibrant reminder of just how the blues co-opted the mainstream to magnificent success.


"DOWNLOAD"
http://rapidshare.de/files/26643722/Steve_Miller_Band_1968_-_Children_of_the_Future_320.zip

STEVE MILLER BAND - The Joker (1973)

With The Joker, Steve Miller reached new heights of popularity and commercial success but sank to a level of musical and lyrical banality from which he would not soon recover. This is not to say this is a terrible album, but measured against his classic first five albums, The Joker is very disappointing. While the title track is a catchy piece of fluff that hit the number one spot on the singles charts, most of the tracks on this recording sound like filler. "Mary Lou" is a cover of an old Ronnie Hawkins song, "Your Cash Ain't Nothin' But Trash" is a '50s doo wop song by the Clovers, and "Come on in My Kitchen" is the oft-recorded Robert Johnson blues song, credited here to Woody Payne (the same songwriting credit given by John Renbourn on his Faro Annie album a year earlier). Even the originals here are based on borrowed ideas. "Sugar Babe" and "Shu Ba Da Du Ma Ma Ma Ma" are pleasant diversions, but as the titles suggest, of very little substance. The album sounds at times like it was recorded in a cave, with the drums sounding like cardboard boxes. This recording reached number two on the album charts on the strength of the single, but for those familiar with Steve Miller's music from 1968-1970, The Joker was little more than trash.


"DOWNLOAD"
http://rapidshare.de/files/26643384/Steve_Miller_Band_1973_-_The_Joker_192.zip

STEVE MILLER BAND - Sailor (1968)

Most definitely a part of the late-'60s West Coast psychedelic blues revolution that was becoming hipper than hip, Steve Miller was also always acutely aware of both the British psychedelic movement that was swirling in tandem and of where the future lay, and how that would evolve into something even more remarkable. The result of all those ideas, of course, came together on 1968's magnificent Sailor LP. Speaking to Goldmine magazine in 2002, Miller reiterated that he was always aware of forward thinking: "It's amazing what the breakthroughs are, and the quality is absolutely better and you don't have the digital/analog argument anymore about what sounds the best. It's all new. And now anybody in the world can do what I wanted to do so badly when I got my deal with Capitol Records and got to finally go into a recording studio." What was begun on Children of the Future is more fully realized on Sailor, most notably on the opening "Song for Our Ancestors," which begins with a foghorn and only gets stranger from there. Indeed, the song precognizes Pink Floyd's 1971 opus "Echoes" to such an extent that one wonders how much the latter enjoyed Miller's own wild ride. Elsewhere, the beautiful, slow "Dear Mary" positively shimmers in a haze of declared love, while the heavy drumbeats and rock riffing guitar of "Living in the U.S.A." are a powerful reminder that the Steve Miller Band, no matter what other paths they meandered down, could rock out with the best of them. And, of course, this is the LP that introduced many to the Johnny "Guitar" Watson classic "Gangster of Love," a song that would become almost wholly Miller's own, giving the fans an alter ego to caress long before "The Joker" arose to show his hand. Rounding out Miller's love of the blues is an excellent rendering of Jimmy Reed's "You're So Fine." At their blues-loving best, Sailor is a classic Miller recording and a must-have — especially for the more contemporary fan, where it becomes an initiation into a past of mythic proportion.


"DOWNLOAD"
http://rapidshare.de/files/26633826/Sailor.zip

STEVE MILLER BAND - Fly Like An Eagle (1976)

Steve Miller had started to essay his classic sound with The Joker, but 1976's Fly Like an Eagle is where he took flight, creating his definitive slice of space blues. The key is focus, even on an album as stylishly, self-consciously trippy as this, since the focus brings about his strongest set of songs (both originals and covers), plus a detailed atmospheric production where everything fits. It still can sound fairly dated — those whooshing keyboards and cavernous echoes are certainly of their time — but its essence hasn't aged, as "Fly Like an Eagle" drifts like a cool breeze, while "Take the Money and Run" and "Rock 'n Me" are fiendishly hooky, friendly rockers. The rest of the album may not be quite up to those standards, but there aren't any duds, either, as "Wild Mountain Honey" and "Mercury Blues" give this a comfortable backdrop, thanks to Miller's offhand, lazy charm. Though it may not quite transcend its time, it certainly is an album rock landmark of the mid-'70s and its best moments (namely, the aforementioned singles) are classics of the idiom.


"DOWNLOAD"
http://rapidshare.de/files/26644023/Steve_Miller_Band_1976_-_Fly_Like_An_Eagle__VBR.zip

STEVE MILLER BAND - Abracadabra (1982)

Steve Miller was always catchy and tuneful, but he never turned out an unabashed pop album until 1982's Abracadabra. This isn't just pop in construction, it's pop in attitude, filled with effervescent melodies and deeply silly lyrics, perhaps none more noteworthy than the immortal couplet "Abra-Abracadabra/I wanna reach out and grab ya." Those words graced the title track, which turned out to be one of his biggest hits, and if nothing else is quite as irresistibly goofy as that song, there still is a surplus of engagingly tuneful material, all dressed up in the psuedo-new wave production so favored by AOR veterans in the early '80s. All of that may not make this one of Miller's definitive albums, especially in the view of hardcore space blues heads, but it's pretty damn irresistible for listeners who find "Abracadabra" one of the highlights of faux-new wave AOR.


"DOWNLOAD"
http://rapidshare.de/files/26651613/Steve_Miller_Band_1982_-_Abracadabra.zip

STEVE MILLER BAND - The Best of 1968-1973 (1990)

The Best of 1968-1973 is a solid collection that features many of the highlights from Steve Miller's first five years of recording, including "The Joker," "Living in the U.S.A.," "Space Cowboy," and "Gangster of Love." This compilation isn't as consistently thrilling as Greatest Hits 1974-1978, which also features "The Joker," and it's not as sharply assembled as 1972's Anthology, but it remains an adequate overview of Miller's early records, especially for fans only familiar with Greatest Hits.


"DOWNLOAD"
http://rapidshare.de/files/26653652/
Steve_Miller_Band_The_Best_of_1968-1973_256.zip
http://rapidshare.de/files/26654172/
Steve_Miller_Band_The_Best_Of_1968-1973_part_2.zip

STEVE MILLER BAND - Wide River (1993)

Steve Miller returns to the bluesy pop/rock sound that made his career so successful with Wide River, a pleasant collection of new songs that will appeal greatly to fans of "The Joker," "Take the Money and Run," and "Rock n' Me."


"DOWNLOAD"
http://rapidshare.de/files/26653958/Steve_Miller_Band_1993_-_Wide_River_256.zip

STEVE MILLER BAND - The Very Best Of The Steve Miller Band (1993)

A compilation by Arcade Benelux for the Dutch and Belgian market.


"DOWNLOAD"
http://rapidshare.de/files/26634276/Steve_Miller_Band_-_The_Very_Best_1.zip
http://rapidshare.de/files/26640759/Steve_Miller_Band_-_The_Very_Best_2.zip

nedjelja, 23.07.2006.

THE PAUL BUTTERFIELD BLUES BAND - Sometimes I Just Feel Like Smilin (1971)

Full title - Sometimes I Just feel Like Smiling. The Butterfield Blues Band has been critically acclaimed as one the greatest electric blues bands ever! Lead by singer & harmonica player Paul Butterfield, their albums have stood the test of time as classics of the 60's & early 70's. Sometimes I Just Feel Like Smilin', was their fourth album, originally released in 1971. It features saxophonist David Sanborn. It was the last album the band recorded for Elektra Records. This album is making its worldwide CD debut! Wounded Bird Records. 2002.


"DOWNLOAD"
http://rapidshare.de/files/24854678/
Sometimes_I_Just_Feel_Like_Smilin_.rar.html

THE PAUL BUTTERFIELD BLUES BAND - In My Own Dream (1968)

Sometimes, one has to wonder whether the youth of the 1960s were really as open to new ideas and new sounds as their press would make you believe. Take the album at hand, In My Own Dream by the Paul Butterfield Blues Band — their fourth official release (though two others have since gone into their discography at earlier points), it marked the point where the band really began to lose its audience, and all for reasons having nothing to do with the quality of their music. They'd gotten past the loss of Michael Bloomfield in early 1967, over which they'd surrendered some of their audience of guitar idolaters, with the engagingly titled (and guitar-focused) Resurrection of Pigboy Crabshaw. In My Own Dream had its great guitar moments, especially on "Just to Be With You," but throughout the album, Elvin Bishop's electric guitar shared the spotlight with the horn section of Gene Dinwiddle, David Sanborn, and Keith Johnson, who had signed on with the prior album and who were more out in front than ever. More to the point, this album represented a new version of the band being born, with shared lead vocals, with the leader himself only taking three of the seven songs, and bassist Bugsy Maugh singing lead on two songs, Bishop on one, and drummer Phillip Wilson taking one song. What's more, there was a widely shared spotlight for the players, and more of a jazz influence on this record than had ever been heard before from the group. This was a band that could jam quietly for five minutes on "Drunk Again," building ever-so-slowly to a bluesy crescendo where Bishop's guitar and Mark Naftalin's organ surged; and follow it with the title track, a totally surprising acoustic guitar-driven piece featuring Sanborn, Dinwiddle, and Johnson. The playing was impressive, especially for a record aimed at a collegiate audience, but the record had the bad fortune to appear at a point when jazz was culturally suspect among the young, an elitist and not easily accessible brand of music that seemed almost as remote as classical music (i.e. "old people's" music). "Get Yourself Together" was almost too good a piece of Chicago-style blues, a faux Chess Records-style track that might even have been too "black" for the remnants of Butterfield's old audience. It also anticipated the group's final change of direction, its blossoming into a multi-genre blues/jazz/R&B/soul outfit, equally devoted to all four genres and myriad permutations of each. It might not be essential listening for dedicated fans of the original band, but for those who hung on to its glorious end — the double-live LP (a double-live CD and twice as long, as of late 2004) — this is the missing link, how they got there.

"DOWNLOAD"
http://rapidshare.de/files/26628314/In_My_Own_Dreams.rar.html

"PASSWORD"
xxxrockrula.blogspot.com

THE PAUL BUTTERFIELD BLUES BAND - East-West (1966)

The second Butterfield album had an even greater effect on music history, paving the way for experimentation that is still being explored today. This came in the form of an extended blues-rock solo (some 13 minutes) — a real fusion of jazz and blues inspired by the Indian raga. This groundbreaking instrumental was the first of its kind and marks the root from which the acid rock tradition emerged.


"DOWNLOAD"
http://rapidshare.de/files/25200903/
Butterfield_Blues_Band_EAST_WEST.rar.html

THE PAUL BUTTERFIELD BLUES BAND - The Original Lost Elektra Sessions (1964)

All but one of these 19 tracks were recorded in December, 1964, as Butterfield's projected first LP; the results were scrapped and replaced by their official self-titled debut, cut a few months later. With both Bloomfield and Bishop already in tow, these sessions rank among the earliest blues-rock ever laid down. Extremely similar in feel to the first album, it's perhaps a bit rawer in production and performance, but not appreciably worse or different than what ended up on the actual debut LP. Dedicated primarily to electric Chicago blues standards, Butterfield fans will find this well worth acquiring, as most of the selections were never officially recorded by the first lineup (although different renditions of five tracks showed up on the first album and the What's Shakin' compilation).


"DOWNLOAD"
http://rapidshare.de/files/21656327/PBBB.rar.html

THE PAUL BUTTERFIELD BLUES BAND - Paul Butterfield Blues Band (1965)

Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon's "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents.

"DOWNLOAD"
http://www.megaupload.com/?d=3R8OZ2XH

KEB' MO' - Suitcase (2006)

On Suitcase, his eighth studio release, Keb' Mo' (Kevin Moore) reunites with John Porter, the producer of Moore's critically lauded first album, and the result is a pleasant, midtempo suite of songs dedicated to the emotional baggage everyone carries with them as they plow through increasingly complicated lives in search of peace, love, and some measure of personal redemption. Moore covers this ground with a wink and a grin in his voice, though, and Suitcase emerges as a wry commentary on modern life that still manages to sound bright and positive, beginning with the effervescent, sprung reggae rhythm of the opening track, "Your Love," one of the best cuts here. Other highlights include the lovely ballad, "Still There for Me," a celebration of the little man and his private victories, "I'm a Hero," and the soothing, hopeful shuffle that closes things out, "Life Is Beautiful." Moore is generally classified as a blues player, but the truth is, aside from his first album, he has actually done very little true blues material, and it is probably more accurate to call what he does blues-informed, but even that ignores the point that he is probably much closer in tone, theme, and feel to James Taylor than he is to Robert Johnson or any other blues figure. He does turn to the blues here, though, on the title track, "Suitcase," and morphs it into a wonderfully engaging song about what people bring into a romantic relationship and what they take away in the end, making full use of the "emotional baggage" connection inherent in the title. It is Keb' Mo' at his best, drawing on his ability to synthesize roots forms like the blues into completely contemporary commentaries on the struggles, travails, and blind faith in personal redemption that accompanies people as they slog their way daily ever deeper into the 21st century.


"DOWNLOAD"
http://www.filefactory.com/?346ee8

KEB' MO' - Keb' Mo' (1994)

Keb' Mo's self-titled debut is an edgy, ambitious collection of gritty country blues. Keb' Mo' pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren't always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb' Mo' a debut to cherish.


"DOWNLOAD"
http://www.filefactory.com/get/v3/f2.php?f=323ca8

subota, 22.07.2006.

DEEP PURPLE - Shades Of Deep Purple (1968)

The usual perception of early Deep Purple is that it was a band with a lot of potential in search of a direction. And that might be true of their debut LP, put together in three days of sessions in May of 1968, but it's still a hell of an album. From the opening bars of "And the Address," it's clear that they'd gotten down the fundamentals of heavy metal from day one, and at various points the electricity and the beat just surge forth in ways that were startlingly new in the summer of 1968. Ritchie Blackmore never sounded less at ease as a guitarist than he does on this album, and the sound mix doesn't exactly favor the heavier side of his playing, but the rhythm section of Nick Simper and Ian Paice rumble forward, and Jon Lord's organ flourishes, weaving classical riffs, and unexpected arabesques into "I'm So Glad," which sounds rather majestic here. "Hush" was the number that most people knew at the time (it was a hit single in America), and it is a smooth, crunchy interpretation of the Joe South song. But nobody could have been disappointed with the rest of this record — one can even hear the very distant origins of "Smoke on the Water" in "Mandrake Root," once one gets past the similarities to Jimi Hendrix's "Foxy Lady"; by the song's extended finale, they sound more like the Nice. Their version of "Help" is one of the more interesting reinterpretations of a Beatles song, as a slow, rough-textured dirge. "Hey Joe" is a bit overblown, and the group clearly had to work a bit at both songwriting and their presentation, but one key attribute that runs through most of this record — even more so than the very pronounced heaviness of the playing — is a spirit of fun; these guys are obviously having the time of their lives rushing through their limited repertoire, and it's infectious to the listener; it gives this record much more of a '60s feel than we're accustomed to hearing from this band. The EMI/Spitfire re-release from 2000 is notably superior to any prior version of the CD, made from the original master tape (which had been sent directly to the group's American label, Tetragrammaton, leaving EMI with a vinyl dub, astonishingly enough), with textures far closer and crisper than have ever been heard before — there are also five bonus tracks, two very early outtakes from their earliest sessions, an alternate version of "Help," a BBC recording of "Hey Joe," and a searing live U.S. television performance of "Hush."


"DOWNLOAD"
http://rapidshare.de/files/20082574/Deep_Purple_-__1968__Shades_Of_Deep_Purple.rar.html

DEEP PURPLE - The Book Of Taliesyn (1969)

A year after the innovative remake of "You Keep Me Hanging On," England's answer to Vanilla Fudge, was this early version of Deep Purple, which featured vocalist Rod Evans, and bassist Nick Simper, along with mainstays Ritchie Blackmore, Jon Lord, and Ian Paice. This, their second album, followed on the heels of "Hush," a dynamic arrangement of a Joe South tune, far removed from the flavor of one of his own hits, "Walk a Mile in My Shoes." Four months later, this album's cover of Neil Diamond's Top 25, 1967 gem "Kentucky Woman," went Top 40 for Deep Purple. Also like Vanilla Fudge, the group's own originals were creative, thought-provoking, but not nearly as interesting as their take on cover tunes. Vanilla Fudge did "Eleanor Rigby," and Deep Purple respond by going inside "We Can Work It Out" — it falls out of nowhere after the progressive rock jam "Exposition," Ritchie Blackmore's leads zipping in between Rod Evans smooth and precise vocals. As Vanilla Fudge was progressively leaning more towards psychedelia, here Deep Purple are the opposite. The boys claim to be inspired by the Bard of King Arthur's court in Camelot, Taliesyn. John Vernon Lord, under the art direction of Les Weisbrich, paints a superb wonderland on the album jacket, equal to the madness of Hieronymous Bosch's cover painting used for the third album. Originals "The Shield" and "Anthem" make early Syd Barrett Pink Floyd appear punk in comparison. Novel sounds are aided by Lord's dominating keyboards, a signature of this group.

Though "The Anthem" is more intriguing than the heavy metal thunder of Machine Head, it is overwhelmed by the majesty of their "River Deep, Mountain High" cover, definitely not the inspiration for the Supremes and Four Tops 1971 hit version. By the time 1972 came around, Deep Purple immersed themselves in dumb lyrics, unforgettable riffs, and a huge presence, much like Black Sabbath. The evolution from progressive to hard rock was complete, but a combination of what they did here — words that mattered matched by innovative musical passages — would have been a more pleasing combination. Vanilla Fudge would cut Donovan's "Season of the Witch," Deep Purple followed this album by covering his "Lalena"; both bands abandoned the rewrites their fans found so fascinating. Rod Evans voice was subtle enough to take "River Deep, Mountain High" to places Ian Gillam might have demolished. The CD contains an additional five tracks.


"DOWNLOAD"
http://rapidshare.de/files/20082646/Deep_Purple_-__1968__The_Book_Of_Taliesyn.rar.html

DEEP PURPLE - Deep Purple (1969)

This is a record that this reviewer can listen to two or three times in one sitting, and he's not even much of a Deep Purple fan — but then, Deep Purple wasn't much like any other album that the group ever issued. Actually, Deep Purple was highly prized for many years by fans of progressive rock, and for good reason. The group was going through a transition — original lead singer Rod Evans and bassist Nick Simper would be voted out of the lineup soon after the album was finished (although they weren't told about it until three months later), organist Jon Lord and guitarist Ritchie Blackmore having perceived limitations in their work in terms of where each wanted to take the band. And between Lord's ever-greater ambitions toward fusing classical and rock and Blackmore's ever-bolder guitar attack, both of which began to coalesce with the session for Deep Purple in early 1969, the group managed to create an LP that combined heavy metal's early, raw excitement, intensity, and boldness with progressive rock's complexity and intellectual scope, and virtuosity on both levels. On "The Painter," "Why Didn't Rosemary," and, especially, "Bird Has Blown," they strike a spellbinding balance between all of those elements, and Evans' work on the latter is one of the landmark vocal performances in progressive rock. "April," a three-part suite with orchestral accompaniment, is overall a match for such similar efforts by the Nice as the "Five Bridges Suite," and gets extra points for crediting its audience with the patience for a relatively long, moody developmental section and for including a serious orchestral interlude that does more than feature a pretty tune, exploiting the timbre of various instruments as well as the characteristics of the full ensemble. Additionally, the band turns in a very successful stripped-down, hard rock version of Donovan's "Lalena," with an organ break that shows Lord's debt to modern jazz as well as classical training. In all, amid all of those elements — the orchestral accompaniment, harpsichord embellishments, and backward organ and drum tracks — Deep Purple holds together astonishingly well as a great body of music; this is one of the most bracing progressive rock albums ever — and a successful vision of a musical path that the group might have taken but didn't. Ironically, the group's American label, Tetragrammaton Records, which was rapidly approaching bankruptcy, released this album a lot sooner than EMI did in England, but ran into trouble over the use of the Heironymus Bosch painting "The Garden of Earthly Delights" on the cover; though it has been on display at the Vatican, the work was wrongly perceived as containing profane images and never stocked as widely in stores as it might've been. The 2000 remastered edition on the Spitfire label, by way of EMI, sounds magnificent and offers five bonus tracks: a killer hard rock B-side, "Emmaretta," showcasing a slashing Ritchie Blackmore guitar break, and a looser, more flowing BBC-recorded version of the latter song, plus "Lalena" and "The Painter" and a harder alternate take of "The Bird Has Flown."


"DOWNLOAD"
http://rapidshare.de/files/20082725/Deep_Purple_-__1969__Deep_Purple.rar.html

DEEP PURPLE - Concerto For Group And Orchestra (1969)

Back in 1970, it seemed as though any British group that could was starting to utilize classical elements in their work — for some, like ELP, that meant quoting from the classics as often and loudly as possible, while for others, like Yes, it meant incorporating classical structures into their albums and songs. Deep Purple, at the behest of keyboardman Jon Lord, fell briefly into the camp of this offshoot of early progressive rock with the Concerto for Group and Orchestra. For most fans, the album represented the nadir of the classic (i.e., post-Rod Evans) group: minutes of orchestral meandering lead into some perfectly good hard rock jamming by the band, but the trip is almost not worth the effort. Ritchie Blackmore sounds great and plays his heart out, and you can tell this band is going to go somewhere, just by virtue of the energy that they put into these extended pieces. The classical influences mostly seem drawn from movie music composers Dimitri Tiomkin and Franz Waxman (and Elmer Bernstein), with some nods to Rachmaninoff, Sibelius, and Mahler, and they rather just lay there. Buried in the middle of the second movement is a perfectly good song, but you've got to get to it through eight minutes of orchestral noodling on either side. The third movement is almost bracing enough to make up for the flaws of the other two, though by itself, it wouldn't make the CD worthwhile — Pink Floyd proved far more adept at mixing group and orchestra, and making long, slow, lugubrious pieces interesting. As a bonus, however, the producers have added a pair of hard rock numbers by the group alone, "Wring That Neck" and "Child in Time," that were played at the same concert. They and the third movement of the established piece make this worth a listen.


"DOWNLOAD"
http://rapidshare.de/files/20082806/Deep_Purple_-__1970__Concerto_For_Group.rar.html

DEEP PURPLE - Deep Purple In Rock (1970)

After satisfying all of their classical music kinks with keyboard player Jon Lord's overblown Concerto for Group and Orchestra, Deep Purple's soon-to-be classic Mark II lineup made their proper debut on 1970's awesome In Rock. The cacophony of sound (led by Ritchie Blackmore's blistering guitar solo), which introduces the opener "Speed King," makes it immediately obvious that the band is no longer fooling around. The slightly less intense "Bloodsucker" allows for some breathing room before the band embarks on the album's epic, ten-minute tour de force "Child in Time." In what is arguably his greatest performance, singer Ian Gillan leads the band on a series of crescendos, from the song's gentle beginning through to its ear-shattering climax, and back again to an even more intense encore. With searing power chords, "Flight of the Rat" is another example of the band's new hard-rock stance; though at nearly eight minutes, it too finds room for some extended soloing from Blackmore and Lord. "Into the Fire" and "Living Wreck" are more concise but equally appealing, and despite the closer "Hard Lovin' Man," which waffles on a bit before descending into feedback, this is still an essential album.


"DOWNLOAD"
http://rapidshare.de/files/20082872/Deep_Purple_-__1970__Deep_Purple_In_Rock.rar.html

DEEP PURPLE - Fireball (1971)

One of Deep Purple's three essential albums, 1971's Fireball finds the band taking the no-holds-barred, hard-rock direction of the previous year's In Rock to new creative heights. Metal machine noises introduce the sizzling title track, which is an explosively tight group effort with Jon Lord's organ truly shining. The somewhat repetitive "No No No" threatens to drop the ball, but the fantastic "Strange Kind of Woman" picks things up again. The innuendo-encrusted hilarity of "Anyone's Daughter" features one of singer Ian Gillan's best lyrics, and guitarist Ritchie Blackmore shows his range with one of his most uncharacteristic, bluesier performances. "The Mule" is perhaps the band's finest instrumental and they flirt with progressive rock on "Fools," which probably could have been done without the rather boring, drawn-out middle section. Closing the album is the exceptional "No One Came," which sounds so fresh that its plausible that the band improvised it on the spot. Their intertwining instrumental lines lock together beautifully, and Gillan weaves a comic, semi-autobiographical story that is equal parts rooted in fact and Monty Python.


"DOWNLOAD"
http://rapidshare.de/files/20082937/Deep_Purple_-__1971__Fireball.rar.html

DEEP PURPLE - Machine Head (1972)

Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head stand as the Holy Trinity of English hard rock. These recordings provide the blueprint followed by virtually every heavy rock & roll band since the mid-'70s. Though probably the least celebrated of the three, Machine Head contains the mother of all guitar riffs in "Smoke on the Water," a song that needs no further explanation. The album also features the classic "Highway Star," which epitomizes all of Deep Purple's intensity and versatility, while featuring perhaps the greatest soloing duel ever between guitarist Ritchie Blackmore and organist Jon Lord. Also in top form is singer Ian Gillan (simply one of the finest singers of his generation, bar none), who explodes with amazing power and range throughout. Gillan lets the band take over on the largely instrumental "Lazy," which would evolve into an incredible live jam. The plodding shuffle of "Maybe I'm a Leo" shows some signs of age, but "Pictures of Home" and "Never Before" remain vital, displaying Purple at their melodic best. Another tremendous Blackmore riff drives the marvelous "Space Truckin'," a fitting end to one of the essential hard-rock albums of all time.


"DOWNLOAD"
http://rapidshare.de/files/20083348/Deep_Purple_-__1972__Machine_Head.rar.html

DEEP PURPLE - Live In Japan (UK) [BOX SET] [LIVE] (1972)

"DOWNLOAD"
http://rapidshare.de/files/20083088/Deep_Purple_-__1972__Live_In_Japan_-_UK_BOX_SET.part1.rar.html
http://rapidshare.de/files/20083259/Deep_Purple_-__1972__Live_In_Japan_-_UK_BOX_SET.part2.rar.html
http://rapidshare.de/files/20083282/Deep_Purple_-__1972__Live_In_Japan_-_UK_BOX_SET.part3.rar.html

DEEP PURPLE - Made In Japan (1972)

Recorded over three nights in August 1972, Deep Purple's Made in Japan was the record that brought the band to headliner status in the U.S. and elsewhere, and it remains a landmark in the history of heavy metal music. Since reorganizing with singer Ian Gillan and bassist Roger Glover in 1969, Deep Purple had recorded three important albums — Deep Purple in Rock, Fireball, and Machine Head — and used the material to build a fierce live show. Made in Japan, its selections drawn from those albums, documented that show, in which songs were drawn out to ten and even nearly 20 minutes with no less intensity, as guitarist Ritchie Blackmore and organist Jon Lord soloed extensively and Gillan sang in a screech that became the envy of all metal bands to follow. The signature song, of course, was "Smoke on the Water," with its memorable riff, which went on to become an American hit single. But those extended workouts, particularly the moody "Child in Time," with Gillan's haunting falsetto wail and Blackmore's amazingly fast playing, and "Space Truckin'," with Lord's organ effects, maintained the onslaught, making this a definitive treatment of the band's catalog and its most impressive album. By stretching out and going to extremes, Deep Purple pushed its music into the kind of deliberate excess that made heavy metal what it became, and their audience recognized the breakthrough, propelling the original double LP into the U.S. Top Ten and sales over a million copies.


"DOWNLOAD"
http://rapidshare.de/files/20083464/Deep_Purple_-__1972__Made_In_Japan.rar.html

DEEP PURPLE - Who Do We Think We Are (1973)

Deep Purple had kicked off the '70s with a new lineup and a string of brilliant albums that quickly established them (along with fellow British giants Led Zeppelin and Black Sabbath) as a major force in the popularization of hard rock and heavy metal. All the while, their reputation as one of the decade's fiercest live units complemented this body of work and earned them almost instant legendary status. But with 1973's disappointing Who Do We Think We Are — the fourth and final studio outing by the original run of Purple's classic Mark II lineup — all the fire and inspiration that had made the previous year's Machine Head their greatest triumph mysteriously vanished from sight. Vastly inferior to all three of its famous predecessors, the album revealed an exhausted band clearly splintering at the seams. Except for opener "Woman From Tokyo," which hinted at glories past with its signature Ritchie Blackmore riff, the album's remaining cuts are wildly inconsistent and find the band simply going through the motions. In fact, many of these don't so much resemble songs as loose jam sessions quickly thrown together in the studio with varying degrees of enthusiasm. "Mary Long" and "Super Trouper" are prime examples, featuring solos from Blackmore and organist Jon Lord, and uncharacteristically inane lyrics from soon-to-be former singer Ian Gillan. With its start-stop rhythm and Gillan's fine scat singing, the energetic "Rat Bat Blue" is a memorable exception to the rule, but the yawn-inducing blues of "Place in the Line" and the gospel mediocrity of "Our Lady" bring the album to a close with a whimper rather than a shout. [A painfully revealing display of a legendary band grinding to a halt, Who Do We Think We Are was reissued in 2000 with the added incentive of seven bonus tracks and new liner notes by bassist Roger Glover].


"DOWNLOAD"
http://rapidshare.de/files/20083509/Deep_Purple_-__1973__Who_Do_We_Think_We_Are.rar.html

DEEP PURPLE - Stormbringer (1974)

Stormbringer falls short of the excellence of Machine Head and Who Do We Think We Are, but nonetheless boasts some definite classics — including the fiery "Lady Double Dealer," the ominous title song (a Gothic-metal treasure), the sweaty "High Ball Shooter," and the melancholy ballad "Soldier of Fortune." Most of the other songs on the decent, if uneven, Stormbringer (which Metal Blade reissued on CD in the early '90s) are not essential. Like Come Taste the Band, Stormbringer will be of interest to Deep Purple's more enthusiastic fans, rather than casual listeners who would be much better off starting out with either of the above-mentioned studio projects or the live Made in Japan.


"DOWNLOAD"
http://rapidshare.de/files/20083645/Deep_Purple_-__1974__Stormbringer.rar.html

DEEP PURPLE - Burn (1974)

The departure of vocalist Ian Gillan and bassist Roger Glover seemed to rejuvenate Deep Purple, and 1974's Burn was a huge improvement over their previous effort, the lackluster Who Do We Think We Are. In an interesting twist, new recruits David Coverdale and ex-Trapeze bassist Glenn Hughes share lead vocals on virtually every track — an enviable tag team, as both possessed exceptional pipes. The title track starts things off at full speed thanks to the phenomenal drumming of Ian Paice, and the intro to "Might Just Take Your Life" is one of organist Jon Lord's finest moments. Full of starts and stops, "Lay Down, Stay Down" features a fantastic solo from guitarist Ritchie Blackmore, who, as usual, serves as the band's primal force. "What's Going On Here" is about as good a single as Purple ever wrote; "You Fool No One" is compelling in its intensity; and the funky "Sail Away" is a sign of the band's future direction. "Mistreated," a fantastic slow blues, closes the album proper (let's ignore the boring instrumental "A 200," the record's only throwaway) and showcases Coverdale on his own for the first time. So impassioned is the singer's performance that the song would remain his concert trademark long into his post-Purple career with Whitesnake.


"DOWNLOAD"
http://rapidshare.de/files/20083582/Deep_Purple_-__1974__Burn.rar.html

DEEP PURPLE - Come Taste The Band (1975)

When Ritchie Blackmore departed Deep Purple in the mid-'70s and formed Elf (which evolved into Blackmore's Rainbow and featured Ronnie James Dio), his replacement was Tommy Bolin. To be sure, Blackmore was a darn tough act to follow, but Bolin proved himself to be a fine guitarist in his own right on Come Taste The Band, his first album with Deep Purple. But unfortunately, Bolin didn't have exceptional material to work with — decent and likable, but hardly exceptional. While sweaty yet melodic cuts like "Dealer," "Lady Luck," and "You Keep On Moving" are far from bad, nothing here is in a class with "Smoke On The Water" or "Highway Star." Deep Purple's more hardcore devotees will want this album (reissued on CD in the early '90s), though it's far from the best representation of their '70s work.


"DOWNLOAD"
http://rapidshare.de/files/20083685/Deep_Purple_-__1975__Come_Taste_The_Band.rar.html

DEEP PURPLE - Perfect Strangers (1984)

Deep Purple's definitive Mark II lineup finally caved in to the temptation of the almighty dollar, "made up," and reunited for 1984's Perfect Strangers. Luckily, it is one of the better examples of a reunion album, although the band's uneasy camaraderie only lasted a few more years. "Knocking at Your Back Door" opens the album with a roar. Ian Gillan's lyrics don't make much sense, but Ritchie Blackmore's guitar riffs and Ian Paice's thunderous drumming carry this song as well as the rest of the album. The robotic rhythm of the title cut relies on Jon Lord's organ work. The 1999 remastered reissue features the bonus track "Son of Alerik." This fascinating, mid-tempo, ten-minute instrumental was the B-side of the "Perfect Strangers" 12" single in the U.K.


"DOWNLOAD"
http://rapidshare.de/files/20083738/Deep_Purple_-__1984__Perfect_Strangers.rar.html

DEEP PURPLE - The House Of Blue Light (1987)

Though it was considered a disappointment upon its release (indeed, its production was much too sleek at times, and it lacked the creative daring of Perfect Strangers), 1987's House of Blue Light has actually stood the test of time just as well, if not better, than its predecessor. The second effort from the re-formed Mark II lineup, this album showed Deep Purple searching for an '80s-flavored hit single, and by doing so, sounding uncomfortably similar to guitarist Ritchie Blackmore's other band, Rainbow. Virtually all of the record's first half suffers from this (especially "Unwritten Law" and "Bad Attitude"), but things improve with the Eastern-flavored melodies of "The Spanish Archer" and "Strange Ways." The eerie sound textures explored on the latter evoke memories of classic Purple, and finally allow some space for soloing from Blackmore and keyboardist Jon Lord. And the telltale lyrics to the equally interesting "Mitzi Dupree" (based on a true story), are vintage Ian Gillan, as the singer combines James Bond-style international intrigue with high comedy.


"DOWNLOAD"
http://rapidshare.de/files/20083805/Deep_Purple_-__1987__The_House_Of_Blue_Light.rar.html

DEEP PURPLE - Slaves And Masters (1990)

Deep Purple went through more than its share of personnel changes over the years. In 1990, its lineup consisted of guitarist Ritchie Blackmore (who had returned after leaving in 1974), singer Joe Lynn Turner, keyboardist/organist Jon Lord, drummer Ian Paice, and bassist Roger Glover. Longtime Purple followers hoped that Blackmore's presence would enable the band to reclaim the metal throne, but Slaves and Masters was hardly the album to do it. The songwriting is weak and pedestrian, and most of the time, the once-mighty Purple (which was at least 16 years past their prime) sounds like a Foreigner wannabe. Even Blackmore's input can't save this consistently disappointing CD, which only the most thorough collectors will want.


"DOWNLOAD"
http://rapidshare.de/files/20083848/Deep_Purple_-__1990__Slaves_And_Masters.rar.html

DEEP PURPLE - The Battle Rages On... (1992)

Since its re-formation with its classic lineup in 1984, Deep Purple were one of those veteran bands that made its money playing its well-known songs in concert while occasionally releasing albums that ape the style of its popular period; they are an oldies act, and on record they are a sort of Deep Purple sound-alike group. This remained true on their The Battle Rages On..., their fourth new studio album after getting back together, which marked the return of straying lead singer Ian Gillan, who had ducked out in 1989. Gillan is so buried in the mix and masked with backup vocals, however, that it's hard to tell the difference. The songs, built out of Ritchie Blackmore's guitar riffs complemented by Jon Lord's keyboards, are shorter and have quicker tempos than much heavy metal, making for a sound that is sometimes closer to Def Leppard than Deep Purple. The lyrics are the usual mishmash of sex and violence clichés. The album barely made the charts, which only confirmed that, after the initial hoopla about the reunion subsided, there wasn't much of an ongoing market for new Deep Purple music — even if it sounded like old Deep Purple music — which may be why Gillan and Blackmore left the group again after this release.


"DOWNLOAD"
http://rapidshare.de/files/20083926/Deep_Purple_-__1993__The_Battle_Rages_On.rar.html

DEEP PURPLE - Live at the Olympia '96 (1997)

As a present to their fans, particularly the ones on the Internet, the band decided to put out another live album — such live releases now tallying in double figures, unprecedented for any rock band. Unedited, undubbed and with a three-piece horn section blowing in on four tunes at the Olympia in Paris, Deep Purple are in their best habitat — exhibiting raw power, free-for-all jamming and charging into the new numbers culled from Purpendicular. Reinvigorating the classics, namely "Smoke On the Water," "Speed King" and "Highway Star," the veterans still prove they can mess with the best on stage.


"DOWNLOAD"
http://rapidshare.de/files/20084016/Deep_Purple_-__1996__Live_At_The_Olympia_96.rar.html

DEEP PURPLE - Purpendicular (1996)

Twenty-eight years after the band's inception, Deep Purple venture into the most adventurous album of their storied career. With guitar virtuoso Steve Morse, of ex-Dixie Dregs and Kansas fame, replacing the legendary Ritchie Blackmore (his second departure from the band), fans get the breadth of Morse's influences. The scope of the music goes into uncharted beats like the finger-snapping "Hey Ciso" and "Rosa's Cantina," and the acoustic-flavored Scottish highlander feel of "The Aviator." "Sometimes I Feel Like Screaming" is one of their best songs in years, beginning with a soft acoustic intro before being rocked up to the turbo-charged chorus full of lyrical wit. "A Touch Away" introduces fans to the band's first true ballad, a lovely piece of acoustic summertime fare.


"DOWNLOAD"
http://rapidshare.de/files/20084106/Deep_Purple_-__1996__Purpendicular.rar.html

DEEP PURPLE - Anthems (2000)

Deep Purple is one of those bands who has countless albums coming out featuring live material blended with album tracks and the occasional hit single to make a mishmash of listenable rock. This is mostly taken from their best moments of the '70s, which is by far the best period in their career. Big hits like "Hush," "Woman From Tokyo," and "Highway Star" are featured in solid versions that are usually live but still pack a punch due to the performing lineup. Most of the biggest songs are here (sans "Smoke on the Water") in some form, and the sound quality is shockingly good on the live material. The band would get so muddled up in membership changes and complications that their catalog fell into the same messy shape as many of their contemporaries, but some of these compilations are pretty decent and this is one of them. Nothing essential, but if this is the only Deep Purple album available to you, you could do a lot worse.


"DOWNLOAD"
http://rapidshare.de/files/20084556/Deep_Purple_-_Anthem.part1.rar.html
http://rapidshare.de/files/20084637/Deep_Purple_-_Anthem.part2.rar.html

DEEP PURPLE - Bananas (2003)

Bananas has every sign of being a disappointment. Jon Lord's grandiose keyboards were always a focus but he's gone, it's released in the heady age of Radiohead, and it's got one of the oddest titles and the oddest cover art that ever graced a Deep Purple album. Surprise, it's fantastic. New keyboardist Don Airey is an effective replacement, adding new sounds and styles and working the Hammond so well that an uncredited Lord appearance was rumored among fans. Lord has said he's not playing on the album, but he did contribute some writing on the excellent "Picture of Innocence" and "I Got Your Number." Those two tracks, followed by the winding and pastoral "Never a Word," add up to a strikingly impressive suite that bridges the more bombastic first half of the album with the looser and more playful second half. That's right, "Deep Purple" and "playful" in the same sentence. The thunk and chug is still there, but Bananas often turns to mid-tempo boogie and blues, allowing Ian Gillan's wry and witty delivery some deserved space while guitarist Steve Morse's time in Kansas and the Dixie Dregs pays off as never before. The funky light reggae of "Doing It Tonight" is downright smoky-bar slinky-sexy, and if the band doesn't add it to every one of their encores for the rest of their career they're nuts. Filled with hooks and songs that get better with each listen, there's little to dislike about Bananas. Certainly the urgent "House of Pain" could have benefited from punchier production, and there's a noticeable lack of lengthy solos throughout, but these are minor quibbles. Hipsters have already decided, and some hardcore fans will pine for the monolithic sound of Machine Head, but on Bananas Deep Purple sound comfortable, free to do what they want, and more than the sum of their parts than they have in a long, long time.


"DOWNLOAD"
http://rapidshare.de/files/20084213/Deep_Purple_-__2003__Bananas.rar.html

DEEP PURPLE - Rapture Of The Deep (2005)

Deep Purple's 2005 album Rapture of the Deep generally maintains the quality of 2003's surprisingly sturdy Bananas. It's the second release from the re-energized line-up of vocalist Ian Gillan, guitarist Steve Morse, bass guitarist Roger Glover, drummer Ian Paice, and keyboardist Don Airey, who replaced the retired Jon Lord. The band's comfort level has increased, and after nearly a decade on-board, Morse's stamp is all over the place. At first, this guitar genius' presence was noticeable because of what it lacked — the incredibly distinctive Fender Stratocaster electric guitar tone of Ritchie Blackmore. Thus, sometimes Deep Purple didn't sound like Deep Purple. However, the variety of tones Morse incorporates in his style gives the pioneering heavy metal quintet more sonic weaponry. Airey's long, respectable career as a journeyman keyboardist-for-hire pretty much guaranteed he would largely adopt Lord's organ-based style, at least at first, but he has expanded his sound on Rapture of the Deep too. "Money Talks," "Girls Like That," and "Wrong Man" ride strong riffs and rhythms into decent grooves. "Rapture of the Deep" floats along on a lightly hypnotic wave. The mature ballad "Clearly Quite Absurd" has a lilting, controlled tempo, and it's the biggest surprise on the album; Gillan's singing is appropriately subdued while Airey's piano supplies the beauty and Morse's gradually ascending riffs toward the end build the tension. "MTV" is a vicious, bile-spewing, all-out attack on how the modern music industry treats classic rock/heritage artists, although in 2005 Deep Purple clearly appeals more to VH1 Classic than MTV. Initially, the song risks biting the hand that feeds by correctly criticizing classic rock radio for not playing new music by veteran artists. The last verse is a cannon blast that pummels clueless, uninformed disc jockeys who, during interviews, butcher artists' names ("Mr. Grover 'n' Mr. Gillian"), get facts wrong (misinterpreting the Frank Zappa-inspired "Smoke on the Water" legend), and avoid in-depth discussion of new music (like Bananas) in order to record more station IDs. Rapture of the Deep — Deep Purple's first album for Eagle Records — misses equaling Bananas by a notch or two, but it's a good example of how many veteran artists still maintain creative vitality.


"DOWNLOAD"
http://rapidshare.de/files/20084281/Deep_Purple_-__2005__Rapture_Of_The_Deep.rar.html

DEEP PURPLE - The Platinum Collection (2005)

"DOWNLOAD"
http://rapidshare.de/files/20162472/CD1DPP.rar
http://rapidshare.de/files/20165241/CD2DPP.rar
http://rapidshare.de/files/20236050/CD3DPP.rar

DEEP PURPLE - Speed King The Fastest Tracks (2006)

"DOWNLOAD"
http://rapidshare.de/files/20084394/Deep_Purple_-__2005__Speed_King_-_The_Fastest_Tracks.rar.html

petak, 21.07.2006.

JIMI HENDRIX - The Jimi Hendrix Concerts (1982)

Out of several live Hendrix albums, The Jimi Hendrix Concerts stands as one of the very best. Taken from shows at Winterland, The Royal Albert Hall, and from various venues in New York, Berkeley, and San Diego, the set includes hits like "Fire," "Voodoo Chile," and "Hey Joe," as well as fine blues like "Red House," "Bleeding Heart," and "Hear My Train a Comin'." Highlights include a definitive version of "Little Wing" and one of the most assured and driving versions of "Voodoo Chile" (these and four other stellar tracks come from what must have been an amazing concert at Winterland in the fall of '68). Another standout is "I Don't Live Today," which features a fine mix of jazz-inspired soloing and various feedback and distortion "tricks" (tricks that figure into Hendrix's way of "playing with the electronics," and which make up one of the more innovative aspects of his guitar playing). Hendrix gets adept and sympathetic support throughout from bassist Noel Redding and drummer Mitch Mitchell (Band of Gypsies' bassist Billy Cox replaces Redding on "Red House" and "Hey Joe"). With top-notch performances, consistently inspired solos, and excellent sound, this is probably the best introduction to Hendrix's live recordings.


"DOWNLOAD"
http://rapidshare.de/files/26112185/Hendrix_Concerts.zip

THE ALLMAN BROTHERS BAND - An Evening With the Allman Brothers Band: First Set (1992)

A good live album, but not quite the worthy successor to the Fillmore shows in their various forms — the band is in form throughout this more than one-hour distillation of shows in Boston and New York from their 1992 tour, covering old and new repertory, but there are no surprises. The song lineup wastes some opportunities, however, and there isn't any serious new ground covered, which may be par for the course for a band in its 22nd year. On the up side, the crispness of the recording helps one fully appreciate the power and articulation of the playing by everyone, but especially Dickey Betts and Warren Haynes.


"DOWNLOAD"
http://rapidshare.de/files/24331928/AB_AEW.part2.rar.html
http://rapidshare.de/files/24333330/AB_AEW.part1.rar.html

LYNYRD SKYNYRD - [3 CD Box Set] 1991

It was only fitting that the ultimate Southern rock institution Lynyrd Skynyrd — certainly one of the more tragic stories in rock & roll history — should be one of the first bands to benefit from a comprehensive box set. Following the format of the highly successful Led Zeppelin box set, this three-disc, 47-song anthology provides a near-perfect career retrospective, complete with a carefully researched booklet with meticulous historical essays and rare photos for the new and rabid fan alike. The latter will probably be most interested in disc one, which features a number of early demos dating back as early as 1970 and not featured in prior collections, as well as an embryonic demo of "Freebird" minus its extended-jam coda. The nine-minute version from the band's milestone debut, Pronounced... is also featured here, of course, as is most of the material from the group's next album, Second Helping, generally regarded as their career peak. Disc two alone could serve as a greatest-hits set, as classic after classic is rattled off in mind-blowing succession. And even when the creative fires finally begin to wane somewhat as the set approaches the Nuthin' Fancy and Gimme Back My Bullets material (recorded at a time when the band was plagued by overwork and escalating drug abuse), the set wisely offers alternate versions and live renditions to keep things interesting. The first half of disc three alternates never-before-heard concert performances with other, equally inspired live versions. Its second half is dominated by the unintentional swan song Street Survivors. Released only three days before the fateful plane crash, the album saw a re-energized Skynyrd achieving a new level of maturity, power, and purpose. Although most box sets tend to be a bit too much for the casual fan to swallow, this one feels just right.


"DOWNLOAD"
http://rapidshare.de/files/8302501/YSL-THRDCSB.part1.rar
http://rapidshare.de/files/8302566/YSL-THRDCSB.part2.rar
http://rapidshare.de/files/8302514/YSL-THRDCSB.part3.rar
http://rapidshare.de/files/8302507/YSL-THRDCSB.part4.rar
http://rapidshare.de/files/8307175/YSL-THRDCSB.part5.rar
http://rapidshare.de/files/8307229/YSL-THRDCSB.part6.rar
http://rapidshare.de/files/8306468/YSL-THRDCSB.part7.rar

"PASSWORD"
rudy

OR

"DOWNLOAD"
http://rapidshare.de/files/25497760/CD1.part1.rar.html
http://rapidshare.de/files/25498361/CD1.part2.rar.html
http://rapidshare.de/files/25498994/CD2.part1.rar.html
http://rapidshare.de/files/25499604/CD2.part2.rar.html
http://rapidshare.de/files/25500243/CD3.part1.rar.html
http://rapidshare.de/files/25500709/CD3.part2.rar.html

"PASSWORD"
rudy

LYNYRD SKYNYRD - Southern By The Grace Of God: Lynyrd Skynyrd Tribute Tour 1987 (1988)

For its first live album since the fatal 1977 plane crash, Lynyrd Skynyrd drafted a few friends to sit in as guest artists, including former Dixie Dregs guitarist Steve Morse, fiddle wizard Charlie Daniels, and former Marshall Tucker Band guitarist Toy Caldwell, who contributes some of his unique thumb-picking guitar work to the J.J. Cale tune "Call Me the Breeze." Johnny VanZant, younger brother of the late Ronnie VanZant, steps forward as lead singer, and even pulls in his other brother Donnie of .38 Special to sing along, and Artimus Pyle proves that he still has what it takes to provide the backbeat for one of the South's most enduring legends. While Southern By the Grace of God may not match the intensity of One More From the Road, it still delivers some excellent Southern jamming, pairing a few of the South's best-loved musicians with one of the world's legendary rock & roll bands.


"DOWNLOAD"
http://rs.dr.ag/y0/Mnl6N3l6eDE-d/southern_by_the_grace_of_god.part1.rar
http://rs.dr.ag/y0/Mnl6NzI5NjI-d/southern_by_the_grace_of_god.part2.rar

JIMI HENDRIX - Live At The Fillmore East (1999)

A series of Jimi Hendrix performances from the Band of Gypsys concerts finally gets the deluxe treatment from MCA and Experience Hendrix, as tapes from both first and second shows are brought together, correctly identified (1986's Band of Gypsys 2 actually featured three tracks that weren't by the band at all) in one deluxe two-disc set. This newly expanded edition contains the only live versions of "Earth Blues," "Auld Lang Syne," "Stepping Stone," and "Burning Desire"; Hendrix tunes specifically worked up for the performance that rarely surfaced again like "Izabella," "Power of Soul," and "Who Knows"; newly remastered versions of "Stop" and "Hear My Train a-Comin'" (both originally presented on Band of Gypsys 2 in horrendous sound) and classic performances of "Stone Free," "Changes," "Voodoo Child (Slight Return)," and "Wild Thing." Equally as revelatory is one of the two alternate versions included of "Machine Gun," every bit as stunning as the better-known version. Though this new edition hardly makes all previous incarnations obsolete, it presents the man at his most challenged and brilliant.


"DOWNLOAD"
http://rapidshare.de/files/26208137/latfeon.zip.html
http://rapidshare.de/files/26216190/latfetw.zip.html

RORY GALLAGHER - Wheels Within Wheels (2003)

Although best known for his barnstorming blues-rock, Irish guitarist Rory Gallagher had a softer side, too. All of his studio albums contain at least one acoustic folk-blues track, and Gallagher included an unplugged set in the majority of his live shows way before that was fashionable. Almost eight years after his death, Rory's brother Donal compiled a 14-track collection of previously unreleased work dedicated to Gallagher's folkier approach. It's the second such posthumous album (the terrific live and very electric BBC Sessions came out in 1999), and focuses on an important if lesser recognized aspect of the guitarist's career. It's also an eclectic set that shifts from melodic ballads ("Wheels Within Wheels") to instrumental modified flamenco ("Flight to Paradise" with classical guitarist Juan Martin) and solo Delta blues (a studio take of Tony Joe White's "As the Crow Flies," the live version of which was a highlight of Irish Tour). And that's just the first three songs. Unreleased gems such as "Lonesome Highway" sound like classic Gallagher (this even features a plugged-in solo), but the disc is most successful when it unearths rare collaborations with Martin Carthy, Bert Jansch, and Scottish skiffle legend Lonnie Donegan. The latter is caught live on a rousing version of "Goin' to My Hometown," one of this album's many highlights. The heavily bootlegged "The Cuckoo," also finds official release in a stirring version assisted by Roland Van Campenhout on second guitar. Three live tunes with stripped-down accompaniment from Béla Fleck on banjo and harmonica master Mark Feltham find Gallagher running through a seemingly improvised medley of "Amazing Grace," Robert Johnson's "Walking Blues," and Bill Monroe's "Blue Moon of Kentucky," showing just how diverse Gallagher's tastes were. Established Gallagher fans will love this for the unusually laid-back setting, but Wheels Within Wheels might also attract a hardcore folk audience likely unaware of the rock guitarist's affinity for this genre. The varying sound quality is a little sketchy, especially on the concert tracks, but the sheer enthusiasm and joy infused in these grooves override any audio shortcomings.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=746
http://www.paylesssofts.com/main/url.php?id=747
http://www.paylesssofts.com/main/url.php?id=748

četvrtak, 20.07.2006.

THE BLACK CROWES - Shake Your Money Maker (1990)

The Black Crowes' debut album, Shake Your Money Maker, may borrow heavily from the bluesy hard rock grooves of the Rolling Stones and Faces (plus a bit of classic soul), but the band gets away with it due to sharp songwriting and an ear for strong riffs and chorus melodies, not to mention the gritty, muscular rhythm guitar of Rich Robinson and brother Chris' appropriate vocal swagger. Unlike their later records, the Crowes don't really stretch out and jam that much on Money Maker, but that helps distill their virtues into a handful of memorable singles ("Jealous Again," "She Talks to Angels," a cover of Otis Redding's "Hard to Handle"), and most of the album tracks maintain an equally high standard. Shake Your Money Maker may not be stunningly original, but it doesn't need to be; it's the most concise demonstration of the fact that the Black Crowes are a great, classic rock & roll band.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1163

"PASSWORD"
Nightwolf

OR

"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1164
http://www.paylesssofts.com/main/url.php?id=1165

"PASSWORD"
sheepdip

THE BLACK CROWES - The Southern Harmony And Musical Companion (1992)

The addition of the more technically gifted guitarist Marc Ford and a full-time organist gives the Black Crowes room to stretch out on The Southern Harmony and Musical Companion, perhaps the band's finest moment. Using Rich Robinson's descending chord progressions as a base, the band grooves its way through a remarkably fresh-sounding collection of Faces-like rockers and ballads, tearing into the material with flair and confidence and really coming into its own as a top-notch rock & roll outfit. But while the focus is undeniably on the band's musical chemistry, Southern Harmony also boasts a strong collection of songs, striking a perfect balance between the concise Shake Your Money Maker and their later, more jam-oriented records. While there aren't as many obvious singles as on their debut album, The Southern Harmony and Musical Companion is the best expression of the Crowes' ability to take a classic, tried-and-true sound and make it their own.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1159
http://www.paylesssofts.com/main/url.php?id=1160

"PASSWORD"
Nightwolf

OR

"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1161
http://www.paylesssofts.com/main/url.php?id=1162

"PASSWORD"
sheepdip

THE BLACK CROWES - Amorica (1994)

On Amorica, the Black Crowes finally come into their own, taking their cue from the most relaxed, groove-oriented tracks on their previous album. While the album contains no immediately obvious singles, the songs are the best the band has ever written, stretching out into a hard, jam-oriented, funky blues-rock. The Black Crowes' influences are still discernible — no band celebrates the glory days of rock culture quite as enthusiastically — but they use the music of the Stones, the Faces, and Little Feat much the same way the Stones used the music of Chuck Berry: it's a starting point that leads the band into a new direction, incorporating different musical genres, and making the music original. That sense of reinterpretation is what keeps Amorica fresh.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1156
http://www.paylesssofts.com/main/url.php?id=1158

"PASSWORD"
Nightwolf

THE BLACK CROWES - Three Snakes & One Charm (1996)

With Amorica, the Black Crowes began developing a distinctive sound, shading their Stonesy Southern boogie with a variety of rootsy and psychedelic overtones. But where Amorica was rich with kaleidescopic colors, Three Snakes and One Charm is stripped-down and direct. Sure, it has a punchy, muscular sound that is, if anything, more eclectic than its predecessor, but the production is distressingly monotonous and the songs lack strong hooks. Even with its faults, Three Snakes and One Charm is a winning album, mainly because the Black Crowes' musicianship continues to deepen — the musical fusions and eclecticism are seamless, particularly from lead guitarist Rich Robinson. Their musicianship would be even more impressive if the songs were equal in quality.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1153

"PASSWORD"
Nightwolf

OR

"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1154
http://www.paylesssofts.com/main/url.php?id=1155

"PASSWORD"
sheepdip

THE BLACK CROWES - By Your Side (1999)

Between Shake Your Money Maker and Three Snakes and One Charm, the Black Crowes evolved from a muscular, Stonesy hard rock outfit to full-fledged modern-day Southern rockers, drawing from a wealth of blues, country, folk, and rock styles to create a sprawling, fluid sound that was simultaneously traditional and distinctive. The problem was, their loose-limbed grooves tended to connect better in concert than on record, especially since they were sacrificing songs for the sake of sound, which in turn was decreasing their audience. Aware of the situation, the Crowes went back to their roots with By Your Side. Armed with a string of concise, energetic rockers, the Crowes hit harder than they had since their debut, yet they retain the sonic detail that reared its head on Amorica, adding pianos, choirs, and scores of other flourishes throughout the record. It's a back-to-basics set performed with all of the knowledge they have gained over the years, and the result is a thoroughly enjoyable record, their most satisfying and accessible effort since The Southern Harmony and Musical Companion. Not that it's necessarily in that league — it lacks the parade of great songs that elevate that album above all their others — but it does find the Crowes in lean fighting form for the first time in years, proving that they're possibly the best straight-ahead rock & roll band of the '90s.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1152

"PASSWORD"
Nightwolf

THE BLACK CROWES - Lions (2001)

If the Black Crowes are anything, they are survivors (and, reportedly, if Chris Robinson had his way, he'd be a genuine survivor, appearing on CBS' genius television show with his wife Kate Hudson), weathering years of popularity and disdain, before emerging at the end of the '90s as a rarity — a real, road-weathered rock & roll band, in the classic sense. And it wasn't just that they played classic rock — they stayed out on the road constantly, bashing out albums when they weren't fighting record labels. By the dawn of the new millennium, there weren't many bands like that out on the market, and it was a mixed blessing — it meant that they had an ugly breakup with their longtime label, American, but it also meant that there really wasn't anybody else for Jimmy Page to turn to when he wanted to tour in 1999. These two events inform Lions, their first album for V2 records, and their most idiosyncratic album since 1994's neglected gem, Amorica. Like that album, this record is instantly familiar, recalling many common and forgotten platters from the early '70s, yet twisted through a surprisingly individual voice from the Crowes. And, like that record, this is more about the music and the texture than the songs, which is disconcerting for anybody looking for the knockout songwriting of their first two records, or even "Stop Kicking My Heart Around." And, coming on the heels of that record, which was as tight a rock & roll album as they ever did, the diffuseness of Lions seems a bit off-kilter. Still, there's no denying that the group is stretching out and sounds terrific, and not just because Don Was is behind the boards. The group is supple, laying into jams without seeming indulgent, and rocking like a bastard when the occasion calls for it. It's just too bad that there aren't many songs to remember here. Some could argue that was the case with Amorica as well, but those never felt like excuses to play music, and the tone shifted dramatically from track to track. Here, the songs can seem incomplete, as if they got the sound of the track down, but not the structure. Still, this is a powerful, textured hard rock record that covers a lot of ground, surging from powerful riffs to gospel choruses and funkier-than-expected riffs. There are few bands of their time that could sound so versatile within the confines of hard rock, and if this doesn't really deliver memorable songs, tracks do jell on repeated plays, and the Black Crowes' kaleidoscopic vision of rock's history is reason enough to listen to this record — even if you're left with a nagging suspicion that this could have been a knockout with some real songs in tow.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1151

"PASSWORD"
Nightwolf

srijeda, 19.07.2006.

LIVIN` BLUES - Blue Breeze (1976)

"DOWNLOAD"
http://www.megaupload.com/?d=29ZPJQFE

ERIC JOHNSON - Tones (1986)

Tones, Eric Johnson's first solo album, is an exceptionally strong debut, and a record that is just as good as the guitarist's breakthrough 1990 release Ah Via Musicom. Grouped with long-time compatriots Roscoe Beck and Tommy Taylor, Johnson's trademark composing voice and so-sweet electric guitar are already on full display. True to the album's title, Johnson showcases many different guitar tones, from the violin-like sustain of his trademark distortion to the bell-like timbre of his clean-toned rhythm work. Johnson also sings on five of the nine songs on Tones, and his voice is as competently expressive as ever. The second half of this record is really where it moves from being simply "good" to "great." Emerging from Stephen Barber's almost new-agey Fairlight CMI vamp, "Trail of Tears" kicks into a driving groove punctuated by Johnson's chordal stabs and arpeggios and carried by one of the guitarist's best vocal melodies. The multi-tiered arrangement is also one of the high marks of Johnson's catalog. This track segues in turn into the wonderful "Bristol Shore." This song features Johnson making his guitar sound like a koto as well as throwing in some impossibly in-tune upper-register licks that are played so sweetly they seem to threaten to fly off into the stratosphere (pun intended). The lack of a "Cliffs of Dover," a catchy, driving instrumental showcase for Johnson's chops, does not cheapen Tones in any way. It is a beautiful and important album by one of the greatest electric guitarists ever to pick up the instrument.


"DOWNLOAD"
http://rapidshare.de/files/15133206/E.J.Tones256k.rar.html

ERIC JOHNSON - Seven Worlds (1998)

A rare find for fans of this acclaimed guitarist/songwriter, Seven Worlds is the long-lost solo debut from Eric Johnson. Cut in the late '70s, this album is far more than a promising collection of demos; it's a full length, fully-produced album that showcases all of Johnson's awesome talent — not only as a guitar virtuoso, but as a talented pop/rock songwriter. Tunes such as "Showdown" clearly indicate the talent that Johnson had, even at this early stage. A classy false start to a great career, and a must for fans of Eric Johnson.


"DOWNLOAD"
http://rapidshare.de/files/15135428/E.J.Seven.Worlds_256k.rar.html

ERIC JOHNSON - Alien Love Child: Live and Beyond (2000)

"DOWNLOAD"
http://rapidshare.de/files/15083664/Eric.Johnson_Alien.Love.Child-Live.and.Beyond_256k_by.bluescat.rar.html

SCOTT HENDERSON - Live! (2005)

This double-CD features consistently ferocious electric guitar from Scott Henderson. Recorded live at La Ve Lee (a small club near Los Angeles), the extended program has Henderson mostly in the spotlight with electric bassist John Humphrey offering strong support and drummer Kirk Covington sometimes contributing rockish vocals that are as much shouting as they are singing. Henderson plays some jazz on Wayne Shorter's "Fee Fi Fo Fum," digs into blues now and then, and displays some country roots on "Hillbilly in the Band" but mostly plays high-intensity fusion, tearing into the pieces and showing that he could hold his own with any rock/fusion guitarist. Invigorating playing.


"DOWNLOAD"
http://www.megaupload.com/?d=HL6A0NFC

THE DEREK TRUCKS BAND - Live at Georgia Theatre (2004)

Derek Trucks is a world-class slide guitarist, still only 24 at the time of this recording. Most know him as a guitarist with the Allman Brothers Band. But here, with a smoking group of collaborators, he plays an incendiary, soulful, and wildly adventurous set that challenges all the accepted rock paradigms. This is the record to turn the heads of those who haven't gotten hip to Trucks' bottleneck magic. This performance is so inspired, so utterly spellbinding, it transcends the genre classifications it employs to get the music across. This is a musical first to boot: this show marks the first time the quintet recorded together. Kofi Burbridge (B-3, keys, and flute) and vocalist Mike Mattison join Trucks, drummer Yonrico Scott, and bassist Todd Smallie. Master percussionist Count M'Butu from Col. Bruce Hampton & the Aquarium Rescue Unit is also on board for the gig. The band showcases only four tunes from its catalog and all of these come from Joyful Noise, its last album. The rest is a rolling plethora of jazz, funk, soul, Eastern Sufi jams, and blues tunes by Rahsaan Roland Kirk ("Volunteered Slavery"), Wayne Shorter ("Angola"), Lightnin' Hopkins ("Feel So Bad"), Paul Pena ("Gonna Move"), Nusrat Fateh Ali Khan ("Sahib Teri Bandi"), and Curtis Mayfield ("Freddie's Dead"), among others.

The jamming is tight and full of surprises, and there is no aimless guitar wankery. This is a band that plays like a single, flowing unit, where nuance, dynamic, and intuition are the order of the evening and the modus operandi for encountering and relaying this information to an audience. Trucks is its centerpiece, of course, but he understands the value and necessity of ensemble play. While there are no dogs on this two-hour smorgasbord, the standouts are the soulful rendition of "Gonna Move," the awesome medley of Khan's tunes "Sahib Teri Bandi" and "Maki Madni," the guttersnipe funk of "For My Brother," and "So Close, So Far Away." Unfortunately, Live at Georgia Theatre seems to be one of those albums created for fans only. It has nothing to do with the music or musicians, and everything to do with marketing by the conglomerates. Columbia Records, in association with iTunes, has made this fine recording an Internet-only purchase. You can download it, and you can order it in its physical form from the band's website, but you can't buy it in stores. What nonsense. The labels still don't understand how to use the Internet's potential. After all, wasn't it At Fillmore East, the Allman Brothers' third album, that put them into the mass consciousness and took them over the top? This is the right time for the Derek Trucks Band to issue a concert recording. The truth remains, however, that any way you cut it, this is a live album for the ages — it's too bad only people with credit cards get to hear it.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=1119
http://www.paylesssofts.com/main/url.php?id=1215

"PASSWORD"
conda.blog.hr

utorak, 18.07.2006.

THE DEREK TRUCKS BAND - Out Of The Madness (1998)

Whereas guitar phenom Trucks' first album was of the improvisational sort to the highest degree, fusing Coltrane and Sun Ra to Hendrix, this second effort (his first for the House of Blues imprint) puts his playing and music more firmly in Southern American roots music territory. With guest shots from Warren Haynes ("Good Morning Little Schoolgirl," "Fourty-Four" and "Death Letter"), Larry McCray ("Ain't That Lovin' You"), Matt Tutor (vocals on "Preachin' Blues" and "Alright") and Jimmy Herring, there's more of a jam session feeling to this disc than that of a cohesive album. But Trucks also continues to blaze out with hot solos on the more rocking efforts aboard, like "Young Funk," "Kickin' Back," "Spillway" and the closing "Deltaraga." Even New Orleans funk beats come in for a look-see on "Look-ka Py-Py," a curious addition. All in all, a young artist still showing promise.


"DOWNLOAD"
http://rapidshare.de/files/12845773/Outof.rar.html
http://rapidshare.de/files/12848292/themadness.rar.html

THE DEREK TRUCKS BAND - Joyful Noise (2002)

For his first solo project after replacing Dickie Betts in the Allman Brothers Band, 23-year-old Derek Trucks pushes the stylistic envelope even further than on his last diverse release. Prodding into Latin, Indian, and fusion jazz, this stylistically varied effort exudes enough blues and funky R&B to keep the Allman Brothers Band fan's attention while expanding their boundaries — sometimes radically — beyond what the typical Southern rock fan might expect or even tolerate. It's a brave and largely successful experiment, due in part to the vocals of his guest stars, since Trucks himself does not sing. Opening with the title track, a funky Meters-style bubbler that employs a gospel chorus to frame Trucks' searing slide work, it sounds like the guitarist is working within borders he established on his two previous albums. The laconic instrumental "So Close, So Far Away" sounds like a mid-"Whipping Post" jam, but the disc shifts into high gear with Otis Blackwell's "Home in Your Heart," one of two contributions from the amazing soulman Solomon Burke. He kicks up a Wilson Pickett-style storm on this funky rocker, which both he and Otis Redding recorded 30 years earlier. But gears then switch drastically as Rahat Fateh Ali Khan guests on a traditional Indian tune that gives Trucks' slide a chance to snake through the song, adding a slight blues edge to the tabla and eerie moaning vocals. Rubén Blades guests on a Santana-ish workout on "Kam-ma-Lay," but after a scorching Susan Tedeschi appearance on a down-and-dirty version of James Brown's "Baby, You're Right," Trucks veers way off course into the John McLaughlin territory of "Lookout 31," one of the few tracks where Trucks doesn't play slide. It's an intense Mahavishnu Orchestra fusion piece that even swerves into dissonant, avant-garde waters. The instrumental ballad "Frisell" ends this wildly, sometimes disconcertingly eclectic album on a rueful, jazzy note. Trucks' playing is edgy, electric, and distinctive throughout, with his slide work not surprisingly reminiscent of Duane Allman at times. Joyful Noise is a powerful, uncompromising statement, if you can stay with it. Derek Trucks shows he is a remarkably talented young guitarist who refuses to be stylistically pigeonholed by the history of the legendary band he joined.


"DOWNLOAD"
http://rapidshare.de/files/12982469/Joyful.rar.html
http://rapidshare.de/files/12988663/noise.rar.html

THE DEREK TRUCKS BAND - Soul Serenade (2003)

Though recorded nearly two years before the release of the Derek Trucks Band's previous album, Soul Serenade feels like a step forward from Joyful Noise in its maturity and focus. By almost any measure, this is a jazz album; the only references to rock can be heard in the overdriven tone and bluesy slide phrasing that Trucks consistently employs. The prominence of the Hammond organ, and in particular its registration and abundant Leslie tremolo, also nods transparently toward the leader's apprenticeship in the Allman Brothers Band. The rhythm feel is subtle, though, with an understated swing that borrows from this or that corner of world music but unmistakably centers itself on jazz practice. In particular, Kofi Burbridge's aromatic flute solos, and the drumming of Yonrico Scott, with its freedom, timbral nuance, and well-placed transitional rolls, pull the sound far away from rock or even from the jazz-flavored but backbeat-driven Allman Brothers groove. One track, the Gregg Allman vocal cameo, a full-blooded rendition of "Drown in My Own Tears" that features brisk back-and-forth between the singer and Trucks, sinks from the jazz embrace and into the bosom of the blues; another, "Sierra Leone," builds a musical bridge from the Missisippi Delta back to Africa, in resonant acoustic timbres. In this context, these two moments only enrich the spectrum of Soul Serenade without at all detracting from the integrity and maturity of Trucks's vision.


"DOWNLOAD"
http://rapidshare.de/files/12936946/Soul.rar.html
http://rapidshare.de/files/12918942/Serenade.rar.html

ponedjeljak, 17.07.2006.

JOE SATRIANI - Not Of This Earth (1986)

Not of This Earth was the first studio release from guitar wizard Joe Satriani (not counting the hard-to-find Joe Satriani EP). This all-instrumental album was making ripples in the guitar-playing community not long after it was released, and it's easy to see why: superior compositions, a signature style, a unique tone, and playing that's out of this world. Satriani shifts musical gears deftly, often layering multiple tracks together to make a complex soundscape. The fiery sound of "Not of This Earth" and "Hordes of Locusts" is tempered by the cool, dark tone of "Driving at Night," the far-out Eastern approach of "The Snake," and the quiet, thoughtful "Rubina." Satriani's fluid playing and wicked licks are enough to drop jaws and widen eyes. There isn't a weak track on this disc, even though the guitarist was still maturing when he released it.


"DOWNLOAD"
http://rapidshare.de/files/21637257/JoeSatriani_NotOfThisEarth.zip

"PASSWORD"
Feed Your Head

JOE SATRIANI - Surfing With The Alien (1987)

Not content to sit on his laurels, Joe Satriani released the groundbreaking instrumental album Surfing with the Alien in 1987, leaving guitarists and musicians everywhere stunned and amazed by the playing and musicianship displayed. Satriani defined his sound more sharply to further develop his distinct musical tone, and his playing continued to evolve to higher levels with each new panorama of notes he blazed out. Whether it was the twisted, horizon-pushing "Ice 9," the fiery, churning "Surfing with the Alien," the bluesy rock shuffle of "Crushing Day," the straight-ahead, slamming "Satch Boogie," or the more subdued, soulful "Always with Me, Always with You," Satriani's style and songwriting were uniquely his own. Taking guitar playing and song composition to new levels, this is a remarkable recording.


"DOWNLOAD"
http://rapidshare.de/files/21641284/JoeSatriani_SurfingWithTheAlien.zip

"PASSWORD"
Feed Your Head

JOE SATRIANI - Dreaming #11 (1988)

Dreaming #11 is something of an oddity: a mini-disc released in 1988 with three live tracks and one new studio track. The live tracks, taken from the Surfing With the Alien tour and featuring the powerful duo of Stuart Hamm on bass and Jonathan Mover on drums, showcase Satriani's outstanding talents in a live atmosphere; however, they've been heard before ("Ice Nine" was on Surfing With the Alien and "Memories" and "Hordes of Locusts" came from Not of This Earth). The studio track, "The Crush of Love," immediately became a favorite of Satriani fans everywhere, mostly because of its catchy tune and its creative use of the wah-wah pedal to give the guitar an almost human voice. A recommended disc for musicians and fans, but not essential to the casual collector.


"DOWNLOAD"
http://www.easy-share.com/159843.html
>>rename in .rar file<<

"PASSWORD"
www.chilewarez.org

JOE SATRIANI - Flying In A Blue Dream (1989)

An hour-long disc filled with musical explorations and compositions that defy belief, Flying in a Blue Dream is unquestionably Joe Satriani at his absolute best. Breaking his all-instrumental tradition for the first time, he croons on six of the disc's 18 tracks, including the weird "Strange"; and the bluesy, hard-rocking "Big Bad Moon"; and the driving "Can't Slow Down." Satriani's voice isn't extraordinary, but it fits extremely well with the music he creates, especially on the acoustic-tinged, uplifting "I Believe." It's his playing that's the really impressive thing here, though; his unique tone and complex song structures are enhanced by his signature playing style and the incredible array of effects and tricks he wrestles out of his instrument. The disc closes with the high-flying, misty piece "Into the Light," leaving behind a feeling of real wonder. Soaring, powerful, and triumphant, this recording deserves a place in everyone's collection.


"DOWNLOAD"
http://rapidshare.de/files/21634327/JoeSatriani_FlyingInABlueDream.zip


"PASSWORD"
Feed Your Head

JOE SATRIANI - The Extremist (19992)

The Extremist lives up to its name, continuing Joe Satriani's tradition of exploring new musical and compositional ground. A vastly different array of musicians assists him in creating the songs displayed on this all-instrumental disc, and as such the songs are different from even the usual envelope-pushing Satriani fare. The chugging "Summer Song," the warm "Friends," the slamming "Motorcycle Driver," and the crunching "The Extremist" show Satriani's talents as a guitarist are undiminished, while the more traditional neo-folk approach to "Rubina's Blue Sky Happiness" and the bluesy "New Blues" are different from anything he has done before. So, too, is the droning rock of "War" and the plaintive, questioning funk-rock of "Why."


"DOWNLOAD"
http://rapidshare.de/files/21631000/JoeSatriani_TheExtremist.zip


"PASSWORD"
Feed Your Head

JOE SATRIANI - Time Machine (1993)

Time Machine is an excellent double-CD set providing something for just about everyone who's interested in Joe Satriani's music. Disc one reprints four tracks from the 1984 Joe Satriani EP, while also showcasing nine new studio tracks and a loose jam session, and disc two is a collection of 14 of Satriani's best live performances. Included among the new material is the booming "Time Machine," the straightforward but slamming "Mighty Turtle Head," and the hammering "Dweller on the Threshold," as well as "Banana Mango II," a new companion piece to the re-released "Banana Mango." Also of note is "Speed of Light," yet another of his trademark "surfing songs," and "Baroque," a beautiful acoustic piece. The 16-minute "Woodstock Jam" is interesting for a short time but tends to ramble; all the same, this set of recordings makes an excellent starting point for new fans and will give longtime fans something new as well.


"DOWNLOAD"
http://rapidshare.de/files/23296305/JSTM.part1.rar.html
http://rapidshare.de/files/23297244/JSTM.part2.rar.html

"PASSWORD"
apathy

JOE SATRIANI - Joe Satriani (1995)

A guitar virtuoso and genius of instrumental composition, Joe Satriani explores deeper waters with a haunting yet richly entailed work of stripped-down blues-rock and improvisational jazz. This record, self-titled as Joe Satriani, puts the guitar wizard into a streaming new light of musical impression, as his efforts point toward a sincere evolutionary progression in composition and arrangement. With a collective of the most witty, crafty, and enticing musicians in jazz and blues, Satriani blends soaring, scintillating scale passages with pulsating, engaging melodic lines. With the help of his main group during these sessions — Andy Fairweather Low on rhythm guitar, Nathan East on bass, and Manu Katche on drums — Satriani reaches further into his musical self to bring out soulful grooves and mesmerizing yet catchy riffs, creating a relaxed, yet gripping intensity to these jams. Spontaneous in meter, rhythm, and melody, Satriani never fails to let the listener in on his enchanting and seemingly overabundant sense of creativity. Perhaps the only weakness throughout the majority of the album's 12 tracks is his intention to strip down and use only the effects of his Marshall amps, therefore, sadly diminishing his trademark flair for the highly alluring sonic territory he covered on his critically acclaimed Surfing With the Alien, Flying in a Blue Dream, and Time Machine. Still, with all due respect, his plethora of extremely gifted backup musicians sincerely adds a diverse range of textures and colors, bringing out a much-needed live feel to an otherwise bland album of blues-oriented jazz-rock. Perhaps the highlight of the record in the punch and volume of the progressive-oriented blues jam, "Killer Bee Bop" is a tune drenched with well-placed percussion and racing guitar lines. Because he is not afraid to seek the darker and once-unapproachable territories of guitar rock to find vibrant and refreshingly new sounds, Satriani puts forth once again a successful album, painting a mixture of blues and jazz in a variety of meters and keys. The single "(You're) My World," released over the airwaves as radio-friendly material in early 1995, is a misleading example of Joe Satriani's real development during the production of this record. A slow listen to the material on this release will captivate the listener's spirit for this guitar hero and reveal Joe Satriani's true nature, in that he and his Ibanez instrument are one and the same.


"DOWNLOAD"
http://rapidshare.de/files/9526126/JOE_SATRIANI.rar.html

"PASSWORD"
www.chilewarez.org

OR

"DOWNLOAD"
http://d.turboupload.com/d/679426/Joe_Satriani.zip.html

JOE SATRIANI - Crystal Planet (1998)

Joe Satriani always stood apart from the legions of guitar virtuosos who surfaced in the late '80s, largely because he had a sharper ear than his peers. He didn't limit himself to hard rock or heavy metal, preferring to draw in elements of pop and jazz as well. At his best, he stood head and shoulders above his peers, many of whom were his former students. However, his records were a little uneven, especially those featuring his vocals, and it seemed like he had painted himself into a corner by 1995's eponymous effort. Remarkably, moving to Epic revitalized his career. Recording wih longtime bassist Stuart Hamm and drummer Jeff Campitelli, Satriani turns in an all-instrumental record with Crystal Planet. It's an instrumental record with a difference, finding the guitarist taking more chances than ever. There are some familiar hard rock and ballad workouts, but what's astounding about the album is that it shows his technique continuing to develop and deepen, reaching into new, uncharted waters. It's his finest all-instrumental effort since Surfing With the Alien.


"DOWNLOAD"
http://rapidshare.de/files/23292590/JSCP.rar.html

"PASSWORD"
apathy

JOE SATRIANI - Engines Of Creation (2000)

With Crystal Planet, Joe Satriani made an effective return to his signature sound following the erratic blues-rock detour of Joe Satriani. For the follow-up to Crystal Planet, Satriani is once again exploring novel territory in an effort to keep his music fresh, and Engines of Creation is the biggest stylistic shift he's made yet — to electronic music. Satriani's guitar is still the focal point of the music, to be sure, but while his virtuosity is obvious, it's often submerged in the new demands of this musical idiom. That isn't a surprise either, given that Satriani is one of the few guitar shredders whose taste and musicality have never been in question. But fans who simply want to hear him rip through his typical jaw-dropping solos may be disappointed (even though, in the end, there are more than a few solos), as will those guitar fans who reflexively disdain all sounds electronic. Having defended it, though, Engines of Creation isn't a total success. While the music is certainly influenced by techno and electronica, it probably won't appeal to listeners coming from those arenas; overall, it simply isn't as adventurous as much genuine electronica, avoiding complex backing rhythms or edgy sonic textures; nor is it as hypnotic, meandering or drifting aimlessly at times instead of moving into trancelike states of consciousness. Plus, Satriani's songs are often more traditional than they may seem upon first listen; many of the compositions are based on repeated themes and riffs and standard rock-song structures, switching between recurring, identifiable sections rather than gradually building and unfolding. However, the album can also be quite inventive. Satriani has challenged himself to find ways of coaxing totally new sounds from his guitar, and he weaves them seamlessly into the futuristic electronic soundscapes. Moreover, his melodies and main themes have rarely been this angular and off-kilter, meaning that exploring this music has indeed helped Satriani refresh and re-imagine his signature sound. Even the pieces that aren't ultimately that revolutionary are still intriguing, since very few musicians have the technical training and innate sense of musicality required to mine this territory. Overall, Engines of Creation is a brave and sporadically successful experiment, and it's also a promising new direction for Satriani should he choose to continue this vein of exploration and take it out even farther.


"DOWNLOAD"
http://rapidshare.de/files/21632578/JoeSatriani_EnginesOfCreation.zip

"PASSWORD"
Feed Your Head

JOE SATRIANI - Live In San Francisco (2001)

Booked into San Francisco's Fillmore Auditorium and slated to film three songs for the venue's Live! at the Fillmore TV show, Joe Satriani decided to take the opportunity to record and film his show for a double CD and DVD. The audio version, clocking in at close to two-and-a-half hours, serves to create a thorough introduction to an artist who, up to this point, had not released a real compilation. The album presents concert recordings of material first heard on Satriani's previous studio releases: one from Not of This Earth (1986), four from Surfing With the Alien (1987), one from Dreaming #11 (1988), four from Flying in a Blue Dream (1989), two from The Extremist (1992), two from Time Machine (1993), one from Joe Satriani (1995), six from Crystal Planet (1998), and three from Engines of Creation (2000). The guitarist varies the pace, combining up-tempo hard rock tracks with more melodic medium-tempo numbers and even some lovely ballads. His vibrato-heavy, sustain-drenched playing remains consistent and identifiable no matter what the context, but despite his reputation as a high-speed riff technician his work can be surprisingly lyrical at times. His band — bass, drums, and a keyboard player who sometimes picks up a rhythm guitar — provides letter-perfect support, and Satriani draws considerable energy from an enraptured audience, making this an ideal sampler of the guitarist's work. Anyone who thinks of hard rock guitar playing as only one part of a complete musical palette, or who looks for more of a dynamic range in an instrumentalist, is likely to suffer from flagging attention before the two discs are over. But lovers of rock guitar in the Jimi Hendrix tradition will love this one as much as the fans in attendance did.


"DOWNLOAD"
http://www.megaupload.com/?d=FHRFI2TJ

JOE SATRIANI - Strange Beautiful Music (2002)

What's a guitar hero to do now that the masses prefer electronic beats and rap-metal to killer scale runs? Joe Satriani seeks that answer on Strange Beautiful Music. Satriani set himself apart from other would-be kings of the six-string in the 1980s by combining impeccable technique with great feel and pop hooks. With those qualities, he produced great guitar-driven albums like Surfing With the Alien and Flying in a Blue Dream. On his 2002 release, Satriani tries to make his music fresh by incorporating world music influences and a bit of techno flava. To his credit, he succeeds more than he fails. "Belly Dancer" combines straight-up rock riffs with Middle Eastern-twinged melodies and faster-than-sound runs up and down the fretboard. On "Oriental Melody," Satch's world music sensibility shines with the help of ping-pong delay and keyboards. He still has a knack for great hooks, too, as is evident on "New Last Jam," which features a melody that bounces around in your head for days. But none of these tracks approach the pop brilliance of his Surfing With the Alien songs. In many ways, the experimental nature of songs like "What Breaks a Heart" hark back to his Not of This Earth release. But Strange Beautiful Music suffers from inconsistency. While the mix-and-match approach works on "Belly Dancer," it can also result in the bland discontinuity of "Chords of Life," which at times sounds like "All Along the Watchtower" and at others resembles scale and chord exercises from Yngwie Malmsteen — not an enticing combo. And "Starry Night," while a nice ballad, feels like an attempt to rewrite his masterful ballad "Always With You, Always With Me."


"DOWNLOAD"
http://rapidshare.de/files/21638780/
JoeSatriani_StrangeBeautifulMusic.zip

"PASSWORD"
Feed Your Head

JOE SATRIANI - G3 Rockin' In The Free World (2004)

In an essay on "The Guitar's Use in Pop Music," Frank Zappa once made reference to latter-day guitarists and their penchant for "clouds of educated gnat-notes." (He also referred to their "pathetic lick-spewage and freeze-dried stereotypifications.") The point he was hammering home like so many nails at a crucifixion was that pop/rock guitar playing/soloing had lost its character and no longer reflected the personality of the individual player. Form and feel had been sacrificed for blazing speed and spiritless riffage. One must assume that G3 Live: Rockin' in the Free World — from star guitarists Joe Satriani, Steve Vai, and Yngwie Malmsteen — is, by and large, the kind of axemanship that Zappa was decrying: machine-like technicians lacking a sense of musical lyricism. While that appraisal does lend some valuable insight into this album, it would also be too harsh to apply it rigorously here. To begin with, this primarily instrumental two-disc set — recorded at the Uptown Theatre in Kansas City on October 21, 2003 — is entertaining. And there's no doubt that this trio of guitar slingers really can play — it's just that they do so, particularly in terms of their soloing, within rather narrow stylistic parameters (for the most part).

Each guitarist performs his own set on the lengthy first disc, before they team up to perform three covers — Jimi Hendrix's "Voodoo Child (Slight Return)" and "Little Wing," and Neil Young's "Rockin' in the Free World." Admittedly, the vehicles for the trio's virtuoso indulgences on this album range from hard rock to metal to classical, but are really just hooks to hang solos on. Sometimes the other instruments cut out altogether. Satriani's titanic boogie rocker "The Extremist" opens proceedings and sets the bar pretty high. He shows a lighter touch on "Always With Me, Always With You," and dips into his classical bag for "Midnight," before tearing things up again with the metal raver "The Mystical Potato Head Groove Thing." Vai offers up the loftier, organ-laced "You're Here," the lurching hard rock of "Reaping," and the slow and stately "Whispering a Prayer," which brings to mind the playing of Yes' Steve Howe and some of the work on Jeff Beck's solo albums. A nice stylistic departure. Meanwhile, Malmsteen, renowned for his preternatural speed, shows just how fast those gnat-notes can be fired out on tracks like the perfectly titled "Blitzkrieg" and the classical "Trilogy Suite Op. 5: The First Movement." The Hendrix jams are disappointing and suicidal song choices to begin with, utterly damning the players on the matter of style through unavoidable comparison to the originals. But "Rockin' in the Free World," which doesn't dilute the song itself, is a highlight and gives the set a certain passion that is lacking in other places. This is a showcase album from three guitarists with plenty of flash and flair, excellent technique, and just enough stylistic variety to keep the balloon in the air. Of course, regardless of what Frank Zappa might've had to say, speed-guitar freaks are gonna love this one.


"DOWNLOAD"
http://depositfiles.com/en/files/6952/2004+G3+-+Rockin&

JOE SATRIANI - Is There Love In Space (2004)

Guitar boss Joe Satriani's ninth album reflects the terrain he's traveled more than it points to an unexplored one — and yes, that does prove to be a good thing. Satriani has explored many directions over eight previous albums, mashing together rock, blues, jazz, and pure technical proficiency in a dizzying blend that bears his unique signature. Is There Love in Space? recalls two distinct projects from his catalog, the groundbreaking Surfing With the Alien and the exotic Strange Beautiful Music. From the former is the driven, balls-out, tough blues-and-hard rock riffs and hooks, while from the latter are involved and sometimes intricate melodies and Eastern-tinged modes — though none of the electronica. Satriani's sense of writing catchy turnarounds and hooks is ubiquitous here, and though he uses keyboards, they are never employed as more than devices to further along the framework of a particular tune. Even the vocal cuts here work well, "Lifestyle" with its roosty rock & roll vocal, boogie on methamphetamine whir, and bombastic power chords is a great choice for a single, as is the stomping, metallic "Hands in the Air," which updates Steppenwolf's "Born to Be Wild" riff in extremis. The mid-tempo tunes, such as the wah-wah-phased title track and the shimmering "If I Could Fly," are nice changes of pace too. The funky future blues of "I Like the Rain" features a slightly annoying vocal, but in its ZZ Top-fueled desert boogie, it hardly matters. The masterpiece on the set is "Searching," however. It's slow- to mid-tempo stride and minor key cadence pushed to the limit by the razor-wired and feedback aesthetic of its ten-minute sprawling excess. While guitar hero records are anything but cool in the new century, this guitar hero offers one cool little record.


"DOWNLOAD"
http://rapidshare.de/files/21635918/JoeSatriani_IsThereLoveInSpace.zip

"PASSWORD"
Feed Your Head

JOE SATRIANI - Super Colossal (2006)

The most frightening thing about "Super Colossal" is that it starts off sounding horrifically similar to the chorus of Billy Squier's "The Stroke." Thankfully, this is remedied immediately, and Satch returns to familiar territory. The sound of the title track is big and booming, but the tone and delivery are instantly recognizable. Satriani doesn't pull any new tricks out of his bag, but lets his fingers do the talking throughout most of the record. And, of course, it wouldn't be a Satriani record without a few midtempo numbers thrown in for good measure, and "It's So Good" certainly delivers a swaggering punch that is reminiscent of not only Flying in a Blue Dream but moments of protégé Steve Vai's epic album Passion and Warfare. There are moments of delicate frailty and instrumentals with a romantic and optimistic feeling, tempering the high-energy blues-driven guitar shredders and leaving Super Colossal with a nice sense of balance — except for the album's finish. "Crowd Chant" is arguably one of the weirdest moments in a career full of eccentricity, but it's painfully out of place. However, with its catchy melody and call-and-response verses, it's going to make one heck of a concert singalong. On the whole, Satriani really doesn't push boundaries or stretch his guitar vocabulary too much here, but even on his worst day his productions could best any other shredder du jour based simply on the fact that he crafts songs rather than insipid guitar-scale exercises to flaunt and flail around carelessly.


"DOWNLOAD"
http://rapidshare.de/files/21640169/JoeSatriani_SuperColossal.zip

"PASSWORD"
Feed Your Head

nedjelja, 16.07.2006.

FREDDIE KING - My Feelings For The Blues (1970)

This is an amazing Freddie King album. The other review is right when he says that the album deserves five stars just for Freddie's acoustic version of "Things that I Used To Do". This is one of the Freddie King albums that, unfortunatly, is getting harder to find and will probably be impossible to find within the next few years. Do yourself a favor and buy this album before you can't find it. This is an amazing blues album that does show Freddie King's budding talent.


"DOWNLOAD"
http://www.paylesssofts.com/main/url.php?id=950
http://www.paylesssofts.com/main/url.php?id=951

ETTA JAMES - At Last! (1960)

This is Etta James's first full-length album, recorded for Chess Records' Argo subsidiary in 1960. It taps all aspects of her then-blossoming talent. There's the crooning rock ballad "My Dearest Darling" and the elegantly symphonic "Sunday Kind of Love." Her classic, brokenhearted "All I Could Do Was Cry" follows the sweet title track and the bawdy blues stomper "I Just Want to Make Love to You." And there's a version of Harold Arlen's "Stormy Weather," which Lena Horne made famous. James's fine way with such a wide embrace of material wouldn't again be this well displayed on a single album until she was united with producer Jerry Wexler for 1977's Deep in the Night. --Ted Drozdowski Amazon.comThe R&B queen's classic collection is augmented this time around by a long-overdue digital remastering, plus a few bonus tracks, presumably for those who found the original album a little on the brief side. In addition to James's well-known hits, including "I Just Want to Make Love to You" and "Stormy Weather," there are four additional songs: "My Heart Cries," "Spoonful," "It's a Crying Shame," and "If I Can't Have You." Although one might cynically suggest that these were added to give Etta fans something to purchase besides The Essential Etta James, it's definitely true that these tracks are worth hearing. --Genevieve Williams


"DOWNLOAD"
http://rapidshare.de/files/13573557/atlast.zip.html

ETTA JAMES - The Second Time Around (1961)

Etta James's second album isn't what you pull off the shelf when you want to hear her belt some soul. Like her debut, it found Chess presenting her as more or less a pop singer, using orchestration arranged and conducted by Riley Hampton, and mostly tackling popular standards of the '40s. If you're not a purist, this approach won't bother you in the least; James sings with gusto, proving that she could more than hold her own in this idiom as well. R&B isn't entirely neglected either, with the rousing "Seven Day Fool" (co-written by Berry Gordy, Jr.) a standout; "Don't Cry Baby" and "Fool That I Am" were R&B hits that made a mild impression on the pop charts as well.


"DOWNLOAD"
http://rapidshare.de/files/22074773/TSTA.part1.rar.html
http://rapidshare.de/files/22078222/TSTA.part2.rar.html

"PASSWORD"
ajiger

ETTA JAMES - Etta James Rocks The House [live] (1964)

Simply one of the greatest live blues albums ever captured on tape. Cut in 1963 at the New Era Club in Nashville, the set finds Etta James in stellar shape as she forcefully delivers her own "Something's Got a Hold on Me" and "Seven Day Fool" interspersed with a diet of sizzling covers ("What'd I Say," "Sweet Little Angel," "Money," "Ooh Poo Pah Doo"). The CD incarnation adds three more great titles, including an impassioned reprise of her "All I Could Do Is Cry." Guitarist David T. Walker is outstanding whenever he solos.


"DOWNLOAD"
http://rapidshare.de/files/25510175/60567552.rar

"PASSWORD"
ajiger

OR

"DOWNLOAD"
http://rapidshare.de/files/18545424/RocksTheHouse.rar

ETTA JAMES - Heart Of A Woman (1999)

James chose 11 love songs from her favorite female singers — Billie Holiday, Dinah Washington, Sarah Vaughn, and Carmen McRae — augmenting the album with a new version of her signature song, "At Last." She has recorded several of these songs before (including Alice Cooper's "Only Women Bleed," which inexplicably became a standard for both her and McRae), but the difference with Heart of a Woman is the context. Here, they're put in a smooth jazz setting, masterminded by James, who has producer credit. No matter how well she sings the songs here — and she still possesses an exceptionally strong voice, robust and filled with passion — the well-scrubbed, glossy surfaces on the record keeps it from being engaging. It's not bad listening, it just never has the emotional impact James intended it to have. At times, it's hard not to wish that she worked with a producer who brought her back to the organic sound of her classic '50s and '60s sessions, but James has been pursuing this smoothed-out style for a decade now. It's clear that this is what she wants to do. She still sounds good, and that means her latter-day albums are listenable — but they don't resonate like the best of her records.


"DOWNLOAD"
http://rapidshare.de/files/6721398/Part-1.rar.html
http://rapidshare.de/files/6721875/Part-2.rar.html
http://rapidshare.de/files/6723464/Part-3.rar.html

ETTA JAMES - Blues To The Bone (2004)

Etta James has worked in countless styles throughout her long career, and she is equally at home singing gospel, R&B, soul, jazz, and even rock & roll, but her roots have always been solidly planted in the blues, and she is arguably the finest living singer active in the genre. Perhaps because she doesn't sing only the blues, however, when she does, it sticks out as something special, and with Blues to the Bone she goes down to the river and dives in completely, turning out a solid album of no-frills, gutbucket performances. Her voice has deepened and coarsened over the years, making it the perfect vehicle of authenticity and authority as she tackles classics of the genre like John Lee Hooker's "Crawling King Snake," Robert Johnson's "Dust My Broom," and Howlin' Wolf's "Smokestack Lightning," backed by a garage blues combo led by her sons, Donito and Sametto James. James' versions bring new dimensions to each of these hoary old chestnuts, which have generally been sung by men, and her smoke-tinged alto makes each her own, instilling them all with a wise, desperate, and confident intimacy. She gives Jimmy Reed's "Hush Hush" a solid reading, while her take on Willie Dixon's "Lil' Red Rooster" is a tension-filled, atmospheric gem. The most striking track here, however, is James' version of the Elmore James tune "The Sky Is Crying," which emerges as epic and poignant. Much of contemporary blues spins on its own excesses and on a hundred years of accumulative clichés, but when an artist like Etta James comes home to sing the blues, the world has to rejoice and take notice, because in her hands the old clichéd phrases become vital and new again.


"DOWNLOAD"
http://rapidshare.de/files/22109864/Etta_James-Blues_To_The_Bone.zip.html

ETTA JAMES - All The Way (2006)

After her tough blues and R&B records in the early years of the 21st century — 2003's Let's Roll and 2004's Blues to the Bone — Etta James throws a quiet storm changeup. All the Way's 11 tracks are pop songs — indeed, a few are standards — written between the 1930s and the 1990s. James song choices are curious. The Great American Songbook tunes include the title track (written by Samuel Kahn and Jimmy Van Heusen), Leonard Bernstein's and Stephen Sondheim's "Somewhere" from West Side Story, and even Bob Telson's "Calling You" from the score to the 1987 film Baghdad Cafe — it's been recorded by everyone from Barbra Streisand and Celine Dion to Jeff Buckley and Gal Costa. Unfortunately, nothing gets added in the offering; these are decent if not remarkable renditions. Beginning with track two, James offers her own bead on what a "standard" is with her excellent rendering of Bobby Womack's "Stop on By," (as read through the Boz Scaggs fakebook). James acted as executive producer on this set, which was actually produced by her sons Sametto and Donto Metto James (the rhythm section here), as well as guitarist Joshua Skair. It's overly polished, and that's just the beginning of the problems to be found on the album. The crystalline, laid-back beat, shimmering layered keyboards, and light funky guitar are the hallmarks of a modern adult contemporary soul style that is also employed on a nearly seven-minute cover of Johnny "Guitar" Watson's laid-back soul-blues classic "Strung Out." The really curious moments here are her funk-lite take of Mick Hucknall's (Simply Red) "Holding Back the Years," and a rather boring cover of John Lennon's "Imagine"; they appear back to back here. The other odd sequencing is the way James juxtaposes R. Kelly's "I Believe I Can Fly," James Brown's "It's a Man's Man's Man's World," Prince's "Purple Rain," and Marvin Gaye's "What's Goin On." (co-written with Al Cleveland and Renaldo Benson). This quartet of tunes makes profound sense, though, as they are all tracks by some of the great African-American song composers in history. The problem lies in the interpretation. Kelly's true, positive-thinking anthem becomes a sensitive ballad in James' treatment of it, removing its life and making it a syrupy sun poem. Likewise, "What's Goin' On" is nearly too polished, and feels more like a meditation on the past than a song interpreted to reflect the urgency of the day — which it most certainly does. The lavish flamenco intro to the Brown tune is a bit off-putting in terms of its slickness, but the smoky, militantly female reading redeems it and makes it one of the album's best tunes. Which leaves the Prince cover: with its compressed acoustic guitar and Sklair's electric fills, dovetailed by a Rhodes piano, James reinterprets this as a mature soul workout. She adds depth, dimension, and underscores how timeless a tune it is by adding more tough-love R&B to its gospel flair. It should have been chosen to close the disc. Despite her best intentions and the authority of her voice, All the Way is far from perfect. Compared to her last two outings, it simply pales. The ambition of the concept does not yield the hoped-for results in the packaging.


"DOWNLOAD"
http://rapidshare.de/files/20980247/EJATW2006.part1.rar.html
http://rapidshare.de/files/20981824/EJATW2006.part2.rar.html

ETTA JAMES - The Definitive Collection (2006)

Whoa. There are many Etta James collections out there. The standard-bearers thus far have been the Chess Box and the Essential Etta James. This set attempts to do something else and goes deep into her catalog to dig out the gems from her years with Modern, Argo, Cadet, Chess, Warner Brothers, Island, and Private Music/BMG, and presents the full spectrum of her five-decade career. As such, there are many different kinds of songs here revealing the complexity of the vocalist herself, and as such, thus becomes a real portrait of the artist. Juxtapose, for instance, early sides like "The Wallflower Dance (Dance With Me Henry)," with its wild R&B bravado and the deep soul-blues of "All I Could Do Is Cry," the balladry of "The Man I Love," the bone-crushing blues of "The Sky Is Crying," and the torch song ballad technique on "My Dearest Darling," and the despairing soul inherent in songs such as "All the Way Down," and the listener begins to get an idea of just how vast and deep James talent really is. These 23 cuts give a fine and full picture of all that diversity without sacrificing a note of quality. This is a fine introduction to James for those listeners who have become acquainted with her in recent years, and a decent look at the later material for those cynical purists who think it was over and done by 1970. Recommended


"DOWNLOAD"
http://www.megaupload.com/?d=1IPIP6YX

subota, 15.07.2006.

WALTER TROUT - Life In The Jungle (1990)

Albums that combine live and studio tracks can, in some cases, be inconsistent. Some artists are so reliant on studio technology that they fall apart in a live setting; they sound stiff and awkward the minute they take the stage. And on the other hand, some artists are so fond of playing live that they become inhibited in the studio. But there is nothing inconsistent or uneven about Walter Trout's debut album, Life in the Jungle, a collection of live and studio recordings from 1989; on this release, the blues-rocker is as focused and inspired on-stage as he is in the studio. All of the tracks were recorded in Scandinavian countries; the live performances are from an appearance at the Midtfyn Festival in Denmark on July 2, 1989, while the studio material is from a session in Stockholm, Sweden, on June 21 and July 9 of that year. And in both settings, Trout really shines — the singer/guitarist has no problem going that extra mile on original tunes (including the title song and "Good Enough to Eat"), as well as passionate versions of Jimi Hendrix's "Red House," Buddy Guy's "She's out There Somewhere," and John Lee Hooker's "Serves Me Right to Suffer." On the latter, Trout shows his appreciation of Canned Heat without allowing his own personality to become obscured. Life in the Jungle, which the German Ruf label reissued on CD in 2002, is blues-rock the way it should be: tough, gritty, rugged, and heartfelt. Not all of Trout's releases are strong or as consistent as Life in the Jungle, but this is one Trout album that blues-rock enthusiasts will be happy to get their hands on.


"DOWNLOAD"
http://rapidshare.de/files/8773450/Trout_Jungle.rar.html

WALTER TROUT - Tellin' Stories (1994)

"DOWNLOAD"
http://rapidshare.de/files/6543085/fishytales1.rar
http://rapidshare.de/files/6545102/fishytales2.rar
http://rapidshare.de/files/6545213/fishytales3.rar

"PASSWORD"
sonic

WALTER TROUT - Live Trout: Recorded at the Tampa Blues Fest March (2000)

...recorded live at the Tampa Bay Blues Fest March 2000. It is, quite simply, a guitar driven blues/rock masterpiece. On these mostly original tracks, Trout plays with fiery intensity, reminiscent of the late Roy Buchannan. His vocals are soulful and dripping with emotion. The band is excellent, featuring long time bassist Jimmy Trapp, Paul Kallestad burning up the B-3, and the top notch percussion of Bernie Pershey. "© Bluesrockers 2001

No overdubs, no sweetening, in fact, no extra music to flesh out this relatively slim double disc (available at a single price) that clocks in at a combined total of only 96 minutes: Welcome to one full Walter Trout performance, complete with between song patter as well as every note — and there are a lot of them — the guitarist played at this March 2000 show. Filled with blistering, unrefined, and unadulterated blues-rock, Trout has been playing shows identical to this for years in Europe where he is a fairly major star. The accomplished guitar slinger unfailingly delivers the sizzling six-string goods, especially in concert with his gritty yet undistinguished voice and frenetic leads. On his second live album, but first easily available in the States, Trout pulls out all the stops, shifting from the stinging slow blues and soft-loud dynamics of "Finally Gotten Over You" and "The Reason I'm Gone" to the all-out grinding swamp of "Gotta Broken Heart" and the meat and potatoes Chuck Berry by way of Johnny Winter rock and roll of "Good Enough to Eat." Tough, roughshod, and passionate, Trout, who had gone without sleep for 24 hours before this show, doesn't sound a bit fatigued. The liner notes state that this even adds an edge to this performance. A sideline into Bob Dylan's "I Shall Be Released" adds some much needed subtly and a bit of gospel flavor to the proceedings, but Trout works best when his lightening fingers, brawny sustain, and hot dog fret runs are given free reign. It's all sweaty, powerful, and uncompromising, but without a unique voice, either vocally or instrumentally, Trout remains a gifted, hard working, undoubtedly scintillating live performer without the idiosyncratic edge to pull away from a pack of equally talented blues rockers.


"DOWNLOAD"
http://rapidshare.de/files/24363541/WT_LT.part1.rar.html
http://rapidshare.de/files/24342149/WT_LT.part2.rar.html

WALTER TROUT - Go The Distance (2001)

One of the songs on Go the Distance that tells listeners a lot about Walter Trout is "I Don't Want My MTV," a humorous rock & roll number that finds the blues-rocker railing against MTV for — as he sees it — making image, looks, and physical appearance more important than the quality of the music itself. Trout even rewrites a line from Chuck Berry's "Roll Over Beethoven," singing, "Roll over, Martha Quinn, and tell Kurt Loder the news." The tune is a defining moment for Trout because it tells you a lot about him. "I Don't Want My MTV" expresses, without apology, Trout's impatience with slickness — and whether or not you share his opinion of MTV, it is his down-home earthiness that makes Go the Distance an honest blues-rock/roots rock outing. Trout's sincerity is one of his strongest assets, and it comes through on gritty offerings like "Message on the Doorway" and "Lookin' for the Promised Land." This CD isn't for blues purists, however; Go the Distance has as much to do with roots rock as it does with the blues. But regardless of whether or not a song has 12 bars, Trout brings the feeling of the blues to everything he does. Go the Distance falls short of remarkable, but it's a solid, enjoyable effort that succeeds because Trout is willing to be true to himself.


"DOWNLOAD"
http://rapidshare.de/files/8028594/WTDistance.part1.rar
http://rapidshare.de/files/8044994/WTDistance.part2.rar
http://rapidshare.de/files/8057398/WTDistance.part3.rar

"PASSWORD"
RiffRaff

WALTER TROUT - Relentless (Live) (2003)

Another in a series of undiluted blues-rock offerings from guitarist Walter Trout, Relentless, his 11th disc since 1990, doesn't offer any surprises. Released in conjunction with a DVD, the album was recorded live in the Netherlands club The Paradiso on a single day with little post-production sweetening or audience intervention. This results in a successful balance between sonics and concert sparks. For those who relish his by now standard brand of sturdy, guitar-heavy, Stevie Ray Vaughan-inspired music, Trout is in fine fret-shredding form here. But fans who'd like to see Trout swim in some new waters will find little of that on this outing. His music succeeds best live, where the sweat and intensity overrides lackluster, by-the-numbers Vaughan shuffles such as "Talk to Ya," a tune as ordinary as its title. Trout's gruff, everyman voice is acceptable, but it's difficult to do much with the "I had a hard childhood" lyrics of "Collingswood." Although it's too bad he's had a challenging upbringing, the heavy-handed approach makes you wish he'd hired a lyricist to express it more poetically. Interestingly, one of the album's best tracks is the gospel-infused ballad "Cry if You Want To," a beautiful melody reminiscent of the Rolling Stones' "Fool to Cry" where the remarkably succinct guitar solo supports the song instead of vice versa. "Lonely Tonight" is a rare solo acoustic track where Trout furiously bangs his unplugged guitar, but once again the tune is little more than a skeleton of a song. Then it's back to the same old, with the Steppenwolf-styled boogie of "Helpin' Hand," another in a series of excuses for Trout to pull out his meaty lead guitar licks. With his whiskey-soaked singing, hot strings, and fiery soloing, a little of this goes a long way, and 73 minutes is too much for all but the most relentless fans.


"DOWNLOAD"
http://rapidshare.de/files/7573307/WT-Relent.part1.rar
http://rapidshare.de/files/7574722/WT-Relent.part2.rar
http://rapidshare.de/files/7576255/WT-Relent.part3.rar

"PASSWORD"
smith

WALTER TROUT - Deep Trout (2005)

If Walter Trout had never launched a solo career, the veteran blues-rocker still would have had a résumé to be proud of. Playing guitar as a sideman for the likes of John Lee Hooker, Percy Mayfield, Big Mama Thornton, Louisiana Red, and soul man Joe Tex is nothing to be ashamed of; nor is his stint with Canned Heat. But thankfully, Trout did launch a solo career in the late '80s — and in the '90s, European blues audiences came to know the New Jersey native for his singing and his original material (as opposed to strictly playing guitar in support of others). Trout eventually broke as a solo artist in the U.S. as well, but Europe was where he first achieved recognition for his solo talents. Assembled in 2005, this Ruf release looks back on the early years of his solo career. Most of this CD focuses on previously released material from 1989-1997, but Deep Trout also contains a bonus track that goes back to 1972: a recording of Junior Wells' "So Sad to Be Lonely." Trout, who turned 54 on March 6, 2005, was around 21 when "So Sad to Be Lonely" was recorded — and the recording finds him leading a blues-rock band called Wilmont Mews (who played around New Jersey). But again, most of Deep Trout is devoted to his solo work from 1989-1997 — and the CD offers some of the highlights of his albums Breakin' the Rules, Prisoner of a Dream, Transition, and Live: No More Fish Jokes. Ruf's choices are good ones; everything on this disc is at least solid, if not flat-out excellent — and the company has assembled a respectable overview of Trout's pre-2000s output.


"DOWNLOAD"
http://rapidshare.de/files/7877108/Deep_Trout.part1.rar
http://rapidshare.de/files/7886279/Deep_Trout.part2.rar
http://rapidshare.de/files/7888098/Deep_Trout.part3.rar

"PASSWORD"
RiffRaff

petak, 14.07.2006.

WALTER TROUT - Full Circle (2006)

With the release of FULL CIRCLE, Walter Trout has realized a long held dream – to invite musician friends from his 35+ year career together to compose and play together. His first new studio release in five years, FULL CIRCLE reflects Walter Trout’s remarkable story, from his humble beginnings as a sideman in many a blues legends’ band through his rising solo star, arriving as one of blues music’s beloved interpreters.

The project is a full circle in time and place, a journey through the range of styles that represent the blues music genre – a celebration of where the blues world is, where it has been and where it’s going.

Among the 25 musicians appearing are John Mayall, Coco Montoya, Bernard Allison, Jeff Healey, Joe Bonamassa, Eric Sardinas, Guitar Shorty, Finis Tasby, Junior Watson, James Harman and Deacon Jones.

FULL CIRCLE is the most accomplished and satisfying release of Walter Trout’s discography, and demonstrates his passion for music is just as great today as it was when he started playing as a teenager more than 35 years ago. He considers the new album a tribute to the people and the times that have helped shape his musical appreciation, demonstrating how the many styles within the blues genre can co-exist and mutually enhance each other without fight for rank or authenticity.


"DOWNLOAD"
http://rapidshare.de/files/25518443/walterfull.rar

KEB' MO' - Just Like You (1996)

On his second album, Keb' Mo' begins to expand the borders of his Delta blues by recording with a full band on a couple of tracks and attempting more expansive, rock-based song structures. The attempts aren't entirely successful and it's ironic that he decided to try rock-oriented material after he received such praise for his traditionalist debut. Still, there are a few songs on the album that rank with the best on his first album, which suggests that Just Like You is merely a sophomore slump.


"DOWNLOAD"
http://rapidshare.de/files/10334374/KM1996JLY.rar.html
OR
http://www.megaupload.com/?d=E8ZAS1ZN

KEB' MO' - Slow Down (1998)

At the beginning of his career, Keb' Mo' appeared to be a clever update of the acoustic bluesman, one that managed to recall country-blues but offer a contemporary spin on tradition — sort of like a '90s version of Taj Mahal. With each new album, however, it became clear that authenticity was not a concept that troubled Keb' Mo'. He was more concerned with offering a nice, smooth bluesy pop that was perfect for the House of Blues, not for seedy roadhouse. That's not necessarily a bad thing — it's just the kind of thing that would irritate blues purists who may have placed hope in him in the first place. Slow Down, Mo's third album, will nevertheless be the kind of album that will please listeners who like laid-back, polished blues, not gritty Chicago or Delta blues. Approaching Slow Down with this knowledge is helpful, since it isn't a bad album — it's well-constructed and professionally performed, emphasizing Keb' Mo's ability to craft good, slick blues-rock. If you like that sound — the sound of post-Robert Cray blues, with no trace of Stevie Ray Vaughan pyrotechnics — Slow Down may be just your pace.


"DOWNLOAD"
http://rapidshare.de/files/10537008/KM1998SD.rar.html
OR
http://www.sendspace.com/file/571amw

KEB' MO' - The Door (2000)

Keb' Mo''s self-titled first album, from its Robert Johnson covers to its appearance on a resuscitated Okeh Records, seemed to suggest the arrival of a Delta blues traditionalist, even though the former Kevin Moore was really a Los Angeles native who had kicked around the music business for years playing various styles of music. The follow-up, Just Like You, was therefore a disappointment to blues purists, since it clearly used folk-blues as a basis to create adult contemporary pop in the Bonnie Raitt mold. But to the music industry, that was just fine, since it fostered the hope that here was an artist (finally!) who could find a way to make the blues — consistently revered but commercially dicey — pay, and Keb' Mo' won a Best Contemporary Blues Album Grammy for his effort. Slow Down (1998) brought him a second Grammy and got even higher in the charts. The Door is more of the same. Keb' Mo''s slightly gritty voice and fingerpicking are the focus of the music, but he does not hesitate to add mainstream pop elements, beginning with writing partners who include Bobby McFerrin and Melissa Manchester, and continuing with a backup band that features such session aces as keyboard player Greg Phillinganes and drummer Jim Keltner. This is music that is folkish and bluesy rather than being actual folk-blues. Just in case anyone hasn't gotten the point yet, Keb' Mo' begins the album's sole cover, Elmore James' "It Hurts Me Too," in authentic folk-blues style, after which the arrangement lurches into a heavily percussive, anything but traditional direction. It's fair warning that the singer/guitarist is interested in tradition only as a jumping-off point. Maybe that's what "contemporary blues" is.


"DOWNLOAD"
http://www.uploading.com/?get=GZBT3OPG
OR
http://www.sendspace.com/file/h0f0o0

četvrtak, 13.07.2006.

ZZ TOP - ZZ Top's First Album (1970)

ZZ Top's First Album may not be perfectly polished, but it does establish their sound, attitude, and quirks. Simply put, it's a dirty little blues-rock record, filled with fuzzy guitars, barrelhouse rhythms, dirty jokes, and Texan slang. They have a good, ballsy sound that hits at gut level, and if the record's not entirely satisfying, it's because they're still learning how to craft records — which means that they're still learning pacing as much as they're learning how to assemble a set of indelible material. Too much of this record glides by on its sound, without offering any true substance, but the tracks that really work — "(Somebody Else Been) Shaking Your Tree," "Backdoor Love Affair," "Brown Sugar," and "Goin' Down to Mexico," among them - show that ZZ Top was that lil' ol' blues band from Texas from their very first record on.


"DOWNLOAD"
http://rapidshare.de/files/20694314/First_Album.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Tres Hombres (1973)

Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn't have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they'd ever have to the table. On the surface, there's nothing really special about the record, since it is just a driving blues-rock album from a Texas bar band, but that's what's special about it. It has a filthy groove and an infectious feel, thanks to Billy Gibbons' growling guitars and the steady propulsion of Dusty Hill and Frank Beard's rhythm section. They get the blend of bluesy shuffles, gut-bucket rocking, and off-beat humor just right. ZZ Top's very identity comes from this earthy sound and songs as utterly infectious as "Waitin' for the Bus," "Jesus Just Left Chicago," "Move Me on Down the Line," and the John Lee Hooker boogie "La Grange." In a sense, they kept trying to remake this record from this point on — what is Eliminator if not Tres Hombres with sequencers and synthesizers? — but they never got it better than they did here.


"DOWNLOAD"
http://rapidshare.de/files/20701060/Tres_Hombres.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Rio Grande Mud (1972)

With their second album, Rio Grande Mud, ZZ Top uses the sound they sketched out on their debut as a blueprint, yet tweak it in slight but important ways. The first is heavier, more powerful sound, turning the boogie guitars into a locomotive force. There are slight production flares that date this as a 1972 record, but for the most part, this is a straight-ahead, dirty blues-rock difference. Essentially like the first album, then. That's where the second difference comes in — they have a much better set of songs this time around, highlighted by the swaggering shuffle "Just Got Paid," the pile-driving boogie "Bar-B-Q," the slide guitar workout "Apologies to Pearly," and two Dusty Hill-sung numbers, "Francine" and "Chevrolet." There are still a couple of tracks that don't quite gel and their fuzz-blues still can sound a little one-dimensional at times, but Rio Grande Mud is the first flowering of ZZ Top as a great, down-n-dirty blooze rock band.


"DOWNLOAD"
http://rapidshare.de/files/20697717/Rio_Grande_Mud.rar.html

"PASSWORD"
chura78.blogspot.com

OR

http://rapidshare.de/files/26261621/ZZTRGM1972.part1.rar.html
http://rapidshare.de/files/26263394/ZZTRGM1972.part2.rar.html

"PASSWORD"
blacky

ZZ TOP - Fandango (1975)

Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard it on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts — and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound — and Fandango remains one of their better albums, but it's hard not to think that it could have been even better.


"DOWNLOAD"
http://rapidshare.de/files/20705499/Fandango.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Tejas (1976)

ZZ Top was riding high in the mid-'70s on the strength of Tres Hombres and Fandango, but they were starting to run out of steam by 1977's Tejas. Its predecessor was padded with a live side, but even if it was close to padding, it was still enjoyable. Tejas, despite sounding pretty good, is just forgettable. It has the patented, propulsive ZZ boogie, but none of the songs are particularly memorable, even if the whole thing sounds pretty good as it's playing. ZZ Top and their label, London, must have noticed this too, since even though the album went gold, they followed it months later with The Best of ZZ Top, which contained none of the songs from this album.

"DOWNLOAD"
http://rapidshare.de/files/20708006/Tejas.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Deguello (1979)

ZZ Top returned after an extended layoff in late 1979 with Deguello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much — hell, their sound never really changed during their entire career — but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began to dominate, as "Cheap Sunglasses" and "Fool for Your Stockings" illustrate. Ironically, this, their wildest album lyrically, doesn't have the unhinged rawness of their early blooze rockers, but the streamlined production makes it feel sleazier all the same, since its slickness lets the perversity slide forth. And, let us not forget, the trio is in fine shape here, knocking out a great set of rockers and sounding stylish all the time. Undoubtedly one of their strong suits.

"DOWNLOAD"
http://rapidshare.de/files/20710190/Deguello.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - El Loco (1981)

El Loco follows through on the streamlined, jet-engine boogie-rock of Deguello, but kicking all the ingredients up a notch. That means that the grooves are getting a little slicker, while the jokes are getting a little sillier, a little raunchier. The double entendres on "Tube Snake Boogie" and "Pearl Necklace" are barely disguised, while much of the record plays as flat-out goofy party rock. Not necessarily a bad thing, but much of it is a little too obvious to be totally winning. Still, the most telling thing about El Loco may be the rhythm of "Pearl Necklace," its biggest single and best song, which clearly points the way to the new wave blues-rock of Eliminator.

"DOWNLOAD"
http://rapidshare.de/files/20714526/El_Loco.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Eliminator (1983)

ZZ Top had reached the top of the charts before, but that didn't make their sudden popularity in 1983 any more predictable. It wasn't that they were just popular — they were hip, for God's sake, since they were one of the only AOR favorites to figure out to harness the stylish, synthesized grooves of new wave, and then figure out how to sell it on MTV. Of course, it helped that they had songs that deserved to be hits. With "Gimme All Your Lovin," "Sharp Dressed Man," and "Legs," they had their greatest set of singles since the heady days of Tres Hombres, and the songs that surrounded them weren't bad either — they would have been singles on El Loco, as a matter of fact. The songs alone would have made Eliminator one of ZZ Top's three greatest albums, but their embrace of synths and sequencers made it a blockbuster hit, since it was the sound of the times. Years later, the sound of the times winds up sounding a bit stiff. It's still an excellent ZZ Top album, one of their best, yet it sounds like a mechanized ZZ Top thanks to the unflaggingly accurate grooves. Then again, that's part of the album's charm — this is new wave blues-rock, glossed up for the video, looking as good as the omnipresent convertible on the cover and sounding as irresistible as Reaganomics. Not the sort the old-school fans or blues-rock purists will love, but ZZ Top never sounded as much like a band of its time as they did here.


"DOWNLOAD"
http://rapidshare.de/files/20728662/Eliminator.rar.html

"PASSWORD"
chura78.blogspot.com

srijeda, 12.07.2006.

ZZ TOP - Afterburner (1985)

Well, if you just had your biggest hit ever, you'd probably try to replicate it, too. And if you were praised for being visionary because you played all your blues grooves to a slightly sequenced beat, you'd probably be tempted to not just continue in that direction, but to tighten the sequencer and graft on synthesizers, since it'll all signal how futuristic you are. While you're at it, you might visualize how space age this all is by turning your signature car into a space shuttle. If you look at things that way, then Afterburner, ZZ Top's follow-up to their blockbuster Eliminator, makes sense — they're just giving the people more of what they want. Problem is, no matter how much you dress ZZ Top up, they're still ZZ Top. Sometimes they can trick you into thinking they're a little flashier than usual, but they're still a lil' ol' blues band from Texas, kicking out blues-rockers. And blues-rock just doesn't have a kick when it's synthesized, even if ZZ Top's grooves always bordered on robotic. So, Afterburner, their most synthetic album, will not please most ZZ Top fans, even if it did go platinum several time over and reached number four. That's all just a sign of the times, when even hard rock bands had to sound as slick as synth-pop, complete with clanging DX-7s and cavernous drums. As an artifact of that time, Afterburner is pretty good — never has a hard rock album sounded so artificial, nor has a nominal blues-rock album sounded so devoid of blues. Apart from the chugging "Sleeping Bag," not even the singles sound like ZZ Top (though "Dipping Low (In the Lap of Luxury" is a blatant "Gimme All Your Lovin" rewrite): the terrific post-new wave rocker "Stages" is the poppiest thing they ever cut, the ballad "Rough Boy" is far removed from slow blues, and the full-fledged synth-dance of "Velcro Fly" is a true mind-bender. All this means is that Afterburner is merely a product of its time — the only record ZZ Top could have made at the time, but it hardly exists out of that time.


"DOWNLOAD"
http://rapidshare.de/files/20733378/Afterburner.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Recycler (1990)

The continuation of Eliminator's synthesized blues-boogie made sense on Afterburner, since it arrived two years after its predecessor. ZZ Top's choice to pursue that direction on Recycler is puzzling, since a full five years separates this from Afterburner. It's not just that they continue to follow this path, it's that they embalm it, creating a record that may be marginally ballsier than its predecessor, but lacking the sense of goofy fun and warped ambition that made Afterburner fascinating. Here, there's just a steady, relentless beat (Frank Beard is still chained to the sequencer, as he has been for a decade), topped off by processed guitars turning out licks that fall short of being true riffs. Put it this way, apart from "Doubleback," a continuation of the arena pop of "Stages," the other number that really works here is "My Head's in Mississippi," the closest they've come to the greasy boogie of "La Grange" since Deguello. When it arrives halfway through Recycler, it not only sounds refreshing, it puts the rest of the album in perspective, showing how tired the once-bracing synth-blooze-boogie has become. And the worst thing about it all, it doesn't seem like the band realizes how uncomfortably ironic the title of Recycler is.


"DOWNLOAD"
http://rapidshare.de/files/20754118/Recycler.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - ZZ Top Greatest Hits (1992)

This isn't a perfect roundup of ZZ Top's superstar years of the '80s, but it comes pretty close. It dips back into the '70s for "Pearl Necklace" and "La Grange," with a couple of selections from the post-peak '90s, but this does offer the MTV-era basics: "Gimme All Your Lovin'," "Sharp Dressed Man," "Rough Boy," "Tush," "My Head's in Mississippi," "Doubleback," "Cheap Sunglasses," "Sleeping Bag." What slows this record down are some new cuts and album tracks that don't deserve to be here, along with a remix, not the original version, of "Legs." Still, that may just be quibbling for some listeners, since the basics are all here, making this a good complement to the '70s-focused The Best of ZZ Top (although it would be nice if a definitive disc, with all the hits, would appear on the market).


"DOWNLOAD"
http://rapidshare.de/files/24159931/ZZTGH.rar.html

ZZ TOP - Antenna (1994)

Like precious few bands from the '70s whose best work is mummified daily thanks to classic rock radio, ZZ Top just keeps rolling on into the next decade. There's much to love here, from the downright nasty stomp of "Fuzzbox Voodoo," the powerhouse slow blues of "Cover Your Rig," the bass-pumping looniness of "Girl in a T-Shirt," to the slow grind of "Breakaway." While Billy Gibbon's guitar tones on this album are highly reminiscent of Tres Hombres (an early high-water mark for the band), the high production sheen from their '80s albums remains intact. But Gibbons hasn't played with this much over-the-top abandon since their pre-beard 'n' babes days, and that's what separates this album from the three that came before it.


"DOWNLOAD"
http://rapidshare.de/files/20759647/Antenna.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - One Foot In The Blues (1994)

Before they sweated their image down to beards, babes and hot rods, ZZ Top were a down 'n' dirty blues-rock trio with a bonafide hot guitar player in Billy Gibbons. On this 14-track offering, Warner goes back through the back ZZ catalog and cobbles together an interesting collection of the Texas trio's bluesier sides that originally appeared on their earliest albums. Highlights include "Brown Sugar," "A Fool for Your Stockings," "My Head's in Mississippi," "Apologies to Pearly" and Gibbons' storming stringwork on "Bar-B-Q."


"DOWNLOAD"
http://rapidshare.de/files/20763566/One_Foot_in_the_Blues.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Rhythmeen (1996)

ZZ Top's long-awaited return to the blues finally arrived in 1996, well over a decade after they abandoned their simple three-chord boogie for a synth and drum machine-driven three-chord boogie. Like Antenna before it, Rhythmeen is stripped of all the synthesizers that characterized the group's albums since Eliminator but the key difference between the two albums is how Rhythmeen goes for the gut, not the gloss. It's a record that is steeped in the blues and garage rock, one that pounds out its riffs with sweat and feeling. Though ZZ Top sounds reinvigorated, playing with a salacious abandon they haven't displayed since the '70s, they simply haven't come up with enough interesting songs and riffs to make it a true return to form. For dedicated fans, it's a welcome return to their classic "La Grange" sound, but anyone with a just a passing interest in the band will wonder where the hooks went.


"DOWNLOAD"
http://rapidshare.de/files/20767503/Rhythmeen.rar.html

"PASSWORD"
chura78.blogspot.com

ZZ TOP - XXX (1999)

Theoretically, aging wouldn't be that difficult of a trick for ZZ Top to pull off, since the little ol' band from Texas is thoroughly grounded in the blues, an ageless music that can sound equally good from the young and old alike. So why does ZZ Top sound so stiff and useless on XXX, a record celebrating their 30th anniversary? Part of it could be that the songwriting is decidedly weak, but a band as seasoned as ZZ Top should be able to make third-rate material at least listenable. The real problem is that the band long ago sacrificed organic rhythms for a steady synthesized pulse. They suggested this even before 1983's Eliminator, but that record was a bizarre, unpredictable masterstroke; after all, nobody would have predicted that a blend of Texas blues-rock and new wave drum machines would work, let alone flourish. The problem was, the massive success of Eliminator made ZZ Top reluctant to abandon that sound; on every album since, they retained the steady click track, even as they stripped away the synthesizers. Each album of the '90s suffered because of this, but XXX really reveals the extent of the damage, possibly because it should have been a celebratory release, possibly because it ends with four tracks that were recorded live but sound as processed as the eight studio cuts that precede them. There is no grit or sensuality to the music, no propulsion in the rhythm, and no joy to the playing; even when the band stretches out, they feel tightly wound. Ironically, ZZ Top doesn't follow the advice they offer in "Fearless Boogie": they're too scared of sounding organic to really let loose and boogie, or play the blues like the accomplished veterans they are.


"DOWNLOAD"
http://www.megaupload.com/?d=BL3DKK1X

"PASSWORD"
chura78.blogspot.com

ZZ TOP - Mescalero (2003)

Ever since ZZ Top signed with RCA, they fitfully tried to break free of the synthesized blues that once was their savior but quickly became a straightjacket. Like any addict, it was hard for them to quit that processed, sequenced sound cold turkey, so they weaned themselves off the robo-boogie, sometimes relapsing and adding too many synths to mix, other times breaking loose with some credible boogie. Apart from the dreadful misstep of 1999's XXX, they showed signs of life on all their RCA albums, and their fourth, 2003's long-delayed Mescalero, is no exception to the rule. Billy Gibbons' fat guitar tone really has some presence here, at least on some of the album, and there are enough rhythm tracks not performed to a didactic click track to provide some real swing. There are even moments that suggest Gibbons' songwriting chops might be returning, such as the closing "Liquor," the rampaging instrumental "Crunchy," and the lithe "What Would You Do." On these cuts, along with a cover of Lowell Fulson's tramp, ZZ Top sound like a worthy veteran act, returning to their strengths and building on them. Unfortunately, that's four songs on an overlong 17-track album (including an uncredited closing cover of "As Time Goes By," hidden after "Liquor" — as most uncredited covers of "As Time Goes By" are, I suppose), and the rest of the record is pretty much devoted to by-the-books latter-day ZZ Top, relying too much on overly polished sound and familiar form, not gutbucket hooks and dirty grooves. What's frustrating is that those aforementioned cuts prove that the boys could still turn out a really cool, modernistic roadhouse blues-rock album, if only they had a good editor or producer. Left to their own devices, they repeat their same mistakes and wind up with a record that's pretty damn near the same as their other RCA platters.

"DOWNLOAD"
http://rapidshare.de/files/15415107/
ZZ_TOP_CuteWarez.ru_epidem.ru.rar.html

"PASSWORD"
cutewarez.ru&epidem.ru

ZZ TOP - Chrome, Smoke & BBQ: The ZZ Top Box (2003)

Prior to 2003's Chrome, Smoke & BBQ, ZZ Top's catalog was crying out for a comprehensive retrospective. Not that the band hadn't been anthologized before: they had two hits collections, with notably different track listings, and in 1987's Six Pack, they even had a makeshift box set, but all three of these were hampered by limited focus and haphazard execution. Chrome, Smoke & BBQ addresses both of these concerns by focusing on the trio's 20 years at Warner — from 1970's ZZ Top's First Album to 1990's Recycler — picking the best 70 or so songs from these ten albums and spreading them over the course of a lavish four-disc, 80-track box set. This is the first logical approach to ZZ Top's career yet, and while it isn't a perfect collection, it comes tantalizingly close to that ideal. The primary problem is that by the time the fourth disc rolls around, the collection has lost considerable momentum — and that's without even touching any material from the forgettable albums the band waxed for RCA in the '90s. With its robotic beats and flattened production, Recycler pointed the way toward those RCA records, yet it did have some excellent songs — "Give It Up," "My Head's in Mississippi," and "Doubleback" — that harked back to the group's strengths, something that would have been more apparent if these songs appeared at the end of disc three, after the Afterburner material. Instead, they're stranded on the fourth disc, along with four other songs from Recycler, for a grand total of seven of ten songs from that album, to which are added six "Medium Rare" tracks — the obligatory obscurities that are included on each box set, this time being a pretty cool Spanish version of "Francene," an OK live take on "Cheap Sunglasses" from a 1980 promo single, and four 12" remixes, none of which are very good. This disc is required listening only for diehards. Fortunately, the other three discs are damn near perfect, containing six to seven songs from each of their albums except their debut (nearly all of those records had a mere ten tracks, making this a very generous sampling) along with three tracks from guitarist/vocalist Billy Gibbons' first band, the Moving Sidewalks, and a single, "Miller's Farm"/"Salt Lick," from the "embryonic" ZZ Top, before bassist Dusty Hill or drummer Frank Beard joined forces with Gibbons. All the hits and classic rock radio staples are here, of course, along with a wealth of album tracks that illustrate that even if the band didn't have much range — whether the production was raw and greasy as it was on "La Grange" or clean and sleek, like the Police playing the Rolling Stones, as on "Pearl Necklace," they rarely strayed from either fast blues boogie or slow blues — they did have strong songwriting chops, witnessed by such buried treasures as the raucous "Brown Sugar" and "Just Got Paid," the monster groove of "I'm Bad, I'm Nationwide," the sweet "Leila," the crawling "Blue Jean Blues," and the unspeakable sleaze of the oozing "Mexican Blackbird" and smirking "I Got the Six." All this and more (including a radio commercial for Deguello) spread out over three addictive discs that truly do condense ZZ Top's records to their very best. It would be nice to have the good Recycler songs sandwiched onto the third disc and top the set off at three discs — it would have been a nice symmetry, with one disc for each band member — but it's easy enough to ignore the last disc and revel in how good the rest of the set is. Basically, Chrome, Smoke & BBQ is all the ZZ Top you'd ever need.[Chrome, Smoke & BBQ was released in two editions, both containing a terrific book, filled with great photos — including early shots of Gibbons in the Moving Sidewalks, without the beard — testimonials by the likes of Billy Bob Thornton, Dwight Yoakam, Ann Richards, and of all people, David Lynch (who immortally proclaims "ZZ Top = the fast track to cool"), an excellent history by Tom Vickers, and track-by-track notes by Gibbons, Hill, and Beard, as told to Bob Merlis. The limited edition is quite fancy in its own right, encased in a mock roadhouse shack and containing a booklet shaped as a menu, a sheet of ZZ Top paper dolls (no perforations, however; this is for display purposes only), and a flipbook that finds the trio doing their signature twirling guitars and hand gestures. It's a little elaborate, but it's fun, particularly because the four discs are in jewel cases and can be transported while this sits on the set, next to the other impractical, oversized box sets, such as that Charley Patton box designed as a fake album of 78s, in your collection.]


"DOWNLOAD"
http://rapidshare.de/files/20892022/TopBox.part01.RAR
http://rapidshare.de/files/20892134/TopBox.part02.RAR
http://rapidshare.de/files/20953792/TopBox.part03.RAR
http://rapidshare.de/files/20953805/TopBox.part04.RAR
http://rapidshare.de/files/20955730/TopBox.part05.RAR
http://rapidshare.de/files/20955797/TopBox.part06.RAR
http://rapidshare.de/files/20960613/TopBox.part07.RAR
http://rapidshare.de/files/20959193/TopBox.part08.RAR
http://rapidshare.de/files/20961541/TopBox.part09.RAR

"PASSWORD"
tagada

utorak, 11.07.2006.

ROGER KEITH "Syd" BARRETT

Syd Barrett RIP
6 January 1946 – 07 July 2006

Shine On "YOU CRAZY DIAMOND"




TheMadcapLaughs
http://rapidshare.de/files/24138401/The_Madcap_Laughs.rar
Barrett
http://rapidshare.de/files/24327261/Barrett.rar
Opel
http://rapidshare.de/files/24793617/Opel.rar

Pass:
http://sonidosdeverdad.blogspot.com/

Like a supernova, Roger "Syd" Barrett burned briefly and brightly, leaving an indelible mark upon psychedelic and progressive rock as the founder and original singer, songwriter, and lead guitarist of Pink Floyd. Barrett was responsible for most of their brilliant first album, 1967's The Piper at the Gates of Dawn, but left and/or was fired from the band in early 1968 after his erratic behavior had made him too difficult to deal with (he appears on a couple tracks on their second album, A Saucerful of Secrets). Such was his stature within the original lineup that few observers thought the band could survive his departure; in fact, the original group's management decided to keep Syd on and leave the rest of the band to their own devices. Pink Floyd never recaptured the playful humor and mad energy of their work with Barrett.

After a period of hibernation, Barrett re-emerged in 1970 with a pair of albums, The Madcap Laughs and Barrett, which featured considerable support from his former bandmates (especially his replacement, David Gilmour, who produced most of the sessions). Members of the Soft Machine also play on these records, which have a ragged, unfinished, and folky feel. Barrett's eccentric humor, sly wordplay, and infectious melodies range from brilliant to chaotic on his solo work. Lacking the taut power of his recordings with the Floyd in 1967, they nevertheless remain fascinating and moving glimpses into a creative psyche gone awry after (it is theorized) too much fame and too many drugs too early. With increasing psychological problems, Barrett withdrew into near-total reclusion after these albums. He never released any more material, and these days rarely appears in public, let alone to play music.

Although they attracted little attention upon their release, his albums also attracted a cult audience. Barrett's music and mystique achieved a lasting influence that continues to grow over two decades later. Latter-day new wave psychedelic acts like Julian Cope, the Television Personalities, and (especially) Robyn Hitchcock acknowledge Barrett's tremendous influence on their work. The Barrett cult became large enough to warrant the release of an entire album of previously unreleased material and outtakes, Opel, in the late '80s, as well as his sessions for the BBC.

JULIAN SAS - Where Will It End ? (1996)

"DOWNLOAD"
http://rapidshare.de/files/14955839/Where_Will_It_End_-.rar.html

JULIAN SAS - Smile To My Soul (1997)

"DOWNLOAD"
http://rapidshare.de/files/14956056/Smile_to_My_Soul.rar.html

JULIAN SAS - Live (1998)

"This album is dedicated to the great spirits of Jimi Hendrix and Mckinley Moganfield and to all the people we love..." These words are found at the bottom of the liner notes on the CD "Julian Sas Band-Live". Often called the "Dutch Hendrix", Sas at the tender age of 29 has become the semi-official guitar hero of the Netherlands. He is not Hendrix, but he does not need to be: being Julian Sas is good enough in of itself.
The Julian Sas Band is one of the strongest 3 piece blues/rock bands I have heard in a long while. Sas is a solid and sometimes spectacular player, decent vocalist, and backed by the tremendous rhythm section of Pierre de Haard on drums and a most impressive Phil Poffe' on bass. The list of selections include 6 written by the band and feature a 17+ minute medley combining original material with the Hendrix classics "Hey Joe" and "Machine Gun Jam".
My personal favorite is "Home Feelin" which features some of the best playing by both Sas and Poffe'. This is a band from whom I expect to hear great things in the future.



"DOWNLOAD"
http://rapidshare.de/files/14540208/Live.rar.html

JULIAN SAS - Spirits On The Rise (2000)

"DOWNLOAD"
http://rapidshare.de/files/14955740/Spirits_on_the_Rise.rar.html

JULIAN SAS - For The Lost And Found (1999)

"DOWNLOAD"
http://rapidshare.de/files/14946021/For_the_Lost_and_Found.rar.html

JULIAN SAS - Ragin' River (2002)

"DOWNLOAD"
http://rapidshare.de/files/14944518/Ragin__River.rar.html

JULIAN SAS - Twilight Skies Of Life (2005)

Julian Sas steps into 2005 with a brand-new album, a brand-new band and a brand-new sound. “Twilight Skies Of Life” is Julian’s sixth studio album and a giant leap forward for the axe-man from the Dutch Delta, the ‘Land van Maas en Waal’, that part of the lowlands where rivers Maas and Waal (a branch of the Rhine) are trying to emulate their big sister Mississippi. Julian spent four weeks on “Twilight” in the studio with producer Jos Haagmans, who is best known for his work with multi-platinum Dutch-language bards Boudewijn de Groot and Frank Boeijen.“My guitar always knows best what to do anyway,” says Julian Sas, “but this is the first time I’ve been able to focus on being a singer”. In the meantime the sound of the new album got heavier, muddier, fuller. That has a lot to do with the fact that ten years of experience led to a truly international four-piece. Pieter van Bogaert hails from Belgium and schleps an antique Hammond to the gigs. Drummer Pierre de Haard, despite his Greek moustache, resides in Weeze, Germany. The solid bass is in the hands of Tenny Tahamata, an exponent of the long musical tradition of the Moluccan islands.The man Sas, his album and his band are still very much rooted in the power-blues they preached all over Europe in the hey-days of “Delivered”. But today’s bigger sound, grown during weeks and weeks of ‘jamming’, has the diversity that reflects Julian’s eclectic taste. He buys 50 albums a month from southern rock to Americana and possesses probably more blues, more ‘jamband’ and more Grateful Dead records than anyone else in Europe. Rumour has it that Julian was able to recreate and play a Neil Young solo after watching him on TV with the sound off. Musical challenges and the drive to enrich their rock and blues dictionaries are the forces that will keep the Julian Sas Band on the road for the next ten years.With the new songs and the synergy between the players the band more than ever enjoys being on stage and entertaining the crowds. A no-nonsense approach: play till you drop! “That’s Enough For Me”, but not for Julian!


"DOWNLOAD"
http://rapidshare.de/files/14778340/Life.rar.html

TRAVIS TRITT - T-r-o-u-b-l-e (1992)

Tritt's covers of Buddy Guy ("Leave My Girl Alone") and Elvis Presley ("T-R-O-U-B-L-E") are nice touches and show deeper roots than the Gary Rossington cowrite ("Blue Collar Man") or the last album's Little Feat remake. Beyond that, T-r-o-u-b-l-e is almost indistinguishable from It's About to Change: a good novelty song masquerading as more, a couple of ballads with big flourishes, and a large helping of Southern. That's a good formula, granted, but it still sounds like a formula.


"DOWNLOAD"
http://rapidshare.de/files/24321806/TTtrouble.rar.html

TRAVIS TRITT - Greatest Hits: From the Beginning (1995)

Greatest Hits — From the Beginning features 15 of Travis Tritt's biggest hits, including "Country Club," "Help Me Hold On," "Here's a Quarter (Call Someone Who Cares)," and "Tell Me I Was Dreaming." Although there are a couple of hits missing, nothing essential has been overlooked and it's a first-rate introduction.


"DOWNLOAD"
http://rapidshare.de/files/24321392/TTgh.rar.html

ponedjeljak, 10.07.2006.

TRAVIS TRITT - Down the Road I Go (2000)

One word describes Travis Tritt and his music: consistent. Since his first release in 1989, Tritt has been adding bluesy Southern rock to his country honky tonk roots, creating a sound all his own. Having written or co-written seven of the album's 11 tracks, Tritt says Down the Road I Go does have a purpose: "I want to continue to connect with my female audience, but I want to include songs that come from a more male perspective. If country is going to have a resurgence, we are going to have to get the men listening again." Male and female fans alike will enjoy this solid effort from a man who hasn't lost his touch even after eight dependable albums.


"DOWNLOAD"
http://rapidshare.de/files/25142021/TTdtrig.rar.html

GRAND FUNK RAILROAD - Capitol Collectors Series (1991)

Grand Funk Railroad was, at best, a singles band, capable of turning a couple of crunching rockers and hooky singles out with each album. Though it may be missing a fan favorite or two — and that could mean something concise and catchy or meandering jams like "T.N.U.C." — this does have the overwhelming majority of their best songs, including not just hits like "We're an American Band" and "Some Kind of Wonderful," but also album tracks. Some longtime fans, like Homer Simpson, may find favorites missing, but this remains a nearly ideal summary.


"DOWNLOAD"
http://rapidshare.de/files/25384210/GFRRtbo.part1.rar.html
http://rapidshare.de/files/25384694/GFRRtbo.part2.rar.html

EDGAR WINTER & WHITE TRASH - Roadwork (1972)

The live follow-up to 1971's Edgar Winter's White Trash finds the group running through a handful of the tunes from their debut album, as well as rocking things up a bit with "Still Alive and Well" (a track later recorded by Edgar's brother Johnny) and "Back in the U.S.A." One of the most immortal lines for any live rock album has to be "People keep askin' me — where's your brother?" The introduction of guest artist Johnny Winter by his brother Edgar sets the stage for a rousing rendition of Rick Derringer's "Rock & Roll, Hoochie Koo." The extended version of blues classic "Tobacco Road" is one of the finest moments on this album, which is itself a classic.


"DOWNLOAD"
http://rapidshare.de/files/25010259/EdgarRoadwork.part1.rar.html
http://rapidshare.de/files/25012365/EdgarRoadwork.part2.rar.html
http://rapidshare.de/files/25013182/EdgarRoadwork.part3.rar.html

BLIND FAITH - Studio Outtakes (1969)

Five untitled instrumentals, three versions of "Well Alright", a blues number-"Key To The Highway", a great rocker-"Change Of Address" and an electrified version of "Can't Find My Way Home".

"DOWNLOAD"
http://rapidshare.de/files/9880520/BF_Outtakes.part1.rar
http://rapidshare.de/files/9881985/BF_Outtakes.part2.rar

STEPHEN STILLS - Manassas (1972)

A sprawling masterpiece, akin to the Beatles' White Album, the Stones' Exile on Main St., or Wilco's Being There in its makeup, if not its sound. Rock, folk, blues, country, Latin, and bluegrass have all been styles touched on in Stephen Stills' career, and the skilled, energetic musicians he had gathered in Manassas played them all on this album. What could have been a disorganized mess in other hands, though, here all gelled together and formed a cohesive musical statement. The songs are thematically grouped: part one (side one on the original vinyl release) is titled "The Raven," and is a composite of rock and Latin sounds that the group would often perform in full live. "The Wilderness" mainly centers on country and bluegrass (Chris Hillman's and Al Perkins' talents coming to the forefront), with the track "So Begins the Task" later covered by Stills' old flame Judy Collins. Part three, "Consider" is largely folk and folk-rock. "Johnny's Garden," reportedly for the caretaker at Stills' English manor house and not for John Lennon as is often thought, is a particular highlight. Two other notables from the "Consider" section are "It Doesn't Matter" (later redone with different lyrics by the song's uncredited co-writer Rick Roberts on the first Firefall album) and "Move Around," which features some of the first synthesizer used in a rock context. The closing section, titled "Rock & Roll Is Here to Stay," is a rock and blues set with one of the landmarks of Manassas' short life, the epic "The Treasure." A sort of Zen-like meditation on love and "oneness," enlivened by the band's most inspired recorded playing it evolves into a bluesy groove washed in Stills' fierce electric slide playing. The delineation lines of the four themed song groupings aren't cut in stone, though, and one of the strengths of the album is that there is a lot of overlap in styles throughout. The CD reissue's remastered sound is excellent, though missed is the foldout poster and handwritten lyrics from the original vinyl release. Unfortunately, the album has been somewhat overlooked over the years, even though Stills considers it some of the best work he has done. Bill Wyman (who guested on "The Love Gangster") has said he would have quit the Rolling Stones to join Manassas.

"DOWNLOAD"
http://rapidshare.de/files/21949393/ssmxx.rar
http://rapidshare.de/files/21952826/smxy.rar

nedjelja, 09.07.2006.

ROBBEN FORD - Talk To Your Daughter (1988)

On his 1988 solo effort Talk to Your Daughter, singer/guitarist Robben Ford proves himself a master of sophisticated blues-rock guitar playing. The material is quite strong, and all the musicians perform at the highest level, but it's Ford's stellar soloing that makes this release. Fans of flailing '80s rock virtuosos would do well to check out Ford's exceptional work on Talk to Your Daughter. The musician's colorful yet controlled improvising and harmonic mastery is a rare and beautiful sonic treat. The title track is dripping with soulful, well-placed guitar lines that play like a master lesson of up-tempo blues phrasing that guitarists would do well to study. Other standouts include "Born Under a Bad Sign" and "Ain't Got Nothin' But the Blues." The fine arrangements and especially Vinnie Colaiuta's sharp drumming are all tightly wound with crisp, clear production that tops off "Talk to Your Daughter," making it a shining success. Listeners fond of Ford's work with the Yellowjackets and numerous side gigs, as well as guitarists and all musicians, should enjoy this very professional, succinctly executed offering. First rate!


"DOWNLOAD"
http://rapidshare.de/files/17730145/ForRobb.part1.rar.html
http://rapidshare.de/files/17738544/ForRobb.part2.rar.html

RORY GALLAGHER- Etched In Blue (1992)

Etched in Blue is a solid, if not exactly definitive, retrospective of Rory Gallagher's career that offers a fine introduction to the Irish blues star.


"DOWNLOAD"
http://rapidshare.de/files/25218666/1992_RGa_-_Eb.part1.rar.html
http://rapidshare.de/files/25220882/1992_RGa_-_Eb.part3.rar.html
http://rapidshare.de/files/25224631/1992_RGa_-_Eb.part2.rar.html

"PASSWORD"
blacky

CACTUS - One Way...Or Another(1971)

One Way... Or Another (1971) was the second and final studio outing to feature the incipient incarnation of supergroup Cactus, comprised of Vanilla Fudge rhythm section Carmine Appice (drums) and Tim Bogert (bass), as well as former Amboy Dukes lead vocalist Rusty Day (vocals/mouth harp), and Jim McCarty (guitar) from Mitch Ryder & the Detroit Wheels and the Buddy Miles Express. Even as their debut was ostensibly rawer, they retained the same amp'ed-up electric blues reminiscent of early Grand Funk Railroad and Foghat. The more polished outcome heard on their sophomore effort is undoubtedly the direct result of assistance from recording engineer extraordinaire Eddie Kramer and their upgraded digs at the recently completed Electric Lady Studios, which they inhabited shortly after the passing of the facilities' owner, Jimi Hendrix. Immediately, the proceedings are thrust into high gear with a languorous and seething interpretation of Little Richard's "Long Tall Sally." While not the extended barnburner it became in concert, it gets things off to a rousing start. The lightweight up-tempo "Rockout, Whatever You Feel Like" could easily be mistaken for Jo Jo Gunne, especially in Day's vocal asides, strongly recalling Jay Ferguson and company. "Rock 'N' Roll Children" is a heavier number with McCarty unleashing rounds of impressive and impellent fretwork churning atop the simmering backbeat. Cactus do what they do best, returning to their boogie rock roots on the suitably named "Big Mama Boogie -- Parts 1 & 2." McCarty's pumping acoustic opening is perfectly augmented by some organic mouth harp courtesy of Day before launching into an explosive assault of pure, unadulterated proto- metal. The cover of Chuck Willis' "Feel So Bad" is given a sizable shakedown, yet doesn't quite seem to live up to its potential. The opposite can be said of the understated "Song for Aries." Although clocking in at just under three minutes, the instrumental is a showcase for McCarty's immorally underrated lead guitar. The long-player concludes with two full-blown centerpieces, revealing Cactus' strength as a formidable powerhouse combo on the autobiographically-inspired rave-up "Hometown Bust." Fittingly, this lineup and album come to an end on a high note with the title track "One Way...Or Another." The number is quite possibly the finest original to have been worked up by the band. The cut blazes from tip-to-tail and if the primary riff seems familiar, that may be because it was lifted almost verbatim from Jeff Beck's Beck-Ola-era tune "Rice Pudding." However in Cactus' care, it stomps with a bit more crunch and no-nonsense attitude.Review by Lindsay Planer.


"DOWNLOAD"
http://rapid.forumw.org/files/12312717/cactus_-_one_way...zip.html

ERIC CLAPTON - Slowhand (1977)

After the guest-star-drenched No Reason to Cry failed to make much of an impact commerically, Eric Clapton returned to using his own band for Slowhand. The difference is substantial -- where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale's "Cocaine" and sustains it throughout the course of the album. Alternating between straight blues ("Mean Old Frisco"), country ("Lay Down Sally"), mainstream rock ("Cocaine," "The Core"), and pop ("Wonderful Tonight"), Slowhand doesn't sound schizophrenic because of the band's grasp of the material. This is laid-back virtuosity -- although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material make Slowhand rank with 461 Ocean Boulevard as Eric Clapton's best albums.Review by Stephen Thomas Erlewine.

"DOWNLOAD"
http://rapidshare.de/files/24802521/ECS.part1.rar.html
http://rapidshare.de/files/24804615/ECS.part2.rar.html
http://rapidshare.de/files/24807084/ECS.part3.rar.html
http://rapidshare.de/files/24807170/ECS.part4.rar.html

"PASSWORD"
blacky

CLIMAX BLUES BAND - Gold Plated (1976)

Gold is right — after gradually building their reputation a series of nine LPs, they finally enjoyed a serious hit single with "Couldn't Get It Right," which hit number three on the American charts and led to this album and then two years of almost constant touring. The group is at its most laid back here, slipping more into a funk than a blues groove for most of Gold Plated's length. They keep some elements of their earlier sound, such as Peter Haycock's searing guitar solo on "Mighty Fire", but those looking for the group's unabashed older style will have to content themselves with just three numbers here, "Berlin Blues", with its chiming overlaid and over-amplified guitars, or the slow, Chicago blues-style "Rollin' Home", and the high-energy "Extra". Most of the album, however, is oriented toward the less high-energy, slightly more pop-focused sound exemplified by "Couldn't Get It Right", which still sounds irresistable a quarter century after its original release.


"DOWNLOAD"
http://rapidshare.de/files/22941629/Climax_Blues_Band.rar.html

WET WILLIE - Wet Willie (1971)

It has an atrocious title and an atrocious album cover, but Wet Willie's eponymous debut is a good slice of Southern rock. The band occasionally stretches out a bit, getting into bluesy improvised sections, but their main talent is for laidback Southern grooves. The album is a little uneven, but "Shame, Shame, Shame," "Dirty Leg" and "Have a Good Time" illustrate their potential.

"DOWNLOAD"
http://rapidshare.de/files/23593985/Wet_Willie.rar.html

subota, 08.07.2006.

RAINBOW - Rising (1976)

On their second release, Rainbow not only avoid the sophomore jinx; they hit a home run. After replacing the entire band (except Ronnie James Dio) immediately following the recording of the first album, Ritchie Blackmore and the Rising lineup (Blackmore; Dio; Tony Carey, keys; Jimmy Bain, bass; and the late, great Cozy Powell, drums) had plenty of time on the road touring the first album to get the chops and material together for their second. In particular, "Stargazer" really came together on the 1975 tour and featured stunning keyboard work from Carey. The material is uniformly strong, with "Starstruck" and "A Light in the Black" standing out in particular. Ronnie Dio turns in a great vocal on the stunningly direct (under three minutes!) "Do You Close Your Eyes." All six songs on the album are up there with anything the band has done, before or since. The playing has a very tight, colorful feel to it, which was lacking a bit on the first record. This album can legitimately be mentioned in the same breath as classic Deep Purple.


"DOWNLOAD"
http://rapidshare.de/files/22759352/1976__Rising_.zip

RAINBOW - Ritchie Blackmore's Rainbow (1975)

Perhaps the first example of "dragon rock" — a style perfected by bands like Iron Maiden and Dio in the early to mid-'80s — was Ritchie Blackmore's Rainbow, a rather pretentious 1975 collection from the guitarist's first post-Deep Purple project. Fittingly enough, a young Ronnie James Dio provides the goblin-like frontman presence required by the increasingly baroque Blackmore. The young Dio is at his best when he fully gives in to his own and Blackmore's medieval fantasy leanings, in hard-rocking tracks like "Sixteenth Century Greensleeves" and "Man on the Silver Mountain." The dark, trudging doom rock of "Self Portrait" most clearly showcases what they were capable of. The album's ponderous lyrics are occasionally punctuated by poetic phrases such as "crossbows in the firelight." Rainbow become a true embarrassment when they try to lighten up and boogie down. "If You Don't Like Rock ]n' Roll" is really an abomination, a pale imitation of second-rate radio-rockers like BTO. Although Ritchie Blackmore's Rainbow provides a few listenable tracks, its primary value is historical. Look to Rainbow's next album, Rainbow Rising (1976), to grasp the heavy metal potential that is only hinted at here.


"DOWNLOAD"
http://rapidshare.de/files/22759656/1975__Rainbow_.zip

RAINBOW - Long Live Rock 'n' Roll (1978)

Long Live Rock 'n' Roll is singer Ronnie James Dio's last album with Rainbow, but at least he went out on a high note. While the material is not quite as strong as on the previous studio effort, Rising, Long Live Rock 'n' Roll maintains the momentum the band had built up. "Kill the King" had been previously heard on the live On Stage record, but here it sounds more fully realized. Also, the title track from the album stands as one of the best songs the band did, not to mention a noble sentiment. The chugging "L.A. Connection" is another highlight. As with all of their first four albums, this one was produced by Martin Birch (who produced everyone from Blue Öyster Cult to Wayne County), and he really knows how to get the best out of the band by this point. The result is that the songs couldn't sound any better, so even if some of the material isn't quite up to their best, the album is still very cohesive, steady, and, ultimately, satisfying. This would turn out to be the last great album Rainbow would ever make, although they did enjoy a great deal of chart success in the post-Dio era.


"DOWNLOAD"
http://rapidshare.de/files/22759880/1978__Long_Live_Rock_n_Roll_.zip

RAINBOW - On Stage (1977)

Breaking with '70s heavy metal tradition by releasing a live album after only two studio efforts (you're supposed to have three before the live one), Rainbow served up this double platter in 1977. On Stage is full of great songs and playing, but somehow it lacks some of the excitement that existed at those early Ritchie Blackmore concerts. The production is just kind of flat. That doesn't change the fact that there is some great stuff to be found here and nowhere else, such as the side-long version of "Mistreated," from Deep Purple's Burn. The also epic version of "Catch the Rainbow" contains some awesome guitar work but is too long for its own good. In another break with metal tradition, the album kicks off with "Kill the King," a blazing rocker from their next platter, Long Live Rock 'n' Roll. The idea of opening your show with a song no one knows is very foreign to both heavy metal and double live albums. On the band's classic song, "Man on the Silver Mountain," Ronnie Dio cries out in his over-the-top vocal finale, "I'm the man, I'm the man, I'm the man....we're all the maaaaaaaaaannnn." That is unconsciously funny enough to make the disc worthwhile all by

"DOWNLOAD"
http://www.sendspace.com/file/ceq12j

RAINBOW - Down To Earth (1979)

The departure of Ronnie James Dio gave Ritchie Blackmore a chance to reinvent Rainbow, which he does to a certain extent on Down to Earth. Adding former Deep Purple colleague Roger Glover as bassist and Graham Bonnet as vocalist, Blackmore tones down some of the excess of the Dio years, particularly in terms of fantastical lyrics, and turns to straight-ahead hard rock, only occasionally adorned by prominent synthesizers. In general, their material is fairly solid, and "Since You Been Gone" easily ranks among the band's best songs, but overall the record is a little and sounds very much of its time — namely, the late '70s, when album rock still ruled the arenas. Nevertheless, Rainbow has a distinct idea, primarily through the guitar artistry and mystical sensibility of Ritchie Blackmore. He sounds invigorated on the album, turning in muscular performances and strong solos on each cut; clearly, the reunion has revitalized him. Unfortunately, Bonnet tends to oversell his vocals, screaming a little bit too often, but he doesn't distract from the fact that Blackmore, Glover, and drummer Cozy Powell turn Down to Earth into a fine hard rock platter. It might not offer anything unique, but it delivers the goods.


"DOWNLOAD"
http://www.sendspace.com/file/28p57r

RAINBOW - Straight Between The Eyes (1982)

Straight Between the Eyes undoubtedly has one of the worst album covers in rock history, but the record is an unexpected return to form from the journeyman hard rockers. Just a record before, Rainbow sounded as if they were verging on Billy Squier territory, but here, they reverse course and deliver a solid, no-frills hard rock record. It isn't just that the material is stronger, though it certainly is, it's that Roger Glover abandoned his smoothed-out, radio-ready production that marred Difficult to Cure. That's not to say that Straight Between the Eyes doesn't sound dated — Rainbow was a band that was forever tied to its era — but the album does have a harder-hitting, muscular sound that is more appropriate for the band. Similarly, vocalist Joe Lynn Turner sounds more comfortable with the group, and the entire band just seems to gel, turning even the numbers on the album into enjoyable, straight-ahead hard rock. There may not be any specific showcases for Ritchie Blackmore, but his playing is better heard in this setting, where he's not only soloing, he's propelling the band with his powerful riffs. As always, he's the driving force behind the band, but this is truly a band effort, which is one of the reasons why Straight Between the Eyes is one of the strongest albums the group ever cut.


"DOWNLOAD"
http://www.sendspace.com/file/52c6zz

RAINBOW - Difficult To Cure (1981)

Rainbow ditched vocalist Graham Bonnet after Down to Earth, hiring former Fandango singer Joe Lynn Turner as their frontman. As it turns out, Turner is less hyperbolic than his predecessor, which fits the focused polish of Difficult to Cure. Where Down to Earth was a streamlined version of early Rainbow, Difficult to Cure is a shot at crossover. Problem is, the band never comes up with the right crossover songs. Russ Ballard's "I Surrender" comes close, but much of the record is fairly undistinguished, riding on strident melodies and big riffs that are never quite memorable. It's all given a contemporary sheen, with plenty of studio gloss that now instantly evokes the early '80s. On that level, it's somewhat of an entertaining artifact — anyone pining for an example of what album-oriented radio sounded like in the pre-MTV years should check this out — but it's never more than that, since the bids at chart success are only occasionally memorable ("I Surrender," "Magic"). Perhaps Ritchie Blackmore felt stifled by the exacting nature of Difficult to Cure's attempt at crossover — witness how "Spotlight Kid" veers from a dexterous Blackmore solo to a ridiculous keyboard run, then just verges on collapse — and that's the reason why each side ends with a pretentious pseudo-classical instrumental that functions as nothing more than a guitar showcase. Certainly, his playing is impeccable, but both numbers are really awkward (particularly the title track, based on Beethoven's Ninth Symphony and with a weirdly synthesized pulse as a rhythmic underpinning) and just highlight the fact that Difficult to Cure would have been better if Blackmore had channeled that energy into the rest of the album.


"DOWNLOAD"
http://rapidshare.de/files/22760302/1981__Difficult_To_Cure_.zip

RAINBOW - Bent Out Of Shape (1983)

With Joe Lynn Turner on board, Rainbow tried one crossover record and one no-frills hard rock record — which meant that Bent out of Shape, their third album with Turner, provided a fine opportunity to get a little arty. Not that the band has turned into Genesis or even returned to the mystical pretensions of its early work; they have merely broadened their horizons. Ironically, that means that they've retreated, at least partially, to the radio-ready sound of Difficult to Cure, but this time, they aren't just trying for a crossover hit. As producer, Roger Glover has widened their sonic horizon without losing sonic muscle, making sure that the album is, at its core, hard rock. His production works, since the record hits pretty hard even when it gets a little fruity, which it does quite often — the stately, silly church organs that "Can't Let You Go," the fugue-like cadences of "Fire Dance," the mock-classical instrumental "Anybody There." Those instrumental flourishes highlight Bent out of Shape's true strength, which is its sonics — the record sounds good and the music flows well. However, beneath that surface, there's not much there — the songs don't have strong hooks, or are memorable in and of themselves. With that in mind, it's not entirely surprising that this is the last studio record Rainbow cut (although they would later reunite in the '90s), but it's not a bad way to go out. It sounds good and has some prime Ritchie Blackmore performances, plus it rocks pretty hard — all essential ingredients for a good Rainbow record, even if this time it adds up to a record that's merely solid, not remarkable.


"DOWNLOAD"
http://rapidshare.de/files/22759691/1983__Bent_Out_Of_Shape_.zip

RAINBOW - Stranger in Us All (1995)

"DOWNLOAD"
http://rapidshare.de/files/17564688/Strange__In_Us_All1-5.rar.html
http://rapidshare.de/files/17563884/Stranger_In_Us_All6-10.rar.html

"PASSWORD"
HatorAvaxHome

RAINBOW - Live in Germany '76 + Final Vynil [Live]

Final Vynil [Live] (1986)

Ritchie Blackmore decided to pull the plug on Rainbow following the supporting tour for 1983's Bent Out of Shape. To commemorate the end of the band, he released the appropriately-titled, Finyl Vinyl. A double-record set of live recordings and a handful of studio outtakes, primarily culled from the Joe Lynn Turner era but also featuring selections with Ronnie James Dio and Graham Bonnet, Finyl Vinyl offers a haphazard alternate history designed for hardcore fans (by 1986, that's pretty much all Blackmore had left). For those fans, the album is actually quite a treat. Rainbow always sounded better on stage than they did on the studio — rawer, harder, alive — and songs that sounded half-baked in the studio, such as selections from Difficult to Cure, sound right here. That's not to say that it's a perfect album — the outtakes are interesting, but not particularly remarkable, the sequencing doesn't make sense and Blackmore's classical pretentions become even harder to stomach when married with a full-fledged orchestra — but it rocks harder and more convincingly than many latter-day Rainbow releases. That doesn't mean that it's preferable to the studio albums, but for the devoted, it's a welcome addition to the band's canon and it's a nice way to close a career.


Live in Germany '76 (1994)

When punk rock came crashing onto the music scene in the mid-'70s, the movement was specifically targeting groups that had become self-indulgent. Just by looking at the amount of extended guitar solos that cropped up at latter-day Deep Purple and early Rainbow shows, Ritchie Blackmore certainly stood for everything that the snarling young punks detested. And while they certainly had a point (all the long and winding solos did numb your brain after a while), there's no denying that Rainbow early on could certainly cook up some rockin' tunes, as evidenced by any of their three studio recordings with singer Ronnie James Dio. But by containing only a total of eight songs and warranting a double-disc release, the Rainbow concert set Live in Germany '76 captures the group at its most bloated. If you were to cut out all the soloing, there certainly are some worthy compositions here that rate among Blackmore's best work ever, such as "Man on the Silver Mountain" and "Catch the Rainbow (even though the latter is very similar — both musically and lyrically — to Jimi Hendrix's "Little Wing"). Since another Rainbow release, 1977's On Stage, contains most of these tracks in similar versions, only hardcore Blackmore fans will need a copy of Live in Germany '76 in their collections.


"DOWNLOAD"
http://www.megaupload.com/?d=SZR1PHBN

petak, 07.07.2006.

EAGLES - Eagles (1972)

Balance is the key element of the Eagles' self-titled debut album, a collection that contains elements of rock & roll, folk, and country, overlaid by vocal harmonies alternately suggestive of doo wop, the Beach Boys, and the Everly Brothers. If the group kicks up its heels on rockers like "Chug All Night," "Nightingale," and "Tryin'," it is equally convincing on ballads like "Most of Us Are Sad" and "Train Leaves Here This Morning." The album is also balanced among its members, who trade off on lead vocal chores and divide the songwriting such that Glenn Frey, Bernie Leadon, and Randy Meisner all get three writing or co-writing credits. (Fourth member Don Henley, with only one co-writing credit and two lead vocals, falls a little behind, while Jackson Browne, Gene Clark, and Jack Tempchin also figure in the writing credits.) The album's overall balance is worth keeping in mind because it produced three Top 40 hit singles (all of which turned up on the massively popular Eagles: Their Greatest Hits 1971-1975) that do not reflect that balance. "Take It Easy" and "Peaceful Easy Feeling" are similar-sounding mid-tempo folk-rock tunes sung by Frey that express the same sort of laid-back philosophy, as indicated by the word "easy" in both titles, while "Witchy Woman," a Henley vocal and co-composition, initiates the band's career-long examination of supernaturally evil females. These are the songs one remembers from Eagles, and they look forward to the eventual dominance of the band by Frey and Henley. But the complete album from which they come belongs as much to Leadon's country-steeped playing and singing and to Meisner's melodic rock & roll feel, which, on the release date, made it seem a more varied and consistent effort than it did later, when the singles had become overly familiar.


"DOWNLOAD"
http://rapidshare.de/files/24539518/E1A.part1.rar.html
http://rapidshare.de/files/24540659/E1A.part2.rar.html

"PASSWORD"
blacky
OR

http://rapidshare.de/files/19504591/Eagles.rar.html

EAGLES - Desperado (1973)

If Don Henley was the sole member of the Eagles underrepresented on their debut album, Eagles, with only two lead vocals and one co-songwriting credit, he made up for it on their follow-up, the "concept" album Desperado. The concept had to do with Old West outlaws, but it had no specific narrative. On Eagles, the group had already begun to marry itself to a Southwest sound and lyrical references, from the Indian-style introduction of "Witchy Woman" to the Winslow, AZ, address in "Take It Easy." All of this became more overt on Desperado, and it may be that Henley, who hailed from Northeast Texas, had the greatest affinity for the subject matter. In any case, he had co-writing credits on eight of the 11 selections and sang such key tracks as "Doolin-Dalton" and the title song. What would become recognizable as Henley's lyrical touch was apparent on those songs, which bore a serious, world-weary tone. Henley had begun co-writing with Glenn Frey, and they contributed the album's strongest material, which included the first single, "Tequila Sunrise," and "Desperado" (strangely never released as a single). But where Eagles seemed deliberately to balance the band's many musical styles and the talents of the band's members, Desperado, despite its overarching theme, often seemed a collection of disparate tracks — "Out of Control" was a raucous rocker, while "Desperado" was a painfully slow ballad backed by strings — with other bandmembers' contributions tacked on rather than integrated. Randy Meisner was down to two co-writing credits and one lead vocal ("Certain Kind of Fool"), while Bernie Leadon's two songs, "Twenty-One" and "Bitter Creek," seemed to come from a different record entirely. The result was an album that was simultaneously more ambitious and serious-minded than its predecessor and also slighter and less consistent.


"DOWNLOAD"
http://rapidshare.de/files/24342203/ED.part1.rar.html
http://rapidshare.de/files/24344432/ED.part2.rar.html

"PASSWORD"
blacky

OR

http://rapidshare.de/files/19504565/Desperado.rar.html

EAGLES - One of These Night (1975)

The Eagles recorded their albums relatively quickly in their first years of existence, their albums succeeding each other by less than a year. One of These Nights, their fourth album, was released in June 1975, more than 14 months after its predecessor. Anticipation had been heightened by the belated chart-topping success of the third album's "The Best of My Love"; taking a little more time, the band generated more original material, and that material was more polished. More than ever, the Eagles seemed to be a vehicle for Don Henley (six co-writing credits) and Glenn Frey (five), but at the same time Randy Meisner was more audible than ever, his two lead vocals including one of the album's three hit singles, "Take It to the Limit," and Bernie Leadon had two showcases, among them the cosmic-cowboy instrumental "Journey of the Sorcerer" (later used as the theme music for the British television series The Hitchhiker's Guide to the Galaxy). Nevertheless, it was the team of Henley and Frey that stood out, starting with the title track, a number one single, which had more of an R&B — even disco — sound than anything the band had attempted previously, and continuing through the ersatz Western swing of "Hollywood Waltz" to "Lyin' Eyes," one of Frey's patented folk-rock shuffles, which became another major hit. One of These Nights was the culmination of the blend of rock, country, and folk styles the Eagles had been making since their start; there wasn't much that was new, just the same sorts of things done better than they had been before. In particular, a lyrical stance — knowing and disillusioned, but desperately hopeful — had evolved, and the musical arrangements were tighter and more purposeful. The result was the Eagles' best-realized and most popular album so far.


"DOWNLOAD"
http://rapidshare.de/files/19505420/Nights.rar.html

OR

"DOWNLOAD"
http://rapidshare.de/files/25430480/EOOTN.part1.rar.html
http://rapidshare.de/files/25432366/EOOTN.part2.rar.html
http://rapidshare.de/files/25432528/EOOTN.part3.rar.html

"PASSWORD"
blacky

EAGLES - On The Border (1974)

The Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group's country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with "Already Gone," the lead-off track, which introduces new band member Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; "James Dean," a rock & roll song on the order of "Your Mama Don't Dance"; and "Good Day in Hell," which is strongly reminiscent of Joe Walsh songs like "Rocky Mountain Way." But the album also features the usual mixture of styles typical of an Eagles album. For example, "Midnight Flyer," sung by Randy Meisner, is modern bluegrass; "My Man" is Bernie Leadon's country-rock tribute to the recently deceased Gram Parsons; and "Ol' 55" is one of the group's well-done covers of a tune by a singer-songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R&B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back to their earlier work and anticipated their later work, was a transitional effort that combined even more styles than most of their records did.


"DOWNLOAD"
http://rapidshare.de/files/23688955/E_-_OBr.part1.rar.html
http://rapidshare.de/files/23692274/E_-_OBr.part2.rar.html
http://rapidshare.de/files/23692670/E_-_OBr.part3.rar.html

"PASSWORD"
blacky

OR

http://rapidshare.de/files/19505738/On_The_Border.rar.html

EAGLES - Their Greatest Hits 1971-1975 (1976)

On their first four albums, the Eagles were at pains to demonstrate that they were a group of at least near-equals, each getting a share of the songwriting credits and lead vocals. But this compilation drawn from those albums, comprising the group's nine Top 40 hits plus "Desperado," demonstrates that this evenhandedness did not extend to singles — as far as those go, the Eagles belong to Glenn Frey and Don Henley. The tunes are melodic, and the arrangements — full of strummed acoustic guitars over a rock rhythm section often playing a shuffle beat, topped by tenor-dominated harmonies — are immediately engaging. There is also a lyrical consistency to the songs, which often concern romantic uncertainties in an atmosphere soaked in intoxicants. The narrators of the songs usually seem exhausted, if not satiated, and the loping rhythms are appropriate to these impressions. All of which means that, unlike the albums from which they come, these songs make up a collection consistent in mood and identity, which may help explain why Eagles: Their Greatest Hits 1971-1975 works so much better than the band's previous discs and practically makes them redundant. No wonder it was such a big hit out of the box, topping the charts and becoming the first album ever certified platinum. Still, there must be more to it, since the album wasn't just a big hit, but one of the biggest ever, becoming one of the very few discs to cross the threshold of 20 million copies and competing for the title of best-selling album of all time. There may be no explaining that, really, except to note that this was the pervasive music of the first half of the 1970s, and somehow it never went away.


"DOWNLOAD"
http://rapidshare.de/files/19509459/Hits.rar.html

EAGLES - Hotel California (1976)

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of "classic rock," music appropriate for the arenas and stadiums the band was playing. The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever.


"DOWNLOAD"
http://rapidshare.de/files/19505591/HotelCalif.rar.html

EAGLES - Eagles Live (1980)

Although Eagles Live includes four tracks recorded in the fall of 1976 (thus allowing for the inclusion of departed singer Randy Meisner on "Take It to the Limit"), the bulk of the album comes from the end of the Eagles' 1980 tour, just before they broke up, and it reflects their late concert repertoire, largely drawn from Hotel California and The Long Run. The occasional early song such as "Desperado" and "Take It Easy" turn up, but many of the major hits from the middle of the band's career — "The Best of My Love," "One of These Nights," "Lyin' Eyes" — are missing, replaced by such curiosities as two extended selections from Joe Walsh's solo career, "Life's Been Good" and "All Night Long." At least Walsh introduces some live variations to his material; the rest of the Eagles seem determined to recreate the studio versions of their songs in concert, which may work for them live but almost makes a live recording superfluous. The previously unrecorded rendition of Steve Young's "Seven Bridges Road" is welcome, and the album would have benefited from more surprises as well as a livelier approach to a live recording.


"DOWNLOAD"
http://rapidshare.de/files/19652028/EL_CD_1.zip
http://rapidshare.de/files/19689477/EL_CD_2.zip

"PASSWORD"
mainada

EAGLES - The Long Run (1979)

Three years in the making (which was considered an eternity in the ‘70s), the Eagles' follow-up to the massively successful, critically acclaimed Hotel California was a major disappointment, even though it sold several million copies and threw off three hit singles. Those singles, in fact, provide some insight into the record. "Heartache Tonight" was an old-fashioned rock & roll song sung by Glenn Frey, while "I Can't Tell You Why" was a delicate ballad by Timothy B. Schmit, the band's newest member. Only "The Long Run," a conventional pop/rock tune with a Stax Records R&B flavor, bore the stamp and vocal signature of Don Henley, who had largely taken the reins of the band on Hotel California. Henley also dominated The Long Run, getting co-writing credits on nine of the ten songs, singing five lead vocals, and sharing another two with Frey. This time around, however, Henley's contributions were for the most part painfully slight. Only "The Long Run" and the regret-filled closing song, "The Sad Café," showed any of his usual craftsmanship. The album was dominated by second-rank songs like "The Disco Strangler," "King of Hollywood," and "Teenage Jail" that sounded like they couldn't have taken three hours much less three years to come up with. (Joe Walsh's "In the City" was up to his usual standard, but it may not even have been an Eagles recording, having appeared months earlier on the soundtrack to The Warriors where it was credited as a Walsh solo track.) Amazingly, The Long Run reportedly was planned as a double album before being truncated to a single disc. If these were the keepers, what can the rejects have sounded like?


"DOWNLOAD"
http://rapidshare.de/files/19509464/longRun.rar.html

EAGLES - Eagles Greatest Hits, Vol 2 (1982)

With the Eagles having officially disbanded in May 1982, leaving behind eight Top 40 hits that followed the release of the spectacularly successful Eagles: Their Greatest Hits 1971-1975, Asylum Records naturally compiled a second hits collection for fall 1982 release. Seven of those hits were included (the exception being the seasonal "Please Come Home for Christmas"), along with three LP tracks, one each from One of These Nights, Hotel California, and The Long Run. Disdained by longtime fans and by the Eagles themselves, the collection was perfect for listeners who knew the band through number one radio hits like "New Kid in Town," "Hotel California," and "Heartache Tonight." It also spared them having to buy mediocre albums like The Long Run and Eagles Live just to have copies of the best-known songs from those releases. No wonder, then, that over the years Eagles Greatest Hits, Vol. 2 achieved multi-platinum status.


"DOWNLOAD"
http://rapidshare.de/files/19505019/GHitsVol2.rar.html

EAGLES - Greatest Hits [Import] (1985)

Despite being a rather inconsistent act, the Eagles were one of the most successful rock bands of the '70s. Made up of five fine musicians (each with unquestionably superb vocal talent), the band blended impressive but often simple music with mellow vocal harmonies. This 1985 release attempts to collect the best tracks from the seven Eagles albums prior to this compilation. While it does succeed in compiling 13 of the finer songs, there are a few exclusions that are detrimental to the album. Greatest Hits clearly retains the Eagles magic that permeated their finer moments, however. For those unfamiliar with the Eagles' music, this release will open eyes as to why the band is so revered. Opening with the fresh sounding "Take It Easy," the album goes from strength to strength and only takes a small drop in quality over the final few tracks. It's "Hotel California" that really steals the album, however. The opening arpeggios link perfectly to Don Henley's thoroughly American vocals. Guitar solos take up the last few minutes, with all of the lads taking part in turn. The song closes with a near-perfect fadeout that leaves the listener wanting to hear the track all over again. "Hotel California" is certainly one of the finest Eagles moments, and a definite landmark in rock music. Greatest Hits portrays the band's career with reasonable accuracy, dropping much of the dross that is featured on other Eagles compilations, and because of this will please those looking for a bare minimum collection. [The import edition features a fairly different track order but still includes the big hits and three extra songs]


"DOWNLOAD"
http://rapidshare.de/files/19510037/bestof.rar.html

EAGLES - Hell Freezes Over (1994)

The Eagles' first newly recorded album in 14 years gets off to a good start with the rocker "Get Over It," a timely piece of advice about accepting responsibility, followed by the tender ballad "Love Will Keep Us Alive," the country-styled "The Girl From Yesterday," and "Learn to Be Still," one of Don Henley's more thoughtful statements. Unfortunately, that's it. Hell Freezes Over contains an EP's worth of new material followed by a live album. The Eagles, known for meticulously recreating their studio recordings in concert, nevertheless released Eagles Live in 1980. Six songs from that set reappear here, and only one is in a noticeably different arrangement, "Hotel California," which gets an acoustic treatment. As was true on Eagles Live, the group remains most interested in their later material, redoing five songs from the Hotel California LP and two from its follow-up, The Long Run, but finding space for only three songs from their early days, "Tequila Sunrise," "Take It Easy," and "Desperado," the last two of which were also on Eagles Live. As such, Hell Freezes Over is hard to justify as anything other than a souvenir for the Eagles' reunion tour. That, however, did not keep it from topping the charts and selling in the millions.


"DOWNLOAD"
http://rapidshare.de/files/20565111/HFO1.zip.html
http://rapidshare.de/files/20565062/HFO2.zip.html

OR

http://rapidshare.de/files/19505155/Hell_Freezes.rar.html

EAGLES - The Very Best Of Eagles (1994)

Despite being a rather inconsistent act, the Eagles were one of the most successful rock bands of the '70s. Made up of five fine musicians (each with unquestionably superb vocal talent), the band blended impressive but often simple music with melodious vocal harmonies. This 1994 release attempts to collect the best tracks from the Eagles' catalog. While it does succeed in compiling many of the finer songs, the need for certain tracks is questionable. On the whole, however, The Very Best Of retains the Eagles magic that typified their finer moments. For those unfamiliar with the Eagles' music, this release will open eyes as to why the band is so revered. The album goes from strength to strength and only takes a small drop in quality in various places. Being slightly overlong at 71 minutes, this is as complete a best-of as one will find, but includes a few unnecessary tracks.


"DOWNLOAD"
http://www.uploading.com/?get=PE78886J

"PASSWORD"
www.Chipollo.Info

EAGLES - Selected Works: 1972-1999 (2000)

The relative sonic neglect suffered by the Eagles' catalog was the fault of the band's consistent success — with the original albums and hits collections still selling year after year, why bother to upgrade? Finally, however, longtime Eagles producer Bill Szymczyk remastered their albums in 1999, and the band put together a box set. Including most of their hits (the exception is "Seven Bridges Road") and lots of album tracks, the four-CD set regroups the Eagles' material into three categories: "The Early Days," which consists of 13 tracks from their first four albums; "The Ballads"; and "The Fast Lane," i.e., rhythm songs. The fourth disc is drawn from their millennium concert at the Staples Center in Los Angeles. While their early albums balanced the contributions of their members, "The Early Days" is dominated by Glenn Frey and Don Henley; that means a few worthy efforts are missing, but the selection is generally good. "The Ballads" is a straightforward collection of popular slow songs. Along with their more uptempo hits, "The Fast Lane" contains what little unreleased material there is, but anyone hoping for greatness is going to be disappointed. The Eagles have gone out of their way in "The Millennium Concert" to perform songs out of their usual repertoire, including several solo hits and both sides of their 1978 seasonal single, "Please Come Home for Christmas" and "Funky New Year." Much of this is minor or atypical material, but at least the unusually animated band members were trying (though it sounds like there was plenty of studio overdubbing). The overall result is a nearly four-hour collection that is something of a hodgepodge. There are enough rarities to bait the hook for hardcore Eagles fans, but not really satisfy them, and casual fans will probably be better off with the two single-disc hits collections.


"DOWNLOAD"
http://rapidshare.de/files/19506559/sw1.rar.html
http://rapidshare.de/files/19507031/sw2.rar.html
http://rapidshare.de/files/19509052/sw3.rar.html

četvrtak, 06.07.2006.

DIRE STRAITS - Dire Straits (1978)

Dire Straits' minimalist interpretation of pub rock had already crystallized by the time they released their eponymous debut. Driven by Mark Knopfler's spare, tasteful guitar lines and his husky warbling, the album is a set of bluesy rockers. And while the bar band mentality of pub-rock is at the core of Dire Straits — even the group's breakthrough single, "Sultans of Swing," offered a lament for a neglected pub rock band — their music is already beyond the simple boogies and shuffles of their forefathers, occasionally dipping into jazz and country. Knopfler also shows an inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album. While a few of the songs fall flat, the album is remarkably accomplished for a debut, and Dire Straits had difficulty surpassing it throughout their career.


"DOWNLOAD"
http://rapidshare.de/files/22961212/Dire_Straits_-_1978_-_Dire_Straits.rar.html

DIRE STRAITS - Communique (1979)

Rushed out less than nine months after the surprise success of Dire Straits' self-titled debut album, the group's sophomore effort, Communiqué, seemed little more than a carbon copy of its predecessor with less compelling material. Mark Knopfler and co. had established a sound (derived largely from J.J. Cale) of laid-back shuffles and intricate, bluesy guitar playing, and Communiqué provided more examples of it. But there was no track as focused as "Sultans of Swing," even if "Lady Writer" (a lesser singles chart entry on both sides of the Atlantic) nearly duplicated its sound. As a result, Communiqué sold immediately to Dire Straits' established audience, but no more, and it did not fare as well critically as its predecessor or its follow-up.


"DOWNLOAD"
http://rapidshare.de/files/22961427/Dire_Straits_-_1979_-_Communique.rar.html

DIRE STRAITS - Making Movies (1980)

Without second guitarist David Knopfler, Dire Straits began to move away from its roots rock origins into a jazzier variation of country-rock and singer/songwriter folk-rock. Naturally, this means that Mark Knopfler's ambitions as a songwriter are growing, as the storytelling pretensions of Making Movies indicate. Fortunately, his skills are increasing, as the lovely "Romeo and Juliet," "Tunnel of Love," and "Skateaway" indicate. And Making Movies is helped by a new wave-tinged pop production, which actually helps Knopfler's jazzy inclinations take hold. The record runs out of steam toward the end, closing with the borderline offensive "Les Boys," but the remainder of Making Movies ranks among the band's finest work.


"DOWNLOAD"
http://rapidshare.de/files/22959760/Dire_Straits_-_1980_-_Making_Movies.rar.html

DIRE STRAITS - Alchemy Live (1984)

There is an interesting contrast on this 94-minute double-disc live album (recorded at London's Hammersmith Odeon in July 1983) between the music, much of which is slow and moody, with Mark Knopfler's muttered vocals and large helpings of his fingerpicking on what sounds like an amplified Spanish guitar, and the audience response. The arena-size crowd cheers wildly, and claps and sings along when given half a chance, as though each song were an up-tempo rocker. When they do have a song of even medium speed, such as "Sultans of Swing" or "Solid Rock," they are in ecstasy. That Dire Straits' introspective music loses much of its detail in a live setting matters less than that it gains presence and a sense of anticipation. Alan Clark's keyboards help to fill out the sound and give Knopfler's spare melodies a certain majesty, but Dire Straits remains an overgrown bar band with a Bob Dylan fixation, and that's exactly how the crowd likes it. (The CD version of the album contains one extra track, "Expresso Love," which adds a needed change of pace to the otherwise slow-moving first disc).


"DOWNLOAD"
http://rapidshare.de/files/22965865/Dire_Straits_-_1984_-_Alchemy_Live.rar.html

DIRE STRAITS - Brothers In Arms (1985)

Brothers in Arms brought the atmospheric, jazz-rock inclinations of Love Over Gold into a pop setting, resulting in a surprise international best-seller. Of course, the success of Brothers in Arms was helped considerably by the clever computer-animated video for "Money for Nothing," a sardonic attack on MTV. But what kept the record selling was Mark Knopfler's increased sense of pop songcraft — "Money for Nothing" had an indelible guitar riff, "Walk of Life" is a catchy up-tempo boogie variation on "Sultans of Swing," and the melodies of the bluesy "So Far Away" and the down-tempo, Everly Brothers-style "Why Worry" were wistful and lovely. Dire Straits had never been so concise or pop-oriented, and it wore well on them. Though they couldn't maintain that consistency through the rest of the album — only the jazzy "Your Latest Trick" and the flinty "Ride Across the River" make an impact — Brothers in Arms remains one of their most focused and accomplished albums, and in its succinct pop sense, it's distinctive within their catalog. [In 2005 Mercury released a 20th anniversary limited edition version of Brothers in Arms in the Hybrid/SACD format.]


"DOWNLOAD"
http://rapidshare.de/files/22962116/Dire_Straits_-_1985_-_Brothers_In_Arms.rar.html

DIRE STRAITS - On Every Street (1991)

It took Mark Knopfler more than six years to craft a follow-up to Dire Straits' international chart-topper, Brothers in Arms, but although On Every Street sold in the expected multi-millions worldwide on the back of the band's renown and a year-long tour, it was a disappointment. Knopfler remained a gifted guitar player with tastes in folk ("Iron Hand"), blues ("Fade to Black"), and rockabilly ("The Bug"), among other styles, but much of the album was low-key to the point of being background music. The group had long since dwindled to original members Knopfler and bassist John Illsley, plus a collection of semi-permanent sidemen who provided support but no real musical chemistry. This was not the comeback it should have been.


"DOWNLOAD"
http://rapidshare.de/files/22962556/Dire_Straits_-_1991_-_On_Every_Street.rar.html

DIRE STRAITS - Live At The BBC (1995)

Always a quiet act, Dire Straits dissolved quietly in 1995 as Mark Knopfler prepared his first full-fledged solo album. Meanwhile, this documentary effort, the group's third live recording, appeared to chronicle their early days. Most of it was recorded in July 1978, so it is in effect a concert version of the self-titled debut album. Tacked on at the end is a 12-minute version of "Tunnel of Love" from 1981, bringing the total time to 46 minutes. It's a modest effort from a modest band and, in that sense, a better representation of them than Alchemy or On the Night, both of which reflected their worldwide popularity.


"DOWNLOAD"
http://rapidshare.de/files/22965389/Dire_Straits_-_1995_-_Live_At_The_BBC.rar.html

srijeda, 05.07.2006.

SANTANA – Santana (1969)

Carlos Santana was originally in his own wing of the Latin Rock Hall of Fame, neither playing Afro-Cuban with rock guitar, as did Malo, nor flavoring mainstream rock with percussion, as did Chicago. His first record, as with the best fusion, created something a little different than just a mixture — a new style that, surprisingly remains all his own. Granted that Latin music has seeped into the mainstream since, but why aren't Van Halen and Metallica listening to this? Where they simmer, Santana boils over.


"DOWNLOAD"
http://rapidshare.de/files/24463487/Santana1stalbum.rar.html

SANTANA - Abraxas (1970)

The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's "Oye Como Va," embracing instrumental jazz-rock on "Incident at Neshabur" and "Samba Pa Ti," or tackling moody blues-rock on Fleetwood Mac's "Black Magic Woman," the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.

"DOWNLOAD"
http://rapidshare.de/files/20895775/Abraxas.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20895204/Abraxas.crowley
_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20895788/Abraxas.crowley
_Updatesofts.com_.part2.rar

SANTANA – Caravanserai (1972)

Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion — something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana's finest accomplishments.


"DOWNLOAD"
http://rapidshare.de/files/20820584/Caravanserai.
crowley_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20820589/Caravanserai.
crowley_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20820593/Caravanserai.
crowley_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20822332/Caravanserai.
crowley_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20822298/Caravanserai.
crowley_Updatesofts.com_.part5.rar

SANTANA – Love Devotion & Surrender (1972)

A hopelessly misunderstood record in its time by Santana fans — they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration — it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians — McLaughlin, of course, was a former Davis sideman — this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's "Naima" and McLaughlin's "Meditation," this album consists of merely three extended guitar jams played on the spiritual ecstasy tip — both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young — a colleague of McLaughlin's in Tony Williams' Lifetime band — that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's "A Love Supreme," which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check "Let Us Go Into the House of the Lord," which was musically inspired by Bobby Womack's "Breezing" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent "The Life Divine," for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful.


"DOWNLOAD"
http://rapidshare.de/files/20829872/Love_Devotion
___Surrender.crowley_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20831512/Love_Devotion
___Surrender.crowley_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20831580/Love_Devotion
___Surrender.crowley_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20831646/Love_Devotion
___Surrender.crowley_Updatesofts.com_.part2.rar

SANTANA – Amigos (1976)

By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. "Let It Shine" (number 77), an R&B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status.


"DOWNLOAD"
http://www.badongo.com/file/855118

SANTANA – Moonflower (1977)

Santana, which was renowned for its concert work dating back to Woodstock, did not release a live album in the U.S. until this one, and it's only partially live, with studio tracks added, notably a cover of the Zombies' "She's Not There" (number 27) that became Santana's first Top 40 hit in five years. The usual comings and goings in band membership had taken place since last time; the track listing was a good mixture of the old — "Black Magic Woman," "Soul Sacrifice" — and the recent, and with the added radio play of a hit single, Moonflower went Top Ten and sold a million copies, the first new Santana album to do that since 1972 and the last until Supernatural in 1999.


"DOWNLOAD"
http://rapidshare.de/files/20834952/Moonflower.crowley
_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20834956/Moonflower.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20834976/Moonflower.crowley
_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20834996/Moonflower.crowley
_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20834987/Moonflower.crowley
_Updatesofts.com_.part5.rar
http://rapidshare.de/files/20853696/Moonflower.crowley
_Updatesofts.com_.part7.rar
http://rapidshare.de/files/20855454/Moonflower.crowley
_Updatesofts.com_.part6.rar

SANTANA – Inner Secrets (1978)

Since he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana's right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist/guitarist Chris Solberg and keyboardist Chris Rhyme. Despite the change, the band soldiered on, and with Inner Secrets, they scored three chart singles: the disco-ish "One Chain (Don't Make No Prison)" (#59), "Stormy" (#32), and a cover of Buddy Holly's "Well All Right" (#69), done in the Blind Faith arrangement. (There seems to be a Steve Winwood fixation here. The album also featured a cover of Traffic's "Dealer.") The singles kept the album on the charts longer than any Santana LP since 1971, but it was still a minor disappointment after Moonflower, and in retrospect seems like one of the band's more compromised efforts.


"DOWNLOAD"
http://rapidshare.de/files/20825541/Inner_Secrets.crowley
_Updatesofts.com_.part5.rar
http://rapidshare.de/files/20826468/Inner_Secrets.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20826491/Inner_Secrets.crowley
_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20826500/Inner_Secrets.crowley
_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20826518/Inner_Secrets.crowley
_Updatesofts.com_.part3.rar

SANTANA – Havana Moon (1983)

The third Carlos Santana solo album marks a surprising turn toward 1950s rock & roll and Tex-Mex, with covers such as Bo Diddley's "Who Do You Love" and Chuck Berry's title song. Produced by veteran R&B producers Jerry Wexler and Barry Beckett, the album features an eclectic mix of sidemen, including Booker T. Jones of Booker T & the MG's, Willie Nelson, and the Fabulous Thunderbirds. Havana Moon is a light effort, but it's one of Santana's most enjoyable albums, which may explain why it was also the best-selling Santana album outside the group releases in ten years.


"DOWNLOAD"
http://rapidshare.de/files/20821626/Havana_Moon.crowley
_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20822385/Havana_Moon.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20822404/Havana_Moon.crowley
_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20822405/Havana_Moon.crowley
_Updatesofts.com_.part3.rar

SANTANA – Blues For Salvador (1987)

On previous "solo" albums, Carlos Santana had made noticeable stylistic changes and worked with jazz, pop, and even country musicians. On this, his fourth Carlos Santana release, the line between a "solo" and a "group" project is blurred; this record is really a catchall of Santana band outtakes and stray tracks. For example, included are an instrumental version of "Deeper, Dig Deeper" from Freedom, and an alternate take of "Hannibal" from Zebop!, as well as "Now That You Know" from the group's 1985 tour. Given the variety of material, the album is somewhat less focused than most Santana band albums, but there are individual tracks that are impressive, notably "trane," which features Tony Williams on drums. (Blues for Salvador won the Grammy Award for Best Rock

"DOWNLOAD"
http://rapidshare.de/files/20983705/Blues_For_Salvador.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20983654/Blues_For_Salvador.crowley
_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20983436/Blues_For_Salvador.crowley
_Updatesofts.com_.part3.rar

SANTANA – Sacred Fire, Live In South America (1993)

For its third live album, Santana introduced a new bass player, Myron Dove, and added guitarist Jorge Santana (Carlos Santana's brother), and singer Vorriece Cooper to bring the band up to nine members. Adopting the mantle of Bob Marley, the band played "Esperando," which borrowed Marley's characteristic audience chant. Much of the album, however, is given over to repeating Santana's earliest hits — "No One to Depend On," "Black Magic Woman," "Soul Sacrifice," — which should please the band's new record label (it's always good to have versions of the hits in your catalog), but which make the album inessential for fans. Sacred Fire spent one week at Number 181 in the charts, the worst performance ever for a Santana album.


"DOWNLOAD"
http://rapidshare.de/files/20983825/Sacred_Fire
__Live_In_South_America_.crowley_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20983820/Sacred_Fire
__Live_In_South_America_.crowley_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20983531/Sacred_Fire
__Live_In_South_America_.crowley_Updatesofts.com_.part3.rar

SANTANA – Santana Definitive Collection (1995)

"DOWNLOAD"
http://rapidshare.de/files/20983860/Santana_Definitive_Collection.
crowley_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20983863/Santana_Definitive_Collection.
crowley_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20987089/Santana_Definitive_Collection.
crowley_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20987059/Santana_Definitive_Collection.
crowley_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20985202/Santana_Definitive_Collection.
crowley_Updatesofts.com_.part5.rar

SANTANA – Live At The Fillmore 1968 (1997)

Two-CD package drawn from performances at the Fillmore West in December 1968, with an early lineup including Bob Livingston on drums and Marcus Malone on congas (both of whom would be gone by the time the group recorded their official debut in 1969). The band sound only a bit more tentative here than they would in their Woodstock-era incarnation, running through several of the highlights of their first album ("Jingo," "Persuasion," "Soul Sacrifice," and "Treat"). More interesting to collectors will be the five songs that have not previously appeared on any Santana recording, including covers of songs by jazzmen Chico Hamilton and Willie Bobo and a half-hour original jam that concludes the set, "Freeway." The sound is excellent and the arrangements a bit more improv-oriented than what ended up on the early studio records. Its appeal isn't solely limited to committed fans; on its own terms it's a fine release, highlighted by some burning organ-guitar interplay in particular.


"DOWNLOAD"
http://rapidshare.de/files/13910041/San_LATF68.part1.rar.html
http://rapidshare.de/files/13910429/San_LATF68.part2.rar.html
http://rapidshare.de/files/13910779/San_LATF68.part3.rar.html
http://rapidshare.de/files/13912397/San_LATF68.part4.rar.html
http://rapidshare.de/files/13913246/San_LATF68.part5.rar.html

SANTANA - Supernatural (1999)

Santana was still a respected rock veteran in 1999, but it had been years since he had a hit, even if he continued to fare well on the concert circuits. Clive Davis, the man who had signed Santana to Columbia in 1968, offered him the opportunity to set up shop at his label, Arista. In the tradition of comebacks and label debuts by veteran artists in the '90s, Supernatural, Santana's first effort for Arista, is designed as a star-studded event. At first listen, there doesn't seem to be a track that doesn't have a guest star, which brings up the primary problem with the album — despite several interesting or excellent moments, it never develops a consistent voice that holds the album together. The fault doesn't lay with the guest stars or even with Santana, who continues to turn in fine performances. There's just a general directionless feeling to the record, enhanced by several songs that seem like excuses for jams, which, truth be told, isn't all that foreign on latter-day Santana records. Then again, the grooves often play better than the ploys for radio play, but that's not always the case, since Lauryn Hill's "Do You Like the Way" and the Dust Brothers-produced, Eagle-Eye Cherry-sung "Wishing It Was" are as captivating as the Eric Clapton duet, "The Calling." But that just confirms that Supernatural just doesn't have much of a direction, flipping between traditional Santana numbers and polished contemporary collaborations, with both extremes being equally likely to hit or miss. That doesn't quite constitute a triumph, but the peak moments of Supernatural are some of Santana's best music of the '90s, which does make it a successful comeback.


"DOWNLOAD"
http://rapidshare.de/files/20859210/Supernatural.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20859238/Supernatural.crowley
_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20859281/Supernatural.crowley
_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20858213/Supernatural.crowley
_Updatesofts.com_.part4.rar

SANTANA – Odyssey - The First Live Record (2000)

"DOWNLOAD"
http://rapidshare.de/files/20855657/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20855675/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part4.rar
http://rapidshare.de/files/20855682/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20855703/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20859144/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part7.rar
http://rapidshare.de/files/20859149/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part5.rar
http://rapidshare.de/files/20859182/Odyssey_-_The_First_Live_Recor.crowley_Updatesofts.com_.part6.rar

SANTANA - The Great (2001)

"DOWNLOAD"
http://rapidshare.de/files/24279212/STG.part1.rar.html
http://rapidshare.de/files/24283581/STG.part2.rar.html
http://rapidshare.de/files/24287980/STG.part3.rar.html
http://rapidshare.de/files/24292497/STG.part4.rar.html
http://rapidshare.de/files/24297312/STG.part5.rar.html
http://rapidshare.de/files/24301975/STG.part6.rar.html
http://rapidshare.de/files/24303444/STG.part7.rar.html

"PASSWORD"
blacky

SANTANA – As The Years Go By (2001)

"DOWNLOAD"
http://rapidshare.de/files/20983719/As_The_Years_Go_By.crowley
_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20983716/As_The_Years_Go_By.crowley
_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20983710/As_The_Years_Go_By.crowley
_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20981254/As_The_Years_Go_By.crowley
_Updatesofts.com_.part4.rar

SANTANA – Best Instrumentals, Vol. 1 (2002)

"DOWNLOAD"
http://rapidshare.de/files/23853301/SBI.part3.rar.html
http://rapidshare.de/files/23860642/SBI.part2.rar.html
http://rapidshare.de/files/23861805/SBI.part1.rar.html

SANTANA – Shaman Guitar Songbook (2002)

Nobody could have predicted the success of the star-studded Supernatural in 1999, but it revitalized the career of Santana, plus Clive Davis, who cooked up the whole idea of the comeback in the first place. Given its blockbuster status, a sequel that followed the same blueprint was inevitable, which is exactly what 2002's Shaman is. If anything, there's even less Carlos Santana here, proving that he and Davis are among those that believe that Supernatural was a success because of Rob Thomas and "Smooth," not the typically tasteful, excellent guitar playing. And, no surprise, Thomas has a strong presence here even if he doesn't sing. He writes two songs, flexing his muscles as a neo-soul songwriter (not badly, either, on cuts sung by Musiq and Seal), and providing the template for all the guests here: they want to launch a new stage of their career, finding a wider audience. Outside of Seal (who has a comeback of his own to launch) and Placido Domingo (who does these things because he can), everybody here has hearts to win and something to prove, and they do a mixed job of it. P.O.D. falls on its face with the embarrassing "America," but Chad Kroeger far outshines anything he's done with a surprisingly subtle and soulful "Why Don't You & I," easily better than anything by Nickelback. But this points out the problem on the record — each song is tailored to the strengths of the lead singer, not the strengths of Santana, who's left with piddly, forgettable instrumental interludes and playing endless lines beneath the vocal melodies. Who can blame him? It's the only chance he really gets to play on this album. On the whole, it holds together no better or no worse than Supernatural — it's the same record, essentially. True, there wasn't anything as awful as "America" or the foolish aural press release "Since Supernatural," but there was nothing as joyous and wonderful as the Michelle Branch-sung "The Game of Love." Written by the team behind the New Radicals' modern pop classic "You Get What You Give," it's every bit as soaring melodic and irresistible; it may not be Santana — it sounds even less like Santana than "Smooth" — but it's perfect pop, the best pop single of 2002, for reasons that have nothing to do with

"DOWNLOAD"
http://rapidshare.de/files/15054662/Carlos_Santana_-_Shaman__Guitar_Songbook_.rar.html

"PASSWORD"
(insaid rar file)

SANTANA – Jam (2004)

"DOWNLOAD"
http://www.badongo.com/file/968301

SANTANA – All that I Am (2005)

The third time around is not a charm for Carlos Santana, who delivers his third straight star-studded, middle-of-the-road pop album in a row with 2005's All That I Am. Like 2002's Shaman, this follows the blueprint that producer/record mogul Clive Davis laid down on 1999's Supernatural, which means that apart from a cut or two, Santana functions as a supporting musician to a parade of guest stars singing pop songs on his own album. On Supernatural this worked not just because it was a relatively fresh concept that revitalized Santana, but because the guest stars were well chosen and the material was sharp, commercial, and memorable. Shaman was more uneven but it did have one great single in "The Game of Love," a song penned by professional songwriters and sung by Michelle Branch — it didn't sound much like Santana, but it did make for excellent listening on adult contemporary radio. Here, Santana and Davis try to make lightning strike again, having Branch sing the "Game of Love" soundalike "I'm Feeling You," which she also had a hand in writing. It's not bad, but it sounds like a third-generation photocopy, which is the problem with All That I Am in general: all the ideas and sounds are familiar, but not executed nearly as well as they were the first two times around. The stars don't shine as bright — the biggest names here are Mary J. Blige, Big Boi, Aerosmith's Steven Tyler, and the ubiquitous and obsequious will.i.am from the Black Eyed Peas, all artists who never seem to turn down a chance to provide a cameo — and the production is clean and safe, while the songs are professional, predictable, and pedestrian. Since none of the songs are bad and since the guest spots are neither embarrassing nor flashy, All That I Am never offends, but it never entertains, either: it simply exists. Sure, Santana has some nice playing scattered throughout the album — his signature, rich, super-saturated tone is certainly the most commanding, memorable thing here — but he never sounds engaged with the songs, he sounds simply like he's running wild over bright, sunny changes. Even with these nice moments, All That I Am, like Supernatural and Shaman before it, is a deliberate pop album, which means Santana is in the background on his own record — but the crucial difference with this album is that, unlike its two predecessors, it's not a good pop album, it's a bland, friendly affair that disappears into the ether the moment it's finishing playing.


"DOWNLOAD"
http://rapidshare.de/files/20819474/All_that_I_am__2005
_.crowley_Updatesofts.com_.part1.rar
http://rapidshare.de/files/20820567/All_that_I_am__2005
_.crowley_Updatesofts.com_.part2.rar
http://rapidshare.de/files/20820598/All_that_I_am__2005
_.crowley_Updatesofts.com_.part3.rar
http://rapidshare.de/files/20820274/All_that_I_am__2005
_.crowley_Updatesofts.com_.part4.rar

utorak, 04.07.2006.

STEPPENWOLF - Live (1970)

The title says it all. Recorded at various concerts during early 1970, Steppenwolf includes all their hits for mass consumption. Stretched out versions of "Born to Be Wild," "The Pusher" and a ten-minute "Monster" satisfied many a fan. Heavy indeed!


"DOWNLOAD"
http://rapidshare.de/files/23627555/PapaStalin_-_Steppenwolf_-_Live1.zip
http://rapidshare.de/files/23633324/PapaStalin_-_Steppenwolf_-_Live2.zip
http://rapidshare.de/files/23636377/PapaStalin_-_Steppenwolf_-_Live3.zip

"PASSWORD"
PapaStalin

MUDDY WATERS & THE ROLLING STONES - Sweet Home Chicago (1981)

When Muddy Waters took the stage at the Checkerboard Lounge in Chicago on November 22, 1981 to play a session with members of the Rolling Stones and fellow bluesmen Buddy Guy, Junior Wells and Lefty Dizz, no one expected it to become one of his last live concert appearances. Mick Jagger, Keith Richards, Ron Wood and "fifth Stone" Ian Stewart, staying in Chicago for three concerts on November 23, 24, and 25, were excited to meet their long-time idol, perhaps the greatest bluesman ever and, of course, one of the major influences which led to the formation of the Rolling Stones back in 1962. They even took their band name from one of Waters' songs, "Rolling Stone." The meeting took place in an atmosphere of great anticipation, friendship and respect. Hear Jagger, during "Hoochie Coochie Man," sing the line "...I was born with good luck" and Waters' humorous response to superstar Mick: "...I see that!" ...irresistable! "Time waits for no one" sang the Rolling Stones, whome he had given a part of his unforgettable way of playing the blues. Further proof may be given by three Rolling Stones bonus tracks included in this collection: "I Want to Be Loved" (unreleased studio outtake, IBC Studios, London, March 11, 1963), "I Can't Be Satisfied" (BBC Radio performance on "Top Gear", July 23, 1964) and "I Just Wanna Make Love to You" (live recording, Madrid/Spain, June 17, 1990). We would like to dedicate this record to Muddy "Mississippi" Waters. It was one of his last but definitely not least appearances on stage.


"DOWNLOAD"
http://rapidshare.de/files/24488800/
lvsm_Muddy_Waters___The_Rolling_Stones_CD_01.rar
http://rapidshare.de/files/24503531/
lvsm_Muddy_Waters___The_Rolling_Stones_CD_02.rar

AMERICA - Greatest Hits History (1975)

Mirroring the cover art depiction of America's dual life in England and the U.S., History: Greatest Hits perfectly spotlights both the polished and layered production of British studio legend George Martin and the West Coast tones of the band's folk-pop style. Featuring the group's many chart toppers from the first half of the '70s, this definitive roundup includes Neil Young-style acoustic sides like "Lonely People," the hippie MOR of "Muskrat Love," and breezy acid rock like "Sandman." And even though Martin didn't produce the entire lot of songs here, his sophisticated and mostly subtle way with strings, keyboards, and multi-track guitars is in evidence throughout. Adding to the fun are additional highlights like the updated surf cut "Sister Golden Hair" and ingenious McCartney-esque pop like "Only in Your Heart" and "Daisy Jane." An essential collection for fans who like their '70s folk with a pop sheen, loads of hooks, and top-drawer arrangements.


"DOWNLOAD"
http://rapidshare.de/files/22013524/America_-_History.zip

FREE - Heartbreaker (1973)

Free's return in 1972 was scarred by any number of traumas, not least of all the departure of bassist Andy Fraser and the virtual incapacity of guitarist Paul Kossoff — one-half of the original band, and the lion's share of its spirit as well. But did their erstwhile bandmates let it show? Not a jot. The hastily recruited Tetsu Yamauchi, and vocalist Paul Rodgers himself, filled the breach instrumentally, and probably 50 percent of the ensuing Heartbreaker ranks among Free's finest ever work. Of course, any record that can open with the sheer majesty of "Wishing Well," Rodgers' so-evocative tribute to Kossoff, is immediately going to ascend to the halls of greatness, all the more so since Kossoff himself is in such fine form across both this cut and the next three — completing side one of the original vinyl, "Come Together in the Morning," "Travellin' in Style," and "Heartbreaker" add up to the band's most convincing sequence of songs since the days of Fire and Water. Further into the disc, two contributions from another new recruit, keyboard player John Bundrick, fall a little flat, a fate they share with the previously unreleased "Hand Me Down/Turn Me Round," one of the 2002 remaster's six bonus tracks. But a pair of solo Rodgers songs, "Easy on My Soul" and "Seven Angels," close the album with as much emotion as it opened on, and one could well argue that, after such a treat, the aforementioned bonus tracks are all but unnecessary, especially as the first few simply offer outtakes, alternates, and B-sides from the sessions themselves. As the CD wraps up, however, two final tracks reveal what happened once the album was completed, peeping into the band's rehearsal room on the eve of their summer tour of Japan to catch "Heartbreaker" and "Easy on My Soul" in such rough but eloquently heavenly form that this most emotionally weighted of Free's albums could demand no deeper coda.


"DOWNLOAD"
http://rapidshare.de/files/12611109/1973_-_Heartbreaker__Remastered_2002_.rar.html

FREE - Highway (1971)

The last and least of the original Free studio albums, Highway was recorded just three months after the band scored the career-redefining hit "Alright Now," with their profile at an career-topping high, but morale heading toward an all-time low. Guitarist Paul Kossoff was reeling from the death of friend Jimi Hendrix, a new single, "The Stealer" — the follow-up to The Hit — bellyflopped ignominiously and, when the album followed suit, the band itself was not far behind. Heavily influenced by their admiration of the Band, Highway has understandably been described as Free's answer to Music From Big Pink, sharing both the laid-back vibe and mellow looseness of that role model. Where it went awry, of course, was in the fact that Free was not cut out to be country-rock guitar-twangers, no matter how fiery their missionary zeal. Yet, the strutting rockers "The Stealer" and "Ride On Pony" alone shatter the brave new mood, while reflective romancers like "Love You So" and "Be My Friend" could well have been composed specifically to rid the band of the shadow of "Alright Now," and prove that underneath the coolest exterior, there beat a heart of the molten gold. Of course, Free had bathed in such waters before, and the closing "Soon I Will Be Gone" certainly bears comparison with any of their past ballads. Nevertheless, too much of Highway reacted to the pressures of the recent past, rather building upon the strengths that had made such events possible in the first place, and you reach the bonus tracks appended to the 2002 remaster despairing that they will ever rediscover that earlier flair. But the 1971 hit single "My Brother Jake" is a gorgeous knockabout clearly informed by the Faces' recent assault on Free's own throne, while a couple of BBC session tracks, sensibly highlighting both the best ("Ride On Pony") and the worst ("Be My Friend") of the album itself, pack a punch that was clearly absent in the studio. In fact, whatever your opinion of Highway itself, the bonus tracks comprise an entire new reason to pick up the album.


"DOWNLOAD"
http://rapidshare.de/files/12509821/1969_-_Highway___Remaster_2002_.rar.html

FREE - Free At Last (1972)

Following Paul Rodgers' unsuccessful project titled Peace and Andy Fraser's ill-fated Toby, Free rebuilt themselves and released Free at Last in the summer of 1972. The band went right back to what they know best, with Rodgers bearing his blues-rock soul to Kossof's moody electric guitar. Tracks like "Sail On," "Soldier Boy," and "Travelling Man" come out on top as some of the band's most emotive material, proving that their breakup in 1971 had no real effect on their chemistry. "Little Bit of Love" was released in the U.K., peaking at number 13, while the album itself broke the Top Ten there, stalling at number 69 in the U.S. The band's mixture of laid-back blues and gritty, bare-boned rock & roll is as poignant and as expressive as it was on Tons of Sobs or Fire and Water, even though Paul Kossof's problems with drugs were beginning to be more and more evident. Eventually, Kossof's addiction affected the entire band, hindering Free's ability to go on tour to promote the album. After Free at Last, Andy Fraser left the group and created the band Sharks along with Chris Spedding, while Kossof was busy with his own Back Street Crawler project. After Kossof's death in 1976, John Bundrick re-joined along with Tetsu Yamauchi for 1973's Heartbreaker...Free's final release.


"DOWNLOAD"
http://rapidshare.de/files/12589763/1972_-_Free_At_Last__Remastered_2002_.rar.html

FREE - Fire And Water (1970)

If Fleetwood Mac, Humble Pie, and Foghat were never formed, Free would be considered one of the greatest post-Beatles blues-rock bands to date, and Fire and Water shows why. Conceptually fresh, with a great, roots-oriented, Band-like feel, Free distinguished itself with the public like Black Sabbath and Deep Purple did (in terms of impact, only) in 1970. Free presented itself to the world as a complete band, in every sense of the word. From Paul Kossoff's exquisite and tasteful guitar work, to Paul Rodgers' soulful vocals, this was a group that was easily worthy of the mantle worn by Cream, Blind Faith, or Derek and the Dominos .


"DOWNLOAD"
http://rapidshare.de/files/12534411/1970_-_Fire_And_Water___Remastered_2001_.rar.html

FREE - Free (1969)

Free's second album was recorded with the band itself in considerable turmoil as principle songwriters Paul Rodgers and Andy Fraser demanded strict discipline from their bandmates, and guitarist Paul Kossoff, in particular, equally demanded the spontaneity and freedom that had characterized the group's debut. It was an awkward period that saw both Kossoff and drummer Simon Kirke come close to quitting, an eventuality that only the intervention of label chief Chris Blackwell seems to have prevented. Few of these tensions are evident on the finished album — tribute, again, to Blackwell's powers of diplomacy. He replaced original producer Guy Stevens early into the sessions and, having reminded both warring parties where the band's strengths lie, proceeded to coax out an album that stands alongside its predecessor as a benchmark of British blues at the turn of the 1960s.


"DOWNLOAD"
http://rapidshare.de/files/12427469/1969_-_Free__Remastered_2001_.part1.rar.html
http://rapidshare.de/files/12429824/1969_-_Free__Remastered_2001_.part2.rar.html

FREE - Tons Of Sobs (1968)

Although Free was never destined to scrape the same skies as Led Zeppelin, when they first burst out of the traps in 1968, close to a year ahead of Jimmy Page and company, they set the world of British blues-rock firmly on its head, a blistering combination of youth, ambition, and, despite those tender years, experience that, across the course of their debut album, did indeed lay the groundwork for all that Zeppelin would embrace. That Free and Zeppelin were cut from the same cloth is immediately apparent, even before you start comparing the versions of "The Hunter" that highlight both bands' debut albums. Where Free streaks ahead, however, is in their refusal to compromise their own vision of the blues — even at its most commercial ("I'm a Mover" and "Worry"), Tons of Sobs has a density that makes Zeppelin and the rest of the era's rocky contemporaries sound like flyweights by comparison. The 2002 remaster of the album only amplifies the fledgling Free's achievements. With remastered sound that drives the record straight back to the studio master tapes, the sheer versatility of the players, and the unbridled imagination of producer Guy Stevens, rings crystal clear. Even without their visionary seer, however, Free impresses — three bonus tracks drawn from period BBC sessions are as loose as they are dynamic, and certainly make a case for a full Free-at-the-Beeb type collection. Of the other bonuses, two offer alternate versions of familiar album tracks, while "Guy Stevens Jam" is reprised from the Songs of Yesterday box set to further illustrate the band's improvisational abilities. As if they needed it.


"DOWNLOAD"
http://rapidshare.de/files/12330073/1968_-_Tons_Of_Sobs__Remastered_2001_.part1.rar.html
http://rapidshare.de/files/12339059/1968_-_Tons_Of_Sobs__Remastered_2001_.part2.rar.html

ponedjeljak, 03.07.2006.

CHARLIE DANIELS BAND - Live (2001)

Making music involves two very separate but integral worlds: the electronic environment of the studio and the high-octane world of the stage. Even though Charlie Daniels and his band have proven that they can move recorded merchandise, it has been the group's energetic live performances that have marketed them as one of country-rock's hottest commodities. The two musical worlds unite to spawn the digitally mastered adrenaline rush that is The Live Record. Recorded live in Florida, North Carolina, and Virginia, the extended play truly captures both the energy and musical genius of a live Charlie Daniels concert, at least as close as humanly possible without the huddle of bodies dancing in their seats. Perhaps best of all is the chance to enjoy over an hour of Daniels favorites, such as "In America," "Still in Saigon," and "The Devil Went Down to Georgia" without the muffle that might occur at a large outdoor venue. Each guitar lick and fiddle assault is crystal clear and is especially laudable on Daniels' seven-minute instrumental, "Sidewinder." Lynyrd Skynyrd's Southern classic, "Freebird," is another set-list sizzler, featuring the electronic wail of the lead guitar. As live albums go, this one deserves kudos. The added bonus is that the listener gets not only a rousing good time, but a greatest-hits collection of one of country's greatest entertainers.


"DOWNLOAD"
http://rapidshare.de/files/23295076/CD_.part1.rar.html
http://rapidshare.de/files/23301276/CD_.part2.rar.html
http://rapidshare.de/files/23303426/CD_.part3.rar.html

"PASSWORD"
blacky

LESLIE WEST - Blue Me (2006)

Leslie West isn't a particularly innovative guitarist, and his style and approach have barely moved an eyelash since he first broke into the public consciousness with Mountain back in the early '70s, but boy can this guy get tone! West still sings with a gear-shredding roar and his guitar lines sound heavier than plutonium on this set of blues-rockers, and if he doesn't exactly do anything that he hasn't done before, his laser-on-steroids precision as a guitar player is still undeniable and when he gets cranking, it's guaranteed to blow the dust out of the eaves. That said, the most striking tracks here are the ones where he throttles things down just a hair. The opener, a version of Leroy Carr's classic "Blues Before Sunrise," is huge sounding without letting that overwhelm the song, while West's take on Percy Mayfield's "Hit the Road Jack" (best known in the Ray Charles version) is relatively sleek and elegant. The rendition of the Gershwins' "Summertime" that closes the set is plenty moody, with West's guitar weeping like the proverbial willow tree. He works the distinctive riff of John Fogerty's "Green River" for all it will give, turning this slice of faux swamp rock into a muscular monster ready to eat the whole bayou. These are the high points. Elsewhere, when the thunder and lightning of West's guitar lines die down, you're left with fairly rote arrangements of songs that seem essentially interchangeable. West's fans will get exactly what they expect with Blue Me, which means that West is doing his job.


"DOWNLOAD"
http://rapidshare.de/files/23820501/LWBlowMe.part1.rar
http://rapidshare.de/files/23811512/LWBlowMe.part2.rar

"PASSWORD"
Lethal_T

BLACK CROWES – Shake Your Money Maker (1990)

The Black Crowes' debut album, Shake Your Money Maker, may borrow heavily from the bluesy hard rock grooves of the Rolling Stones and Faces (plus a bit of classic soul), but the band gets away with it due to sharp songwriting and an ear for strong riffs and chorus melodies, not to mention the gritty, muscular rhythm guitar of Rich Robinson and brother Chris' appropriate vocal swagger. Unlike their later records, the Crowes don't really stretch out and jam that much on Money Maker, but that helps distill their virtues into a handful of memorable singles ("Jealous Again," "She Talks to Angels," a cover of Otis Redding's "Hard to Handle"), and most of the album tracks maintain an equally high standard. Shake Your Money Maker may not be stunningly original, but it doesn't need to be; it's the most concise demonstration of the fact that the Black Crowes are a great, classic rock & roll band.


"DOWNLOAD"
http://rapidshare.de/files/23501726/
ShakeYourMoneyMaker1990.rar.html

STEVIE RAY VOUGHAN & DOUBLE TROUBLE - Live at Mocambo (1983)

It has to be exciting to watch a star being born, and that's how the people who saw Stevie Ray Vaughan and Double Trouble's stunning show in 1983 at Toronto's tiny El Mocambo club must have felt. Live at the El Mocambo captures the majesty of muscular, sweaty blues-rock in an intimate setting — in the way that, some might say, God intended. Live in Austin, Texas is a strong compilation of the band's two Austin City Limits performances, but Live at the El Mocambo blows it away in terms of hunger and raw power. Vaughan, bassist Tommy Shannon, and drummer Chris Layton open with the fine instrumentals "Testify" and "So Excited." Then Vaughan really hits his stride and uncorks a perfect cover of Jimi Hendrix's "Voodoo Chile (Slight Return)." "Pride and Joy" remains the best example of Vaughan's talent for combining a catchy melody with snappy licks. The fierce "Texas Flood" is truly mind-blowing — Vaughan's playing is splendid, but he also tosses in some fancy showmanship by playing his guitar behind his back. "Hug You Squeeze You" is a playful tune that should have been lifted and placed on an album, perhaps on one of the "greatest hits" collections. Vaughan pays tribute to Hendrix again with "Third Stone from the Sun"; he thrashes on his famously mangled sunburst Stratocaster and coaxes unholy noises out of it. It's as if Pete Townshend took possession of him in that moment. During the first encore, "Lenny," Vaughan demonstrates his capacity for subtlety, foreshadowing the In Step favorite "Riviera Paradise." The DVD includes interviews with Shannon and Layton. One anecdote relates how Vaughan once became terribly upset when he learned he was headlining a concert instead of opener B.B. King.


"DOWNLOAD"
http://rapidshare.de/files/24469815/SRV_L_M.part1.rar.html
http://rapidshare.de/files/24472835/SRV_L_M.part2.rar.html
http://rapidshare.de/files/24482321/SRV_L_M.part3.rar.html

"PASSWORD"
blacky

PROCOL HARUM - A Salty Dog (1969)

This album, the group's third, was where they showed just how far their talents extended across the musical landscape, from blues to R&B to classical rock. In contrast to their hastily recorded debut, or its successor, done to stretch their performance and composition range, A Salty Dog was recorded in a reasonable amount of time, giving the band a chance to fully develop their ideas. The title track is one of the finest songs ever to come from Procol Harum and one of the best pieces of progressive rock ever heard, and a very succinct example at that at under five minutes' running time — the lyric and the music combine to form a perfect mood piece, and the performance is bold and subtle at once, in the playing and the singing, respectively. The range of sounds on the rest includes "Juicy John Pink," a superb piece of pre-World War II-style country blues, while "Crucifiction Lane" is a killer Otis Redding-style soul piece, and "Pilgrim's Progress" is a virtuoso keyboard workout. A Salty Dog was reissued by Repertoire Records in 1997 with enhanced sound and the lost B-side "Long Gone Geek," a Robin Trower guitar workout par excellence.


"DOWNLOAD"
http://rapid.forumw.org/files/20020711/PROCOL_HARUM-A_SALTY_DOG-1969.rar.html

CACTUS - 'Ot 'N' Sweaty (1972)

"DOWNLOAD"
http://rapid.forumw.org/files/21136053/
Cactus__ot__n__Sweaty.rar.html

CACTUS - Cactus (1970)

Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as "You Can't Judge a Book By the Cover," "Let Me Swim," and, most notably, a manic, turbocharged version of "Parchman Farm." The fact that Cactus chose to tackle this classic blues song just a year after it'd been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays — at best — a healthy competitive spirit within the early-'70s hard rock milieu, and at worst it suggests something of a mercenary nature to Cactus' motives, but that's an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress — for the blistering closing duo of "Oleo" and "Feel So Good" (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed.


"DOWNLOAD"
http://rapidshare.de/files/23328881/Cactus1970.rar.html

nedjelja, 02.07.2006.

THIN LIZZY - Live And Dangerous (1978)

Along with Kiss' Alive, the Who's Live at Leeds, and the Rolling Stones' Get Yer Ya-Ya's Out, Thin Lizzy's 1978 double album, Live and Dangerous, is one of the greatest live rock albums of all time. The band wisely hooked up with producer Tony Visconti, again, and although it's become known in later years that the tracks included extensive overdubbing, many of the performances outshine the original studio versions. Except for a few tracks, the majority of the material spans from 1974's Nightlife to 1977's Bad Reputation, while the concerts were recorded during Lizzy's last two major tours (1976 and 1977). Few bands have ever matched the explosive energy that Lizzy creates on such tracks as "Jailbreak," "Emerald," "Rosalie/Cowgirl's Song," "Don't Believe a Word," "Are You Ready," and "Sha-La-La," while their sing-along anthem "The Boys Are Back in Town" proves even more vivacious in a live setting. The more serene material — "Southbound" and "Dancing in the Moonlight" — is just as gripping, while the slow blues of "Still in Love with You" contains two of the most heartfelt and lyrical guitar solos ever (a trade-off between both Robertson and Gorham). Add to it such strong album cuts as "Massacre," "Johnny the Fox Meets Jimmy the Weed," "Warrior," "Suicide," and "The Rocker," and you have the ultimate Lizzy album. Live and Dangerous is a must-have for fans of powerful hard rock.


"DOWNLOAD"
http://rapidshare.de/files/10032156/Live_and_Dangerous.rar.html

OR

"DOWNLOAD"
http://rapidshare.de/files/26393152/TLLD.part1.rar.html
http://rapidshare.de/files/26394113/TLLD.part2.rar.html
http://rapidshare.de/files/26392135/TLLD.part3.rar.html

"PASSWORD"
burgerman

ERIC CLAPTON - 461 Ocean Boulevard (1974)

461 Ocean Boulevard is Eric Clapton's second studio solo album, arriving after his side project of Derek and the Dominos and a long struggle with heroin addiction. Although there are some new reggae influences, the album doesn't sound all that different from the rock, pop, blues, country, and R&B amalgam of Eric Clapton. However, 461 Ocean Boulevard is a tighter, more focused outing that enables Clapton to stretch out instrumentally. Furthermore, the pop concessions on the album — the sleek production, the concise running times — don't detract from the rootsy origins of the material, whether it's Johnny Otis' "Willie and the Hand Jive," the traditional blues "Motherless Children," Bob Marley's "I Shot the Sheriff," or Clapton's emotional original "Let It Grow." With its relaxed, friendly atmosphere and strong bluesy roots, 461 Ocean Boulevard set the template for Clapton's '70s albums. Though he tried hard to make an album exactly like it, he never quite managed to replicate its charms.


"DOWNLOAD"
http://rapidshare.de/files/23749709/uds-ErCla-461OcBour.part1.rar
http://rapidshare.de/files/23746719/uds-ErCla-461OcBour.part2.rar

"PASSWORD"
uds

ERIC CLAPTON - 24 Nights (1991)

Eric Clapton, who had not released a live album since 1980, had several good reasons to release one in the early '90s. For one thing, his spare backup band of keyboardist Greg Phillinganes, bassist Nathan East, and drummer Steve Ferrone, was his best live unit ever, and its powerful live versions of Cream classics like "White Room" and "Sunshine of Your Love" deserved to be documented. For another, since 1987, Clapton had been playing an annual series of concerts at the Royal Albert Hall in London, putting together various special shows — blues nights, orchestral nights, etc. 24 Nights, a double album, was culled from two years of such shows, 1990 and 1991, and it demonstrated the breadth of Clapton's work, from his hot regular band to assemblages of bluesmen like Buddy Guy and Robert Cray to examples of his soundtrack work with an orchestra led by Michael Kamen. The result was an album that came across as a lavishly constructed retrospective and a testament to Clapton's musical stature. But it made little impact upon release (though it quickly went gold), perhaps because events overcame it — three months later, Clapton's elegy for his baby son, "Tears In Heaven," was all over the radio, and a few months after that he was redefining himself on MTV Unplugged — a live show as austere as 24 Nights was grand. Still, it would be hard to find a more thorough demonstration of Clapton's abilities than the one presented here.


"DOWNLOAD"
http://rapidshare.de/files/23747618/uds-ErCla-24Nirar.part1.rar
http://rapidshare.de/files/23750493/uds-ErCla-24Nirar.part2.rar
http://rapidshare.de/files/23750140/uds-ErCla-24Nirar.part3.rar


"PASSWORD"
uds

ERIC CLAPTON - Another Ticket (1981)

Now, here's a star-crossed album. Polydor rejected the first version of it, produced by Glyn Johns, and Eric Clapton was forced to cut it all over again with Tom Dowd. Then, a few dates into a U.S. promotional tour coinciding with its release, Clapton collapsed and was found to be near death from ulcers due to his alcoholism. Finally, it turned out to be the final record of his 15-year association with Polydor, which therefore had no reason to promote it. Nevertheless, the album made the Top Ten, went gold, and spawned a Top Ten single in "I Can't Stand It." And the rest of it wasn't too shabby, either. The first and last Clapton studio album to feature his all-British band of the early '80s, it gave considerable prominence to second guitarist Albert Lee and especially to keyboard player/singer Gary Brooker (formerly leader of Procol Harum), and they gave it more of a blues-rock feel than the country-funk brewed up by the Tulsa shuffle crew Clapton had used throughout the 1970s. Best of all, Clapton had taken the time to write some songs — he's credited on six of the nine selections — and tunes such as the title track and "I Can't Stand It" held up well. This wasn't great Clapton, but it was good, and it deserved more recognition than conditions allowed it at the time.


"DOWNLOAD"
http://rapidshare.de/files/24065322/uds-ErCla-FTCad.part1.rar
http://rapidshare.de/files/24057710/uds-ErCla-FTCad.part2.rar

"PASSWORD"
uds

ERIC CLAPTON - Me And Mr.Johnson (2004)

Ten years after his first all-blues album, From the Cradle, Eric Clapton released Me and Mr. Johnson, an album-length tribute to his hero, the legendary bluesman Robert Johnson. Not that this is the first time Clapton has paid tribute to Johnson. Throughout his career, Clapton has not only drawn on Johnson for inspiration, but he has covered his songs at pivotal moments: "Ramblin' on My Mind" on his classic album with John Mayall, Bluesbreakers; "Four Until Late" on the first Cream album; and, most memorably, the rampaging cover of "Crossroads" on Wheels of Fire that became his anthem and arguably his defining moment. Considering this long history, perhaps a full-length tribute was inevitable, yet Me and Mr. Johnson still is welcome, in part because it's been a long time since this guitarist has sounded so comfortable and relaxed, as if he was having fun making music. With the possible exception of the spotty yet charming B.B. King duet album Riding With the King, this is simply the most enjoyable record he's made since From the Cradle, and in some respects it's a better blues album than that since it never sounds as doggedly serious as that guitar-heavy affair. Given the somber, sometimes chilling lyrics Johnson wrote — Clapton admits that "At first [his music] scared me in its intensity," an accurate summary of the haunting nature of those 29 sides the bluesman cut in the '30s — it's a little ironic that this tribute winds up being fun, not somber, but the light touch makes for a better album. That lightness comes from the deep love Clapton holds for this music, since the enthusiasm and enjoyment he and his band — all the old regulars like Andy Fairweather-Low plus Billy Preston on keyboards — give the performance results in the album's light, infectious feel. While that does result in versions of "If I Had Possession Over Judgement Day" and "Hell Hound on My Trail" that sound anything but haunted, they do sound nicely next to the up-tempo rave-ups of "They're Red Hot," "Last Fair Deal Gone Down," and "Stop Breaking Down Blues" since all of them sound like Clapton is having a hell of a good time. Some might take issue with this, and others may find the album too slickly produced — admittedly, blues albums should never boast a credit for Pro Tools, as this does — but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums.


"DOWNLOAD"
http://rapidshare.de/files/24128342/uds-ErCla-MeaMJ.part1.rar
http://rapidshare.de/files/24128853/uds-ErCla-MeaMJ.part2.rar
http://rapidshare.de/files/24129178/uds-ErCla-MeaMJ.part3.rar

"PASSWORD"
uds

ERIC CLAPTON - Money And Cigarettes (1983)

Money and Cigarettes marked several important turning points in Eric Clapton's recording career. It was his debut release on his own Duck imprint within Warner Bros.' Reprise Records subsidiary. It was also the first album he made after coming to terms with his drinking problem by giving up alcohol. Newly focused and having written a batch of new songs, he became dissatisfied with his longtime band and fired them, with the exception of second guitarist Albert Lee. In their place, he hired session pros like Stax Records veteran bassist Donald "Duck" Dunn and Muscle Shoals drummer Roger Hawkins, also bringing in guest guitarist Ry Cooder. His new songs reflected on his changed condition, with "Ain't Going Down," a thinly veiled musical rewrite of the Jimi Hendrix arrangement of "All Along the Watchtower," serving as a statement of purpose that declared, "I've still got something left to say." "The Shape You're In" was a criticism of his wife for her alcoholism that concluded, "I'm just telling you baby 'cause I've been there myself," while the lengthy acoustic ballad "Pretty Girl" and "Man in Love" reaffirmed his feelings for her. The album's single was the relatively slight pop tune "I've Got a Rock n' Roll Heart," but Clapton's many blues fans must have been most pleased with the covers of Sleepy John Estes' "Everybody Oughta Make a Change" (significantly placed as the album's leadoff track), Albert King's "Crosscut Saw," and Johnny Otis' "Crazy Country Hop." For all the changes and the high-powered sidemen, though, Money and Cigarettes ended up being just an average effort from Clapton, which his audience seems to have sensed since, despite the Top 20 placement for the single, it became his first album in more than six years to miss the Top Ten and fail to go gold.


"DOWNLOAD"
http://rapidshare.de/files/24129082/uds-ErCla-MoaCiJ.rar

"PASSWORD"
uds

ERIC CLAPTON - No Reason To Cry (1976)

When he gave a speech inducting the Band into the Rock & Roll Hall of Fame, Eric Clapton said that after he heard their debut album, Music from Big Pink, he wanted to join the group, the fact that they already had a guitarist in Robbie Robertson notwithstanding. In the winter of 1975-1976, when he cut No Reason to Cry at the Band's Shangri-la Studio in Malibu, California, he came as close as he ever would to realizing that desire. Clapton is a musical chameleon; though some of No Reason to Cry is identifiable as the kind of pop/rock Clapton had been making since the start of his solo career (the best of it being "Hello Old Friend," which became his first Top 40 single in two years), the most memorable music on the album occurs when Clapton is collaborating with members of the Band and other guests. He duets with Band bassist Rick Danko on Danko's "All Our Past Times," and with Bob Dylan on Dylan's "Sign Language," as Robertson's distinctive lead guitar is heard rather than Clapton's. As a result, the album is a good purchase for fans of Bob Dylan and the Band, but not necessarily for those of Eric Clapton. [The CD reissue adds a bonus track, "Last Night," which is a traditional 12-bar blues song credited to Clapton.]


"DOWNLOAD"
http://rapidshare.de/files/24130082/uds-ErCla-NoR2C.part1.rar
http://rapidshare.de/files/24133582/uds-ErCla-NoR2C.part2.rar
http://rapidshare.de/files/24129561/uds-ErCla-NoR2C.part3.rar

"PASSWORD"
uds

subota, 01.07.2006.

JOHNNY WINTER – I`m Bluesman (2004)

Yes, he's a bluesman — has anyone at all familiar with Johnny Winter ever thought anything else? But his first album of new material in almost eight years was certainly very much in the straightforward blues-rock mold, emphasis on the "blues" over "rock." There was nothing to either disappoint longtime fans or excite the unconverted, as it was about exactly the set you'd expect from Winter, setting energetic if predictably formatted material to solid electric blues arrangements. His accomplished guitar playing sometimes bore a tarter tone than some of his past recordings, and his vocals as always were not as impressive as his axe work, though they were serviceable. The songs were a mixture of originals, contributions from past and present sidemen and producer Tom Hambridge, and covers of Lazy Lester's "Sugar Coated Love" and Hop Wilson's "That Wouldn't Satisfy." Although this is acceptably competent, good-natured blues-rock, it's the acoustic "That Wouldn't Satisfy" that provides the most inspired moments. Winter's slide guitar on this track is superb, whetting one's appetite for an entire album of such outings should he ever be in the mood to go unplugged.

"DOWNLOAD"
http://rapidshare.de/files/15525963/I_m_a_Bluesman.rar.html

JOHNNY WINTER - Live in New York City (1997)

Johnny Winter assembled Live in NYC '97 with assistance of his fan club, drawing all of the recordings from an April 1997 performance at the Bottom Line. Produced by Winter's longtime colleague Dick Shurman, the record doesn't follow the predictable pattern of a live album — instead of hits, it offers fan favorites and covers, which makes for a much more interesting listen. Throughout the album, Winter simply rips, tearing through all five songs with blistering energy. This is the live album hardcore fans have been wanting for years, and it doesn't fail to deliver on its promise.

"DOWNLOAD"
http://rapidshare.de/files/24255142/JWLi_NYC__97.part1.rar.html
http://rapidshare.de/files/24257896/JWLi_NYC__97.part2.rar.html
http://rapidshare.de/files/24260144/JWLi_NYC__97.part3.rar.html

"PASSWORD"
blacky

JOHNNY WINTER – White Hot Blues (1997)

Slowly over the years, perhaps through sheer survival, if nothing else, Johnny Winter has finally forged a reputation as a real bluesman rather than a flashy guitar player with a built-in genetic gimmick to sell himself with. That his blues has always been rock & roll and his rock & roll has always been blues is no better highlighted than on this 16-track collection. The raw rock of "Highway 61 Revisited" and the live version of "Johnny B. Goode" sit just fine next to the burner "Be Careful With a Fool," perhaps Winter's finest slow blues performance. The performances span his tenure with Columbia from 1969 to 1980, with the other highlights including "Too Much Seconal," "New York, New York," "Leland Mississippi Blues," and "The Crawl." This may just very well be some of the best blues-rock guitar your money can buy.


"DOWNLOAD"
http://rapidshare.de/files/15530474/White_Hot_Blues.rar.html

JOHNNY WINTER – Hey, Where's Your Brother? (1992)

On the classic 1972 live album Roadwork, Edgar Winter immortalized the words, when introducing brother Johnny: "Everybody asks me...where's your brother?" It's a question that fans have besieged both Winters with for over two decades, and now Johnny gets a chance to return the tribute with his latest. Edgar does in fact guest on the sessions, blowing sax and tinkling keys on a few tracks, and dueting with big bro on a superb, seasonal rendition of "Please Come Home for Christmas."


"DOWNLOAD"
http://rapidshare.de/files/15526179/Hey__Where_s_Your_Brother-.rar.html

JOHNNY WINTER – Let Me In (1991)

Let Me In is a star-studded all-blues set from Johnny Winter, featuring cameos from Dr. John, Albert Collins, and several others. Though the set focuses on blues material, Winters can never leave his rock roots behind — the sheer volume and pile-driving energy of his performances ensures that. For most of the record, his enthusiasm is contagious, but there are a couple of bland, exercises that fail to work up a head of steam. But there is a lovely acoustic number called "Blue Mood," which shows Winter trying to stretch a bit by playing jazzy licks. It's a refreshing change of pace.


"DOWNLOAD"
http://rapidshare.de/files/15525874/Let_Me_In.rar.html

JOHNNY WINTER – Guitar slinger (1984)

The first of three blues albums recorded after a four-year studio hiatus finds Winter as fleet-fingered as before and sounding more vocally involved than in some of the later Columbia material.


"DOWNLOAD"
http://rapidshare.de/files/23976086/JohnnyWinterGuitarSlinger.rar.html

JOHNNY WINTER – Saints & Sinners (1974)

Johnny Winter's sixth Columbia album was also his second since his comeback from drug addiction. Its predecessor, Still Alive and Well, had been his highest charting effort. Saints & Sinners was just as energetically played, but its mixture of material, including 1950s rock & roll oldies like Chuck Berry's "Thirty Days," Larry Williams' "Bony Moronie," and Leiber and Stoller's "Riot in Cell Block #9," recent covers like the Rolling Stones' "Stray Cat Blues," and a couple of originals, was more eclectic than inspired. (Van Morrison completists should note that the album also contains Winter's cover of Morrison's "Feedback on Highway 101," a typical bluesy groove song that Morrison recorded for his 1973 Hardnose the Highway album but dropped. Winter's is the only released recording of the song.) Abetted by the members of the old Johnny Winter And band, Rick Derringer, Randy Hobbs, and Richard Hughes, plus his brother Edgar and Dan Hartman, Winter produced forceful hard rock focused on his searing lead guitar runs and rough-edged voice. It was the less-impressive choice of material that kept this collection from matching its predecessor. (Originally released in February 1974, Saints & Sinners was reissued on February 27, 1996 with the previously unreleased song "Dirty," a Winter original, added. The slide guitar-and-flute track is not consistent with the rest of the album, but it is interesting to hear. Wonder who played the flute?)


"DOWNLOAD"
http://rapidshare.de/files/23509843/Albinosinner.rar.html

JOHNNY WINTER – Second Winter (1969)

Johnny's second Columbia album shows an artist in transition. He's still obviously a Texas bluesman, recording in the same trio format that he left Dallas with. But his music is moving toward the more rock & roll sounds he would go on to create. The opener, "Memory Pain," moves him into psychedelic blues-rock territory, while old-time rockers like "Johnny B. Goode," "Miss Ann," and "Slippin' and Slidin'" provide him with familiar landscapes on which to spray his patented licks. His reworking of Dylan's "Highway 61 Revisited" is the high spot of the record, a career-defining track that's still a major component of his modern-day set list. This was originally released back in the day as a three-sided vinyl double album, by the way.


"DOWNLOAD"
http://rapidshare.de/files/15530474/White_Hot_Blues.rar.html