lundi 28 avril 2008

LOS CALAVERAS - Chick a Took (1999-320kb/s)

Dossier informativo de Liquidator Records:

Los Calaveras ofrecen una de las propuestas más interesantes que se hayan visto nunca por aquí.

Grabaron su primer disco compuesto de ocho temas que van del calypso al dub pasando por el ska, reggae y rocksteady. Por diversos problemas con la ley y el orden no tienen pensado actuar como una banda normal en directo aunque sí amenazan con alguna actuación para más adelante además de alguna gira internacional.

Chick-A-Took es el título de su primer disco donde además de temas propios aparecen versiones de Pyramids, J. Jamison y Lord Invader. Los integrantes de

Los Calaveras son viejos conocidos de la escena skatalítica madrileña aunque, eso sí, de momento no pueden revelar su identidad pero se puede decir que en sus filas milita gente de grupos como Malrians y Skarlatines.


TRACKLIST: click to enlarge

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dimanche 27 avril 2008

VA - French Dub System 2008 [2008-192kbs]


Great compilation of the top notch french dub/electronica scene artists, from reggae to drum and bass via dubstep and grime...
This compilation has almost only exclusive or "never released before tracks", such as zenzile's matthew herbert remix.


Infos:
artist : Various
title : French Dub System 2008
label : Wagram Music (France)
cat.num : 3131152
genre : Electronic
year : 2008
playtime : 77:11 min
url : n/a
rls.date : 29/02/2008
source : CDDA
quality : VBRkbps / Joint-Stereo
tracks : 17
size : 100,7 MB


TRACKLIST :

01 Molecule Featuring Promoe-Faluja 04:42
02 Fedayi Pacha-Emir Of Dub High 04:18
03 Improvisators Dub-Time Of Decision 04:21
04 Sand I-Revelation Song 03:09
05 Ez3kiel Featuring Blurum 13-Alignment 05:50
06 Casualty-Electronik Fight 06:04
07 Lena-Entomodub 1 Remix 06:19
08 Metastaz-French Dub We Trust 04:13
09 Barbes D Featuring Ras Rudy Gad-Black Is My Story 04:08
10 Guns Of Brixton-Ghost Train (Pilah & E. Mental Remix) 04:06
11 Manusound-I Have A Dream 03:20
12 Liquid Wicked-Optical 04:12
13 Iota-Valdingue 04:37
14 Pilah Meets Learoy Green-Watching Me 03:48
15 Brain Damage-Mundhu 02:06
16 Zenzile Sound System-Mille Francs (Matthew Herbert Remix) 05:46
17 Uzul Prod-Mostar 06:12



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GOGOL BORDELLO - Super Taranta! [2007 - 320 kbps]

« Hein ? C’est quoi ton groupe ? Comment il s’appelle ?… Gogol Bordello ?...Et c’est quoi comme genre de musique ? Du… Gypsy Punk ??! Qu’est-ce que c’est encore que ce bordel ?! »
Voilà en gros le genre de réaction à laquelle on a droit en présentant le groupe. Vous me direz c’est normal, avec ce nom à coucher dehors. Et puis, c’est quoi ce « Gypsy Punk » ?

Laissez-moi tout d’abord vous présenter le groupe… On retrouve au centre de la formation un espèce de sosie de Dali, le bien nommé Eugène Hütz ! Si l’on cherche un peu sur Internet, voilà ce que l’on peut trouver sur lui : « Elevé dans la campagne ukrainienne avant la chute du mur et les évènements de Tchernobyl, il fuit son pays natal, de camps de réfugiés en squats glauques, il se fait une réputation rapidement dans les milieux artistiques underground de l’Europe de l’Est. Il vit même un temps dans un cirque auprès d’une communauté tzigane. » Tout un programme n’est-ce pas ? Toujours est-il que notre ami se retrouve bientôt à New York et y fonde son groupe : Gogol Bordello ! La première partie du nom de la formation est bien évidemment inspiré par l’écrivain russe (quoique …), tandis que la seconde révèle une des nombreuses qualités du groupe. Les New Yorkais d’adoption obtiennent la consécration en 2005 avec la sortie de leur troisième album chez Side One Dummy et se manifestent au reste du monde. Deux ans plus tard, sort leur quatrième galette Super Taranta! C’est sur cette dernière que nous allons nous pencher…

Comment pourrais-t-on qualifier ce qui surgit à nos oreilles ? Imaginez Borat derrière un micro avec d’un côté un orchestre traditionnel slave, et de l’autre un groupe de Punk venant de la Grosse Pomme. C’est à peu près ce à quoi on peut s’attendre avec Super Taranta!Cela commence fort, notamment avec "Ultimate" et "Wonderlust King", les meilleures des manières pour se familiariser avec le style si particulier du groupe. On navigue entre partie folklo festive ou rythmique punk rapide à souhait… Le groupe se pose aussi de temps en temps pour nous livrer des chansons enivrantes, hypnotisantes ainsi que transcendentales, aux violons mélancoliques qui nous transportent dans un univers complètement différent ("Dub The Frequencies Of Love "). La guitare sèche n’est jamais loin et le chant à l’anglais massacré d’Eugène s’ajoute parfaitement aux mélodies amers ou tristes, où il nous livre un texte pour le moins étrange comme en témoigne la piste 10 : " Alcohol ". Néanmoins, ce que l’on retient en majeure partie de l’album, c’est un condensé puissant, énergique d’influences venues de partout, réunies dans un seul but : propager la New Rebel Intelligence. Comme le dit si bien le leader du groupe : « Le Reggae et la musique Gypsy ont été créés par des gens pauvres qui n’avaient rien à perdre. Ils devaient trouver un nouveau moyen de regarder le monde ». Gogol Bordello a choisis de faire cela par sa musique. Avec d’aussi excellentes chansons telles que "American Wedding" ou "My Strange Uncles From Abroad ", on peut être sûr que le groupe trouvera une oreille…

Tout simplement différent et tellement puissant, Gogol Bordello mérite de conquérir le monde avec son quatrième album. Le meilleur à ce jour ! Jusqu'à la prochaine fournée, on l'espère...


En imaginant que Taraf de Haïdouks et Joe Strummer aient pu vivre une folle passion dans un scénario digne de Chat Noir Chat Blanc, de cette union serait né l’explosif Eugène Hütz, leader charismatique du combo international. Un sens inné de la fête, une folie et une virtuosité kusturicienne, le tout interprété par les enfants chéris de la scène underground new-yorkaise. Une formation multiculturelle qui n’est pas sans nous rappeler celle de Balkan Beat Box dont deux membres ont fait leurs armes au sein de Gogol Bordello.
Ne pas se fier au côté Borat, les textes ne sont pas aussi légers que la bonne humeur qu’ils dégagent pourrait le laisser penser. Le passé de réfugié post-Tchernobil du chanteur, ses voyages ainsi que l’immigration des autres membres ont enrichi leur texte d’une expérience assumée des réalités de notre ère ; particulièrement sur l’album de la consécration Super Taranta (2007 – SideOneDummy).

Track List (click to enlarge) :



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MODENA CITY RAMBLERS-Riportando tutto a casa (1994-320kb/s)

Biografia

« Abbiamo cominciato per hobby, per divertimento puro e semplice. Avevamo un'impronta punk, andavamo a suonare senza neanche provare, a volte eravamo in 6, a volte in 7, anche in 11. »

(Franco D'Aniello)

I Modena City Ramblers (anche M.C.R.) nascono nel 1991 da un gruppo di amici intenzionati a suonare la musica irlandese, senza alcuna pretesa.

Ne fanno parte "Albertone" Morselli, Giovanni Rubbiani e "Albertino"' Cottica già dei Lontano da dove, Chris Dennis ex Nomadi, Filippo Chieli, Franchino D'Aniello e Luciano Gaetani dell'Abazia dei folli. Il 17 marzo 1991, ricorrenza di San Patrizio, in occasione di un concerto in un locale di Modena, viene deciso il nome Modena City Ramblers: un omaggio ai Dublin City Ramblers, una specie di gruppo di "liscio irlandese", senza dimenticare le radici emiliane.[2] Nel 1992 arriva il bassista Massimo Ghiacci (ex Plutonium 99). La sera del 1 marzo viene effettuata la prima registrazione del gruppo nel disco On the first day of march...Live demo. Durante un concerto al Kalinka, un locale di Carpi, sale sul palco per la prima volta a cantare The Wild Rover Stefano "Cisco" Bellotti.[3]. In questo periodo i Modena City Ramblers non sono un ensemble convenzionale ma una compagnia aperta (elemento che rimarrà in qualche modo in tutta la storia dei Ramblers, tanto che tutti i membri che hanno poi abbandonato la "formazione effettiva", eccetto Alberto Morselli, continuano a collaborare con il gruppo). Il concerto più importante è l'apertura del concerto dei Pogues a Modena, il repertorio si arricchisce, vengono accostati ai tradizionali irlandesi brani popolari italiani: Bella ciao, Fischia il vento, Contessa.

Nel 1993 i Modena City Ramblers mettono ordine in una formazione troppo caotica: "Albertone" Morselli e Cisco alla voce, Giovanni Rubbiani alla chitarra, "Albertino" Cottica alla fisarmonica, Franchino D'Aniello ai fiati, Luciano Gaetani al banjo, bouzouki, mandolino, Massimo "Ice" Ghiacci al basso, Marco Michelini (anch’egli ex dell'Abazia dei folli) al violino e Vania Buzzini al bodhran e ai cori. Registrano il demo Combat Folk sotto la produzione di Arcangelo "Kaba" Cavazzuti.

Nel 1994 pubblicano per la etichetta indipendente Helter Skelter di Roma Riportando tutto a casa. Al disco partecipano inoltre come ospiti gli ex Chris Dennis, Filippo Chieli e Vania Buzzini. Compare l’utilizzo del dialetto in alcune canzoni (I funerali di Berlinguer e The great song of indifference, cover di Bob Geldof) anche sull’onda dei torinesi Mau Mau; stilisticamente, non più solo Pogues e Waterboys ma anche Les Negresses Vertes e Mano Negra. Molto importante l’apporto dato da Albertino e Giovanni nella scrittura dei brani. Il disco è un vero e proprio manifesto della cultura musicale del gruppo, si passa dall'Irlanda magica di In un giorno di pioggia alle terribili esperienze di casa nostra di Quarant'anni senza dimenticare la spensieratezza dei testi disimpegnati (The great song of indifference) e la dolcezza di Ninnananna. Il disco viene ripubblicato dalla Mescal, e viene aggiunta il bicchiere dell’addio in cui appare Bob Geldof, che verrà distribuito gratuitamente come singolo ai concerti a chi avesse la versione precedente del disco; fa inoltre il suo ingresso il primo batterista dei M.C.R. Roberto Zeno.

In questo periodo (1994-1995) i M.C.R. partecipano ad alcuni album: I disertori, tributo ad Ivano Fossati con Gli amanti d'Irlanda; a Tributo ad Augusto (Daolio) con L'atomica cinese, a Materiale resistente con Bella ciao compilation prodotta da Giovanni Lindo Ferretti dei C.S.I. insieme a gruppi del calibro di Africa Unite, Mau Mau, Gang e Skiantos, per il 50° anniversario della Liberazione. Alla fine dell'estate Albertone lascia il gruppo per disaccordi politici e musicali con il resto del gruppo[4], Cisco rimane l’unica voce.

Nel 1996 viene alla luce il secondo disco La grande famiglia con interventi di Paolo Rossi, Mara Redeghieri degli Ustmamò, Marino e Sandro Severini dei Gang. All’inizio del tour abbandonano il gruppo Gaetani e Michelini, che non accettano di lasciare i loro lavori (rispettivamente psicologo e impiegato in banca), sostituiti rispettivamente da Massimo Giuntini e Francesco Moneti, entrambi degli aretini Casa del Vento. Prendono parte al concerto del Primo maggio a Piazza S. Giovanni, a Roma e fanno una decina di date con Paolo Rossi.

Nel 1997 incidono Terra e libertà, che risente fortemente dei viaggi compiuti da Cisco in Patagonia e da Alberto e Giovanni in Messico e a Cuba, e chiaramente ispirato all’opera di Gabriel Garcia Marquez. I M.C.R. lavorano per sei mesi in sala prove. Al concetto del disco hanno contribuito anche gli incontri con Luis Sepúlveda, Paco Taibo o Daniel Chavarria, conosciuti nel 1997 grazie ai festival di letteratura, mentre sul piano musicale il modello sono i Mano Negra. La tournée si svolge nei palazzetti e culmina a Dicembre, quando suonano a Cuba davanti a 100.000 persone.

Nel 1998 il gruppo ha bisogno di recuperare una dimensione più "intima" del live e porta il tour nei club. A ottobre al Sisten Irish Pub di Novellara viene registrato Raccolti, album acustico con quindici classici e tre inediti (Notturno Camden Lock, A gh'è chi g'a' e La fiola dal paisan). Seguono nel 1999 un breve tour nei teatri senza Giuntini ma con ospite Luciano Gaetani: dieci brani dai concerti di Rimini e La Spezia, tra cui lo strumentale Richard Dwyer's Set e L'atomica cinese, finiscono ne Il resto raccolto, CD a tiratura limitata solo per il fan club.

I Ramblers compiono un viaggio in Irlanda per lavorare al quarto album, e poi all'Esagono dove incidono Fuori campo. Lo stile Ramblers non è più solo combat folk, ma come suggeriscono loro stessi nel titolo di una canzone di quest'album è celtica patchanka: non rinnegano le radici irlandesi, ma vi aggiungono quel meticciato musicale denominato patchanka dai Mano Negra. Il giorno dell’uscita dell’album Giovanni Rubbiani annuncia l’abbandono del gruppo. L'ultimo concerto con Giovanni come membro della società Modena City Ramblers è quello del capodanno del 2000 in Piazza Grande a Modena, insieme a Goran Bregović. Giovanni Rubbiani andrà a fondare i Caravane de Ville. Nel novembre 1999 viene pubblicato Combat Folk - L’italia ai tempi dei Modena City Ramblers, un libro firmato da Paolo Ferrari e Paolo Verri in cui il gruppo racconta la propria esperienza. I M.C.R. incidono Madre Terra per A come Ambiente, una compilation del quotidiano La Stampa.

Nel maggio 2000 anche Albertino abbandona i Modena City Ramblers, per dedicarsi al progetto, già attivo da tempo, dei Fiamma Fumana. Nel tour estivo ritornano Luciano Gaetani e Massimo Giuntini e fa il suo ingresso come membro effettivo, dopo 5 album all’attivo come produttore, Kaba, come secondo batterista-percussionista. In autunno il viaggio in Sud Africa, per una collaborazione con la band etno-folk-fusion Landscape Prayers (Lontano e Un mondo che balla). Massimo Ghiacci e Franco D'Aniello producono Pazienza santa dei Paulem di cui fa parte anche l'ex rambler Luciano Gaetani.

Nel febbraio 2001 Cisco incide con gli amici Casa del Vento il disco 900. Nella primavera del 2001 nasce il progetto Gang City Ramblers che congiunge due generazioni di combat-(folk)-rockers i Modena City Ramblers con i Gang dei fratelli Severini, sullo stesso palco a interpretare brani delle due formazioni.
Il 25 aprile dello stesso anno i due gruppi si esibiscono in un indimenticabile concerto a Macerata in una Piazza Mazzini stracolma di oltre 6.000 persone arrivate da tutti gli angoli della Regione.

I M.C.R. si chiudono poi in studio a Napoli prodotti da Enzo Soulfingers Rizzo per l’album Radio Rebelde, il primo non prodotto da Kaba, che verrà pubblicato nel febbraio 2002. Il disco risente dei fatti del G8 di Genova e dell'11 settembre. Dopo il ritiro di Massimo Giuntini, si aggiunge Luca “Gabibbo“ Giacometti, ex Mocogno Rovers e membro dei Cormac. Durante il tour invernale è ospite anche Giovanni Rubbiani.

Nel gennaio 2003 suonano in Chiapas e Guatemala, c'è infine l'innesto del fisarmonicista Daniele Contardo (già Abesibè e Tupamaros).

Nel 2004 pubblicano l'EP Gocce, legato al progetto della Coop Acqua per la pace, che contiene l’inedito Al Fiòmm, presente anche nel successivo album in una diversa produzione. Sotto la guida di Max Casacci dei Subsonica i Ramblers incidono ¡Viva la vida, muera la muerte!. Sempre nel 2004 viene pubblicato un DVD, Clan banlieue - Grande famiglia in movimento, con interviste, filmati storici dal vivo e non, e tutti i videoclip.

Nel 2005, come ideale continuazione di Materiale resistente, i M.C.R. chiamano a raccolta gli amici e registrano un album di canti sulla Resistenza: Appunti partigiani, in cui rileggono brani propri, tradizionali e di altri gruppi in chiave Ramblers. L’album esce in aprile, nel 60° anniversario della Liberazione. La canzone Ebano vince il premio Amnesty – Voci per la libertà, assegnato da Amnesty International.

Dopo 14 anni Stefano "Cisco" Bellotti lascia il gruppo, ma i Ramblers non si perdono d’animo, non fanno provini ma chiamano a dividere la pesante eredità di Cisco due amici: il sassuolese Davide "Dudu" Morandi (ex Mocogno Rovers) già presente nei cori di Riportando tutto a casa e nella foto di copertina di La grande famiglia, che aveva già cantato dal vivo con i Ramblers agli esordi [5], e la correggese Betty Vezzani, che ha cantato con i Cormac e nel progetto folk Beyond the wire con Luca Giacometti , oltre allo spettacolo Le Ceneri di Gramsci di Pier Paolo Pasolini, musicato da Giovanna Marini. Per testare la nuova formazione i M.C.R. fanno una breve tournée nei club che vede il battesimo al Fuori Orario di Taneto di Gattatico (RE) il 3 marzo 2006.

Il 3 novembre 2006 esce l'album Dopo il lungo inverno sotto la produzione di Peter Walsh, che vede ospiti Terry Woods (componente dei The Pogues, già membro degli Sweeney's Men e Steeleye Span), la brass band macedone Original Kocani Orkestar, Massimiliano Fabianelli, fisarmonicista con i Ramblers in tour l'anno precedente, il quartetto d’archi reggiano Koiné di cui fa parte Filippo Chieli, la cantante Lucia Tarì e l'armonicista Enzo Ciliberti.

Nel febbraio 2007 i Ramblers tornano in studio insieme a Terry Woods, presso il Bunker di Rubiera, per incidere il loro primo disco destinato al mercato straniero (cui era stato dato il titolo provvisorio: Tunes from the Bunker): conterrà alcune canzoni dei Ramblers, vecchie e nuove, tra cui Bella ciao, tradotte in inglese e spagnolo, cantate da Betty Vezzani e Davide Morandi. Ospite ancora Massimiliano Fabianelli, Franco D'Aniello suona per la prima volta il sassofono.[6]

Nel marzo 2007 viene pubblicato Tre colori, il nuovo album del cantautore rock Graziano Romani, che vede i Ramblers ospiti, sia come singoli che nella formazione completa, nei brani Corre buon sangue, Stesso viaggio stessa città, Spiriti liberi.

Il 6 ottobre 2007 muore in un incidente stradale Luca "Gabibbo" Giacometti. Il 13 ottobre 2007 a Castelnuovo Rangone (MO), per commemorare la scomparsa di Luca Giacometti, Davide Morandi, Franco D'Aniello e Massimo Ghiacci partecipano come ospiti ad un concerto dell'ex cantante Stefano "Cisco" Bellotti. Davide e Cisco duettano di nuovo sullo stesso palco.[7]

Il 25 gennaio 2008 è uscito in Italia distribuito da Mescal e in Olanda, Svizzera, Francia, Lussemburgo, Austria e Germania, distribuito da Universal il primo disco dei MCR destinato al mercato straniero, dal titolo Bella ciao - Italian Combat Folk for the Masses e prodotto da Terry Woods, contenente brani dei MCR riarrangiati, reincisi, in alcuni casi tradotti in inglese, più un inedito: il tradizionale americano di evidente origine irlandese Roisin the Bow. In primavera intraprenderanno un tour che li porterà in numerose capitali europee.

TRACKLIST: click to enlarge

here
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samedi 26 avril 2008

ART BRUT - Bang Bang Rock and Roll [2005 - 320 kbps]


A l'origine, Art Brut est un mouvement artistique outsider baptisé par Jean Dubuffet et créé par ceux qui n'appartiennent pas au cercle traditionnel de l'art. Cinquante ans plus tard, ce courant arty revient sous les traits d'un groupe de rock typiquement anglais : arrogant, provocant, génial, ambitieux et surtout talentueux.

Art Brut, un groupe anglais dans toute sa splendeur : Arrogance, provocation, ambition et surtout talent sont à l’honneur. Le groupe incarne ce côté "colly uncool" dont le peuple britannique est si fier. Art Brut obtient la distinction du NME qui n’hésite pas à qualifier "Good Week-End" comme l’un des singles les plus brillants de l’année. Remarquable, leur prestation scénique impressionne et amorce un succès sans crainte. (cf La Route du Rock, St Malo 2005)

Eddie Argos, chanteur charismatique et fondateur du groupe a grandi à Bournemouth, trop jeune pour Nirvana et peu intéressé par le mouvement post grunge il cherche à affirmer sa personnalité au travers d’une musique qui lui est propre. C’est alors qu’il découvre Pulp, il tombe littéralement sous le charme et la puissance du phénomène Jarvis Cocker tant pour ce qu’il représente physiquement qu’artistiquement.

Eddie Argos fonde son premier groupe au lycée, il le baptise "The Art Goblins". Malheureusement, le groupe split pour des raisons scolaires emportant avec lui le rêve d’Eddie : devenir un nouveau David Devant. C’est alors qu’il quitte Bournemouth pour Londres et se livre à de petits boulots : postier (le plus mauvais jamais existé), barman (un habitué), ouvrier (il a adoré)… avant de former son nouveau groupe : Art Brut.

Art Brut apparaît sur scène pour la première fois au Kentish Verge de Londres en mai 2003. Le groupe est composé de Eddie Argos (chant), Chris Chinchilla (guitare), Freddy Feedback (basse), Ian Catskilkin (guitare et chœurs), Mikey B (batterie).

Le groupe enregistre Brutlegs plus tard cette année-là. On y retrouve les premières versions de Modern Art, Moving to L.A. et Formed a Band, un titre où Argos se contente principalement de scander sa joie d'avoir formé un groupe[1]. Un journaliste fera suivre un MP3 de la chanson au label indépendant Rough Trade qui sort le single. Formed a Band atteint la 52e position dans les charts britanniques en mai 2004. Un second EP, Brutlegs 04, sort en 2004. Il comprend Good Weekend, Bang Bang Rock and Roll et une version acoustique de Moving to L.A.. Le premier album d'Art Brut, intitulé Bang Bang Rock and Roll, sort sur le label Fierce Panda Records le 30 mai 2005 en Europe, puis en Amérique du Nord quelques mois après.

En septembre 2005, Jasper Future remplace Chris Chinchilla, qui quitte le groupe sans animosité, pour des raisons personnelles.

En 2007 Art Brut a sorti un deuxième album intitulé "It's a bit complicated".


here

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vendredi 25 avril 2008

MONKS - Black Monk Time [1966 - 320 kbps]



Gary Burger, Dave Day, Eddie Shaw, Larry Clark et Roger Johnston, sont à l’origine 5 GI états-uniens basés à Gelnhausen en Allemagne en 1963. Apres leur sortie de l’armée, ils restent en Allemagne où ils forment un groupe d’abord appelé The Torquays puis The Monks et jouent sur les scènes locale, notamment à l’Odéon Keller à Heidelberg. Ils enregistrent et sortent en 1966 chez Polydor Allemagne un album de rock sauvage appelé Black Monk Time qui contient 12 titres où les rythmes tribaux et les riffs agressifs font bon ménage avec le banjo à 6 cordes hystérique de David Day. Ils adoptent une image de circonstance, entièrement habillés de noir, avec une corde nouée autour du cou, complétée comme le nom du groupe l’exige par une tonsure de moine. Ils continuent de tourner dans les clubs locaux, acquerrant un groupe de fans fidèles qui n’hésitent pas adopter leur coiffure et à se vêtir de capes noires. Après 2 ans sans succès réel, ils décident de se séparer juste avant une tournée prévue au Viêt Nam alors en pleine guerre et ils rentrent aux États-Unis. En 1994, la maison de disque Infinite Zero ressort leur album de 1966 en CD aux États-Unis et un renouveau d’intérêt pour le groupe se développe. Ils décident alors de se reformer pour quelques concerts en 1999.

Track List (click to enlarge) :




here

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Elphomega - El Testimonio Libra [2007-192kbps]



Without stridencies and without grants Elphomega represents on the first of the most solid props of spanish hip hop. He was born in Málaga in 1976 and with only fifteen years there turns into the Nazion Sur's ghostwriter, group emblem of a movement that for then was trying to make be listened hardly. His demos "Leyenda: Rap contienda" (1998) "Fácil de escuchar" (2000) and "Elphomega" (2002) has been a reference to the principal artists of rap in Spain from the first ones ninety in the uderground circuit. His first incursion in professional format came from Frank T's hand with a collaboration for his album "Frankattack" (Zona Bruta, 1999) then some collaborations came with Guateque All Stars and Hablando en Plata Squad in the first two works of the group, "A sangre fría" (Zona Bruta, 2001) and "Supervillanos de alquiler" (Zona Bruta, 2003) and he accompanied them in numerous concerts as semiofficial member. The first work in solitary came with the maxisingle "One man army" (Zona Bruta, 2004) debut that it brings over a bit more to the great public and that generates very good impressions. One year later he places on the record scene his first complete album "Homogeddon" (Zona bruta, 2005) great work that confirms it as the most serious and autodemanding lyricist of the spanish hip hop scene and that harvests excellent critiques:

"This album is a mouthful of fresh air to the scene rap of here. He is not among the classics but there goes way of it being." (GO Magazine)

"One of the best works of our hip hop listened in the last times." (RockdeLux)

Elphomega defends his "Homogeddon Tour" for the whole national territory and surprises with a simple but tremendously effective show based on the interaction between dj and mc, together with Dj Narko both realize a magnificent unfolding of skills to connect with the public with a show that has influenced other artists of rap. Of return to the studio Elphomega contributes on the third album of Hablando en Plata Squad "La división de la victoria" (Zona bruta, 2006) and in the project that joins to spanish with international mc's promoted by the dj and producer El Cerebro, "Simbiosis" (Gris Materia, 2007).



Now Elphomega publishes his second solo album, "El testimonio Libra" (Zona Bruta, 2007) a very awaited album given the big expectations that his first work generated. One week before the publication of the disc could listen to an advance of ten tracks in his portal www.myspace.com/elphomega and with this work Elphomega has been the first artist who overcomes the barrier of 11.000 plays in one day, a record within reach of few ones. "El testimonio Libra" is an album that will not defraud to anybody and that it will take pleasure equally so much to the public hip hop more orthodox, with a real attitude to the hip hop competition and winks to the classic sound, as to the foreign ones to the movement for his rich spectrum of musical influences and an extent vocabulary that move away increasingly from the juvenile commanding anxiety. This one is an intense album loaded with subliminal messages and propitiously to the double or triple readings and that is discovered by every new scout. Both his title and his aesthetics reminds us to movies as " The conversation" and "All the president's men" and the intelligent references towards the pop culture return to be present of way in that alone Elphomega can do it.

Into the beats practically all the work relapses on the shoulders of Sr. Narko, dj and producer of the group Hablando en Plata Squad, which for this occasion moves away consciously from the sound that has made him famous with his group and penetrates in other less recognizable atmospheres, in order to manage to exploit Elphomega's versatility. Together with Sr. Narko completes the producers list Rayka (Hablando en Plata Squad), Zeta, Nerko, R de Rumba (Violadores del Verso) and Dj Vú. As for the featurings we find Kultama (VKR), Capaz (Hablando en Plata Squad) and Violadores del Verso, with a track that will make you shout … fire!!

Complex subject matters that go from the longed for infancy, "the fear of other one", dreamgirls and shocks with our alter ego, up to more trivial others as the adult magazines or the simple act of sleeping or having breakfast, but that in the writing and Elphomega's skills they manage to seem to be much more transcendental than they show off to simple sight. With a personnel felt of the competition that removes it from the topics of hip hop, Elphomega stamps on his rap a flexibility that few ones have, martian skills capable of confronting any sound. Elphomega with his second work comes to demonstrate that the things are not as they have showed us and that really there is something new under the sun, something new that writes itself with P and with H. Enjoy it.



Tracklist:

1. MK Ultra (El testimonio libra titles)
2. Gafas3. Rollergirl
4. Perlas (Ask inside for your size)
5. Dream Warriors
6. Como un fan
7. Emergency
8. Viaje Astral
9. Fuego camina conmigo
10. W.2.H.O.F11. Tercer rail12. Una biblia hueca y una pistola
13. Burlesque / Nudies
14. Identidad secreta (Alaska morning)
15. Illpack 2: Hijos de Kubrick16. Nada mejor (Illpack 3D)
17. Polaroids 1984
18. Postdata

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Roots Manuva - Run Come Save Me [2001-192kbs]


Roots Manuva
(born Rodney Smith, 1972) is a rapper from Stockwell, South London. He is currently signed to Big Dada.

Smith grew up around Stockwell in South London. His parents were from a small village in Jamaica called Banana Hole where his father was a preacher and tailor. Spending much of his early years in poverty, this and his strict Pentecostal upbringing clearly had an influence on his music as can be seen in many of his tracks such as "Sinny Sin Sins" and "Colossal Insight".

A quote from Smith himself sums up his early discovery of music:

I was a big kid. Before I even knew what a soundsystem was. I was walking past Stockwell skateboard park and there was this sound being set up. They were probably just trying out their speakers. I was with my mum, holding my mum's hand. And I remember my mum being quite intimidated by the whole affair. Such a barrage of bass coming from it! And these dodgy-looking blokes standing beside it just admiring the sound of their bass. It's just a bass thing. A volume thing. I don't know if I rose-tint the memories, but I remember it sounded so good, so rich. It's not like today when we go to clubs and it hurts. It was more of a life-giving bass.

Smith made his recorded debut in 1994 as part of IQ Procedure through Suburban Base's short-lived hip hop imprint Bluntly Speaking Vinyl. He debuted as Roots Manuva the same year on Blak Twang's "Queen's Head" single, before releasing his own single, "Next Type of Motion" the following year through the same label, the hugely influential Sound of Money. 1996 saw the release of his collaborations with Skitz ("Where My Mind Is At"/"Blessed Be The Manner") on 23 Skidoo's Ronin label. The release of "Feva" on Tony Vegas' Wayward imprint followed in 1997. This was also the year that saw the first releases from Big Dada, a collaboration between Coldcut's Ninja Tune label and hip hop journalist Will Ashon.

Releasing for Coldcut's renowned experimental/hip-hop label Ninja Tune in 1998, some of his music may be seen as a predecessor of grime. The following year he released his groundbreaking debut album, Brand New Second Hand. A reference to his family's modest lifestyle as a phrase his mother used for presents he often got as a youngster that were pre-used. He had such an impact on the UK rap scene that The Times declared that "his is the voice of urban Britain, encompassing dub, ragga, funk and hip hop as it sweeps from crumbling street corners to ganja-filled dancehalls, setting gritty narratives against all manner of warped beats." Manuva was rewarded for his breakthrough with a MOBO as Best Hip Hop Act that year.

The lyrics of his songs are usually known to take a distinctly British edge, with many critics highlighting his references of eating cheese on toast and drinking bitter as examples of this. His warm and easily recognizable voice can be heard on many songs he performed with other artists such as Chali 2na (of Jurassic 5 & Ozomatli), DJ Shadow, Mr Scruff, U.N.K.L.E., Nightmares on Wax, The Cinematic Orchestra, Beth Orton, Leftfield, Saian Supa Crew and most recently Coldcut. He also made an appearance on the Gorillaz latest album, Demon Days, lending his distinctive vocals to the track, "All Alone".

Now with his own record label, Banana Clan Records, which he is using to blood young British based talent, Roots Manuva continues to release his own style of Funked up, dub style, U.K. Hip-Hop.

TRACK LIST
  1. "No Strings..." (featuring Isabelle Dunn & Prabjote Osahn) – 1:25
  2. "Bashment" (featuring Ricky Rankin) – 3:19
  3. "Witness (1 Hope)" – 4:15
  4. "Join The Dots" (featuring Chali 2na & DJ MK) – 3:59
  5. "Black Box Interlude" – 0:22
  6. "Ital Visions" – 4:42
  7. "Kicking The Cack" – 3:36
  8. "Dub Styles" (featuring The Lingalong Tecknishun) – 2:40
  9. "Trim Body" – 3:35
  10. "Artical" (featuring DJ MK) – 3:21
  11. "Hol' It Up" (featuring Riddla) – 2:48
  12. "Stone The Crows" – 3:21
  13. "Sinny Sin Sins" (featuring Pastor Lee) – 3:36
  14. "Evil Rabbit" – 3:24
  15. "Swords In The Dirt" (featuring Big P, Blackitude, Danny Vicious, Rodney P, Skeme, DJ MK & Niara) – 4:40
  16. "Highest Grade" (featuring Seanie T.) – 4:05
  17. "Dreamy Days" (featuring Isabelle Dunn & Prabjote Osahn) – 4:45
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BORN BAD



The Born Bad compilation series collects together the original music that inspired bands like The Cramps. You can't go wrong with this series, although they can be kind of short since I think they were originally intended as vinyl compilations, and sometimes are sourced from vinyl sources.

It's a great compilation series if you are curious to hear the original rockabilly and garage punk artists that inspired The Cramps, like Hasil Adkins, Wanda Jackson, Andre Williams, Charlie Feathers, and Richard Berry, with some later 60s groups thrown in every once in awhile, like The Sonics, Tommy James, Paul Revere, and the Kasenetz-Katz Super Circus.

BORN BAD-VOL TWO-(320kb/s-1992)

Volume 2 has original versions of Love Me by the Phantoms, I Can't Hardly Stand It by Charlie Feathers, She Said by Hasil Adkins, and Lonesome Town by Ricky Nelson. For a nice change of pace here, things get a bit more 60s garage rock on Hanky Panky by Tommy James and the Shondells, Hungry by Paul Revere & the Raiders and Quick Joey Small by the Kasenetz-Katz Singing Orchestral Circus.

TRACKLIST: click to enlarge

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BORN BAD-VOL THREE-(320kb/s-1992)

Volume 3 includes the trio of songs based around the Surfin' Bird phenomenon, including Mama Oom Mow Mow and The Bird's The Word by the Rivingtons and Surfin' Bird by The Trashmen. Andre Williams makes his appearance on two of his classic tunes Bacon Fat and Jail Bait. And the original version of Can Your Hossie Do The Dog by Del Raney's Umbrellas is heard here (the tune that later inspired The Cramps own tune Can Your Pussy Do the Dog?).

TRACKLIST: click to enlarge


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samedi 19 avril 2008

BJORK - Post (1995-320kb/s)


Björk was born and raised in Reykjavík. Her musical career began aged 11 with her study of classical piano in elementary school. One of her instructors sent a recording of Björk singing Tina Charles' song I Love to Love to RÚV, then the only radio station in Iceland. The recording was broadcast on radio nationally; after hearing it, a representative of the record label Fálkinn contacted Björk to offer a record contract. An album, Björk, was recorded and released in 1977.

In her teens, Björk was influenced by punk; at 14 she formed the all-girl punk band Spit and Snot, shortly followed by the jazz fusion group Exodus in 1979. In 1980 she graduated from music school. In 1981 she and bassist Jakob Magnússon formed another band called Jam-80, which later became Tappi Tíkarrass (which means "Cork the Bitch’s Arse" in Icelandic), and released an extended single, "Bítið Fast í Vítið" in the same year. Their next album, Miranda, was released in 1983.

Afterward Björk collaborated with Einar Örn Benediktsson and Einar Melax from Purrkur Pillnikk, and Guðlaugur Óttarsson, Sigtryggur Baldursson and Birgir Mogensen from Þeyr. After writing songs and rehearsing for two weeks, the new band, KUKL ("sorcery" in Icelandic), developed a sound described as Gothic rock. Björk began to show indications of her trademark singing style, which was punctuated by howls and shrieks.

-KUKL- toured Iceland with anarchist UK punk band Crass, and later visited the UK in a series of performances with Flux of Pink Indians. They produced two albums as a result of these collaborations: The Eye in 1984, and Holidays in Europe in 1986, both on Crass Records.

The band was eventually dissolved, in part due to the closure of their label, Gramm. In mid-1986, several members of KUKL and the surrealist group Medusa got together to create the arts collective Smekkleysa (Bad Taste). They created a musical division, a band again called KUKL, but soon changed the name to The Sugarcubes.

Post

Post was Björk's third studio album. Released in June of 1995, the album was produced in conjunction with Nellee Hooper, Tricky, Graham Massey of 808 State, and electronica producer Howie B.

Building on the success of her previous album Debut, Björk continued to pursue different sounds, taking particular interest in dance and techno. Production by Tricky and Howie B also provided trip hop/electronica-like sounds on tracks like "Possibly Maybe". It was these producers' influence that gave Björk impetus to create material like the storming "Army of Me" and "Enjoy".

It was ranked #26 in Spin's "100 Greatest Albums, 1985-2005". Post and Homogenic were placed back to back on Pitchfork's "Best of the 90's" list. In 2003, the album was ranked number 373 on Rolling Stone magazine's list of the 500 greatest albums of all time.


Post has been certified platinum in the U.S.

TRACKLIST: click to enlarge


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JOHN BARRY - Sixties Screen Themes (1999-320kb/s)

John Barry, OBE (born John Barry Prendergast on 3 November 1933 in York, England) is a renowned Golden Globe and five-time Academy Award-winning English film score composer.

Personal life

Barry was educated at St Peter's School, York, and also received composition lessons from Francis Jackson, Organist of York Minster. Living in his native England until the mid 1970s, Barry spent some time in Spain (for tax reasons) but has since lived in the United States, mainly in Oyster Bay outside New York.

Barry suffered a rupture of the oesophagus in 1988 which has left him vulnerable to pneumonia.[1]

Barry has been married four times. His first three marriages ended in divorce: Barbara Pickard 1959-63; Jane Birkin 1965-68; and Jane Sidey 1969-71. He married his current wife, Laurie Barry on 3 January 1978. Barry has three children, one each from his first, second, and fourth marriages.

Career

His family was in the cinema business, but it was during his National Service that he began performing as a musician. After taking a correspondence course (with jazz composer Bill Russo) and arranging for some of the bands of the day, he formed the John Barry Seven. Barry then met Adam Faith, and composed songs, along with Les Vandyke, and film scores on the singer's behalf.

These achievements caught the attention of the producers of a new film called Dr. No who were dissatisfied with the score given to them by Monty Norman. Barry was hired and the result would arguably be the most famous signature tune in film history, the "James Bond Theme". (Credit goes to Monty Norman, see below.)

This would be the turning point for Barry, as he would go on to become one of the most celebrated film composers of modern times, winning five Academy Awards and four Grammy Awards, with such memorable scores written for The Lion in Winter, Midnight Cowboy, Born Free, and Somewhere In Time.

Barry is often cited as having a distinct style which concentrates on lush strings and extensive use of brass. However he is also an innovator, being one of the first to employ synthesisers in a film score (On Her Majesty's Secret Service), and to make wide use of pop artists and songs in Midnight Cowboy. (Note that while The Graduate came a few years before, those songs had mostly been previously released.)

Barry is also known for the famous score he wrote for the theme tune for TV series The Persuaders!, also known as "The Unlucky Heroes", in which Tony Curtis and Roger Moore were paired as rich playboys solving crimes. The theme went to be a hit single in some European Countries and has been re-released on collections of 1970s disco hits. The instrumental recording features Moog synthesisers. Barry also wrote the scores to a number of musicals, including Passion Flower Hotel (lyrics by Trevor Peacock). the successful West End show Billy (lyrics by Don Black) and two major Broadway flops, The Little Prince and the Aviator and Lolita, My Love, the latter with Alan Jay Lerner as lyricist.

During 2006, Barry was the executive producer on an album entitled Here's to the Heroes by the Australian ensemble The Ten Tenors. The album features a number of songs Barry wrote in collaboration with his lyricist friend, Don Black.

Barry's orchestration very often combines the horn section with the strings in a way that makes his music immediately recognisable. By providing not just the main title theme but the complete soundtrack score, Barry's music often enhances the critical reception of a film, notably in Midnight Cowboy, Out of Africa, and Dances with Wolves.

October 2007 saw John Barry announce a deal with Universal Music France for 2 albums scheduled for early 2008. These will be his first solo works for 7 years, and are expected to be a jazz based album and another concept orchestral album along the same lines as The Beyondness of Things and Eternal Echoes.


TRACKLIST: click to enlarge


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