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Don't be fooled by the title of Josh Rouse's fifth solo album. Yes, the singer-songwriter lived in the commercial country music capital for nearly a decade. Yes, he has been known to use the occasional pedal steel guitar. And okay, there is a soft southern lilt to his voice. But there are no rhinestone-studded cowboy hats or tattered American flags to be found in this "Nashville," an album of gentle AM radio nostalgia and understated folk-rock beauty. Influenced in equal parts by Marvin Gaye, Bob Dylan, and the Smiths, Rouse moves gracefully between intimate acoustic ballads ("Saturday") and handclap-drenched pop songs ("Winter In The Hamptons"), all the while delivering more personality and deft songwriting than his platinum-certified neighbors could ever conceive.
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No, Josh Rouse hasn't gone country. Despite the steel guitar of studio veteran Al Perkins snaking through four of these cuts, Rouse's music retains the pop bounce and sunny romanticism (tempered with heart-on-sleeve vulnerability) that make John Mayer sound like Jon Spencer by comparison. Recorded as a fond farewell to Nashville--the city where the Nebraska native has lived for the past decade--the album could serve as a sequel to Rouse's previous release, 1972. With the Bowiesque phrasing of "Middle School Frown" and "Sad Eyes," the plaintive, Neil Young-style harmonica of "My Love Has Gone," and the soulful reverie of "Saturday," Rouse runs the gamut of retro influences from what his music celebrates as a more innocent era. He's even divided the CD into a (poppier) side A and a (moodier) side B, where the propulsive insistence of "Why Won't You Tell Me" provides a change of pace from the laid-back intimacy that prevails. Throughout the album, the stripped-down, largely acoustic arrangements behind Rouse's wispy voice add to the sing-song charm.
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Nashville is filled with an atmosphere reminiscent of Neil Young’s "Harvest" and Bob Dylan’s "Nashville Skyline." His special affection for that city in Tennessee is played through a more elegant palette. From the pedal steel in "It’s the Nighttime" to the haunting strings in "Streetlights" to the fragile piano intro of "Sad Eyes," Josh has pulled out all the stops on this album.

In retrospect, the second and final album by this Manchester postpunk band seems to point straight at singer Ian Curtis's suicide, which happened a few months before it was released. The band's reverberating mesh of minor-key lines and Curtis's tremorous bass voice are doomy enough on their own, and attention to the words reveals references to blacker-than-black stories by J.G. Ballard and Joseph Conrad; the void and its terrors were splitting Curtis apart from the inside. "I put my trust in you," he sings, and his voice leaves no doubt that that trust has been betrayed. But the music, grim and powerful as it is, points to the direction the surviving members took as New Order, incorporating the mechanical gravity of club rhythms.

The ever-expanding log of BBC vault recordings is a decidedly mixed lot, with plenty of rubbish surfacing along with more than a few gems. This 10-song collection from the short-lived but vastly influential foursome Joy Division definitely belongs in the latter camp. Made up of radio performances cut in January, September, and November of 1979, The Complete BBC Recordings captures the post-punk outfit two years after they came together following a Sex Pistols appearance in their Manchester, England, base and a matter of months before frontman Ian Curtis took his life. Signaling a tidal shift in the punk mindset, Curtis's inner torment was expressed by melancholy rather than rage. His instrumental cohorts--the pre-New Order trio of Bernard Sumner, Peter Hook, and Stephen Morris--created a sound that was as terse yet expressive as a rude remark. These John Peel and Radio One performances depict a band on a grim mission--to give their sense of paralyzing futility an undeniable momentum. Riveting from start to finish, The Complete BBC Recordings is a must-own for fans of the band and anyone interested in hearing where the '70s ended and the '80s began for a vital segment of British rock.

Joy Division's `Unknown Pleasures' arrived in 1979 without warning or fanfare. Product inwards, this group was immediately different: austere, minimal graphics; monochrome, formal clothes; ascetic, modernist titles. And then there's the music, whose beauty, power, and long-term importance is hard to measure. In 1979, many things didn't exist in rock, and Joy Division, with this record, brought them into being. First, the idea that rock music could express emotions other than drugs, rebellion, youth, love: `Unknown Pleasures', for the first time in rock, expands the palette to include sadness, murderousness, self-hatred, despair; without apology, without embarrassment - like the entry of Greek Tragedy onto the rock stage. Without this, no Nirvana. No Husker Du. No Metallica, even. Second, an entirely new vocabulary. Melodic, dolorous bass, treated as a lead instrument. Baritone vocals, harsh, deep and dramatic, but with no interest in theatrics. Metronomic, disinterested percussion. Textural, ambient guitar that also bites, warps, and attacks. Third, production-as-aesthetic. The sound emerges out of inky blackness, prismatic like shards of broken glass: Noise and noise effects are as important as structure. Many genres and many bands owe their existence and their careers to the simultaneous, unprecedented innovations this record makes. It is as groundbreaking and original - if not more - as Revolver, Axis: Bold as Love, Fun House, or Ziggy Stardust, in whose company it should be kept. In other words, a fundamental, utterly essential work for any rock music enthusiast.
What about the songs? A brief glimpse into two key tracks (my favourites): `Shadowplay' follows some kind of imagined urban murder, charging through neon-lit darkness on the back of Albrecht's guitar: alternatively chordally violent, or flying through systemic solos that cycle like Reich or Glass. This will make your heart beat faster. `New Dawn Fades' starts up with bits of backward guitar-detritus, turning left into a requiem sung by a 20-year-old for his own life. It is utterly resigned and moving, and that would be enough; but towards its end it shifts up a gear and climaxes like no other song in rock; like despair finally expiated. Again, this one will have your hair standing up. Possibly the greatest single song in all of rock music, `New Dawn Fades' hits you with the Shock of the New. All these years later, it simply sounds thrown out of the void at us, fully-formed and totally unprecedented, and new with the original hurt every time. (Perhaps the nearest relative is `Tomorrow Never Knows'.)
Unknown Pleasures is new-minted like nothing else in rock, utterly astonishing, and timeless. Off the scale in terms of creativity, emotional expression, dynamics, and the power to excite and rejuvenate, this record does everything a rock record has to do to be called classic, and then goes way further: into darkness; into creation.

stidljiv wrote:Moze li iko naci ovaj novi album grupe 'Gorillaz' ? Hvala unaprijed!

stidljiv wrote:Ima ali linkovi ne rade...

This record seems to be a litmus test for some listeners- particularly those who cannot bear hearing a band peform a tune any way other than *exactly* as they did on the record. That group will be severely dissapointed; Becker and Fagin are first and formost jazzers, and on this album they flex their jazz chops to bring some new color and style to their best known songs.

"Reelin' in the Years" is probably the cut that will bug the inflexible listeners the most; gone is that classic (Elliot Easton?) guitar riff, replaced by a horn section, and at a slower tempo, too. But it still swings, in a more sophisticated way. The first time I heard it I thought gee, they've taken away the best part of the tune, but now it's my favorite cut on the album.

"Babylon Sisters" is perhaps the closest to the recorded arrangement, but it too benifits from a slightly slower tempo and a jazzier feel. "Green Earrings" is still the ultimate in cool hipster music, and "Boddhisatva" loses nothing, even without the original guitar pyrotechnics.

In fact, the entire album swings in a way no Steely Dan studio album ever did. I love it.

black wrote:

Forsaken People Come
To Me


ev ja sam naletio na samo ovu stvarcicu...ako shta vise bude...postavicu..naravno ako me victory ne pretekne

http://webmail.libero.it/r.php?d=libero.it&wr=_unreg_36s2zmlo&ws=1f39ef0a&e=libero.it&c=LIF260Xif9pYnhaI3pPXWlrNOgAIuZ7z5263

In telling the story of two friends from a tough Rio de Janeiro barrio whose lives can never seem to escape the favela where they were born and raised, the acclaimed film by Fernando Meirelles and Kátia Lund has drawn comparisons to such modern touchstones as Martin Scorsese's GoodFellas. Taking his inspiration from the filmmakers' daring gambit to cast real people in the roles and the film's '60s-'70s milieu, composer Antonio Pinto (assisted by partner Ed Córtes) has concocted a smart, rhythmically intoxicating cocktail of Brazilian jazz and samba, shaken with a little '70s American funk and R&B and served with cool, tropical flair. Those various styles often melt into each other with a liberating sense of postmodern possibility, giving listeners an experience that's as exotic as it is deceptively familiar, the worthy equatorial flip side of David Holmes's jazz-funk collaborations with Steven Soderbergh on Out of Sight and Ocean's Eleven.
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An excellent collection of vintage "Black Rio" Brazilian soul, including tracks by funk pioneer Tim Maia, crooner Hyldon and Wilson Simonal's hipsterdelic, Ray Charles-ish "Nao Vem Que Nao Tem," which was previously anthologized on the Six Degrees "SAMBA SOUL '70" compilation album (which is also very good). Also included are sweet samba tunes from songwriter Cartola," an elder of the Mangueira samba school, and the anthemic "Metamorfose Ambulante," by rocker Raul Seixas (who was a pretty amazing character). It's a fine set of classic songs to start with, but the new material that augments and connects these tracks is also pretty cool, '70s-styled funksploitation instrumentals by Antonio Pinto and Ed Cortez, along with a new samba-soul song by Seu Jorge, one of the best new artists in the style.

victory wrote:@ Altsa

nisam naletio na Kissogram ali sam se zato spotakao na At The Drive-In bootlegs, Seattle, Paris, Tokyo, Texas (cini mi se da si jednom prilikom trazio nesto od njih)

http://libra.kpsi.pl/marsvolt/tmv/Audio/ATDI/