albums you should own

[HardBeat]

Genre: Progressive Rock

1. King Crimson - 21st Century Schizoid Man (Including Mirrors) (7:21)
2. King Crimson - I Talk to the Wind (6:05)
3. King Crimson - Epitaph (Including March for No Reason/Tomorrow and Tomorrow) (8:47)
4. King Crimson - Moonchild (Including The Dream/The Illusion) (12:13)
5. King Crimson - The Court of the Crimson King (9:25)

Asta e de referinta.


Apropo de King Crimson, o piesa absolut geniala

[youtube]http://www.youtube.com/watch?v=tZbOdgevxDE[/youtube]

[sunrah]

^ toate sunt de referinta, crede-ma.

Ai pus capac cu Tim si Jeff. Demult vroiam sa ascult! Thank you kind lady!

cu mare placere.

Multe preferate pe aici. Da' parca lipseste un Velvet Underground

sigur, am pus deja o mare parte din velvet - si anume nico, dar vine si banana clasica in curand.
nu pot sa le urc pe toate deodata, si chiar daca as face-o, nu ati avea cum sa le downloadati sau ati ignora o mare parte din ele, ceea ce ar fi mare pacat.

[sunrah]

Genre: Post-Rock

1. Slint - Breadcrumb Trail (5:55)
2. Slint - Nosferatu Man (5:35)
3. Slint - Don, Aman (6:26)
4. Slint - Washer (8:50)
5. Slint - For Dinner... (5:03)
6. Slint - Good Morning, Captain (7:39)

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http://www.filebox.ro/download.php?key=1f4b9b7c791000dd9c725718a2a2f73a&lang=ro

More known for its frequent name-checks than its actual music, Spiderland remains one of the most essential and chilling releases in the mumbling post-rock arena. Even casual listeners will be able to witness an experimental power-base that the American underground has come to treasure. Indeed, the lumbering quiet-loud motif has been lifted by everybody from Lou Barlow to Mogwai, the album's emotional gelidity has done more to move away from prog-rock mistakes than almost any of the band's subsequent disciples, and it's easy to hear how the term "Slint dynamics" has become an indie categorization of its own. Most interestingly, however, is how even a seething angularity to songs like "Nosferatu Man" (disquieting, vampirish stop-starts) or "Good Morning, Captain" (a murmuring nod to "The Rime of the Ancient Mariner") certainly signaled the beginning of the end for the band. Recording was intense, traumatic, and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album. Spiderland remains, though, not quite the insurmountable masterpiece its reputation may suggest. Brian McMahan softly speaks/screams his way through the asphyxiated music and too often evokes strangled pity instead of outright empathy. Which probably speaks more about the potential dangers of pretentious post-rock than the frigid musical climate of the album itself. Surely, years later, Spiderland is still a strong, slightly overrated, compelling piece of investigational despair that is a worthy asset to most any experimentalist's record collection.

[sunrah]

va avertizez, e foarte probabil sa nu va placa. eu una il consider cel mai under-rated muzician ever - nu-l intrece nimeni.
dupa el ar mai fi wyatt, tim buckley, crayola; pere ubu sau faust - care abia acum incep sa fie apreciati cum trebuie.
cu albumul asta o sa-l facem pe tom waits sa sune ca michael buble albumul e o nebunie, in toate sensurile posibile / well, produs de zappa



1. Captain Beefheart - Frownland (1:41)
2. Captain Beefheart - The Dust Blows Forward And The Dust Blows Back (1:53)
3. Captain Beefheart - Dachau Blues (2:21)
4. Captain Beefheart - Ella Guru (2:26)
5. Captain Beefheart - Hair Pie: Bake 1 (4:57)
6. Captain Beefheart - Moonlight On Vermont (3:59)
7. Captain Beefheart - Pachuco Cadaver (4:40)
8. Captain Beefheart - Bill's Corpse (1:49)
9. Captain Beefheart - Sweet Sweet Bulbs (2:21)
10. Captain Beefheart - Neon Meate Dream Of A Octafish (2:26)
11. Captain Beefheart - China Pig (4:02)
12. Captain Beefheart - My Human Gets Me Blues (2:46)
13. Captain Beefheart - Dali's Car (1:26)
14. Captain Beefheart - Hair Pie: Bake 2 (2:23)
15. Captain Beefheart - Pena (2:33)
16. Captain Beefheart - Well (2:07)
17. Captain Beefheart - When Big Joan Sets Up (5:19)
18. Captain Beefheart - Fallin' Ditch (2:05)
19. Captain Beefheart - Sugar 'N Spikes (2:30)
20. Captain Beefheart - Ant Man Bee (3:57)
21. Captain Beefheart - Orange Claw Hammer (3:34)
22. Captain Beefheart - Wild Life (3:09)
23. Captain Beefheart - She's Too Much For My Mirror (1:40)
24. Captain Beefheart - Hobo Chang Ba (2:02)
25. Captain Beefheart - The Blimp (mousetrapreplica) (2:04)
26. Captain Beefheart - Steal Softly Thru Snow (2:11)
27. Captain Beefheart - Old Fart At Play (1:51)
28. Captain Beefheart - Veteran's Day Poppy (4:31)

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http://www.filebox.ro/download.php?key=3a2296728999b4fab2f31bf1d1ad7e1c&lang=ro

Captain Beefheart, the only true dadaist in rock, has been victimized repeatedly by public incomprehension and critical authoritarianism. The tendency has been to chide C.B. and his Band as a potentially acceptable blues band who were misled onto the paths of greedy trendy commercialism. What the critics failed to see was that this was a band with a vision, that their music, difficult raucous and rough as it is, proceeded from a unique and original consciousness.

This became dramatically apparent with their last album. Since their music derived as much from the new free jazz and African chant rhythms as from Delta blues, the songs tended to he rattly and wayward. clattering along on weirdly jabbering high-pitched guitars and sprung rhythms. But the total conception and its execution was more in the nature of a tribal Pharaoh Sanders Archie Shepp fire-exorcism than the ranting noise of the Blue Cheer strain of groups.

Thus it's very gratifying to say that Captain Beefheart's new album is a total success; a brilliant, stunning enlargeme and clarification of his art. Which is not to say that it's in any sense slick, "artistic" or easy. This is one of the few bands whose sound has actually gotten rawer as they've matured - a brilliant and refreshing strategy. Again the rhythms and melodic textures jump all over the place (in the same way that Cecil Taylor's do). Beefheart singing like a lonesome werewolf screaming and growling in the night. The songs clatter about - given a superficial listening they seem boring and repetitious. It's perhaps the addition of saxophones (all played by the five men in the band) that first suggests what's really happening here and always has been happening in this group's music.

On "Hair Pie Bake One," for instance, the whole group gets into a raucous wrangling horn dialog that reveals a strong Albert Ayler influence. The music truly meshes, flows, and excites in a way that almost none of the self-conscious, carefully crafted jazz-rock bullshit of the past year has done. And the reason for this is that while many other groups have picked up on the trappings of the new jazz, Cap and the Magic Band are into its essence, the white-hot stream of un-"cultured" energy, getting there with a minimum of strain to boot. This is the key to their whole instrumental approach, from the drummer's whirling poly- and even a- rhythmic patterns (compare them to Sonny Murray's on Ayler's Spiritual Unity or Ed Blackwell's on Don Cherry's Symphony For Improvisers), to the explosive, diffuse guitar lines, which (like Lou Reed's for the Velvet Underground or Gary Peacock's bass playing on Spiritual Unity) stretch, tear, and distend the electric guitar's usual vocabulary with the aim of extending that vocabulary past its present strictly patterned limitations - limitations that are as tyrannically stultifying for the rock musician today as Charlie Parker's influence was for the jazzmen of the late Fifties.

l mustn't forget the lyrics. You certainly won't; the album on a purely verbal level is an explosion of maniacal free-association incantations, eschewing (with the authentic taste that assassinates standards of Taste) solemn 'poetic’ pretensions and mundane, obvious mono-syllabic mindlessness. Where, for in stance, have you heard lyrics like these; "Tits tits the blimp the blimp / The mother ship the mother ship / The brothers hid under the hood / From the blimp the blimp…. all the people stir / ‘n the girls' knees tremble / 'n run 'n wave their hands / 'n run their hands over the blimp the blimp…".

The double record set costs as much as two regular albums, hut unlike most of these superlong superexpensive items it's really sustained, and worth the money, which is perhaps not so much to pay for 27 songs and what may well be the most unusual and challenging musical experience you'll have this year.

[sunrah]

s-a retras. nu mai face muzica de multa vreme. apropo, pianul de pe piesa "chaos" a lui unkle, e compozitia lui.



Genre: Post-Rock

1. Talk Talk - Myrrhman (5:33)
2. Talk Talk - Ascension Day (6:00)
3. Talk Talk - After the Flood (9:26)
4. Talk Talk - Taphead (7:01)
5. Talk Talk - New Grass (9:46)
6. Talk Talk - Runeii (4:56)

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http://www.filebox.ro/download.php?key=51d3e5fb0d3132fd6e784233d73fb72d&lang=ro

Virtually ignored upon its initial release, Laughing Stock continues to grow in stature and influence by leaps and bounds. Picking up where Spirit of Eden left off, the album operates outside of the accepted sphere of rock to create music which is both delicate and intense; recorded with a large classical ensemble, it defies easy categorization, conforming to very few structural precedents — while the gently hypnotic "Myrrhman" flirts with ambient textures, the percussive "Ascension Day" drifts toward jazz before the two sensibilities converge to create something entirely new and different on "New Grass." The epic "After the Flood," on the other hand, is an atmospheric whirlpool laced with jackhammer guitar feedback and Mark Hollis' remarkably plaintive vocals; it flows into "Taphead," perhaps the most evocative, spacious, and understated piece on the record. A work of staggering complexity and immense beauty, Laughing Stock remains an under-recognized masterpiece, and its echoes can be heard throughout much of the finest experimental music issued in its wake.

are o voce foarte delicata, intima.. SOS SOULFUL!



Genre: Post-rock

1. Mark Hollis - The Colour of Spring (3:52)
2. Mark Hollis - Watershed (5:44)
3. Mark Hollis - Inside Looking Out (6:20)
4. Mark Hollis - The Gift (4:22)
5. Mark Hollis - A Life (1895-1915) (8:09)
6. Mark Hollis - Westward Bound (4:17)
7. Mark Hollis - The Daily Planet (7:19)
8. Mark Hollis - A New Jerusalem (6:49)

Seven years after Talk Talk's last album (it would seem), 1991's amazing "Laughing Stock", Mark Hollis picked up right where he left off with this mesmerising solo debut. A team of a dozen collaborators is used over the course of its 47 minutes, but they never intrude on the stark, lean atmosphere Hollis generates with the dominant components of voice and guitar. Even moreso than "Spirit of Eden" and "Laughing Stock", in these sessions Hollis oversaw a (beautifully recorded) process that let each facet of the sound be revealed completely. In addition to the instruments, creaking chairs, puffs of breath, plectrums, and foot movements can all be heard. Listen to it on headphones and you are there with them, a studio ghost. The music is mournful and haunting, woodwind and percussion sparingly but devasatingly used. There is very little information available on what Hollis has been up to in the intervening nine years, but hopefully he's preparing a follow-up. Few can combine elements of minimalist jazz, folk, ambient and rock music like him. It doesn't even sound like it should work, but Hollis pulls it off here.

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http://www.mediafire.com/?c4qlvebe5dj

P.S.: adaugat link la Mark Hollis.

[Meursault]

Ai uitat sa lasi link la ultimul.

[sunrah]

Genre: Rock

1. Teen Age Riot 6:57
2. Silver Rocket 3:47
3. The Sprawl 7:42
4. 'Cross the Breeze 7:00
5. Eric's Trip 3:48
6. Total Trash 7:33
7. Hey Joni 4:23
8. Providence 2:41
9. Candle 4:58
10. Rain King 4:39
11. Kissability 3:08
12. Trilogy: 14:05
a) The Wonder 4:15
b) Hyperstation 7:13
z) Eliminator Jr. 2:37

A single album never seemed to offer a broad enough canvas for an inclusive view of the Sonic Youth experience. Last year's splendid album Sister, on SST, came close, with its tight song structures and controlled bursts of sonic mayhem. But the definitive Sonic Youth vinyl was still the live double-album bootleg issued several years ago in England -- until the arrival of Daydream Nation, the band's first official double album and its first record of any kind with major-label distribution behind it.

Daydream Nation gives this influential quartet its best forum yet for demonstrating the broad harmonic palette, sharply honed songwriting skills and sheer exhilarating drive that have resulted from seven years of what guitarist and vocalist Thurston Moore calls "Sonic Life." The twelve songs range from the driving slamtempo pop power of "Teen Age Riot" and the gorgeous "Candle," to the deliriously grungy noisefest of "Eric's Trip," to the ambitious, panoramic instrumental sound painting of "The Sprawl." And lest we forget that Sonic Youth were retrofitting Seventies rock tropes before the rest of the rock underground began to shake its Sixties fixations, there's "Total Trash," a surging ode to disposable pop metal that wouldn't have sounded terribly out of place on Alice Cooper's School's Out.

Urgent, winningly over-the-top vocals from guitarist Ranaldo and bassist Kim Gordon serve as bracing foils for Moore's more poppish singing. And Gordon and drummer Steve Shelley have become one of rock's most feral, kinetic rhythm sections. Moore may be complaining that "there's bum trash in my hall, and my place is ripped/I totaled another amp, I'm comin' in sick," but you can almost see him smiling as he says it, and why not? Daydream Nation presents the definitive American guitar band of the Eighties at the height of its powers and prescience.

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http://www.sendspace.com/file/cjxqhs

[vizy]

RAGE AGAINST THE MACHINE -> Renegades
Track listing

1"Microphone Fiend" (Eric B. & Rakim: Follow The Leader) –
2"Pistol Grip Pump" (Volume 10: Hip-Hopera) –
Contains portions of "More Bounce to the Ounce" by Zapp
3"Kick Out the Jams" (MC5: Kick Out the Jams) –
4"Renegades of Funk" (Afrika Bambaataa: Planet Rock - The Album) –
Contains samples from "Renegades of Funk" by Afrika Bambaataa & The Soul Sonic Force & "Scorpio" by Dennis Coffey
5"Beautiful World" (Devo: New Traditionalists) –
6"I'm Housin'" (EPMD: Strictly Business) –
7"In My Eyes" (Minor Threat: In My Eyes) –
8"How I Could Just Kill a Man" (Cypress Hill: Cypress Hill) –
9"The Ghost of Tom Joad" (Bruce Springsteen: The Ghost of Tom Joad) –
10"Down on the Street" (The Stooges: Fun House) –
11"Street Fighting Man" (The Rolling Stones: Beggars Banquet) –
12"Maggie's Farm" (Bob Dylan: Bringing It All Back Home) –
13"Kick Out the Jams" (MC5) (Live) -
14"How I Could Just Kill a Man" (featuring B-Real and Sen Dog) (Live) -

[sunrah]

Bad Brains - Bad Brains (ROIR Sessions) (1982)

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http://www.sendspace.com/file/608fnr

Charles Mingus - The Black Saint and the Sinner Lady (1963)

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http://www.sendspace.com/file/205ui5

Funkadelic - Maggot Brain (1971)

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http://www.sendspace.com/file/a7z954

Miles Davis - Kind of Blue (1959)

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http://www.sendspace.com/file/su9odi

The Velvet Underground - The Velvet Underground & Nico (1967)

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http://www.sendspace.com/file/h4mx32

Pixies - Doolittle (1989)

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http://www.sendspace.com/file/3y4h8l

John Coltrane - Giant Steps (1960)

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http://www.sendspace.com/file/77x8sg

Nina Simone - Jazz as Played in an Exclusive Side Street Club (1958)

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http://www.sendspace.com/file/1k1bfi

David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972)

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http://www.sendspace.com/file/hpb4sa

Pink Floyd - Animals [Remastered] (1977)

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http://www.sendspace.com/file/l0kutu

Boards of Canada - Music Has the Right to Children (1998)

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http://www.sendspace.com/file/sqfab7

[sunrah]

Genre: Progressive Rock

1 Close to the Edge 18:42
i. The Solid Time of Change
ii. Total Mass Retain
iii. I Get Up I Get Down
iv. Seasons of Man
2 And You and I 10:08
i. Cord of Life
ii. Eclipse
iii. The Preacher The Teacher
iv. Apocalypse
3 Siberian Khatru 9:00

Bonus Tracks

4 America (Single Version) 4:12
5 Total Mass Retain (Single Version) 3:21
6 And You and I (Alternate Version) 10:17
i. Cord of Life
ii. Eclipse
iii. The Preacher The Teacher
iv. Apocalypse
7 Siberia (Studio Run-Through of "Siberian Khatru") 9:19

With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating. For it was vast. Close to the Edge comprised just three tracks, the epic "And You and I" and "Siberian Khatru," plus a side-long title track that represented the musical, lyrical, and sonic culmination of all that Yes had worked toward over the past five years. Close to the Edge would make the Top Five on both sides of the Atlantic, dispatch Yes on the longest tour of its career so far and, if hindsight be the guide, launch the band on a downward swing that only disintegration, rebuilding, and a savage change of direction would cure. The latter, however, was still to come. In 1972, Close to the Edge was a flawless masterpiece.

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http://www.sendspace.com/file/121r5i

[sunrah]

Genre: Glam Rock

1 Do the Strand 4:03
2 Beauty Queen 4:41
3 Strictly Confidential 3:48
4 Editions of You 3:51
5 In Every Dream Home a Heartache 5:29
6 The Bogus Man 9:20
7 Grey Lagoons 4:13
8 For Your Pleasure 6:51

On Roxy Music's debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade.

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http://www.sendspace.com/file/zmoofk

[sunrah]

Genre: Blues

1.1 Gypsy Woman 2:35
1.2 I Can't Be Satisfied 2:43
1.3 I Feel Like Going Home 3:12
1.4 Train Fare Home Blues 2:48
1.5 Mean Red Spider 2:19
1.6 Standin' Here Tremblin' 2:27
1.7 You're Gonna Need My Help 3:03
1.8 Little Geneva 2:48
1.9 Rollin' and Tumblin', Part One 2:59
1.10 Rollin' Stone 3:08
1.11 Walkin' Blues 2:58
1.12 Louisiana Blues 2:54
1.13 Long Distance Call 2:41
1.14 Honey Bee 3:22
1.15 Country Boy 3:13
1.16 She Moves Me 2:58
1.17 Still a Fool 3:19
1.18 Stuff You Gotta Watch 2:51
1.19 Who's Gonna Be Your Sweet Man When I'm Gone 3:04
1.20 Standin' Around Cryin' 3:23
1.21 Baby Please Don't Go 3:18
1.22 (I'm Your) Hoochie Coochie Man 2:48
1.23 I Just Want to Make Love to You 2:52
1.24 I'm Ready 3:05
1.25 Young Fashioned Ways 3:02
1.26 I Want to Be Loved 2:42
2.1 My Eyes (Keep Me in Trouble) 3:12
2.2 Mannish Boy 2:58
2.3 Sugar Sweet 2:31
2.4 Trouble No More 2:42
2.5 Forty Days and Forty Nights 2:53
2.6 Just to Be With You 3:15
2.7 Don't Go No Further 2:56
2.8 Diamonds at Your Feet 2:26
2.9 I Love the Life I Live (I Live the Life I Love) 2:52
2.10 Got My Mojo Working 2:53
2.11 Rock Me 3:13
2.12 Look What You've Done 2:24
2.13 She's Nineteen Years Old 3:19
2.14 Close to You 3:07
2.15 Walkin' Thru the Park 2:47
2.16 Take the Bitter With the Sweet 3:08
2.17 I Feel So Good (Live in Newport, 1960) 2:58
2.18 You Shook Me 2:44
2.19 My Home Is in the Delta 4:00
2.20 Good Morning Little School Girl 3:15
2.21 The Same Thing 2:44
2.22 You Can't Lose What You Ain't Never Had 2:57
2.23 All Aboard (Fathers and Sons) 2:53
2.24 Can't Get No Grindin' 2:45

There have been countless collections of Muddy Waters' classic Chess material released over the years, but Chess began to whittle down the domestic catalog toward the late '90s. The triple-disc Chess box remained in print, but they added two single-disc collections that each covered a specific period in Waters' career at Chess. Then, in 2001, MCA/Chess released The Anthology, a double-disc set that essentially contained much of those two single-disc collections, with several extra tracks, remastering and new liner notes. This still didn't correct the lack of a concise, single-disc overview with all the hits — something that Muddy, Chuck Berry, and Howlin' Wolf all desperately need — but if you're going to be buying two discs to get the full Muddy Waters story, you should get this instead of two separate disc, since it's simply easier. Besides, this, even if it does contain a bunch of familiar material, nevertheless contains some of the greatest music of the 20th Century, and if you're not going to get the box but still want a comprehensive Muddy set, this is it.

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http://www.sendspace.com/file/dh2hfy

[sunrah]

Genre: Power Pop

1 Hush 2:10
2 Joining a Fan Club 4:03
3 Sebrina, Paste and Plato 2:23
4 New Mistake 4:03
5 Glutton of Sympathy 3:49
6 The Ghost at Number One 3:37
7 Bye Bye Bye 4:02
8 All is Forgiven 4:10
9 Russian Hill 4:45
10 He's My Best Friend 3:44
11 Too Much, Too Little, Too Late 3:15
12 Brighter Day 6:12

For their second album, Jellyfish replaced the departed Jason Falkner with Tim Smith on bass. Jon Brion also came aboard with Lyle Workman to add to lead singer Andy Sturmer's guitar work. With Sturmer and keyboard player Roger Manning in place, however, Jellyfish managed to outdo their impressive debut with 1993's Spilt Milk. Spilt Milk expands on the sound of Bellybutton and is much more a studio creation than its predecessor. Dreamy vocal harmonies, circus-like swirling organ passages, and crunchy guitars are layered in a manner that evokes the best of the Beatles and the Beach Boys. "Hush," the lead track, particularly recalls the Beach Boys with its luscious vocal harmonies, as does the pure pop of "The Ghost at Number One." And, as expected from this cast, the infectious, melt-in-your-ear melodies are accompanied with clever lyrics like those on the raucous "Joining a Fan Club " and the masturbation ode "He's My Best Friend." Spilt Milk is a flawless pop gem from start right through the unbridled optimism of the closing "Brighter Day."

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http://www.sendspace.com/file/h8btsb

[sunrah]

Genre: Punk

1 D's Car Jam 0:30
2 Anxious Mo-Fo 1:15
3 Theatre Is the Life of You 1:28
4 Viet Nam 1:27
5 Cohesion 1:57
6 It's Expected I'm Gone 2:07
7 #1 Hit Song 1:52
8 Two Beads at the End 1:50
9 Do You Want New Wave or Do You Want the Truth? 1:46
10 Shit From an Old Notebook 1:33
11 Nature Without Man 1:43
12 One Reporter's Opinion 1:47
13 Mike's Car Jam 0:33
14 Political Song for Michael Jackson to Sing 1:29
15 Maybe Partying Will Help 1:57
16 Toadies 1:38
17 Retreat 1:55
18 The Big Foist 1:27
19 God Bows to Math 1:18
20 Corona 2:29
21 The Glory of Man 2:52
22 Take 5, D. 1:41
23 My Heart and the Real World 1:03
24 History Lesson - Part II 2:12
25 George's Car Jam 0:33
26 You Need the Glory 2:00
27 The Roar of the Masses Could Be Farts 1:21
28 West Germany 1:49
29 The Politics of Time 1:08
30 Themselves 1:18
31 Please Don't Be Gentle with Me 0:46
32 Nothing Indeed 1:20
33 No Exchange 1:54
34 There Ain't Shit on T.V. Tonight 1:35
35 This Ain't No Picnic 1:54
36 Spillage 1:48
37 Three Car Jam 0:14
38 Untitled Song for Latin America 2:02
39 Jesus and Tequila 2:56
40 June 16th 1:47
41 Storm in My House 2:02
42 Martin's Story 0:51
43 The World According to Nouns 2:10
44 Love Dance 2:02

If What Makes a Man Start Fires? was a remarkable step forward from the Minutemen's promising debut album, The Punch Line, then Double Nickels on the Dime was a quantum leap into greatness, a sprawling 44-song set that was as impressive as it was ambitious. While punk rock was obviously the starting point for the Minutemen's musical journey (which they celebrated on the funny and moving "History Lesson Part II"), by this point the group seemed up for almost anything — D. Boon's guitar work suggested the adventurous melodic sense of jazz tempered with the bite and concision of punk rock, while Mike Watt's full-bodied bass was the perfect foil for Boon's leads and drummer George Hurley possessed a snap and swing that would be the envy of nearly any band. In the course of Double Nickels on the Dime's four sides, the band tackles leftist punk ("Political Song for Michael Jackson to Sing"), Spanish guitar workouts ("Cohesion"), neo-Nortena polka ("Corona"), blues-based laments ("Jesus and Tequila"), avant-garde exercises ("Mr. Robot's Holy Orders"), and even a stripped-to-the-frame Van Halen cover ("Ain't Talkin' 'Bout Love"). From start to finish, the Minutemen play and sing with an estimable intelligence and unshakable conviction, and the album is full of striking moments that cohere into a truly remarkable whole; all three members write with smarts, good humor, and an eye for the adventurous, and they hit pay dirt with startling frequency. And if Ethan James' production is a bit Spartan, it's also efficient, cleaner than their work with Spot, and captures the performances with clarity (and without intruding upon the band's ideas). Simply put, Double Nickels on the Dime was the finest album of the Minutemen's career, and one of the very best American rock albums of the 1980s.

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http://www.sendspace.com/file/5yt5og

[sunrah]

Genre: Soul

1 Walk on By 12:04
2 Hyperbolicsyllablicsesquedalymistic 9:41
3 One Woman 5:12
4 By the Time I Get to Phoenix 18:41

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs. The first, "Walk on By," is an epic 12-minute moment of true perfection, its trademark string-laden intro just dripping with syrupy sentiment, and the thumping mid-tempo drum beat and accompanying bassline instilling a complementary sense of nasty funk to the song; if that isn't enough to make it an amazing song, Hayes' almost painful performance brings yet more feeling to the song, with the guitar's heavy vibrato and the female background singers taking the song to even further heights. The following three songs aren't quite as stunning but are still no doubt impressive: "Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song; "One Woman" is the least epic moment, clocking in at only five minutes, but stands as a straightforward, well-executed love ballad; and finally, there's the infamous 18-minute "By the Time I Get to Phoenix" and its lengthy monologue which slowly eases you toward the climactic, almost-orchestral finale, a beautiful way to end one of soul's timeless, landmark albums, the album that transformed Hayes into a lifelong icon.

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