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Finally, the world is treated to Mike Doughty's first "full-band" album since Soul Coughing disbanded in 1998. Doughty has clearly morphed from hyperactive ironic hipster to a world-class songwriter with lyrics that are funny ("I want to run away and join the office") and self-deprecating but never emo ("All my life I've been slow and senseless/Not struck dumb I'm just dumb that's all"). If you're looking for faults you can always find them, and to be sure some of the playing is overly "pro" and not as funky as M.D. live. The perfect pedal steel touches throughout are actually icing on this cake, and the drummer dude from N.E.R.D.'s metronomic bashing's hardly a bummer. The songs on the album will be familiar to fans who've seen him live, and thanks to Haughty being recorded over a long stretch of time (the songs themselves honed that way too) it has a "greatest hits" feel to it: all killer, no filler.
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HAUGHTY MELODIC is the first full-fledged solo release from Soul Coughing's frontman Mike Doughty, after three self-released CDs (two of which were later reissued by his new label, ATO). With producer Dan Wilson, Doughty has filled out his skeletal compositions, turning live favorites like "Sunkeneyed Girl," "Busting Up A Strabucks" and "Madeline and Nine" into lush, propulsive anthems. At the same time, his lyrics shun the trite sloganeering of his former band in favor of introspective, impressionistic storytelling ("Unsingable Name," "American Car") and impassioned soul-searching ("White Lexus," "His Truth Is Marching On"). A soulfully conceived, brilliantly arranged masterpiece from the reinvented Doughty.

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This is a great album even if John don't remind me of Bill Evans. It is a mature tribute I would call it. Not the kind of tribute album where the artist try to sound like the musician he is tributing. Obviously John plays here some Bill Evans music but in his own way and what we have in the end is something new. Consider that the line up is even more uncommon. All classical guitars and an acustic bass, no percussions or drums. The overall sound is very calm, balanced, evocative,. It is very nice music. John didn't swing here ... not in the way Bill would do.. He chose to play more his flamencoesque licks. He plays here a lot of those trademarks fast lines which end with an higher picking energy and consequently an higher volume and intensity. But he shows an uncommon touch and sensibility too. It is a very satisfying listening experience that you will find yourself searching again and again. It is so balanced, so beautiful music that even an uneducated person not familiar with Jazz and Bill Evans and McLaughlin musiccould appreciate it. I know it's very difficult to find this album now. Too bad. If you think you could like this kind of musical situation, the last album from John, "Thieves and Poets" has a section entirely dedicated to this type of music. The line up is the same. That album is a lot easier to find. Actually ...

Altsa wrote:


the kilowatthours

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The first great Miles Davis quintet included John Coltrane, Red Garland, Philly Joe Jones, and Paul Chambers, a group whose every record, honestly, is worthy of attention. The string of LPs, recorded in a blistering artistic marathon in 1956 and released originally on Prestige, is collected on the magnificent eight-CD Chronicle: The Complete Prestige Recordings and draws from their exceptional nightly club repertoire. Cookin' opens with "My Funny Valentine," just as Davis often did on gigs during this period. It gets a slight edge over the other Prestige titles of this group only because it offers a nice balance of ballads, blues, and hard-bop warhorses. Coltrane at this point lacked the consistency and otherworldly inspiration of his later work, but he was playing with a force and even a recklessness that contrasted with Davis's quiet ruminations. But on this record Davis is inspired and witty, and Coltrane matches him all the way. Meanwhile, an all-star rhythm section follows them at every step, helping create an organic unity among equals that was unprecedented in jazz before this group. This text refers to the Audio CD edition
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Trumpeter Miles Davis (along with tenor-saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones) are heard on this CD reissue performing such tunes as My Funnny Valentine (Davis's earliest version of this standard), Blues by Five, Airegin and a medley of Tune Up and When Lights Are Low. From the OJC/ Prestige label

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This CD comes from the marathon 1956 Prestige sessions with the first of Miles Davis's great quintets: John Coltrane on tenor, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. The group recorded four LPs for Prestige, contemporaneous with the early Columbia material recently celebrated on the Davis-Coltrane Complete Columbia Studio Sessions. Relaxin' emphasizes Davis's concentrated ballad style, with his middle-register trumpet played through a Harmon mute very close to the microphone. What might be a mere buzz in lesser hands becomes restrained passion and detailed expression on the slow tempos of "You're My Everything" and "It Could Happen to You," while Davis conveys joy on the faster tempo of "I Could Write a Book." "If I Were a Bell," from Frank Loesser's then contemporary Guys and Dolls, is another melodic highlight.

The boppish side of the band is heard on Sonny Rollins's "Oleo," a tour de force animated by Chambers's limber walking bass, and on Dizzy Gillespie's "Woody 'n' You," the only tune with Davis playing his trumpet with an open bell. Coltrane was entering a period of sustained musical growth, still beholden to Charlie Parker and Rollins, but with flashes of the convulsive power and incendiary questing that his work would soon attain. As different as the two horns are, they reflect the band's ineffable mix of hot and cool elements, from Garland's masterful vamps to the explosive power of Philly Joe Jones. Davis and his cohort were defining the modern mainstream, providing models that are still durable today.
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One of the strongest of Miles Davis' recordings with his first classic quintet (a group also including the young tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones), this CD reissue is highlighted by If I Were a Bell, I Could Write a Book and Sonny Rollins' Oleo. Actually all six selections are quite rewarding and helped set the standard for bands of the era. 6 tracks. From the OJC/ Prestige label.

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Steamin' is the last of the classic albums Prestige Records released from various sessions trumpeter Miles Davis recorded between November 1955 and October 1956 with his historic "first" quintet, including tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. Together with Cookin' (also available in an audiophile format), Relaxin' (also available in an audiophile format), and Workin' (also available in an audiophile format), Steamin' completes a series of memorable recordings masterfully engineered by Rudy Van Gelder that remains a definitive manifesto from the hard-bop era. One dynamic that gave this quintet its distinctive edge is the contrast between Davis's introspective playing on ballads ("When I Fall In Love," "Something I Dreamed Last Night") and Coltrane's hard-blowing passion ("Salt Peanuts," "Well You Needn't"). Another is the interplay between Garland, Chambers, and Jones, who are not only consummate accompanists, but all-star soloists as well. The version of "Surrey with the Fringe on Top" here is a quintessential performance by this remarkable quintet.
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This classic Prestige session (one of four cut for the label by Davis' first permanent group) has been reissued many times. Davis is heard with his classic quintet of 1956 (which featured tenor-saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones) performing six numbers, all of which are somewhat memorable. Highpoints are Surrey with the Fringe on Top, Diane and When I Fall in Love; Davis's muted tone rarely sounded more beautiful. 6 tracks.

Eternally perverse, Reed responded to having a pop hit with Transformer by making a massive bummer of an album, built around reworked versions of a couple of older songs. Berlin is psychologically grueling and unremittingly dark (scariest moment: "The Kids," which ends with a very long tape of children screaming in terror), but the savage contrasts of its sound have gotten more impressive with time. The big production flourishes hit like a hangover, Reed's voice sounds like he's trying to stave off emotional involvement with his lyrics because it would hurt too much, and the multi-layered textures of "Oh Jim" surge and recede like details of a nightmare. The album takes strength to hear, and rewards it.

Kraftwerk: 'Minimum-Maximum'

Kraftwerk are one of the most influential bands in pop history. In a career spanning more than 35 years, the German electro pioneers have been endlessly saluted and mimicked by each new generation of innovators. In the late 1970s, the post-punk futurists professed their devotion. In the 1980s and '90s, the leading lights of Chicago house along with Detroit and Euro techno paid homage. Kraftwerk are possibly the most sampled band on the planet, and their music continues to inspire.

Last year, Ralf Hütter, Florian Schneider, Fritz Hilpert and Henning Schmitz toured the world playing 69 shows that were unlike anything seen before. A truly unique audio / visual spectacular that prompted global headlines like this from the London Evening Standard: "Is This the Greatest Show London Has Ever Seen?"

Now in 2005, EMI Records is proud to release a 2-CD live set entitled ‘Minimum-maximum’ on June 6th containing 22 tracks recorded throughout Europe, Japan and the US during the band's 2004 World Tour. Recorded and mixed with Kraftwerk's legendary precision, ‘Minimum-Maximum’ features all of the band's classics in stunning live clarity. Kraftwerk have also announced dates to support the release of ‘Minimum Maximum’.

The Skatalites were to the beginnings of Jamaican pop music (ska, rock steady, reggae) what Booker T. & the MGs were to the beginnings of Memphis soul. Like the MGs, the Skatalites were a tight, innovative band that not only backed the major singers of their field but also scored major instrumental hits on their own. And like the MGs, the Skatalites have reunited despite the death of a key member (drummer Al Jackson for the MGs; trombonist Don Drummond for the Skatalites) to play for a whole new generation of soul and ska fans. The Skatalites' reunion album, Ska Voovee, may not have the spark of a young band plowing new ground, but it does deliver the satisfaction of old pros revisiting the scene of their triumph.

victory wrote:novi-dupli-zivi Kraftwerk



Kraftwerk - Minimum-Maximum (07/06/2005) zip, 177 mb

Kraftwerk: 'Minimum-Maximum'

Kraftwerk are one of the most influential bands in pop history. In a career spanning more than 35 years, the German electro pioneers have been endlessly saluted and mimicked by each new generation of innovators. In the late 1970s, the post-punk futurists professed their devotion. In the 1980s and '90s, the leading lights of Chicago house along with Detroit and Euro techno paid homage. Kraftwerk are possibly the most sampled band on the planet, and their music continues to inspire.

Last year, Ralf Hütter, Florian Schneider, Fritz Hilpert and Henning Schmitz toured the world playing 69 shows that were unlike anything seen before. A truly unique audio / visual spectacular that prompted global headlines like this from the London Evening Standard: "Is This the Greatest Show London Has Ever Seen?"

Now in 2005, EMI Records is proud to release a 2-CD live set entitled ‘Minimum-maximum’ on June 6th containing 22 tracks recorded throughout Europe, Japan and the US during the band's 2004 World Tour. Recorded and mixed with Kraftwerk's legendary precision, ‘Minimum-Maximum’ features all of the band's classics in stunning live clarity. Kraftwerk have also announced dates to support the release of ‘Minimum Maximum’.

CD 1

01. The Man-Machine - Warszawa, Sala Kongresowa
02. Planet Of The Visions - Ljubljana, Krizanke
03. Tour De France Etape 1 - Riga, Olimpiska Hall
04. Chrono - Riga, Olimpiska Hall
05. Tour De France Etape 2 - Riga, Olimpiska Hall
06. Vitamin - Moskwa, Lushniki
07. Tour De France - Paris, Le Grand Rex
08. Autobahn - Berlin, Tempodrom
09. The Model - London, Brixton Academy
10. Neon Lights - London, Royal Festival Hall


CD 2

01. Radioactivity - Warszawa, Sala Kongresowa
02. Trans-Europe Express - Budapest, Sportarena
03. Metal On Metal - Budapest, Sportarena
04. Numbers - San Francisco, The Warfield
05. Computer World - Moskwa, Lushniki
06. Home Computer - Warszawa, Sala Kongresowa
07. Pocket Calculator - Moskwa, Lushniki
08. Dentaku - Tokyo, Shibuya Ax
09. The Robots - Moskwa, Lushniki
10. Elektro Kardiogramm - Tallinn, Exhibition Hall
11. Aerodynamik - Riga, Olimpiska Hall
12. Music Non Stop - Moskwa, Lushnik

ne radi

Skatalites: Doreen Shaeffer (vocals); Devon James (guitar); Lester Sterling (alto saxophone); Tommy McCook, Roland Alphonso (tenor saxophone); Nathan Breedlove (trumpet); Will Clark (trombone); Bill Smith (keyboards); Lloyd Brevett (bass); Lloyd Knibb (drums). Additional personnel: Bobby Watson (alto saxophone); Steve Turre (trombone); Larry McDonald (percussion). Recorded at The Loft, Bronxville, New York. GREETINGS FROM SKAMANIA was nominated for a 1997 Grammy Award for Best Reggae Album. 1996's GREETINGS FROM SKAMANIA continues the winning streak of the reunited Skatalites, and also sets something of a band record; the group had stayed together for more than three years straight, the longest any incarnation of the Skatalites had ever lasted! This album builds on the ideas of its predecessor, 1994's HI-BOP SKA, without the free-jazz squalling of that album's guest star, Lester Bowie. Continuing with the ska-jazz fusion of the previous album, GREETINGS FROM SKAMANIA is half brand-new band originals and half reworkings of classic ska tunes of the '60s. Most of those old favorites are adapted into extended jazzy solo showcases, like the eight-minute "El Pussycat" and a fantastic six-minute version of the classic "Phoenix City." Of the new material, the slinky "Have A Good Time" is the highlight, featuring vocals from part-time Skatalite Doreen Schaffer.

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It's a mystery to me why this album isn't better known, or more widely venerated. It is an klix piece of brutal whimsy, in which concept and execution meet with merciless perfection - a sort of Sergeant Pepper's for sickos. Even the barest description of the album should prickle the interest of any right-minded person: It is a funk album about terrorism. The fact that it is the work of one of the most proficient and uncompromising song-writers of recent years, Luke Haines (whose surname, aptly enough, is French for 'hate'), ought to seal the deal. These ten songs, filled with sleazy handclaps and Mayfield-esque wibbly keyboards, recount the exploits of Holga Meins and Andreas Baader and their West German Marxist terror syndicate, with digressions on Illych Sanchez Ramirez (aka Carlos the Jackal, aka 'El Gordo') and the 1977 hijacking of a Lufthansa Boeing at Palma. The elliptical, impressionistic style in which the lyrics are written neatly mirrors the jagged, malignant nature of the subject-matter. A breathtaking, disturbing assault on the day-glo, bubble-permed pop-culture image of the 1970s.

Drawing inspiration from sick and sensational headlines is nothing new in underground rock: In his influential mid-'80s group Big Black, Steve Albini delivered provocative ditties about a child sex ring in rural Minnesota and kids who were hooked on torching things with kerosene. But with his first release outside the Auteurs, Luke Haines tries to push things even farther. He takes the name of a notorious early '70s German terrorist group; uses the members' mug shots as album art, and crafts a conceptual effort based on the inner musings of sinister souls ranging from the sadistic rebels in Mogadishu to the legendary hit man Carlos "the Jackal" Ramirez. I know what you're thinking: "Yawn. If I want shock rock, I'll listen to Marilyn Manson." But like Nick Cave's Murder Ballads, Baader Meinhof succeeds because Haines is a very literate pervert. "Christ was an extremist/With a kamikaze soul/Happy birthday, Anna/You're 29 years old," he sings in "Mogadishu," effectively capturing the mix of political fervor and messianic delusion that can cause a normal middle-class kid to start playing with Uzis and plastic explosives. Haines may be a creep, but he can certainly turn a phrase. What's more, the music matches the lyrical sophistication. Two drummers create a loose, clattering foundation of herky-jerk percussion; a violinist saws away in an understated, melancholic way, and the moody minor-key melodies sound as if they've been sampled from a futuristic funeral parlor. Through it all wafts Haines' surprisingly chipper and tuneful vocals, and they somehow turn these unlikely ingredients into strong pop hooks. You'll never have more fun singing along with a more despicable group of people.