Moderator: _BataZiv_0809
Victory jarane, imal' ikakve sanse da se nadje neki novi link za ove albume, mozda na rapidshareu???victory wrote:ono je bio link za pobrojane albume (upakovani u 1 fajl)victory ba shto nisi postavio link za one albume od TOOL
problem sa YouSandIt je u tome sto je ogranicen broj i vrijeme za skidanje fajlova (treba biti brz i imati dobru konekciju kada su u pitanju veliki fajlovi)
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Ja gledam i plačem....bukvalno mi treba neko nacrtati kako ovo da skinem.....victory wrote:Innuendo hvala za linkove
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vedderedi, ako se, bilo gdje, opet pojavi ovaj link, poslacu ti na private
tesko da ce se pojaviti na rapidshare stranicama zato sto je limit za jedan uploading 30 mb (za onoga ko salje fajlove to bi bilo suvise iscjepkano, komplikovano i zanovjetli)
pozdrav
1. Sunday Morningessential recording
When the Velvets recorded this debut, they were best known as the protégés of Andy Warhol (who designed the sleeve), and as a grating, combustive live band. Fueled by drummer Moe Tucker's no-nonsense wham and John Cale's howling viola, some of the straight-up rock & roll and arty noise extravaganzas here bear that out. But before Lou Reed was singing about sadomasochism and drug deals and writing lyrics inspired by his favorite poets, he was a pop songwriter, and this album has some of his prettiest tunes, mostly sung by Nico, the German dark angel who left the band after this disc. Even the sordid rockers are underscored by graceful pop tricks, like the two-chord flutter at the center of the classic "Heroin."
Victory, ova cura je za 10, hvala puno!victory wrote:
Susheela Raman - Love Trap (2003)
1. Love TrapFor 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.
2. Sarasa [Tyagaraja]
3. Amba
4. Save Me
5. Manasuloni [Tyagaraja]
6. Bliss [Dikshitar]
7. Sakhi Maro [Meera Bai]
8. Half Shiva Half Shakti [Dikshitar]
9. Dhamavati [Dikshitar]
10. Ye Meera Divanapan Hai
11. Blue Lily Red Lotus [Manikavasaka]
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http://s37.yousendit.com/d.aspx?id=0JYAK5Z...BG2IKJKWXLLZRGN
1. GatekeeperFeist is a Canadian songstress, hailing from Toronto. Her first album 'Let It Die', is produced by Renaud Letang & Gonzales. Feist has been Gonzales' fellow for years. Part of the Canadian collective band, Broken Social Scene, Gonzales convinced her to come to Paris to record this first album. The journey started in an out of time, out of norm atmosphere, whose lush grooves are offset by a thoroughly enjoyable live performance, with members of the Germany via Toronto Kitty-Yo crew such as Peaches, Gonzales, & Taylor Savvy. Features 11 tracks including the singles 'Mushroom' & 'One Evening'.
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This is a beautiful album. It is one of those wonderful albums which you discover new things you love about it with each new sitting. At first One Evening hooked me in. I listened to this track on repeat for around 6 hours non-stop before I explored else where on the album. Then I couldn't get over Feist's reworking of The Bee Gees Inside & Out, it is the sort of heart break disco that Sister Sledge made with Thinking of You, dance away your tears. One of my fave all time singers is true jazz original Blossom Dearie but Feist's take of Now at Last puts Blossom's in the shade and rips your heart out with its beauty. I'm still discovering the beauty of tracks I never focussed on at the beginning as much....Mushaboom, Secret Heart, When I Was a Young Girl...WOW!
Feist is a trully wonderful singer with that rare combination of vunerability, power and purity. Gonzales' production is a great example of how less can be much much more and Let it Die has to be one of the most beautifully recorded albums (sonically speaking) ever. I believe this album will grow in stature and it will continue to find a new audience until it is recognised as a modern classic.
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ne mogu više čekati http://s17.yousendit.com/d.aspx?id=3VW63F9COGSUU09VSGAU0OAD2ELeaving The CityMoloko Vocalist Roisin Murphy's Debut Solo Album Has Been Pre-released as a Series of Three Strictly Limited Edition EPs that were Brought Out at the Beginning of 2005, Ahead of Its More Formal Emergence on CD and LP. Each of These Lavishly Packaged, Heavy-weight Vinyl, 12-inch-only Releases have Taken Four of the Tunes from the Record Leading Up to Roisin's Debut Album "Ruby Blue". All the Tracks on the Album Are the Results of Roisin's Collaboration with Producer Matthew Herbert a Musician and Producer Famed for Working Predominantly in the Field of Electronic Music.
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http://s49.yousendit.com/complete.aspx
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http://rapidshare.de/files/1603600/blea.pdf.html
http://rapidshare.de/files/1604059/khouse.pdf.htmlb. 23 August 1947, Oslo, Norway. The son of a nationally famous conductor, Rypdal had piano lessons as a child, but taught himself the electric guitar. Studying composition at Oslo University, he also studied George Russell's theories of improvisation with Russell himself, and then played in his big band and sextet. In the late 60, Rypdal began to collaborate with Jan Garbarek, and played on the saxophonist's first two albums for ECM Records; but he received more exposure in the 1969 German Free Jazz Festival, playing with musicians from the burgeoning Chicago free jazz scene in a band led by Lester Bowie. Forming Odyssey in the 70s, Rypdal, now recording, also began touring, which he has continued strenuously ever since. Odyssey made a highly successful tour that included the USA, and since then Rypdal has made annual appearances at the major European jazz festivals, leading a trio in the mid-80s with Bjorn Kjellemyr and Audun Kleive, and performing with Palle Mikkelborg in Norway.
Rypdal is making an important contribution to the European genre. Writing for orchestra as well as jazz ensemble, he is noted for his system of bowing the guitar in the manner of violin. On the 1995 recording If Mountains Could Sing the violin is featured strongly, not by the guitarist but by Terje Tonnesen, Lars Anders Tomter and Oystein Birkland. It is, however, in rolling and uplifting pieces such as "The Return Of Per Ulv" that Rypdal is renowned.
DISCOGRAPHY: Bleak House (Polydor 1968)***, Terje Rypdal (ECM 1971)***, with Jan Garbarek, Bobo Stenson, Arild Andersen, Jon Christensen Sart (ECM 1971)***, What Comes After (ECM 1974)**, Whenever I Seem To Be Far Away (ECM 1974)***, Odyssey (ECM 1975)***, with Pål Thowsen, Jon Christensen, Andersen No Time For Time (Zarepta 1976)***, After The Rain (ECM 1976)***, Waves (ECM 1978)***, Terje Rypdal Miroslav Vitous Jack DeJohnette (ECM 1979)***, Descendre (ECM 1980)***, with Vitous, DeJohnette To Be Continued (ECM 1981)***, with David Darling Eos (ECM 1984)***, Chaser (ECM 1985)***, with the Chasers Blue (ECM 1987)***, The Singles Collection (ECM 1989)***, Undisonus (ECM 1990)***, Q.E.D. (ECM 1991)***, with Ronni Le Tekro Rypdal & Tekro (BMG Ariola 1994)***, If Mountains Could Sing (ECM 1995)****, with Ketil Bjornstad, Darling, Christensen The Sea (ECM 1995)***, with John Surman, Karin Krog, Vigleik Storaas Nordic Quartet (ECM 1995)***, with Tekro Rypdal & Tekro II (Victor 1997)***, Skywards (ECM 1997)****, with Bjornstad, Darling, Christensen The Sea II (ECM 1998)***, with Markus Stockhausen, Andersen, Patrice Héral Karta (ECM 2000)****, Double Concerto/5th Symphony (ECM 2000)***, Lux Aeterna (ECM 2002)****.
COMPILATIONS: Selected Recordings (ECM 2002)****.
Encyclopedia of Popular Music
Copyright Muze UK Ltd. 1989 - 2004
preimenovati pdf u rarProduced by Terje Rypdal; Recording Supervisor: Odd Løken
"Wes", "Bleak House" and "Sonority" arranged and conducted by Knut Riisnæs
Recorded Oct. 7th, 8th and 22nd 1968 at Roger Arnhoff, Lydstudio, Oslo, Norway
Recording Engineer: Roger Arnhoff
Photos: Sohlberg Foto, Oslo
Digitally remastered at Masterhuset, Oslo; Re-Design: Clockwork
CREDITS (musicians) :
guitar, flute, vocal : Terje Rypdal
saxophone : Jan Garbarek (tenor saxophone, flute & bells on 2,3,4,5, sax solo on 2,4)
C.M.Neumann (alto saxophone & flute on 2,3,4,5)
Hans Knudsen (baritone saxophone on 2,5)
Knut Riisnæs (tenor saxophone on 3)
trombone : Frode Thingnæs (trombone & tuba on 4,5), Øivind Westby (on 2),
Tore Nilsen (on 2), Kjell Haugen (on 2,4,5), Jarl Johansen (on 2,3,4,5)
french horn : Frøydis Ree Hauge (on 4,5), Odd Ulleberg (on 4,5)
organ, piano : Christian Reim (on 1,2,3,4,5, organ solo on 1)
bass : Terje Venaas (on 2,3,4,5)
drums : Jon Christensen (on 2,3,4,5), Tom Karlsen (on 1)
1. Summer: Summer OvertureComposer Clint Mansell made his impact as a soundtrack composer known with his production of the Pi soundtrack. On that disc, the former vocalist for UK group Pop Will Eat Itself melded an abstract 20th-century classical sensibility to electronica with great (and eerie) results. On Requiem for a Dream--the follow-up film from Pi director Darren Aronofsky--Mansell repeats his magic. Here, teamed with the Kronos Quartet--one of the world's foremost (and most progressive) string quartets--Mansell fuses big-beat, ambient, and driving chamber music. The result is a mesmerizing aural complement to an already mesmerizing film. Dark, unpredictable, and thoroughly engrossing.
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the spirit of Laurie Anderson and John Cage, Clint Mansell makes his own minimalist statement here. He provides the perfect mentalscape for a movie which twitches and writhes, boogies at times, rolls and gently rocks. Dark night of the soul stuff, but also choppily foreward bound. The main theme is entirely memorable and will be repeating itself in your head for days, weeks, years to come!
Kudos of course to the always on the mark Kronos Quartet. What can't these musicians play? If this is your initiation into their music, you must check out their huge output of CDs, everything ranging from traditional African music, baroque, to the most progressive modern composers. They are one of our national treasures!
If you're prone to nightmares, however, you might want to play this CD in the light of day, not the really early AM hours. Like the movie, it has a certain fatalistic quality about it. Suicide Hotline soundtrack, perhaps? For that matter, if you're feeling down in the dumps, don't go near the movie, either. It will just convince you that there is no point. Hang it up!
But if the life force is with you and you actually enjoy a little melancholy edge now and again, this may very well be your background music!
