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Ne znam kako bih ti mogao pomoci?Altsa wrote:victory pomagaj !!!
sa stranice OpenDir sam skinuo depeche mode-remix . medjutim kad je trebalo reaspakovati rar. trazi mi pasword. imali tu pomoci
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Rather than dwell once more on John Frusciante's problematic narcotic history, it's far healthier to report that Shadows Collide--the fourth solo album from the Red Hot Chili Peppers' guitarist--sports a thoroughly clean bill of health. Unencumbered by narrow rock strictures, Frusciante seems to have excused himself from the Chili's staple funk-punk approach (his recent listening preferences span early OMD, Van Der Graaf Generator, Roy Wood and Steeleye Span) and Shadows Collide is all the better for the change of scenery. Yes, there are nods to the parent band ("Song to Sing When I'm Older") and both Flea and Chad Smith are participating guests of honour, but this is Frusciante's show.
While there are interludes of electronic Eno-esque oddity (the squall of static and synth choirs on "00Ghost27") this is mostly strident, neo-psychedelic rock begging comparison, vocally and musically, with some of Grant Hart's post Husker Du solo work; a song such as "Carvel" apes the pre-Gillan pomp-opera approach of early Deep Purple. Elsewhere, fascinating treatments (the electric seabird guitars on "Second Walk", the spin-dry vocal oscillations on "Regret") abound and Frusciante's love of the mellotron (flutes, choirs et al) lend proceedings an alluring antique appeal. Think of this as a spiritual halfway house between Candy Apple Grey and In the Court of the Crimson King.
Victory, izgleda da ovaj link ne radivictory wrote:
Album koji zvanicno izlazi krajem ovog mjeseca
Chemical Brothers - Push the Button (24/01/2005)
rijesenovictory wrote:Ne znam kako bih ti mogao pomoci?Altsa wrote:victory pomagaj !!!
sa stranice OpenDir sam skinuo depeche mode-remix . medjutim kad je trebalo reaspakovati rar. trazi mi pasword. imali tu pomoci
Pokusaj se vratiti na OpenDir stranicu i pogledaj okolo da slucajno nije ponudjen password kojim ces otkljucati .rar
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There are few things more depressing than a goofy punk rock band that suddenly decides it needs to be taken seriously. Sum 41 did a brilliant job parodying corporate rock, pop and a large chunk of the '80s with breakthrough hit "Fat Lip." But over three albums, the Canadian band has unwittingly gravitated in that very direction. On Chuck, its hard to tell whether the quartet is poking fun at the platinum class or merely paying tribute by copping entire melodies and verses from some of MTV's biggest stars--Metallica's "Battery" on "The Bitter End" and Linkin Park's "One Step Closer" on "No Reason," respectively. More troubling, however, its formerly tongue-in-cheek awe for cheap metal bands like Iron Maiden and Judas Priest seems to have turned into a full-on admiration. That's clearly no laughing matter.
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Free Internet Album by John Frusciante
This material, which has never been published on a commercial album, was made available for free to all John fans in August 2001.
These songs are are a personal gift from John Frusciante, to you the fans.
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Born in Nevada City and currently residing in San Francisco, Newsom's yarns summon a deep, rustic South. A line in the buoyant "Bridges and Balloons" uses e.e. cummings neologisms and Omoo's breezy prosody to impart the tale of a winter's day on a fallible ship: "The sight of bridge and balloon/ Makes calm canaries irritable/ They caw and claw all afternoon/ 'Catenaries and dirigibles/ Brace and buoy the living room/ A loom of metal, warp-woof-wimble/ And a thimblesworth of milky moon/ Can touch hearts larger than a thimble." In "Sadie", the title character is asked to accept a pinecone and a bone, talismans to ward off death. Really, they're the gentlest tokens that mark the beginning of a relationship, and later reaffirm the love despite an inevitable move towards taciturnity.
Newsom's wonderfully detailed romanticism ("Your skin is something that I stir into my tea"), homespun wisdom ("Never get so attached to a poem, you forget truth that lacks lyricism"), idiosyncratic flourishes ("See him fashion a cap from a page of Camus"), and insights into the prosaic ("There are some mornings/ When the sky looks like a road") infuse each track with the weightiness of an embroidered travel narrative and a private field-recording.
She wields a joyful trill reminiscent of Texas Gladden on her "Devil and the Farmer's Wife", while her often childlike intonation also recalls Linda Hagood of the early '90s Uncle Wiggly-related trio, Smackdab, saturated with the air of '60s English folkie Vashti Bunyan. Showing an appreciation for Appalachian folk and the experimental composer/folksong scholar Ruth Crawford Seeger, her spare arrangements-- harp, Wurlitzer electronic piano, harpsichord, piano, and slide-guitar on two tracks-- unwind like early Homestead oddity, The Supreme Dicks.
Creating avant-garde American music for the back porch, she expands upon tradition without losing authenticity. In this sense, her practice could be linked to Devendra Banhart, a friend and kindred spirit. Both map a pile of eccentricities that tumble together to create something useful, familiar, and nearly sacred. Here's hoping to a duet for the new folk future. Perhaps Kenny-and-Dolly style?
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Jools is best known as the genial presenter of the multi-stage, multi-genre Later With Jools show on BBC2, but here he expands on the musical cameos he makes there to stand centre stage as pianist, singer, bandleader and composer. The music closest to his heart is big band shuffle, jump and boogie, and there are plenty of roaring horn sections here, numerous bluesy vocals from Jools and top notch jazz solos from Guy Barker, Bruce Adams and others. At the same time, reflecting the eclecticism of his show, he also dips into reggae with skanking versions of "The Way You Look Tonight" (vocal by Sam Brown) and "I'm In The Mood For Love" (where Jamiroquai flexes his jazz muscle with authority). Jazz history is underlined rather than reinvented here, but the set is ideal for anyone who can't wait until Christmas for a taste of the party atmosphere which suffuses Jools's famed Hootenanny TV specials.