Šta se sluša ?

[paja959]

S obzirom na danasnju vest danas je bilo:

Joe Zawinul "Zawinul" ('71)

Weather Report "1st"

Weaher Report "Mysterious traveller"

Weather Report "Sweetnighter"

Sa reapet-ima sa svakog albuma:in a silent way,orange lady,jungle book,will+adios

adios!

[Wazzuu]

odlichno!!! odlichno!!! odlichno!!!

[The Minister]

Uh....ovo je dobra svirka....po meni....

Nisam ni znao da postoji ovako nesto

[machinori]

Preporucujem:

Diana Krall - Live in Paris (dzejz izuzetan performance)

Patricia Barber - Café Blue (produkcijski besprekorno + apsolutno virtuozna ritam+udaraljke sekcija )

Vlatko Stefanovski - Treta Majka (balkanski etno gitarski jazz - nesvakidasnje kao i uvek - produkcijski takodje odlicno uradjeno - cuti obavezno)

The Art of Amalia Rodrigues (fado - prelepa muzika - za uzivanje)

[audiofill]

Danas divota:

Hans Theessink - Songs from the southland

[Vladimir]

ELO -A New World Record (remaster 2006)

Filharmonicari su pokazali sedamdesetih da znaju da naprave doooobar r'n'r, ali i danas, 30 godina kasnije, to zvuci sjajno.

POZDRAV SVIMA!

[Vladimir]

Jos uvek mi je u secanju ovaj omot u izlogu knjizare Kultura (sada Hypo banka) na granici Terazija i Marsala Tita (sada Kralja Milana)...

[Vladimir]

Nesto me uhvatile sedamdesete, evo jos jedne preporuke:

[hazarder]

Anglagard - Hybris

Nakon zatiÅ¡ja progresivnog roka posle renesansnih 70-ih i raznih neo-prog devijacija, Å¡vedski virtuozi okupljeni u bendu pod nazivom Anglagard izdaju '92. debut album Hybris. ObrevÅ¡i se u klasiÄnom stilu, Tord Lindman i Johan Hogberg su pred sebe postavili težak zadatak: napraviti muziku koja neće biti puki plagijat, a koja pronalazi osnovu u najplodnijem periodu progresivnog roka. Pod snažnim uticajem velikana prog roka: KC, VdGG, Marilliona, Genesisa..., prihvatajući legat i nastavljajući tradiciju, Anglagard stvara novo remek delo!

MelodiÄan, emotivan, progresivan, dramatiÄan, inspirativan, harmoniÄan, album Hybris me, u nedostatku boljeg izraza, iz gaća istresao. Neverovatno skladan, dinamiÄan, ni na trenutak zamoran, album vredan posvećenja. Hybris nesumnjivo spada u sam vrh progresivne muzike. Apsolutni 'must have'!

p.s. Osećanje je kao da slušate antologijski album iz 70-ih, samo bez šuma.

p.p.s. Tekstovi su na Å¡vedskom. Prevodi se nalaze na njihovom sajtu. http://www.anglagard.net/lyrics.htm

[空也]

Nesto me uhvatile sedamdesete, evo jos jedne preporuke:

Jel' to nedavno palo skidanje sa Demonoid-a?

I ja sam se veoma obradovao kada je postovan ovaj album.

Imam originalni vinil koji izgleda kao nov, al' je bio pozajmljen osobi koja nije imala dobro nastelovan gramofon, te su brazde pred kraj strane ostecene...

Sada bar eto mogu da u rukama drzim veliki omot i zamisljam da ponovo slusam taj LP.

[ozzy]

Anglagard - Hybris

Moj Äovek .

[MRMOT]

... a ja bih dodao i ovo, ako se slazete. Vec nekoliko dana ga slusam....

[ozzy]

... a ja bih dodao i ovo, ako se slazete. Vec nekoliko dana ga slusam....

Masterpiece!

[hazarder]

... a ja bih dodao i ovo, ako se slazete....

Ah, Gentle Giant!

"Sweet the song that once we sang, the silent parting ways..."

[urde]

[urde]

[ibsh]

sluša se

clint mansell/mogwai/chronos quartet : the fountain

obavezno saslušati, mnogo fina mjuza za opuštanje

[ras]

Intelligence - Deuteronomy, 2007.

Informationen zum Artikel (sa http://www.soundflat.de)

If musicians painted images with their instruments, The Intelligence's soundscapes would be set in a grainy, ash-gray world, among piles of scrap metal and busted machinery, with discarded computer parts blinking in cobwebbed corners and factories belching out toxins at irregular intervals. It'd be a black-andwhite wasteland of humanity, a post-apocalyptic industrial revolution, warmed only by the distant loops of a delayed, disembodied guitar riff. At the center of it all would be Lars Finberg, delivering deadpan lines like 'Going out with you is like going out with a cop.' He'd be pounding bent garbage-can lids with one hand and programming distorted beats on his keyboard with the other, a one-man laboratory of intoxicating post-punk experimentation. The music is so jagged and cinematically poetic and dusted in clouds of lo-fi noise that listening to it at different times can conjure completely different visions. It's par for the course for Finberg, who has participated in some of Seattle's most exciting musical forces such as the A-Frames and The Dipers. The Intelligence are demanding attention in and beyond the Northwest, creating a new direction in sound based on the fundamental elements of bands like The Fall and PiL, yet beneath the post-punk clang lies a serious pop sensibility. These pop chops have never been more noticeable than on Deuteronomy, the band's third full-length. Finberg swears that The Zombies' Odyssey and Oracle as well as early Bee Gees albums influenced his direction, though it sounds like Here Come The Warm Jets might've had a hand in it as well. Finberg also chose, for the first time, to forego the home recording approach he's used in the past and employed the use of Mike McHugh and his Distillery recording studio to get the most full-bodied, fully realized Intelligence recording to date.

Mnogo buke ni oko Äega.

[ras]

Karen Dalton - In My Own Time, 1971. (2006. reizdat sa bonus cd-om, sa prethodno neobjavljenim pesmama)

Among the legendary singer-songwriters of the 1960s Greenwich Village folk scene, the late Karen Dalton was the interpreter and song-stylist of choice (in fact, Dylan himself rated Dalton as his favorite of the bunch). While she never achieved the kind of fame that her cohorts did, her influence was widely felt. One can hear her throaty, slow-burning take on country-blues singing in the voices of Lucinda Williams and other female alt-country singers. This 1971 release was only one of two proper albums she made in her lifetime, and the 2006 reissue includes all the original tracks, remastered, with a 32-page booklet and liner notes by Lenny Kaye (with input from other famous fans).

Reviews:

Spin (p.58.) - Ranked #4 in Spin's "The 10 Best Reissues of 2006" -- "[A] spookily gorgeous 1971 country blues record..."

Entertainment Weekly (p.82) - "Dalton transforms the album's traditional Americana and soul tunes to fit her own sorrow-soaked aesthetic." -- Grade: A

Q (p.110) - 4 stars out of 5 -- "[H]er best album reveals a singer with an otherworldly gift for finding her own space in well-worn tunes."

Dirty Linen (p.71) - "he uses her voice as an instrument and evokes images of Miles Davis at his coolest."

Briljantno!

[ras]

Nathaniel Mayer - Why Don't You Give It To Me?, 2007.

Šta kaže egzaltirani slušalac na cdUniverse-u:

The Album of the year

Following his critically acclaimed comeback album "I Just Want To Be Held" (Fat Possum 2004), Detroit soul legend NATHANIEL MAYER's new album "Why Don't You Give It to Me?" sounds like the record he should have made in 1970. This time production was the team effort of Matthew Smith (Outrageous Cherry), Dan Auerbach (Black Keys), and Dave Shettler (SSM/The Sights), all simultaneously turning knobs, grabbing faders, and switching various boxes on and off. Troy Gregory (Dirtbombs) played bass. The result is soul music with a psychedelic rock n' roll heart that has as much in common with the Stooges, MC5 and The Seeds as it does with Nathaniel's R&B contemporaries like Jackie Wilson, Marvin Gaye, and the Miracles. This son of Detroit has recorded what is easily the best album of his career and very possibly one of the best rock/blues/soul/psychedelic albums I've ever heard. Why Don't You Give It To Me? was born after the Black Keys, Dan Auerbach, and Mayer performed together at NYC's Knitting Factory and decided that they should take their scintillating steaming cauldron of music into the recording studio. Recorded in Mayer's hometown of Detroit and produced by Matthew Smith, Dan Auerbach, and Dave Shettler this album is so great, so interesting, and so difficult to categorize. Mayer opens with the pure funk and his trademark howls in the title song, and then immediately moves the listener out of complacency and into the intense rockabilly inspired "White Dress". He pays homage to his blues roots with the classic sound of "Please Don't Drop the Bomb" and then surprises yet again with the opening jazzy riffs of "Doin' It". The reggae inspired island beat of "Dancing Move" is reminiscent of UB40. It's as though Hendrix, the Stooges, James Brown, RL Burnside, the Stray Cats, and UB40 all came together in a "best of" blend. This is an eclectic mix that works in the hands of this masterful vocalist. This Blows your mind off !!!

Submitted by christer.andersson1 (Huddinge, Sweden)

ras, takođe egzaltiran!

[ras]

Norma Waterson - Norma Waterson, 1996.

Tracks:

Black Muddy River [Jerry Garcia / Robert Hunter] (4:21)

St Swithin's Day [billy Bragg] (2:56)

God Loves a Drunk [Richard Thompson] (4:41)

The Birds Will Still Be Singing [Declan McManus (Elvis Costello)] (2:56)

There Ain't No Sweet Man That's Worth the Salt of My Tears [Fred Fisher] (2:54)

Rags and Old Iron [Norman Curtis / Oscar Brown jr] (4:18)

Pleasure and Pain [ben Harper] (6:03)

Hard Times Heart [Norma Waterson] (3:20)

There Is a Fountain in Christ's Blood [Trad. arr. Norma Waterson] (3:48)

Anna Dixie [Lal Waterson] (3:41)

Outside the Wall [John B. Spencer / Graeme Taylor] (6:14)

Reviews:

Q Magazine 7/96, p.127. 4 Stars - Excellent - “...The choices are bold and the performances are nothing less than fearless... It might well ruffle the feathers of a few purists but that probably means that it's more accessible.â€

Option (9-10/96, p.140) - “...Norma Waterson explores songs of relatively recent vintage....talent gets applied to a set of finely wrought, emotionally resonant tunes to create a deeply rewarding album...â€

Hannibal Records' release notes:

The Reigning Queen of British Folk Releases First Solo Album

Hannibal Records is pleased to announce the release of Norma Waterson, the first solo album by one of the world's great voices. Rather than taking on the traditional English material for which she is known, the reigning doyenne of British folk delivers remarkable interpretations of songs by Elvis Costello, Jerry Garcia, Richard Thompson, Billy Bragg and Ben Harper, among others. Backed by a band that includes Richard Thompson on guitar, Danny Thompson on bass, Roger Swallow on drums, her husband Martin Carthy on guitar, and their daughter Eliza Carthy on violin, Norma Waterson gives fresh eloquence to each song with her rich lived-in voice, creating a collection that is sure to widen her already devoted following.

Norma began her career back in the early 60s. To put it in historical perspective, when the woman Mojo magazine called “possibly the finest English singer alive today†first committed her voice to record, the Beatles hadn't yet landed in the United States, man hadn't yet landed on the moon and the Who hadn't yet landed a recording contract.

So why did it take this woman 32 years to make her first solo album? Well, it isn't like she hasn't been working.

Norma first performed professionally with a group that included her brother (Mike), her sister (Elaine, known as Lal) and their cousin, John Harrison. The band was initially called The Mariners, then The Folksons, and finally The Watersons. The Guinness Encyclopedia of Popular Music proclaimed The Watersons “one of the most important and influential of the UK folk revival groups.â€

Their 1964 debut was on an anthology aptly titled New Voices. By their first full album, Frost and Fire, The Watersons were attracting significant critical attention, and the disc was named Melody Maker's “Folk Album of the Year.†Two albums followed in 1966: The Watersons and A Yorkshire Garland. Despite incessant touring and a continually expanding fan base, economic pressures forced the band into a recording hiatus that lasted seven years. In the interim, Norma departed for the warmer climes of Monserrat, where she spent four years as a disc jockey.

Norma returned to England in 1972, picking up where she had left off. The reformed band featured a new member, ex-Steeleye Span vocalist/guitarist Martin Carthy, who took the place originally occupied by John Harrison and subsequently by Bernie Vickers. Carthy and Norma Waterson were married later that year. It was this lineup of the group that recorded For Pence and Spicy Ale, released in 1975. The Watersons have been more or less continually active with that core lineup thereafter, though other family members have augmented the band over the years. In 1977, the band released an album of Victorian hymnals (Sound, Sound Your Instruments of Joy) and Lal and Norma released A True Hearted Girl. Four years hence, the group released Green Fields, the most recent Watersons release to date. They continued to tour throughout the world, and it was on their American tour of 1991 that the idea for a solo album was initially broached with producer John Chelew.

“We were touring without Lal,†says Norma, “and we had a date in Santa Monica, California. I did There Is a Fountain in Christ's Blood, singing lead vocal. After the show [producer] John Chelew came up to me and said he really loved my voice and asked me why I had never made a solo album. I told him that no one had ever asked me to, and he said, 'Well I'm asking!' He put the idea to Joe [boyd], and off it went.†(There Is a Fountain... was later recorded for the album, the only traditional English song to be included.)

Coordinating the schedules of the all-star cast that they planned to assemble for the record turned out to be a challenge for Chelew and Waterson. The initial recording dates in the summer of 1994 fell through, and the next available window of opportunity came the following year. Even daughter Eliza had a bustling schedule. In fact, the youngest member of the clan had been busy opening up the folk scene to a new generation. She has been recording and touring with fellow violinist Nancy Kerr, as well as with her parents. The Waterson:Carthy ensemble, comprising Norma, Martin and Eliza, released a self-titled debut in 1994 which was wildly lauded in the British press and named Folk Roots' Critics' Choice of the Year.

Touring schedules notwithstanding, in December of 1995, John Chelew and Norma's band met up in California for two weeks of recording. “I like to get in and get out,†says Norma. “I've never been one to do tracks and then come back weeks later and record the vocals. What I most want to do is to preserve the live feel as much as I can.â€

Working with songs from great contemporary writers, including Elvis Costello, Billy Bragg, Ben Harper, and Jerry Garcia and Robert Hunter, Norma has strayed from her traditional moorings somewhat, although she sees these songs as having a greater kinship with folk music than might be immediately apparent.

“We tend to want to put things in compartments,†says Norma, “to label them, put them in a little box. At the heart of the matter is that these are human songs. People's songs. When people talk about folk songs, I don't know what they mean any more. The contemporary 'hold-hands-and-smile-and everything-will-be-fine' approach really doesn't have much to do with traditional music. Lots of the traditional songs said it won't be all right, things are going to go badly, and that's part of our existence. We'll still have murder and adultery and incest and grief ... and life and love and everyday joys and sorrows. There's no need to sugar-coat it. I don't want to sing children's songs, Disney's idea of life. I want to sing about real issues. I refuse to treat the audience like they're children.â€

She doesn't. Songs such as Richard Thompson's acerbic God Loves a Drunk and Ben Harper's Pleasure and Pain comment on the human condition from a mature perspective, while Lal Waterson's lovely Anna Dixie brings a measure of English history to the mix. From the first bars of Black Muddy River to the last ringing chord of Outside the Wall, it's apparent that Norma Waterson, the album, is rooted in tradition with a modern sensibility and a keen eye to the future.

The question of why her debut was so long in coming perplexes even Norma, but she waxes philosophical: “Sometimes time just gets away from you.†One can only hope that we don't have to wait until 2028 for Norma Waterson II.

Norma was nominated for the 1996 Mercury Music Prize.

[ras]

Timber Timbre - Medicinals, 2007.

Ghostly and haunting, Medicinals is an engaging album laden with dark and mischevious folk.

"With Medicinals, Timber Timbre crawl out of the woodwork to conjure up one of the mightiest local releases of the year so far. Expertly recorded in various closets and kitchens in Toronto, Medicinals' contemplative, bluesy tone and swampy arrangements insist upon the listener's attention, lingering well after the last swells ring out...On this record, Taylor Kirk proves himself to be one of our most remarkable songwriting talents and a clear contender for best singer in the city. If you like your folk a little dark and weary, Medicinals is must-have material." - Eye Weekly

Learn more about Timber Timbre at http://www.myspace.com/timbertimbre

Possible influences include: Woody Guthrie, Bob Dylan, Jeff Buckley

Listen samples!

[Pirate]

Intelligence - Deuteronomy, 2007.

[ras]

Nisam ja oduÅ¡evljen. Na momente, kada Äujem neke blues korene, ogreje me sunce. A onda brzo zaÄ‘e za oblak.

[Pirate]

Ja nisam slusao taj album, ali jesam neke njihove ranije radova. Meni to dobro zvuci, bas dobro. Pohvala je isla ka bendu i muzici (tj. muzickom pravcu).