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Things have gone ridiculously well for Coldplay in the three years since 2002's A Rush of Blood To The Head. The group's global album sales have soared past the 10-million mark, putting it in the same stratosphere as U2 and the Dave Matthews Band. People have offered up their bank accounts, cars and even bodies for tickets to its shows. And, in a nice twist, front man Chris Martin married Gwyneth Paltrow, setting the tabloid world aflame. Funny thing, then, that the British quartet's much-anticipated third album, X&Y, is all about keeping its feet on the ground. In the powerful opener "Square One," the singer insists people are fundamentally the same no matter their stature. "You just want/ Somebody listening to what you say," he sings. On "Fix You," Martin grapples with imperfection and missed opportunity: "When you love someone but it goes to waste/ Could it be worse?" Meanwhile, the vibrant first single, "Speed of Sound," is all about reconnecting with the spirit and soul in the face of the paparazzo's flashbulbs. Musically, the band has never sounded more adventurous, referencing everyone from Kraftwerk ("Talk") to the Pogues ("Swallowed In The Sea"), all the while sweeping aside those Radiohead-lite comparisons to embrace a massive, moving sound that makes simplicity seem sublime.

Sun Ra didn't really have "greatest hits," or hits at all to speak of, producing scores of LPs on his own Saturn label in editions numbering in the hundreds, primarily for bandstand sales. These albums sported cover art handcrafted by band members, and the records have become rare collector's items. Whatever the title, Jerry Gordon, the person responsible for Evidence Music's ambitious reissues of the Saturn recordings, has constructed an excellent introduction to Sun Ra's cosmic empire of big-band swing, free-jazz improvisation, electronic sound effects, science fiction, and ancient Egyptian mysteries with this Greatest Hits.

While the strange trappings of Sun Ra and the Arkestra--the names, costumes, homemade percussion, and space rap that seemed suspended between vaudeville and cult--remained constant, the music was always in development, picking up approaches from the surrounding world and the inner workings of its own processes. The 18 tracks here are drawn from 15 Saturn LPs, a film soundtrack, and two 45 rpm singles, and they range from the earliest Sun Ra recordings in 1956 to 1973, covering the band's odyssey from Chicago to New York to Philadelphia. It was a period that saw the Arkestra evolve from a hard-swinging, modern-jazz big band that was already rhythmically and tonally adventurous to a unique orchestra incorporating large-scale collective improvisation and ritual, then moving on further to a multilayered transformation of funk.

Through it all, Sun Ra maintained a nucleus of brilliant and loyal musicians, with a saxophone section that rivaled Ellington's for durability and sheer brilliance, however different the musical context could be. Its members--including John Gilmore on tenor, Marshall Allen on alto and oboe, and Pat Patrick on baritone--supply highlights throughout this collection. Virtually every track is of special interest, another dimension of Sun Ra's fertile creativity. Trumpeter Hobart Dotson adds a crisp brassiness to the intensely swinging "Saturn," and there are Ellingtonian touches in the plunger-muted trombone of "Medicine for a Nightmare." Early versions of "'Round Midnight," with a vocal by Hattie Randolph, and "I Loves You, Porgy" show Sun Ra's faithful and moving handling of other people's music. The episodic space chant "Rocket Number Nine," from 1960, has a Gilmore tenor solo that parallels period Coltrane and a Ronnie Boykins bass solo that uses bowed upper harmonics in a way that was otherwise unheard of at that time. Sun Ra's lyrical solo piano on "The Alter klix" compresses his decades of jazz experience (he began playing with Fletcher Henderson), while "Yucatan" is an episode of dense, propulsive drumming. The concluding "A Perfect Man," originally a 1973 Saturn 45, sounds like a slightly tilted theme for an espionage thriller. For those seeking entry into the sometimes daunting world of a great original, this CD is a good first choice. Identification of key soloists in the liner notes, though, would have been a nice touch.

Marked by a distinctly more middle-aged melancholy than her previous releases, Aimee Mann's The Forgotten Arm is a successfully conceived story album, following a couple through the life of their relationship. There is much for old and new fans here, as Mann lifts vignettes from the love-and-hate affair of a boxer and his girlfriend like sepia-toned snapshots from a county fair. In fact, it is in just one of those sticky, hot fairground parking lots where the romance blossoms and progresses "in the back of a Cadillac, that's her asleep in the mirror in back." The syncopated, bluesy melodies and strong ensemble of musicians make for a polished effort, and Mann’s gimlet eye doesn’t miss much--from the seductive pain of addiction, bout-induced memory loss, and finally to the inevitable discussion about having (or not) a baby. If indigo is the mood for most of Mann's work, then The Forgotten Arm may be closer to lavender, given the seasoned humor and perspective evident in standout tracks such as "That's How I Knew This Story Would Break My Heart" and "She Really Wants You." This one's a keeper.

victory wrote:

Coldplay - X&Y (07/06/2005)

Things have gone ridiculously well for Coldplay in the three years since 2002's A Rush of Blood To The Head. The group's global album sales have soared past the 10-million mark, putting it in the same stratosphere as U2 and the Dave Matthews Band. People have offered up their bank accounts, cars and even bodies for tickets to its shows. And, in a nice twist, front man Chris Martin married Gwyneth Paltrow, setting the tabloid world aflame. Funny thing, then, that the British quartet's much-anticipated third album, X&Y, is all about keeping its feet on the ground. In the powerful opener "Square One," the singer insists people are fundamentally the same no matter their stature. "You just want/ Somebody listening to what you say," he sings. On "Fix You," Martin grapples with imperfection and missed opportunity: "When you love someone but it goes to waste/ Could it be worse?" Meanwhile, the vibrant first single, "Speed of Sound," is all about reconnecting with the spirit and soul in the face of the paparazzo's flashbulbs. Musically, the band has never sounded more adventurous, referencing everyone from Kraftwerk ("Talk") to the Pogues ("Swallowed In The Sea"), all the while sweeping aside those Radiohead-lite comparisons to embrace a massive, moving sound that makes simplicity seem sublime.

1. Square One
2. What If?
3. White Shadows
4. Fix You
5. Talk
6. X&Y
7. Speed Of Sound
8. A Message
9. Low
10. Hardest Part
11. Swallowed In The Sea
12. Twisted Logic
+
13. Til Kingdom Come (bonus track)

Almost 4 years on from the from the release of their last album, the multi platinum, no 1 ‘Funk Odyssey’ (his best selling UK album since Travelling Without Moving), Jay Kay and his band return with their eagerly anticipated 6th studio album, entitled ‘Dynamite’, and released on June 20th 2005.

‘Dynamite’ –and it is - is set to further enhance Jamiroquai’s reputation as one of the UK’s most successful exports of the last decade and more, with over twenty million worldwide album sales to date. ‘Dynamite’ is also Jamiroquai’s most accomplished and diverse work to date; with new co- producer Mike Spencer at the controls with Kay, it encompasses fantastic song writing and plenty of floor filling classics-in-waiting.

Lead single ‘Feels Just Like It Should’, written by Jay, (radio date April 25) sees Jamiroquai at their harder edged, groove based, funking best, with Jay’s own vocodered vocals providing the fuzz bass line.

Although this track showcases a harder Jamiroquai sound, the album also contains anthemic disco stompers (title track ‘Dynamite’ and ‘Give Hate A Chance’), while moving the sound on with the funk driven rock of ‘Black Devil Car’ and the laid back summer vibes of ‘Seven days In Sunny June’.

victory wrote:

sorge_sa wrote:krepo jamiroquai

victory wrote:

sorge_sa wrote:krepo jamiroquai

steta! a fino je radio

ovaj trenutno radi

http://s24.yousendit.com/d.aspx?id=12F8 ... AQPSB1V419

M.I.A.'s debut record is both intensely urban and aggressively modern. The group's sole member, Maya Arul, infuses her blend of hip-hop and chunky electro with raw, tribal overtones and a healthy dose of sex appeal. There are elements of world music here, in Arul's multi-lingual vocal as well as the tonal shifts and instrumentation (like the drone that opens up "Hombre"). Her delivery uses a variety of yelps and tics full of street-wise confidence and bratty energy. But there's also an appealing melodic sense, like early Neneh Cherry or Miss Kitten when she's not in diva-mode. M.I.A. doesn't really sound like anybody; the music is just experimental enough to wiggle out of easy comparisons. The IDM-style bleeps and beeps of "Galang," for example, give an already catchy song extra punch. The only problem with the record, a common flaw for debuts, is a sameness from track to track which robs it of the ability to surprise. Still, Arul is hugely talented and her abundant originality packs a wallop.

victory wrote:Neko se nedavno raspitivao za ovaj album





M.I.A. -Arular (2005)

M.I.A.'s debut record is both intensely urban and aggressively modern. The group's sole member, Maya Arul, infuses her blend of hip-hop and chunky electro with raw, tribal overtones and a healthy dose of sex appeal. There are elements of world music here, in Arul's multi-lingual vocal as well as the tonal shifts and instrumentation (like the drone that opens up "Hombre"). Her delivery uses a variety of yelps and tics full of street-wise confidence and bratty energy. But there's also an appealing melodic sense, like early Neneh Cherry or Miss Kitten when she's not in diva-mode. M.I.A. doesn't really sound like anybody; the music is just experimental enough to wiggle out of easy comparisons. The IDM-style bleeps and beeps of "Galang," for example, give an already catchy song extra punch. The only problem with the record, a common flaw for debuts, is a sameness from track to track which robs it of the ability to surprise. Still, Arul is hugely talented and her abundant originality packs a wallop.

1. Ba-Na-Na (Skit)
2. Pull Up the People
3. Bucky Done Gun
4. Fire Fire
5. Freedom (Skit)
6. Amazon
7. Bingo
8. Hombre
9. One for the Head (Skit)
10. 10 Dollar
11. Sunshowers
12. Galang

magnusss hvala za linkove

Sirach wrote:

victory wrote:Neko se nedavno raspitivao za ovaj album





M.I.A. -Arular (2005)

M.I.A.'s debut record is both intensely urban and aggressively modern. The group's sole member, Maya Arul, infuses her blend of hip-hop and chunky electro with raw, tribal overtones and a healthy dose of sex appeal. There are elements of world music here, in Arul's multi-lingual vocal as well as the tonal shifts and instrumentation (like the drone that opens up "Hombre"). Her delivery uses a variety of yelps and tics full of street-wise confidence and bratty energy. But there's also an appealing melodic sense, like early Neneh Cherry or Miss Kitten when she's not in diva-mode. M.I.A. doesn't really sound like anybody; the music is just experimental enough to wiggle out of easy comparisons. The IDM-style bleeps and beeps of "Galang," for example, give an already catchy song extra punch. The only problem with the record, a common flaw for debuts, is a sameness from track to track which robs it of the ability to surprise. Still, Arul is hugely talented and her abundant originality packs a wallop.

1. Ba-Na-Na (Skit)
2. Pull Up the People
3. Bucky Done Gun
4. Fire Fire
5. Freedom (Skit)
6. Amazon
7. Bingo
8. Hombre
9. One for the Head (Skit)
10. 10 Dollar
11. Sunshowers
12. Galang

victory pwd za rar file pls.
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