Forum Klix.ba

buddha wrote:


sve od LEIBACH-a




.

The ‘Most Rated’ series continues, this time with an upfront selection of exclusive club tracks destined to be big at this years Miami WMC, and as voted for by the world’s leading house DJs.
This selection is totally upfront and as innovative and energetic as the last release, giving a full flavour of Miami.
Miami is the setting where the year’s future floor fillers are broken. All the world’s dance music labels and DJs showcase what they have to offer. This is the chance to hear way in advance of the rest the tunes that everyone will be rating this year.

CD1 has a poolside, cocktail sipping, sun lounging, daytime vibe with a distinct deep, soulful and slightly chilled music policy, with tracks from Blaze, Reel People, Rasmus Faber, Spiritual South and The Sunburst Band.

CD2 reflects the all-night, energetic, peak time vibe of Miami - funky and uplifting and aimed directly for the dance floor. Tracks from Sandy Rivera, Wahoo, Chus & Penn, Ferrer & Sydenham, DJ Techinc and Alex Neri ensure this will rock every stereo its played on.

victory wrote:@Buddha, nisam ja bas zamislio da ovaj thread bude ispunjavanje muzickih zelja, ali eto, ako naletim na Laibach imacu te u vidu

This album is part coming of age tale, part critique of pop culture, part dense-ass gritty beats and oddball band performance, part schizophrenic quest for truth, part brilliant poetry, part disjointed narrative, and also part confessions of a white boy seduced, challenged, appalled, enthralled, and redeemed by a form of expression and culture that may never fully accept him.
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Anyone who has called his ingenious poetic lyrics whack, needs to take a look at the way these tracks were set up. Incredible lyrical form, fitting beats to finesse the poetry, and realize this isn't mainstream rap. This is slam poetry formed into hip hop, it's amazing. Sage francis is a genious captured in this album.
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Spin (7/02, p.111) - 7 out of 10 - "...Francis is a board-certified microphone doctor..." Mojo (10/02, p.110) - "...Seven or eight shards of life-giving verbal audacity..." Vibe (7/02, p.138) - 3 discs out of 5 - "...Hip hop for every last emotion....Francis's stories may be vivid, but they're never lurid..." NME (6/22/02, p.53) - 7 out of 10 - "...A surprisingly gritty and funny rapper who loves his mom and understands that the faster he rhymes, the more angst he can fit into his debut. Which is loads. Classic emo, then, but with better beats."
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30 great b-sides, rarities, and unreleased tracks to please any Pearl Jam fan.

black wrote:sjor pobido neradi ovaj link za pearl jam

http://pwp.netcabo.pt/0260018201/hot hot heat - elevator.rar

Hot Hot Heat has scorched the college charts and warmed the hearts of critics with its most recent pair of indie albums. Now Canada's top Modern Rock outfit makes its major-label debut with Elevator, produced by Dave Sardy. With Elevator, Hot Hot Heat is on its way to the top with an album that, keeping with superstition, purposefully has no 13th track.

Australian punk/grunge/funk band Grinspoon hail from the North Coast of the State of New South Wales, an area noted for attracting an alternate lifestyle community to its rural seaside setting. Guitarist Pat Davern and bassist Joe Hansen met vocalist Phil Jamieson and drummer Kris Hopes in 1995 on jam night at the main hotel in Lismore, the major town in the area. They decided to form a band specifically to enter a national competition looking to unearth new music. The contest was the first of its kind being run by the government-funded national youth radio network, Triple J. They won the competition with "Sickfest," the first song the band had ever written. The name Grinspoon comes from pro- marijuana activist Dr. Lester Grinspoon. On the back of their Triple J success Grinspoon began touring and recorded a self financed five track CD "Licker Bottle Cozy" in July 1996. They were then signed to MCA 's Australian subsidiary Grunge, recording another EP before the September 97 release of the band's first album Guide To Better Living, named after a Sunbeam booklet of whitegoods from the 60's. They insisted on recording their album locally in Byron Bay rather than heading for a big city studio. The album reached #3, spent 26 weeks on the national charts, achieved double platinum status, and generating a number of hit singles. After extensively supporting the American release of Guide To Better Living with live performances, the band re-entered the studios in Sydney with expatriate American producer Jonathan Burnside (Nirvana, Melvins) to record the second album Easy, released in November 1999. The group's style is variously described as Helmet meets Bush, or going from Helter Skelter type Beatles and Radio Birdman, to Fugazi and Ween.

Here is the masterpice that spread the word of the then 13 year old Bireli Lagrene.
Already widely respected as a jazz muscian in Germany he gained worlwide acclaim with this recording made in 80/81.
The playing is way beyond his years and devastatingly good.
Treat yourself to a classic.
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For a then 13 year old to play with such speed, surety and improvisational ability in jazz is astounding, to play as he does with no musical training gives new meaning to "jazz prodigy".
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b. 4 September 1966, Saverne, Alsace, France. The son of Fiso LagrŠne, a popular guitarist in pre-war France, LagrŠne displayed a prodigious talent as a very young child. Born into a gypsy community, his origins and his fleet, inventive playing style inevitably generated comparisons with Django Reinhardt. In 1978, he won a prize at a festival at Strasbourg and subsequently made a big impact during a televised gypsy festival. In his early teenage years LagrŠne toured extensively playing concerts and festivals across Europe, often accompanying distinguished jazz artists such as Benny Carter, Benny Goodman, St‚phane Grappelli and Niels-Henning Orsted Pedersen. He also made his first album Routes To Django, which helped to prove that early estimates of his capabilities were not excessive.

An klix technician, LagrŠne has revealed influences other than Reinhardt, happily incorporating bebop phraseology, rock rhythms and Brazilian music into his work. By the late 80s he had moved substantially from his early Reinhardt-style to fully embrace jazz rock and other electronically-aided fusions, a shift which, while extending his popularity to a wider audience, tended to lower his standing among jazz purists. He has recorded a recent string of fine albums for the Dreyfus label.
Discography:
Routes To Django: Live At The Krokodil (Jazzpoint 1980)****, Bir‚li Swing '81 (Jazzpoint 1981)***, with Joseph Bowie Concert And Space (Sackville 1981)**, 15 (Antilles 1982)***, Down In Town (Antilles 1983)***, Live In Ludwigsburg (Island 1984)***, Bir‚li Lagrene Ensemble Live Featuring Vic Juris (Inakustik 1985)***, Stuttgart Aria (Jazzpoint 1986)***, Special Guests Freitag 2 Mai, Samstag 3 Mai, Mhle Hunziken (Jazzpoint 1986)***, Foreign Affairs (Blue Note 1986)**, Zum Tratz (Jazzpoint 1986)***, Inferno (Blue Note 1987)****, Bir‚li Lagrene (Jazzpoint 1988)***, with Jaco Pastorious Bir‚li & Jaco (Jazzpoint 1988)***, Acoustic Moments (Blue Note 1990)***, Standards (Blue Note 1992)***, Live In Marciac (Dreyfus 1996)***, Blue Eyes (Dreyfus 1998)***, with Sylvain Luc Duet (Dreyfus 2000)***, The Gypsy Project & Friends (Dreyfus 2001)****.

Zimpala are two French DJ's (DJ BNX and David Walters). 'Almaviva' is a delightful juxtaposition of musical styles, combining driving 4/4 floor fillers, swirling Latino flavors, low end theory d 'n' b dynamics and blissfull chill out forever vignettes.

After disbanding the original Mothers of Invention following a short tour of Canada during the summer of 1969, Zappa hired musicians for his studio work before forming a new Mothers in August 1970. The new band was augmented by bassist Jim Pons and vocalists Mark Volman and Howard Kaylan, all of whom Zappa recruited from the Turtles, that hit-making teen-sensation unit that had reached the top of the pop charts with such hits as "Happy Together" and "Elenore." Legend has it that Zappa had tried to enlist former Monkee Micky Dolenz on drums at the same time, but Dolenz declined the offer. The new lineup made several albums with Zappa, beginning with Chunga's Revenge (owing to legal problems, Volman and Kaylan were originally billed as "Phlorescent Leech and Eddie," which led to the duo's being called Flo & Eddie henceforth), but the Fillmore East recording remains its vanguard. Zappa was still obsessed with the ridiculous phenomenon of pop stars, and now he had two genuine articles in his band. Thus, in between live renditions of some of his soon-to-be instrumental classics, Zappa, Volman, and Kaylan delighted the Manhattan audience with rude and crude skits about pop stars and groupies. The whole shebang is then climaxed with Flo & Eddie doing a letter-perfect rendition of the Turtles' "Happy Together" before ironically concluding with Zappa's own "Tears Begin to Fall," the kind of pop ditty Zappa was poking fun at throughout this performance. Although it now all sounds rather tame in the era of rap and porn rock, it was attacked as crass at the time of its release. Nevertheless, this doesn't stop it from being frequently hilarious. Following the performance, the Mothers were joined onstage by John Lennon and Yoko Ono for a set that's captured on the live disc that eventually accompanied Lennon's Some Time in New York City. What a night!