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victory wrote:

The White Stripes - Get Behind Me Satan (07/06/2005)

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http://s45.yousendit.com/d.aspx?id=0LUVX4S8CP9QG3G23JU6CQF7JQ 

1. Blue Orchid
2. The Nurse
3. My Doorbell
4. Forever For Her (Is Over For Me)
5. Little Ghost
6. The Denial Twist
7. White Moon
8. Instinct Blues
9. Passive Manipulation
10. Take, Take, Take
11. As Ugly As I Seem
12. Red Rain
13. I'm Lonely (But I Ain't That Lonely Yet)

It’s not often that an album released in January gets called one of the best of the year in near-unison, but the second full length by Antony and the Johnsons is so startlingly beautiful that it simply has to be. Like his friend and compatriot Devendra Banhart, Antony is a super-talented singer-songwriter with a flair for dramatic artsong. But the cherubic Antony is so original he must get mistaken for an alien quite often; he sings like a bluesy opera singer and switches timbre from masculine to feminine in the space of a breath. The only vocal comparison that comes close is Nina Simone. Antony’s honest lyrics deal with deep wounds and troubled desires with matter of fact poetry and subtle humor, as in a short story by JT LeRoy. Aided and abetted by a versatile band that’s often closer to chamber orchestra than rock act, Antony delivers a visionary album with I Am A Bird Now. Oh yeah: Rufus Wainwright, Devendra, Lou Reed and Boy Georgeall appear on here, too.

The 1974 photo of Andy Warhol superstar Candy Darling on the cover of Antony and the Johnsons' second full length, I Am a Bird Now, is the perfect complement to the ghostly hymnals that flit and sigh behind its black and white shadows. A melancholy but arrestingly beautiful image, it depicts Darling on her deathbed; bright flowers float behind her upturned arm like a cluster of soft, pale moons radiating light onto the bleached sea of sheets in which she's drowning.

Besides being a tight aesthetic move, the image also links Antony to the early fabulousness of downtown New York, reminding the informed viewer not only of Darling's too-early death from leukemia, but the AIDS-related passing of the photographer himself, Peter Hujar in 1987 (the same year Warhol died, following routine gall bladder surgery). Klaus Nomi was already buried by then, and the Downtown scene was getting too close to saying goodbye to Cookie Mueller, Keith Haring, David Wojnarowicz, and Antony's sometime doppelganger Leigh Bowery (the subject of Boy George's musical Taboo), among others-- all victims of the AIDS virus.

This visual meditation on death and radical history smoothly conjures the family tree upon which pale, angelic Antony perches. The vocalist/pianist moved from California to NYC after seeing the documentary Mondo New York, lured by the 1980s cabaret scene it depicted. Quite fittingly, his first performance came with a musical troupe called Blacklips at the famed Downtown venue, the Pyramid. Jump now to 2003, when Antony opened for Lou Reed and sang the Velvet Underground classic "Candy Says" (yes, for Candy Darling) as an encore after most performances. Knowing all of this-- the very important history in that cover-- helps to understand the melancholy, sense of loss, and rapturous joy in these 10 tracks.

But however aesthetically intriguing and complex that history may be, the ultimate draw is Antony's voice, and within the first two seconds of the album, it should be very clear to even the most unaware newbies that Antony has an amazing Nina Simone/Brian Ferry/Jimmy Scott vibrato, a multi-octave siren that would sound painfully lovely no matter what he was saying. Lucky for us, he fills that promise with worthy syllables. The greatness of this downcast crooner is the melding of that otherworldly trill with a dark, powerful aesthetic. Looking past his sad eye make-up and kewpie-doll features are these mesmerizing songs about loving dead boys, plaintive letters from hermaphroditic children, the fear of dark lonesome purgatories, breast amputation, the fluidity of gender. The first words of "Hope There's Someone" and of the album "Hope there's someone who'll take care of me/ When I die" feel more lonesome than just about anything and then there's the rapturous promise of "For Today I Am A Boy"' that "One day I'll grow up and be a beautiful woman/ One day I'll grow up and be a beautiful girl".

I Am a Bird Now's majesty didn't come easily: Antony's self-titled debut was released five years ago on David Tibet's Durtro label, but only now has he found the perfect mix between style and substance. More stripped down than earlier offerings-- most of the focus is on piano and voice, although violin, viola, cello, sax, and flute are also heard-- there's no missing Antony's thoughtful words.

There are a number of guest vocal spots-- Devendra Banhart (gypsy incantations in the beginning of "Spiralling"), Boy George ("You Are My Sister"), Rufus Wainwright ("What Can I Do?"). All of these powerful singers are overshadowed by Antony's angelic chops, though Boy George ends up turning in a surprisingly moving performance. His duet with Antony explores private memory, brotherhood/sisterhood (regardless of gender), relationships, empowerment ("I was so afraid of the night/ You seem to move to places/ That I feared"), and wish fulfillment. (Really, grab the hankies.)

For his part, longtime Antony fan/champion Lou Reed does a little spoken "I was lying in my bed last night" intro and some chunky guitar chords on the doo-wop horn swagger of standout "Fistful of Love", which works itself up to a frothy Otis Reading devotional to love's bruises and the comfort of a familiar fist: "I accept and I collect the memories of your devotion on my body".

The mingling of friends is a treat but, heart in his hand, Antony can more than ably go it alone-- even though he spends so much of I Am A Bird Now fearing solitude and celebrating those rare perfect connections. Then again, in this carefully laid out record, the final track, "Bird Gurl", leads quite dramatically to full-fledged climax as our hero searches for and finds wings, finally taking a solo flight. Contrast this with the pathos of the opener's fear of falling asleep and that "middle place" between light/life and darkness/death. Of course, when the album begins again, so does the reality of perhaps having nobody to hold an aching dying head. But then, so does Antony's riveting trip towards his airborne epiphany. And on the cover, Candy's flowers remain in bloom.
http://www.pitchforkmedia.com/record-re ... -now.shtml

As frontman/songwriter for the late, great indie rockers the Replacements, Paul Westerberg was anointed the voice of a generation. And while that might look nice on the résumé, it can have its drawbacks; over the course of three solo CDs, Westerberg has struggled to regain the acclaim he once enjoyed. But the fortysomething rocker comes awfully close on his first CD in almost four years. Actually make that two CDs--Stereo consists of two separate projects and as a result showcases distinct aspects of Westerberg's songwriting skills.....
---
2002 release from the amazing Westerberg (who disbanded his group The Replacements in 1991). The 12 tracks for Stereo were written and recorded at home over a two-year period, no effort was made to fix mistakes like tape running out, fluffed lyrics flat notes etc.

Well, to say this is one ambitious project is an understatement to say the least! Prepare for a culture shock.

This unique CD has been two years in the making and will come as a complete shock to seasoned Motown enthusiasts who may well dismiss this after listening to the below streaming clips. Should that be the case - just hang on a minute and lets put the whole thing into perspective. The whole idea behind this set was to give modern day re-mixers an opportunity to work with classic Motown tracks and give them a modern day feel - the result is this new release about to hit the streets in the UK at the beginning of June.

Manchester's Smooth FM radio station has been working the Marvin Gaye track for months now and reaction from their listeners has been positive to say the least. We've also heard Marvin Gaye and Michael McDonald duet together on his 1968 hit 'Grapevine' where a new feel has been given to it although there appears to be no release date for this song in sight.

Some of these tunes have been kept close to the original and you may argue what all the fuss is about. However, others will have mixed reactions to such things as the (King Britt Mix) of Edwin Starr's 1970 hit single 'War' which has been given an unusual feel to say the least, as has the Jackson 5's (Z-Trip mix) of 'I Want You Back' which has been re-worked hip-hop style.

Fans of the late Marvin Gaye should thrill at the (Da Producers MPG Groove Mix) of his 1973 smash 'Let's Get It On' which is the track that has received selected upfront radio plays and I have included it as a streaming sample at the bottom of this page. Speaking of Marvin Gaye who hit the number one spot with 'Grapevine' in 1968 has the original version of that song by Gladys Knight & the Pips remixed here by (The Randy Watson Mix) and again its one for you to judge by listening to our sample.

There are a couple mixes on the set that are a pleasure to enjoy including the (Easy Mo Bee Mix) of the Temptations' classic 'Just My Imagination' and the Undisputed Truth's classic 'Smiling Faces Sometimes' the (Futureshock Main Ingredient Mix) both of which retain their original feel. Also the Tom Moulton album remix of the Supremes hit 'Stoned Love' is very close to any other 'original' mix we've heard over the years. Stevie Wonder's collaboration with pop band Blue on his 'Signed Sealed Delivered' sounds nothing like the (DJ Smash Essential Funk Mix) which I've also included below for you to sample. Other remixes here include songs from Eddie Kendrick's, Smokey Robinson, Rare Earth, and perhaps the most unusual reworking of them all a SLOW version of 'My World Is Empty Without You' by the Supremes.

vedderedi wrote:Boga ti victory imal' igdje link za ovaj zadnji album Chemical Brothers?

victory wrote:Ponajbolji album objavljen do sada, u ovoj godini!!!!