Forum Klix.ba

There's an old quote of St. Theresa's that goes something like, "More tears are shed over answered prayers than those that remain unanswered." In other words, be careful what you wish for--you just might get it. Don McLean, like any other singer-songwriter, no doubt wanted a hit, or some degree of success. "American Pie" gave him that and more. McLean's ode to Buddy Holly began with a folky intro that sounded like a protest song. Almost nine minutes later the song finally ends. Sure the song's poetic, sure it's a touching tribute, and sure, it's undeniably a classic. But it also became the bane of McLean's existence for many years as it was the only one of his songs that people wanted to hear. American Pie the album sold well on the strength of the title track, and even propelled the comparatively weak "Vincent" into the Top 20. A fine release rooted in folk, American Pie is a classic, whether anyone actually pays attention to the other songs or not.

This four-disc album--like the famed August 1969 rock festival it chronicles--is something of a sprawling, disorderly, engaging mess. Issued as a box set 25 years after the counterculture tribal gathering, it amasses the original three-record Woodstock set from 1970, its two-LP 1971 sequel, Woodstock II, and a generous store of previously unreleased tracks from Creedence Clearwater Revival, Janis Joplin, the Band, Jimi Hendrix, and others. There's plenty of chaff to go with the wheat (one is tempted to conclude John ("Far out!") Sabastian's blissed-out rant hasn't aged well, but it's just as likely most of the crowd at Yasgur's Farm would have gagged him if given half a chance, and Jefferson Airplane and Crosby, Stills & Nash clearly had better days). But Sly & the Family Stone, Joe Cocker, Santana, and Richie Havens shine, the stage patter has become part of the lexicon, and the whole package now stands as a remarkable account of a pivotal musical and cultural event.

A wrote:Hvala za Don McLean-a ! Imala sam taj LP i ko zna ko mi ga nije vratio nekad davno...

Corrosion Of Conformity: Pepper Keenan (vocals, guitar); Woody Weatherman (guitar); Mike Dean (bass instrument); Stanton Moore (drums, percussion).

Producers: John Custer; Corrosion Of Conformity. Recording information: Galactic's G Spot, New Orleans, LA (2004); Wigg Shoppe, Raleigh, NC (2004).

Fans who may have found 2004's AMERICA'S VOLUME DEALER a bit sterile will find IN THE ARMS OF GOD to be murkier than a bayou full of alligators. Corrosion of Conformity produced an album charged with more anger and aggression than anything the North Carolina band had done in the last 15 years. While not a total return to their 1980s political hardcore days, here C.O.C. brings back everything but the breakneck tempos. From the overture-like quality of "Stone Breaker" to the cataclysmic conclusion of the title track, IN THE ARMS OF GOD plays like a movie score. Songs ebb and flow, yet remain connected by Stanton Moore's roiling drumming, propelling the group through a swampy landscape of Southern metal. "Rise River Rise" takes its sweet time; guitars and drums tinker, while the bass rumbles along, and once everything is in place, there's a brief pause before the band roars to life. This tension and release is used again with even more success on the eerily calm "Crown of Thorns" transition into the self-titled tour de force album closer. Throughout the record, frontman Pepper Keenan's voice reveals a singer who just gets better with age, and his primal screams bring added urgency to this fiercely potent outing.
--------------
It's as if Metallica swapped drummer Lars Ulrich for the Meters' Ziggy Modeliste. But Stanton Moore, a friend of Corrosion singer-guitarist Pepper Keenan -- and the man who keeps the thump for New Orleans funketeers Galactic -- earns his John Bonham stripes moonlighting on CoC's first studio album in five years. Moore won't be touring with the band, but the jazzy dynamics he brings to this Dixie-Black Flag blitzkrieg makes you wish he would.

http://s51.yousendit.com/d.aspx?id=2CQAQ5TDU6DX11U6JVUVLUQD28

Blonde Redhead's Melodie Citronique reworks three songs from its excellent album Melody of Certain Damaged Lemons and adds two songs that highlight the group's multicultural, multilingual approach. "En Particulier" is a straightforward French translation of Lemons' dreamy "In Particular"; "Odiata Per le Sue Virtu" is "Hated Because of Great Qualities" with an Italian makeover. "Four Damaged Lemons," a remix of "For the Damaged," makes the song even more fragile and delicately lovely by adding a looped piano, brittle acoustic guitar, backwards sound effects, and chiming keyboards. The bouncy, sing-song "Chi É E Non É" sounds a bit like one of the Pixies' poppier moments sung in Italian, while the version of Serge Gainsbourg's "Slogan" suggests that his slinky, sensual style has become almost as big an influence on Blonde Redhead's sound as Sonic Youth was previously. Though it isn't quite as big a step forward for the group as Melody of Certain Damaged Lemons, Melodie Citronique is an enjoyable companion piece to that album, as well as a further exploration of the group's softer side.

http://rapidshare.de/files/1496053/hardway.rar.html
http://rapidshare.de/files/1496041/bombay.rar.html 

The Indian film-soundtrack cassettes that can be had for a couple of bucks at any Indian spice shop have long been one of the best buys in prerecorded music. Despite the fact that hundreds of fresh titles are cranked out assembly-line style each year, they maintain a remarkable consistency of quality. This CD's ostensible mission is to introduce the uninitiated hipster to the sitar-, string-, and synthesizer-laden grooves that characterize the incidental music for most "Bollywood" productions. But album producer Dan "the Automator" Nakamura has heavily tampered with the original tracks, giving the songs inanely ironic new titles and even dubbing in additional drum and sitar in an effort to put his stamp on the music. Easily angered purists should steer clear; for others, it offers entertaining enough background listening.

For this follow-up to her 2001 debut, (Salt Rain, which won a BBC Radio 3 World Music Award and was certified Gold in France), Raman continues to build on her tried-and-true formula. Born in Britain to South Indian parents, her Tamil birthright did not preclude an attraction to Western pop and she explores this duality throughout the album. The title tune is a back-room, jazzy rendering of an urban Ethiopian hit--it and a sexy cover of Joan Armatrading's "Save Me" are the only English-language tracks. The other nine offer a far-flung mélange of languages, constituting a dream journey during which the chanteuse's silky, flexible alto encounters trip-hop, Tuvan throat singing, sinuous Indian classical ornamentation, and assorted African influences. As modern electronica flickers amid age-old acoustic instruments with unexpectedly felicitous results, it becomes clear that Raman has achieved a study in contrasts that is also a primer for inclusion.

Jimmy Smith (December 8, 1925 – February 8, 2005) was a jazz musician whose instrument was the Hammond organ B-3 electric organ.

Born James Oscar Smith in Norristown, Pennsylvania, USA. Smith was influenced by both gospel and blues. He first achieved prominence in the 1950s where his recordings became popular on jukeboxes before there were commonly used terms to describe his unique musical flavor. In the sixties and seventies he helped create the jazz style known as 'funk' or 'soul jazz'.

His music was characterised by playing walking bass lines with his feet, percussive chords with his left hand, and very fast melodic improvisation with the right hand.

Smith was a prolific recording artist. He first recorded with the Blue Note label in 1956. His early albums with Blue Note sold very well, aiding the label's efforts to develop other artists. They include Home Cookin', The Sermon, Midnight Special, Prayer Meetin', and Back at the Chicken Shack.

Smith switched to Verve Records label in 1963. Smith's albums with Verve include: The Boss; dot com blues; Root Down; Jimmy Smith's Finest Hour; Peter & The Wolf; Ultimate Jimmy Smith; Any Number Can Win, The Cat...The Incredible...; Bashin'; The Dynamic Duo with Wes Montgomery; Got My Mojo Workin' / Hoochie Coochie Man; Angel Eyes; Talkin' Verve: Roots Of Acid Jazz; Walk On The Wild Side: Best- Years; Damn!; Jazz Masters 29; Jazz 'Round Midnight; Further Adventures Of Jimmy and Wes; Christmas Cookin'; and Organ Grinder Swing.

It was in this period that he began a regular collaboration with Guitarist Wes Montgomery.

Smith recorded with a full orchestra and worked with arrangers and conductors such as Lalo Schifrin and Oliver Nelson. He also worked in small groups that featured many of the best jazz musicians of his era: Kenny Burrell, Wes Montgomery, Grady Tate, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Ike Quebec, and Stanley Turrentine among them. There are also numerous recordings with other artists available including: Stuff Smith, Dizzy Gillespie & Oscar Peterson; Love And Peace: A Tribute To Horace Silver - Dee Dee Bridgewater; The Very Best Of Christmas Jazz - Various Artists; Blue Bash! - Kenny Burrell.

His influence has been felt across multiple generations and musical styles. The Beastie Boys, Medeski, Martin & Wood, and The Hayden-Eckert Ensemble are among the better known contemporary bands that pay tribute to Smith's sensibilities and sound. The Acid Jazz movement also reflects Smith's influences.

Smith died on February 9, 2005, in Scottsdale, Arizona, USA.

Root Down captures the king of the Hammond B3 organ, Jimmy Smith, playing down and dirty R&B. It isn't that Smith had forgotten that he was one of the jazz greats for this 1972 live concert, but with an LA rhythm section, there is definitely a groove here. A damn funky groove, at that. The album includes two versions (one previously unissued) of Smith's "Root Down," a song covered by the Beastie Boys in 1994. There is also a hypnotic reading of Al Green's pleading "Let's Stay Together," which yet again proves that Jimmy Smith is a man with a lot of soul. But it is when he ups the pace that the album really comes alive, such as on his "Slow Down Sagg," released here in its entirety for the first time. With Arthur Adams accompanying on fat-back guitar, its raw funk would impress James Brown. With Root Down, dancing shoes are essential.

Another amazing release of trippy stoned weirdness, wailing guitars, and flashes of anarchic stoned beauty. Reminiscent of Amon Düül II and early Hawkwind with various Kraut rock influences...... just close your eyes and let it wash over you !.

The Acid Mothers Temple discography seems to be expanding weekly with limited edition vinyl and CD-Rs cropping up on obscure labels all over the place. When you record live and have a band that's pretty much incapable of playing anything under 20 minutes long, there's a lot to release. No-one's complaining though, as guitarist Makoto Kawabata and friends seem to be on a roll at the moment in their quest to unite the drive of psychedelically fuelled rock with a deeper, more spiritual aesthetic.

The sprawling 40 minute title track is based on an Occitanian folk tune, and the unearthly acoustic opening with its overtone singing sounds like something that might have made its way on to a Werner Herzog soundtrack. Indeed once the guitars come in and the band stoke up their mighty drone, the effect is that of an amped up Popul Vuh, the German band who soundtracked many Herzog films. Ashra Tempel or Amon Duul are other reference points. At times, it's impossible to believe that this wasn't recorded in Berlin in 1972, such is the authenticity of the enterprise. But Kawabata's crew aren't merely K-tel Krautrockers; La Novia shows a deep respect for the traditional folk form and integrates it completely with the long forays into deep space that the leader's fuzz

"Bon Voyage au LSD", though a mere 17 and a half minutes long makes up for in intensity what it lacks in length, building up from a stark montage of synth cries and guitar shrieks to a bludgeoning trainwreck of a riff. Likely to send even your Granny on a trip to the outer regions of the known universe, this record should be handled with care.

Acid Mothers Temple is a Japanese project of ultra psychedelia, led by guitarist Makoto Kawabata (Makoto is the first name), who was already the leader of Ankoku Kakumei Kyodotai at the end of the 1970s, as documented on Dark Revolution Collective (1978 - Qubico, 2001), for electronics and synthesizers, and Psychedelic Noise Freak (REP, 1978 - QBICO, 2002), both originally recorded in 1978. The latter showcases a lot of synthesizer noise which recalls Morton Subotnick's most childish experiments.
Kawabata's Baroque Bordello cassettes from the 1980s, such as First Trip (1981 - Qubico, 2002), continued Dark Revolution Collective's program.

Acid Mothers Temple & The Melting Paraiso U.F.O. (Underground Freak Out), as the full name goes, were formed in 1996. AMT (for short) play progressive jams in the vein of psychedelic freaks such as Magma and Gong. Furthermore, Kawabata believes he is the reincarnation of hippie guru Father Yod. Unfortunately, their art has been diluted over (literally) dozens of albums.

Acid Mothers Temple & The Melting Paraiso Ufo (PSF, november 1997) includes the first version of Pink Lady Lemonade.

Pataphysical Freak Out Mu (PSF, march 1999 - Eclipse, 2002), whose 5 is half an hour of Hendrix-ian slo-core (and the reissue restores Blue Velvet Blues to its original 40-minute length), is probably their masterpiece.

After the alleged movie soundtrack Wild Gals A Go-Go (1999 - Eclipse, 2000) and the Live In Occident (Detector, 2000), which documents their 1999 world tour, came La Novia (Eclipse, october 2000 - Swordfish, 2001), played by Cotton Casino (vocals), Higashi Hiroshi (electric guitar), Tsuyama Atsushi (bass, vocals, acoustic guitar, recorder) and Koizumi Hajime (percussion), and containing two deranged excursions into world-music (including the classic title-track)......

1997 reissue on the Repertoire of 1969 debut album from the German prog rock outfit. Six tracks, including 'Kaskados Minnelied', 'Mama Duul Und Ihre Sauerkrautband Spielt Auf' and 'Im Garten Sandosa'. The album was first released on the Metronome label.
--------------
They couldn't play worth beans and they knew it and they didn't care at all. But they cared a lot about noise and wanted to make some. So they did. Lots of it, and very loudly. To that extent this (and the subsequent COLLAPSING and DISASTER; if you've heard PSYCHEDELIC UNDERGROUND you've heard those two) is a riotous success. Tribal, primitive and primal, with lots of more-or-less steadily pounding rhythms (not necessarily drums, mind you) and unintelligible, lysergic ululations galore. There seems to be an acoustic guitar or two as well, but as they're thrown in pretty much for texture and rhythm (or something) they might as well be even more percussion instruments. Amazing that an entirely acoustic and lo-fi recording could be so loud- -Einsturzende Neubauten and the like still haven't outdone these guys in the sheer noise-for-fun-and-antiprofit department, and they've had lots more time and evidently way lots more practice. You might think you want to annoy your neighbors with this. Be careful, though. You might end up annoying yourself.

MRAVOJED wrote:bili nedavno Acid Mothers u zabregačkom KSETu, a predgrupa bio drugi bend mog bubnjara.....svidjeli se AMothersima i ovi odlučili da im izdaju album za svoju diskografsku kuću u Japanu.....eto malo offtopic

Lovers of 'primitive music' and 'rock' rejoice! Having been a Can enthusias for 10 years I must say this has steadily grown from a minor but interesting footnote in Can's history to among one of my favorite albums by what I'd have to say is among the best bands of the last 50 years. There is no where among Can's output you'll find the intensity of Butterfly (though there are some moments on Monster Movie that approach it). Delay also remains Can's most lyrically playful album (sorry Damo!)--check out Man named Joe and Nineteen Century Man. What Delay doesn't have is excess--both in sound and length. This is Can at their most stripped down and because of this, it is also more effective. It is a pitty no one didn't got it then, and worse that no one gets it today.

CAN were always on the cutting edge of avante-garde progressive rock blending heavy ethnic rock with industrial electronic atmospheres in bizarre like extended jam. "Soon Over Babaluma" continues CAN's quest into the land of the ultimate psychedelic space jam without Damo Suzuki's vocals. This album focuses much less on the vocal aspect in Suzuki's absence enabling the lads to innovate some wicked grooves and mind warping landscapes. I personally have always loved CAN's approach to music and find it terribly progressive. Tapestries of violin and guitar are superimposed over the frenzied drumming of Jaki Liebeaeit (who is simply an amazing percussionist), Droned bass accents by band leader Holger Czukay all surrounded by tasty keyboard atmospheric samples. Highlight for me is the combination of epic track "ChainReaction" and last number "Quantum Physics" which bring out arguably the best work of CAN ever. "Soon Over Babaluma" is a wonderful work of art and is regarded by many as the shining moment for CAN.

http://s38.yousendit.com/d.aspx?id=0HCBAHQU65Q8C2F0TW9YKZK6MZ

What is the exact connection with Henry VIII and his wives? Hard to say. Why does the track dedicated to Anne of Cleves resemble the Hollies' "Bus Stop?" Who knows. It sounds to me like Italian horror film soundtrack music. Here is Wakeman's solo debut in 1972 in all its glory: state-of-the-art keyboard technology running free in the dandelion-strewn meadow of the classical-rock pastiche. Did Wakeman directly or indirectly influence Spinal Tap's Viv Savage--listen and decide. Next stops: Journey to the Center of the Earth and The Myths and Legends of King Arthur.

tracks 1 to 4
http://rapidshare.de/files/1535553/GLSST.rar.html

tracks 5 to 8
http://rapidshare.de/files/1535537/GLSS-T.rar.html

tracks 9 and 10
http://rapidshare.de/files/1535654/G-TST.rar.html 

Mojo
"Beautiful, bittersweet, drifting, late-summer melancholia."

With the buzz of crickets, Great Lake Swimmers’ self-titled debut opens with the subtly intoxicating "Moving Pictures, Silent Films." Plucked acoustic guitar weaves with sparse piano while crickets whisper in the background and songwriter Tony Dekker’s warbling voice hovers overtop; this could easily be the lonely soundtrack to a long-lost silent film. Recorded in an abandoned grain silo in southern Ontario, this haunting album finds its roots in classic folk music, and while mention of Nick Drake is undeniably loaded, it’s an unavoidable comparison. Throw in a pinch of Neil Young’s quieter moments and a touch of Cass McCombs and My Morning Jacket at their most sedate, and the result is the gorgeous sound of Great Lake Swimmers. With subtle colorings of acoustic guitar, piano, lap steel and accordion, it’s Toronto-based songwriter Dekker’s voice that carries the band. The reverby echo of Dekker’s vocals is the perfect accompaniment for a dark night on a moonlit porch or a long drive lit only by the dim glow of headlights. Addictive like the finest narcotics, this debut is an emotional, stirring album that is not just meant to be listened to…it’s meant to be soaked in.

http://rapidshare.de/files/1493534/g.rar.html
http://rapidshare.de/files/1495053/en.rar.html
http://rapidshare.de/files/1504172/es.rar.htm
http://rapidshare.de/files/1504928/is.rar.html

When it comes to making albums of epic proportions, few rival this magnificent production that a trip the band took to New York City inspired in 1973. The underlying story is of a street kid named Rael who, thanks in part to the realities of big city life, undergoes a weird and mystical transformation. Containing extended instrumental sections showcasing the extraordinary talents of Tony Banks, Steve Hackett, and Phil Collins, as well as the expressive vocals and often disturbing lyrics of Peter Gabriel, this is the album that located Genesis truly on the map.
----
"The Lamb", Peter Gabriel's last album with Genesis, is a progressive rock classic, a (slightly padded) surrealist concept album telling the story of New York street punk Rael and his journeys in the underworld. This is one of those albums that at first listen has you going "what's so great about this?", but with repeated listenings, becomes a favorite. Genesis' playing isn't as showy as prog-rock peers like Yes and ELP (the only virtuoso musician is drummer Phil Collins) -- and as a result early Genesis takes a few listens to get accustomed to -- but the songs are just as original and musical.

The album ranges from great singles like the title cut and "The Carpet Crawlers" to the menacing "Back in N.Y.C." (which foreshadowed the rage of punk, but in 7/8 time), the teen-lust "Counting Out Time" (compare the lyric with Richard Thompson's "Read About Love", written 15 years later), a soulful "The Chamber of 32 Doors", and great instrumentals like "Fly on a Windshield", "Hairless Heart", and "Riding the Scree". "In the Cage" became a highlight of Genesis' live show for years to come. Steve Hackett contributes some nice guitar solos on "Fly on a Windshield", "The Supernatural Anaesthetist", and "The Lamia", while Tony Banks provides some of his best keyboard solos on "In the Cage", "The Colony of Slippermen", and "Riding the Scree". The band didn't really have enough material for a two-record set, and so the second half is padded with instrumental filler ("The Ravine", "Silent Sorrow in Empty Boats", the openings of "The Waiting Room" and "The Colony of Slipperman"). "Lilywhite Lilith" is a reworked excerpt from the early Genesis piece "The Light".