Saturday, February 28, 2009
bossa/jazz/blues band from Split, Croatia
Partet - a non-specified number (par --> couple, few) of people playing together (quartet, quintet, fewtet, coupletet --> Partet). A band from Split, Croatia which performs wide stylistic spectrum of music - jazz, blues, bossa nova, country. The first concert was held in the Puppet Theater in Split 26th 12. 2006. Since then the band regularly performed in various combinations. In addition to the musicians who play today, Partet has cooperated also with Nilla Axelsson - violin, Zvonimir Matić - bass guitar, a keyboard player Darko Aljinović and Sinisa Kovacic - Mr. Chemistry on the alto saxophone.
...Jasenka Markov Anterich (vocal, flute)
Graduated her flute studies in 2003. in the class of prof. Ana Domančić - Krstulović at the Arts Academy University of Split. In 2008 completed training for the Baroque flute (traverso) at the Scuola di Musica Antica di Venezia by prof. Stefano Bet. She engaged in singing in "The Skelligs", where she also played tin whistle and flute. She is a member of jazz band SplitMinders.
...Goran Cetinich - Kocha (guitar, vocal)
He plays acoustic guitar by selflearned special fingerpicking style. Since year 2000 played with band "3C", between years 2004 & 2006 he played with band Skelligs (traditional Irish Music). He is the active member of the cult band Otprilike Ovako and has been colaborated with many other bands (Black Cat Bone, Little Pigeons Forhill Blues, Lokva...).
...Ivan Bozicevich (piano)
Composer, arranger, organist, jazz musician. After initial piano studies, joins the composition class of A. Obradović at the Belgrade Faculty of Music. Graduates in 1984, earns a Master's degree in 1989. Until 2001 occupies a teaching post for Harmony, Counterpoint and Analysis there and at the Academy of Arts in Novi Sad. Since December 2001 lives in Split, Croatia, as a free-lance artist.
...Nenad Bego (bass)
Born on May 13, 1957, in Split, Croatia. His musical education began at the age of 7, and his career as a professional musician started at the age of 17, playing the bass guitar and double bass with the groups "Delfini", "Anima Singers", "Split Quintet" and "Pro Arte".
While working at the Faculty of Electrical Engineering in the early 80s, Nenad combined his interests in the electronics and music, at that time he began working as a studio producer ("Osmi putnik"), as well as a studio musician. During the 80s he played with the bands "Tutti Frutti", "Zivi zid", "Kineski zid" and "Josko Banov orchestra"
In the end of the 80s his spiritual aspirations shifted him abroad. At that period Nenad had intensively cooperated with "Gauranga Bhajan Band", accepted the spiritual name Narasimhavapu das, and took brahmana initiation in Mayapur, India in 1992. During the war in Croatia, he founded the Vedic Center in Split. He also became a member of the Croatian Navy Orchestra, until its partial disbandance after the war.
During the second half of the 90s Nenad continued his concert activities and recorded as a member of backing bands for Tedi Spalato, Zorica Kondja, Meri Cetinic, etc. In the period after 2000, he opened his own studio, and played as backing musician for Giulliano, Marjan Ban and Lvky.
Today Nenad plays in bands "SplitMinders", "The Aliens" and “Partet”. The rest of the time he composes his own music. During his career, he took part in approximately 1000 pop-rock, jazz and classical concerts, innumerous gigs, and recorded more than 1000 minutes of published music.
...Andrej Petkovich (drums)
Drummer and percussionist. Andy started playing drums in the first half of the 1970s. While he played with the first psichodelic band in Split called "The X band", he also played gospel in a church band. In the second part of the 1970s he lived in Slovenia and played with jazz-rock bands called "Izvir", "Jutro" and "Predmestje" and was accompanying the popular Slovenian singer Neca Falk. After returning to Split he had collaborated with jazz-rock bands Savannah Expression, The Flintstones and with jazz combos SplitMinders and Black Coffee.
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Can you people give some feedback after listening?
Posted by . at 2:03 PM
Tuesday, February 24, 2009
"This two-disc retrospective traces the Canadian bard's musical maturity from poet and novelist who sang a little to multidimensional artist whose oracular vocals and increasingly rich arrangements are every bit as compelling as his verse. Even when Cohen came to prominence through the 1960s songcraft of "Suzanne" and "Bird on a Wire," the "folksinger" tag never really fit. Later highlights ranging from the deadpan drollery of "Tower of Song" and "Everybody Knows" to the apocalyptic anthemry of "First We Take Manhattan" and "Democracy" suggest that other labels might be more appropriate: cabaret surrealist, spiritual gadfly, sensual prophet, agent provocateur. Cohen chose the selections, drawing more than half of the 31 tracks from three landmark albums--his 1967 debut Songs of Leonard Cohen, 1988's I'm Your Man, and 1992's The Future--along with four from 2001's Ten New Songs. The collection justifies its title as deep as it goes, though it's a shame that Cohen's commercial profile couldn't justify the more elaborate box set his artistry warrants (one that would at least include lyrics and musician credits). Those who sample the consistently inspired music here might come to the conclusion that everything Cohen records is essential.
2. "The Stranger Song"
3. "Sisters of Mercy"
4. "Hey, That's No Way to Say Goodbye"
5. "So Long, Marianne"
6. "Bird on the Wire" (misspelled as "Bird on a Wire" on tracklist)
7. "The Partisan"
8. "Famous Blue Raincoat"
9. "Chelsea Hotel #2"
10. "Take This Longing"
11. "Who By Fire"
12. "The Guests"
14. "If It Be Your Will"
15. "Night Comes On"
16. "I'm Your Man"
17. "Everybody Knows"
18. "Tower of Song"
1. "Ain't No Cure For Love"
2. "Take This Waltz"
3. "First We Take Manhattan"
4. "Dance Me to the End of Love" (live)
5. "The Future"
7. "Waiting for the Miracle"
8. "Closing Time"
10. "In My Secret Life"
11. "Alexandra Leaving"
12. "A Thousand Kisses Deep"
13. "Love Itself"
Posted by . at 10:17 PM
Sunday, February 15, 2009
Reissued for the second time, the newly minted Santana III: Legacy Edition augments the original album with a trio of previously unreleased studio tracks, the edited single No One to Depend On, and the entirety of Santana’s performance at the Fillmore West on July 4, 1971. While it’s true that Santana III truly didn’t break new ground, which undoubtedly explains why it frequently receives less attention than Abraxus, it was a logical extension to as well as a refinement of the ensemble’s surreal blend of heady instrumental jams, soulful pop, and titillating Latin-bred percussion, all of which was tied together by the prismatic sound of Carlos Santana’s expressive, liquid crystal guitar. With the funky, rhythmic drive of Batuka providing liftoff, Santana and his ensemble immediately settled into a high-flying groove that, thanks the seamless flow of one track into the next, endured for the entirety of the 41-minute affair. Whether shifting from the sultry shimmer of Taboo into the riveting tumultuousness of Toussaint L’Overture or from the steamy, jazz-imbued sensuality of Guajira into the ecstatically writhing Jungle Strut, the songs coalesced around their churning cadences to become something greater, and taken in full, the collection invoked a primal, spiritual force that connected Heaven with Earth.
Each of the recently discovered studio jams (Gumbo, Folsom Street — One, and Banbeye) featured on Santana III: Legacy Edition serves as a reminder of the startling shamanic power that lay at Santana’s fingertips as well as the telepathic communication that fueled his band’s epic sojourns. Good as these tracks are, however, the real highlight of the collection is the cohesive concert performance that fills the set’s second disc. Although five of its 11 songs have been available for awhile — Batuka, Jungle Strut, and Gumbo appeared on the 1998 edition of Santana III, while Incident at Neshabur and a cover of Miles Davis’ In a Silent Way were featured on the 1972 compilation Fillmore: The Last Days — hearing them in their proper context is an enlightening experience. Employing the framework of his third outing as a template, Santana and his ensemble tore through the material with a vengeance, alternating furiously percolating passages with moments of quiet beauty that frequently foreshadowed the jazz-fusion-oriented path upon which the group would soon tread. In doing so, he magically carried his audience across the cosmos while giving the mighty Fillmore West a fittingly transcendent sendoff.
After the release of his fourth endeavor Caravanserai, which essentially launched a new phase of his career, the quality of Santana’s studio output declined. Always eager to explore new ground, he frequently pushed his material in array of new directions, but too often, his albums were either too spotty and inaccessible or too enamored with whatever the current trends of popular music happened to be. Although he also never failed to kiss the hand of God via his communal concert performances, his recordings almost unarguably never again came close to the capturing the raw emotion and intoxicating brilliance of his initial albums, of which Santana III is a prime example.
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Posted by . at 12:14 PM
Thursday, February 12, 2009
A great overlook of Joans time at A&M Records from 1975-1983. The 43 songs on this two disc collection include a soundtrack song and studio songs that were tacked on a live album and two "new" songs that were incuded on a greatest hits album. Me, Myself, I was her most popular album, and there are 8 of the ten songs from it included here. Don't know why record companies do that. Seems that if it were her most popular album, then all the fans must already have it and would like to hear other songs. This CD is a great overview of a career in motion. The songs are in cronological order and the listener can hear the growth and change of her talent thru the years.
Filesize: 974.64 MB
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Posted by . at 11:19 AM
Tuesday, February 10, 2009
Zoot Allures is a 1976 rock album by Frank Zappa. This was Zappa's only release on the Warner Bros. Records label. Due to a lawsuit with his former manager Herb Cohen Frank Zappa's recording contract was temporarily re-assigned from DiscReet Records to Warner Bros.
The title is a pun on the French expression "Zut alors!" which, though it has no direct translation, conveys mild surprise and may be approximated by "Damn it!" or the British use of "Blimey!"
The album was originally conceptualized as a double LP, but for unknown reasons Zappa rearranged, edited, and shortened the track listing to what was eventually released as a single LP. Zappa played a test pressing of the original album for Circus magazine in 1976, which reported a radically different, though slightly erroneous track listing that included "Sleep Dirt", "The Ocean Is the Ultimate Solution", "Filthy Habits", and "Night of the Iron Sausage". The former three tracks eventually surfaced on Sleep Dirt and the posthumous Läther; "Night of the Iron Sausage" remains unreleased, but was seemingly intended to be a guitar solo of fair length. "Wind Up Workin' in a Gas Station" and "Zoot Allures" were notably absent from test pressings.
"Black Napkins", one of several guitar-driven pieces on Zoot Allures, began life accompanied by themes that would later make up the unique piece known as "Sleep Dirt". The performance heard on the album was culled from Zappa's 1976-02-03 performance in Osaka, Japan, though it was edited for the official release. Along with "Zoot Allures" and "The Torture Never Stops", "Black Napkins" became a signature piece for Zappa, featuring heavily in nearly every subsequent tour and several official releases.
"Wonderful Wino" was originally released on Jeff Simmons' 1970 LP, Lucille Has Messed My Mind Up. The album, produced partially by Zappa (though credited as "La Marr Bruister"), also included the titular track, which later appeared on 1980's Joe's Garage.
1. Wind Up Workin' in a Gas Station
2. Black Napkins
3. The Torture Never Stops
4. Ms. Pinky
5. Find Her Finer
6. Friendly Little Finger
7. Wonderful Wino
8. Zoot Allures
9. Disco Boy
LINK (links): h!!p://www.megaupload.com/?d=I2R2MHA6
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Posted by . at 10:33 PM
Sunday, February 8, 2009
Boxed is a compilation album written and mostly performed by Mike Oldfield, released in 1976. It features quadraphonic remixed versions of his first three albums (Tubular Bells, Hergest Ridge and Ommadawn) and some collaborations.
Oldfield later explained that instead of being true 4 channel sound, the initial quad remix of Tubular Bells, released a few months after the stereo version, was a "strange fake out-of-phase system", because it was so complex a mix without automation. The quad remix of Tubular Bells on Boxed was entirely different and true 4 channel sound (later released on SACD). The Boxed-CD version still contains the SQ-encoded quad mixes and plays as normal stereo without a quad decoder. The SQ quad remix Hergest Ridge is the only version of the album available on CD, as Oldfield disliked the original vinyl mix.
"The Sailor's Hornpipe" finale from Tubular Bells has an extended speech from Viv Stanshall, which is from the recording sessions at The Manor Studio (see Tubular Bells original ending).
Tubular Bells was re-mixed in quad by Phil Newell, assisted by Alan Perkins. Hergest Ridge was re-mixed in quad by Mike Oldfield. Ommadawn was re-mixed in quad by Mike Oldfield and Phil Newell.
1. Tubular Bells - Part One (Mike Oldfield) 25:30
2. Tubular Bells - Part Two (Mike Oldfield except Sailor's Hornpipe [Traditional] ) 23:20
3. The Rio Grande (David Bedford) 6:34
4. Portsmouth (Featuring Leslie Penning) (Traditional, arrangement Mike Oldfield) 2:04
5. In Dulci Jubilo (Featuring Leslie Penning and William Murray) (Traditional, arrangement Mike Oldfield) 2:51
1. Hergest Ridge - Part One (Mike Oldfield) 21:24
2. Hergest Ridge - Part Two (Mike Oldfield) 18:46
3. Extract from Star's End (Featuring David Bedford, Chris Cutler and The Royal Philharmonic Orchestra) (David Bedford) 7:33
4. Argiers (Traditional, arrangement Mike Oldfield) 3:59
5. Speak Tho' You Only Say Farewell (Featuring David Bedford) (Ray Morello, Horatio Nicholls) 2:56
1. Ommadawn - Part One (Mike Oldfield) 20:06
2. Ommadawn - Part Two (Mike Oldfield) 17:22
3. Phaeacian Games (David Bedford) 3:59
4. First Excursion (Mike Oldfield, David Bedford) 5:57
LINK (links): h!!p://www.megaupload.com/?d=FV0OYUA0
EAC/WAV/CUE/LOG Lossless | RAR (1) 387 MB (2) 340 MB (3) 290 MB
Thanks Down Under !
Posted by . at 4:56 AM
Friday, February 6, 2009
Thursday, February 5, 2009
"You have to assume that when Peter Hammill sits down to write music, he has something specific in mind. But, then again, music has a way of making a number of decisions all on its own. Fool's Mate is a set of famously "orphaned" songs, written before and during the original Van der Graaf Generator days that simply did not fit the VdGG style. They are odd even beyond that because this record proves not to be a precursor to "Chameleon in the Shadow of the Night" or any other Hammill solo album, with the possible exception of the short pop song forms found on "Nadir's Big Chance".
Which means, absent even of a Rikki Nadir-like theme, Fool's Mate is really just a collection of great songs, performed with Hammill's characteristic sense of urgency and reflection. What's shocking is just how good they really are, especially considering how early we are in Hammill's career. The observations are typically simpler and more direct than much of his later work, yet sacrifice no insight or originality. Some, like "Summer Song in the Autumn" are quite simply beautiful in both sentiment and presentation. Others might now seem perhaps a bit juvenile -- "I once wrote some poems" was all depth and pain when I first heard it some 30 years ago, today it sounds somewhat affected -- but all in all the music and lyrics hold up remarkably well even when compared to the vast and uniformly remarkable corpus of Hammill's work. Compared to just about anything else, these songs will never come up short.
As for the sound quality, the remastering reveals layers of instruments and voices that weren't even accessible on the original import vinyl, at least not on my stereo at the time. Which is even further proof of the growth in arranging and performing that Hammill and the lads were experiencing during one of their most productive periods. The results are all there to hear.
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Posted by . at 6:17 PM
"According to the Gibraltar EPR, Aguaturbia's music represents the 'psych' with wild 'wah-wah' guitar solos and great female vocals. While I agree with both the latter points absolutely, the band's stylistics has, in my view, just a little to do with real psychedelic music. It is not easy to make out the elements of it there even through a 'prism' of the album's specific title. At the Down of the Genre and Rock Music in general 'psych', along with Progressive, was one of the main musical constituents of the great Pink Floyd, as well as Clear Blue Sky and Hawkwind (apart from such real psych-makers as early Amon Duul II, Can, etc). I regard the music of Aguaturbia as one of the early manifestations of Progressive's Space Rock sub-genre: it is well known that the real Space Rock is, on the whole, quite heavy music. Not as progressive as the debut album of the Space Rock pioneers Clear Blue Sky*, Aguaturbia's "Psychedelic Drugstore" is, nevertheless, not only one of the best Space Rock albums. along with *"Out of the Blue", this is one of the most innovative and unique albums ever created within the frame of the sub-genre (to read the review on Clear Blue Sky's debut album.
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Posted by . at 9:44 AM
"John Charles Alder (born 29 November 1944), better known as Twink, is an English drummer, singer and song writer who was a central figure in the English psychedelic movement, and an actor.
Alder was born in Colchester, Essex, England, into a musical family. His father's mother was a concert pianist and soloist. Alder has said he was always interested in music as a child.
Alder's career began in 1963 as a member of a rhythm and blues band from Colchester called Dane Stephens and the Deep Beats. After a year, the band changed its name to The Fairies.
The Fairies were sent gifts and Alder, having long curly hair, regularly received bottles of Twink brand home perm lotion. It was at this time that he adopted 'Twink' as his stage name.
In 1964 The Fairies recorded the single "Don't Think Twice It's Alright" for the Decca Records label. In 1965 they recorded two singles, "Don't Mind" and "Get Yourself Home", for HMV.
The band split at some date before 1967.
In 1965 Twink moved to London and lived in Chelsea. When The Fairies came to a halt, he joined a rhythm and blues/soul music band called The In-Crowd after its previous drummer had left the band. Other members were Steve Howe (guitar) and Keith West.
A few months later the band was renamed Tomorrow. The success of West's solo recording Excerpt From A Teenage Opera resulted in the band breaking up.
In Joe Boyd's book White Bicycles he cites a Tomorrow show at UFO Club and, in particular, Twink's performance, as the zenith of 60's culture.
Twink replaced Skip Allen in The Pretty Things. He recorded his first solo album, Think Pink, with The Deviants, including Mick Farren (who produced the album), Paul Rudolph who played guitar, as well as Steve Peregrin Took.
Think Pink is the 1970 debut album by English psychedelic musician Twink.
It was produced by Mick Farren and featured members of The Pretty Things, The Deviants, Steve Peregrin Took of Tyrannosaurus Rex. It was released on Sire Records in the USA. (CGR)
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Posted by . at 9:39 AM