MP3 Djerdan vol.8

The_Fluid · Post by **The_Fluid** » 07/06/2005 13:21

The_Fluid · Post by **The_Fluid** » 07/06/2005 13:23

1. London Calling
2. Brand New Cadillac
3. Jimmy Jazz
4. Hateful
5. Rudie Can't Fail
6. Spanish Bombs
7. Right Profile
8. Lost in the Supermarket
9. Clampdown
10. Guns of Brixton
11. Wrong 'Em Boyo
12. Death or Glory
13. Koka Kola
14. Card Cheat
15. Lover's Rock
16. Four Horsemen
17. I'm Not Down
18. Revolution Rock
19. Train in Vain

London Calling

The_Fluid · Post by **The_Fluid** » 07/06/2005 13:25

Joy Division - Complete Discography + Extras (1978-1981) (708.83 MB)

The_Fluid · Post by **The_Fluid** » 07/06/2005 13:40

Propellerheads - Decksandrumsandrockandroll

1.Take California (7:23)
2.Echo And Bounce (5:29)
3.Velvet Pants (5:49)
4.Better? (2:05)
5.Oh Yeah? (5:2
6.History Repeating (4:05)Featuring - Shirley Bassey
7.Winning Style (6:00)
8.Bang On! (5:57)
9.A Number Of Microphones (0:4
10.On Her Majesty’s Secret Service (9:23)
11.Bigger? (2:22)
12.Cominagetcha (7:07)
13.Spybreak! (7:00)

The_Fluid · Post by **The_Fluid** » 07/06/2005 13:47

Chemical Brothers - Flip the Switch

1. Galvanise
(cry.on.my.console's galvatron remix feat. Katie Enlow)
2. The Boxer
(Fujikato's Unusual remix)
3. Believe
(Belief, Elektric Cowboy)
4. Hold Tight London
(Dunproofin's Follow Me mix feat. Katie Enlow)
5. Come Inside
(FakeID's Elektrophunk dub)
6. The Big Jump
(Backflip, Will Rokier)
7. Left Right
(JoolsMF Shoot'em Up mix)
8. Close Your Eyes
(Idiotech remix)
9. Shake Break Bounce
(McSleazy remix)
10. Marvo Ging
(Big Bad Baz)
11. Surface To Air
(Across the Air, Lenlow, feat. Katie Enlow)

MRAVOJED · Post by **MRAVOJED** » 07/06/2005 13:49

Code: Select all

http://www.qfile.de/dl/21099/12129.rar.html
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pwd: kru5ty

victory · Post by **victory** » 07/06/2005 13:56

Murder By Death - Like the Exorcist but More Breakdancing (2002)

1. Those Who Stayed
2. I'm Afraid of Who's Afraid of Virginia Wolfe
3. Caucus Race
4. You Are the Last Dragon (You Possess the Power of the Glow)
5. Joe Bou
6. Flamencos #*! $in Easy
7. Intergalactic Menopause
8. Those Who Left
9. Holy Lord, Shawshank Redemption Is Such a Good Movie!

There are certain rules in journalism that have come to be taken as gospel, and one of them is that personal involvement with your subject matter is a serious faux-pas. If you're intimate with your subject, don't write about it, and if you are writing about something don't become intimate with it. While I wouldn't say that Murder By Death and I are intimate, per se, I do have to admit that I've fallen seriously in love with them. But that love, however deep it runneth, is based in large part on one simple fact- that the band is phenomenal.

Like the Exorcist, But More Breakdancing is just about the most encompassing example of Murder By Death's versatility that I could ask for. It opens with "Those Who Stayed" and the gentle stroking of Sarah Balliet's cello, which gives the band both an eerie/dramatic and a beautiful/graceful quality. Vincent Edwards (sounds like the director of some B-rate horror flick, doesn't it?) sprinkles his keyboards and samples about the luscious cello, the drums rattle in and the guitar begins to flail about like one of those clay-mation dudes from a Tool video and then - cut, it's over. The hollowed out drum samples lead into "I'm Afraid of Who's Afraid of Virginia Wolfe" and from there its a fucked-up ride down the rabbit hole and into the great beyond on a wooden roller coaster. Someone once told me that "Virginia Wolfe" was the only reason to own the Foreign Nationals compilation that I put out earlier this year and- well, considering that the album version here is much better, that doesn't leave me in a very good spot, does it?

Recorded in glorious fashion by Tim Iseler, Like the Exorcist, But More Breakdancing continues through it's nine lengthy tracks (clocking in at three-quarters of an hour) with references to everything under the sun- from Sonic Youth to spaghetti westerns to Tim Burton films to mathy-post-prog alt-scene rock. Aside from the electronic revolution (although they do use samples), this album really does span everything worth mentioning in the last five years- from slow-core to piano-core to screamo-core to country-core. No matter how many times you listen to Like the Exorcist, But More Breakdancing you are guaranteed to crank the decibels when the guitar begins bouncing off the walls in "You Are the Last Dragon (You Possess the Power of the Glow)".

Murder By Death pop up at just the right time, when being a regular Joe (no pun intended, but its there) couldn't be more unhip. While most pose as ultra-cool, Murder By Death lighten the moment with song titles like "Holy Lord, Shawshank Redemption Is Such a Good Movie!", "Flamenco's Fuckin' Easy" and "Intergalactic Menopause". Like the Exorcist, But More Breakdancing is post-everything, a complete album of original ideas and valid musicianship and lyricism that circumnavigates any genre bullshit to return right to the heart of what music is supposed to be about: expressing something and eliciting an expression in response.

The difference between Like the Exorcist, But More Breakdancing and a lot of other albums you'll here this year- and this is important- is that Murder By Death combine references to other diverse, great bands and make something all their own out of it. If you know another band that sounds exactly like the Gould-sters, let me know 'cause I'd like to check them out. Yeah, I have albums by Slint, Godspeed You Black Emperor!, Rachel's, Radiohead, June of 44, Explosions In the Sky, Pinetop Seven, et cetera. Murder By Death sounds similar to a lot of great bands like that, but they don't sound just like any other bands, at least none that I know of... to me they're sort of a mild example of a post-rock Avalanches, taking it all in and spitting it back out in little bits somehow held together. My jaw is open in response, and I fucking love this band.

Is Like the Exorcist, But More Breakdancing the best rock record of the year? Some serious arguments for other albums might be made, but an argument against this particular album might simply be impossible. Think I'm bullshitting? Let "Those Who Left" unravel its cathartic ball of sound in your headphones and I'm sure you'll agree.

http://www.murderbydeath.com/exorcist/exorcist.php

odlican band, sjajan album

magnusss · Post by **magnusss** » 07/06/2005 14:01

The Fiery Furnaces-Gallowsbird's Bark(2003)

Just like the Whites, the Furnaces are related, but there's no mystery to this one. Eleanor and Matt Friedberger are a brother and sister duo from Chicago and they are electrifyingly exciting.

Gallowsbird's Bark (a gallows bird is a person who deserves to be hanged, in case you wondered) is a wonderfully bonkers, exceptionally enjoyable and fantastically freewheeling selection of songs that rip punk through the heart of delta blues and string them high to dry in the sun of rhythm and rock.

Indeed it is a rich seam of gold from those delta rivers, and every tune on offer has wealth within it, even if a few take a rub with a rag to get the nugget. There are charming shifts from passion to subtlety, there are tales of debauchery and bad weather, there is something genuinely original going on.

It takes a few listens to sort the real shining moments from he mass of ecstasy, but the single Crystal Clear bubbles about in a flurry, Gale Blow chugs energetically through a simple surge, Tropical Ice-Land is a wonder of confusion and sweeping sunshine rhythms, and the dirty deep rocking blues of the closing We Got The Plague is pure fun.

There is no greater compliment to pay to Gallowsbird's Bark than to say that on first listen, it is as good as The White Stripes' Elephant. A few listens, you might even agree that it's better. Watch the Furnaces fly.

victory · Post by **victory** » 07/06/2005 14:06

jos bolji od odlicnog prethodnog

Murder by Death - Who Will Survive, And What Will Be Left of Them (2003)

Having erupted out of Bloomington, Indiana (you can call that Nowhere if you want) last year with their ambitious post-rock coming out party Like the Exorcist, But More Breakdancing and remained on the lips of literate-rock fans everywhere with their beautiful contributions to the split album Konrad Friedrich Wilhelm Zimmer, the awkwardly (and cleverly) named Murder By Death return to drive stakes into the hearts of those who stayed, waiting for more.

The album opens with a dusty phonograph voice recounting the deadliest of deeds from a bar fight in old Mexico - shooting the Devil in the back - and the apocalypse that follows. Who Will Survive and What Will Be Left of Them? unfolds the end of the world as the parched, lawless dunes, mesas and buttes of its characters' lives are crushed under the weight of Satan's revenge. As the Prince of Darkness lies bleeding crude oil in a hospital bed the children are the first to die, "pissing away each night among the sounds of bodies crawling round the room" - and it only gets darker from there as the townspeople expose the worst inclinations of their rotting hearts, slowly killing each other off as rampant lawlessness chokes out all but the faintest glimmers of hope.

Murder By Death's sophomore album is not only ambitious as a concept, it is also soaked in beautiful instrumentation, unbridled aggression and a mesmerizing story. It is dark and brooding to the point of being evil (Satan himself makes a creepy guest appearance singing backups in the robust, crackling cowboy symphony of "Until Morale Improves, The Beatings Will Continue", the epicenter of the album's first half) but it is also warm and beautiful, brittle like a faded piece of wallpaper from a funeral home's dining parlor.

The album is comprised of two halves, which are separated by a sprite, yellowed piano interlude straight out of Jeff Mangum's lost cowboy dreams. The first half of Who Will Survive and What Will Be Left of Them? is dedicated to the coming of the end, the second dedicated to the realization that hell has come to the surface. A richer, updated version of Konrad Friedrich Wilhelm Zimmer's "A Masters in Reverse Psychology" filters all of Murder By Death's charm into one song potent enough to bring anyone to their knees- lush, loaded cello bows cross paths with dark, powerful guitars and percussion as nimble piano adds detail.

With Who Will Survive and What Will Be Left of Them? Murder By Death have established themselves as the perfect modern rock band. Their songs are lyrically rich like Decemberists, lavish and orchestral like God Speed You Black Emperor!, dark and violent like ...And You Will Know Us By the Trail of Dead, twangy and blue-collar like Canyon, smart and technical like Cursive. Like The Black Heart Procession, the Cure, Arab Strap and Explosions In The Sky becoming blood brothers. Their songs are all of those things, and more. Most of all they are beautiful. Beautiful and horrifying, like the apocalypse ripping through your family home and leaving behind a twisted graveyard, complete with flowers. At the front of a swath of destruction you will find Murder By Death with their whiskey, revolvers and torture, burning towns to the ground.

1. The Devil In Mexico
2. Killbot 2000
3. Until Morale Improves, The Beating Will Continue
4. Three Men Hanging
5. Intermission
6. A Masters In Reverse Psychology
7. The Desert Is On Fire
8. That Crown Don't Make You A Prince
9. Pillars of Salt
10. End Of The Line

victory · Post by **victory** » 07/06/2005 14:18

Novi Jaga Jazzist

Jaga Jazzist - What We Must (04/2005)

Jaga Jazzist (consisting of central linchpins, Multi-instrumentalist's "Lars & Martin Horntveth") have only a (small) handful of albums to their name, but although not fully able to break through to the mainstream with the canopy of 'Progressive Jazz, Nu-Breaks, Jazz-House & Electronica that they are largely known for. They remain a hugely likable act, that have amassed a small and devoted following for their leftfield interpretations of Jazz/Electronica.

From the ambitious creative jazz with electronic exploration of "A Livingroom Hush", through to the futuristic Modern Big Band Jazz/Electronica hybrid of "The Stix", Jaga Jazzist have seemingly always comfonded people expectations of what to expect, and the limitless possibilities that Jazz (and its various sub-genres) throws up to them. This their most recent release find the band changing tack and side-stepping expectations by creating an album that although elaborate and Dynamic in its deconstruction of jazz, also largely retains elements of European jazz, and creatively is still a highly individualistic one, this time around...its a fusion of subtly amplified rock with Jazz that makes up a large part of this album.

Followers of Jaga's previous albums may well baulk at the introduction of rock instrumentation and the decided 'Progressive Rock' sensibilities that run throughout this album, in fact the first track "All I Know is Tonight", arguments insistent guitars, muted horns, textured keyboard sounds and the most slight of Jazz percussion underpinning the whole thing. It's sounds as if a more jazz-minded "Pink Floyd" had decided to scale back on the excess, make the track wholly instrumental and fuse the quicktime percussion of Jazz with the immediacy of Rock. What's so surprising about all of this is the fact that it is, just that....So Surprising!!, soundly virtually nothing like what the band have done before, it takes a mental readjust to comprehend what is being played here. Not that its inaccessible....it's very accessible, but also a departure from what you'll probably be expecting, yet stick with it, because repeated listens begin to unravel a subtle complexity & structure that although not the Jaga Jazzist we know, easily retains that non-conformist attitude to Jazz/Electronica that brought them to us, in the first place.

Although running at a length, just shy of 45 minutes, its certainly not a long album, to truly get lost in, but thankfully there are enough ideas and memorable arrangements to make-up for the relatively short running time, with more emphasis on desirable tracks, rather than a hours worth of mediocre content. Thoroughout the album, there are interesting diversions in approach, wether it is the pouring, reverb-drenched dream of flight coupled with the bright soaring melodies, and chiming acoustic guitars, keyboards, that make up tracks such as "Stardust Hotel". Or indeed on "For All You Happy People", which manages to completely impress by linking sections that almost contrast in structure, but yet are seamlessly linked between expertly utilising sections of bass clarinet and keyboards, with a sound that becomes a little more engaging with every listen, almost danceable rhythms, involving chiming acoustic guitars, and surprising almost this plethora of instruments, the tuba. With this all balanced out beautifully and although not delving deeper into jazz motifs, that earmarked the last two albums, still retains a hugely likable, yet original composition. Sure it's certainly not as freewheeling as their previous work, but shows an impressive ensemble willing to resist being pigeonholed by previous work, and the subtle innovations in electronic music previously, gently creep into this album..

With the leftfield improvisation of before, largely missing from this release, and the sound far more that, of a band working as a modern Big Jazz Band, there is much here that although may not immediately impress, the powerful set of rock dynamics, will be unfamiliar to all, that have heard Jaga's previous work, but the luscious sounds of rich guitar, bass & Horns & drums, with that keen ear on electronic percussion, with eventaually begin to take hold of you, it's not hard to eventually warm to (and hugely enjoy) the more FM Radio friendly sound, on this album. Those that are expecting (or indeed hoping) for an album that runs along similar lines to "The Stix" & "A Livingroom Hush", will probably be hugely disappointed, and should avoid this, as the more radio friendly / Rock inclusive sound may well repel purists. But this is also arguably their most melodic & accessible album. "The Stix" & "A Livingroom Hush" still remain arguably the more experimental, envelope pushing, creative jazz albums, that they have created, but this superb album still stands amongst such distinguished work, although it's charms really start to unfolded over several listens. It's a gorgeously likable instrumental album and take heed of the fact that it's unlike their previous work, and it's memorable arrangements will amply reward.

1. All I Know Is Tonight
2. Stardust Hotwl
3. For All You Happy People
4. Oslo Skyline
5. Swedenborgske ROM
6. Mikado
7. I Have a Ghost, Now What?

Saian · Post by **Saian** » 07/06/2005 14:19

pasword za M.I.A.-u ako mozhe

victory · Post by **victory** » 07/06/2005 16:21

Saian wrote:pasword za M.I.A.-u ako mozhe

izvinjavam se sto prije postiranja nisam provjerio da li je fajl sifriran

naime, ja sam ovaj album skinuo jos prije par mjeseci sa drugog servera, tako da ovaj link nisam uopste koristio.

link sam nasao na FunkySouls.com i vecina kodiranih fajlova posjeduje ovaj pw: FunkySouls.com dakle, za pocetak probaj taj pw (case sensitive)

ukoliko ne fercera ovaj pw, sacekaj neko vrijeme i nemoj brisati fajl, jer sam upravo zatrazio da obznane pw.

pa cemo vidjeti

jos jednom izvinjenje i pozdrav

magnusss · Post by **magnusss** » 07/06/2005 16:34

Doves-Some Cities(2005)

dinash · Post by **dinash** » 07/06/2005 18:14

skiuo sam "oslo skyline" Jaga Jazziste sa itunesa prije nekog vremena ... i u "genre" pise "Unclassifiable"

... ukratko, odlicni su.

The_Fluid · Post by **The_Fluid** » 07/06/2005 18:54

1. Enemy
2. I'm the One
3. Start a War
4. Pieces
5. Dirthouse
6. Skinnyman
7. Just in Case
8. Set It Off
9. I Want to F***ing Break It
10. Night Terrors
11. Otsego Amigo
12. My Damnation
13. Brainfog

Static-X Start A War - 2005

magnusss · Post by **magnusss** » 07/06/2005 19:27

Shearwater-Winged Life (2004)

A shearwater is a sea bird. Jonathan Meiburg, when he's not busy being the world's leading expert on the South American striated caracara (Phalcoboenus australis), or playing keyboards for Okkervil River, is the winsome frontman man for Shearwater, the band. After releasing two beautiful, fragile, often indulgently miserable records, this talented sadcore collective has found a new muse for its third long-player, Winged Life. While the often uncomfortable silences and quivering lower lips ("Wedding Bells Are Breaking Up That Old...") still make the occasional appearance, Meiburg, Okkervil River lead singer Will Sheff, drummer and vibraphonist Thor Harris, and upright bassist Kim Burke have crafted an indie pop gem that replaces the genre's horn-rimmed irony with klix soul. Like Belle & Sebastian with serious intentions, they navigate emotional territory like big-game hunters, especially on "Sealed," where the weapon of choice is Meiburg's Pete Townsend-like falsetto. It's his gentle voice that is the record's greatest strength -- when it's on, it's breathtaking -- and it's biggest weakness -- when it's not, like on the flat "My Good Dee," the listener is inclined to give up along with him. The up-tempo tacks are the real standouts, and display a band that's well on its way to becoming a true force of nature. The deliciously wicked "Whipping Boy," with its treated drums mirroring its protagonist, finds a deep pocket groove, basking in its own chilliness, much like Radiohead's "Packt Like Sardines in a Crushed Tin Box," before giving up in a wash of strings. "I've Got a Right to Cry," despite its sad-sack title, is a sweet slice of pop pie that deserves placement in a Wes Anderson film. It's this optimistic response to growth that sets Shearwater leagues above their contemporaries. This is a group caught in the beautiful throes of rebirth, and beneath the quiet strums of the guitar, the gentle ripple of the Rhodes, and the soft exterior of Meiburg's vocals lies a heathen beast just waiting to be named. ~ James Christopher Monger, All Music Guide

The_Fluid · Post by **The_Fluid** » 07/06/2005 19:56

01-Madman's Return

02-Colour Of Love

03-Believe In It

04-Who Stole It_

05-Don't Be Shy

06-Rhythm Is A Dance

07-Money

08-See The Light

09-EX-Terminator

10-Keep It Up

11-Homeboyz

12-Sample City

victory · Post by **victory** » 08/06/2005 00:04

Saian wrote:pasword za M.I.A.-u ako mozhe

Saian, je si li otpakovao file sa FunkySouls.com

javise mi da je to pw

vee-jay · Post by **vee-jay** » 08/06/2005 10:27

victory wrote:
Saian wrote:pasword za M.I.A.-u ako mozhe
Saian, je si li otpakovao file sa FunkySouls.com

javise mi da je to pw

jesam ja - ide ide - bas sa FunkySouls.com bez ikakvih problema...

victory · Post by **victory** » 08/06/2005 13:41

vee-jay wrote:
victory wrote:
Saian wrote:pasword za M.I.A.-u ako mozhe
Saian, je si li otpakovao file sa FunkySouls.com

javise mi da je to pw
jesam ja - ide ide - bas sa FunkySouls.com bez ikakvih problema...

----------------------------

Nico - Chelsea Girl (1967) zip, 65 mb

Although Chelsea Girl (1967) was the first long-player from the German-born Christa Päffgen, it was not her debut solo effort. Prior to becoming involved with the Velvet Underground and while under the direction of Andrew Loog Oldham, Nico issued an obscure 7" on the mod pop Immediate label. The song selection on that 1965 single — which featured a cover of Gordon Lightfoot's "I'm Not Sayin'" and an Oldham co-composition with Jimmy Page called "Last Mile" — foreshadowed the eclectic nature of this LP. Although the dissolution between the vocalist and core instrumental quartet was not without its share of acrimony, the non-percussive contingent of the Velvet Underground is heavily featured on Chelsea Girl: along with then-unknown singer/songwriter Jackson Browne (guitar) — the vocalist's concurrent love interest — there is Lou Reed (guitar), Sterling Morrison (guitar/bass), and John Cale (piano/bass/viola), who contrast what they had been doing with the larger combo. These sides are decidedly "unplugged," providing a folky and Baroque setting for Nico's dark and brooding vocal inflections. There is an introspective foresight in Browne's "Fairest of the Seasons," "These Days," and "Somewhere There's a Feather." The minimalist string section features a quaint, yet effective arrangement giving the material a distinctly European feel. These orchestrated folk leanings are similar to the sound emanating from other burgeoning groups such as the Incredible String Band, Pentangle, and the Fairport Convention spin-off Fotheringay.The same can be said of her almost unrecognizable reworking of Bob Dylan's "I'll Keep It With Mine." The noir black-widow charm ultimately saves the performance, as does Cale's remarkable classical intonations. With Reed's "Wrap Your Troubles in Dreams" — a track which actually predates the Velvet Underground — there is a sense of history that Nico brings to her interpretation, as if the melody were, in fact, a traditional German folk tune. There is a palpable distinction between those lighter cuts and the menacing Velvet Underground-conceived material. At the center of the project are the extended "It Was a Pleasure Then" and the stunning semi-autobiographical Reed/Morrison title track. The juxtaposition of such honest and at times harrowing imagery to Nico's inherently bleak delivery is nothing short of an inspired artistic statement which has since long outlasted its initial socially relevant context — similar to the more modern contributions of Laurie Anderson, Ann Magnuson, and Patti Smith. An unqualified masterpiece.

1. The Fairest Of The Seasons
2. These Days
3. Little Sister
4. Winter Song List
5. It Was A Pleasure Then
6. Chelsea klix
7. I'll Keep It With Mine
8. Somewhere There's A Feather Liste
9. Wrap Your Troubles In Dreams
10. Eulogy To Lenny Bruce

victory · Post by **victory** » 08/06/2005 16:08

Lords of Dogtown (06/2005) [Original Soundtrack] zip, 108 mb

In a skater boy’s dream come true, the true story of skateboarding legends the Z-Boys comes to the big screen with the TriStar Picture’s release "Lords of Dogtown." As accompaniment to the gripping story is the Geffen Records soundtrack CD, which boasts classic songs by artists like Jimi Hendrix, Deep Purple, David Bowie, Ted Nugent, the Allman Brothers, T Rex, plus new recordings by Social Distortion and Rise Against. The lead track is Social Distortion cover of the Clash’s 1979 classic, "Death or Glory."

Rock ‘n’ roll has always been a huge factor in skater culture, and the new CD reflects that, old school style. In addition to the Social Distortion track, Geffen band Rise Against also contributes a cover of Black Flag’s blistering punk anthem, "Nervous Breakdown."

The bulk of the CD consists of vintage classics, including: the Jimi Hendrix Experience, "Fire;" David Bowie’s "Suffragette City;" Nazareth with "Hair of the Dog;" the Stooges, "T.V. Eye;" Foghat, "I Just Want To Make Love To You;" Ted Nugent’s "Motor City Madhouse;" T Rex with "20th Century Boy;" Joe Walsh, "Turn To Stone;" Sweet, "Fox On The Run;" the Allman Brothers Band, "One Way Out;" Rod Stewart’s "Maggie May;" Deep Purple, "Space Truckin’;" Sparklehorse, "Wish You Were Here;" and Iggy Pop’s "Success."

"Lords of Dogtown," starring Emile Hirsch, Victor Rasuk and John Robinson and Heath Ledger, tells the story of a group of teenage surfers from a tough neighborhood known as "Dogtown" in Venice, California who pioneered a revolutionary new style of skateboarding in the 1970’s. Riding the waves at the Pacific Ocean Park pier, the Z-Boys, known for their aggressive style and hard street attitude, combined the death-defying moves of surfing with the art of skateboarding and became overnight sensations and local legends. With empty pools as their canvas, the Z-Boys paved the way to what is today referred to as "extreme sports," and created a lifestyle that became a worldwide counterculture phenomenon.

1. "Death or Glory" - Social Distortion
2. "Hair of the Dog" - Nazareth
3. "I Just Want to Make Love to You" - Foghat
4. "Fox on the Run" - Sweet
5. "Motor City Madhouse" - Ted Nugent
6. "Turn to Stone" - Joe Walsh
7. "One Way Out" - Allman Brothers Band
8. "Fire" - Jimi Hendrix
9. "Space Truckin'" - Deep Purple
10. "Success" - Iggy Pop
11. "Suffragette City" - David Bowie
12. "Iron Man" - Black Sabbath
13. "Nervous Breakdown" - Rise Against
14. "20th Century Boy" - T Rex
15. "Maggie May" - Rod Stewart
16. "Wish You Were Here" - Sparklehorse

magnusss · Post by **magnusss** » 08/06/2005 18:06

Ego Wrappin'-Blue Speaker(1998)

Ego Wrappin'-Midnight Dejavu(2001)

Ego Wrappin'-Night Food(2002)

Ego Wrappin'-Swing for Joy(1999)

Ego Wrappin'-色彩のブルース(2000)

Ego Wrappin'-His Choice of Shoes is ill!(1999)

Mnogo sladak ovaj japanski duo

Saian · Post by **Saian** » 08/06/2005 20:03

vee-jay wrote:
victory wrote:
Saian wrote:pasword za M.I.A.-u ako mozhe
Saian, je si li otpakovao file sa FunkySouls.com

javise mi da je to pw
jesam ja - ide ide - bas sa FunkySouls.com bez ikakvih problema...

Jesam raspakov'o, poder'o ukrasni papir i sheb'o mashnu, tenks

victory · Post by **victory** » 09/06/2005 13:43

Novi Brian Eno

Brian Eno - Another Day on Earth(14/06/2005) rar, 66 mb

Another Day on Earth is an ambient song cycle that is full of yearning and a mood that Brian Eno has called "brave and resigned." Even in song, Eno is a master of ambience, creating detailed soundworlds and lyrics that don't so much make sense as create a feeling. It's taken him 15 years to create a new vocal album, and the songs span that time, with the welcome reprise of "Under," a devastatingly beautiful hymn of loss and redemption that dates back to 1991's aborted, unreleased My Squelchy Life album. It's turned up before on the Cool World soundtrack and Eno Box II: Vocals. Joining "Under" as one of Eno's most sublime songs is "And Then So Clear," a paean of wasted longing and hope with its cycling rhythm, ethereal guitars, and pitch-shifted vocal harmonies. You can hear Eno's love of gospel music on "This" and "Bottomliners," and can almost picture them in a particularly pensive Baptist church with his double-tracked vocals emulating a solemn choir. But it's not all minor-key reflection. Eno also unleashes a couple of fractured tunes, like "Bonebomb," which is from a project in which he mutated the meter of poets reciting their works. Another Day on Earth is a more personal album from the ambient avatar, a recording of rare and meticulous maturity.

1 This
2 And Then So Clear
3 Long Way Down
4 Going Unconscious
5 Caught Between
6 Passing Over
7 How Many Worlds
8 Bottomliners
9 Just Another Day
10 Under
11 Bone Bomb

victory · Post by **victory** » 09/06/2005 16:58

Gil Scott-Heron - Moving Target (1982)

http://www.megaupload.com/?d=0787P5FF

Scott-heron's Final Album for the Arista Label was Finally Delivered after an Intense Touring Schedule in 1982. The Death of Bob Marley Obviously Affected Him Deeply, as Reggae Music and Much of Marley's Philosophy Pervades the Grooves Here. His Focus is More a Personal One Than a Political One Here, Especially Evident on the Final Track "Black History/The World".

1. Fast Lane
2. Washington, D.C.
3. No Exit
4. Blue Collar
5. Explanations
6. Ready or Not
7. Black History/ The World

MP3 Djerdan vol.8

#151

#152

#153

#154

#155

#156

#157

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