...( Info )...


Artist...............: Ted Nugent
Album................: Cat Scratch Fever
Genre................: Hard Rock
Year.................: 1977
Format..............: Lossless, (avg. compression: 64 %)

...( TrackList )...

1. Ted Nugent - Cat Scratch Fever [03:40]
2. Ted Nugent - Wang Dang Sweet Poontang [03:16]
3. Ted Nugent - Death By Misadventure [03:31]
4. Ted Nugent - Live It Up [04:01]
5. Ted Nugent - Home Bound [04:45]
6. Ted Nugent - Workin' Hard, Playin' Hard [05:44]
7. Ted Nugent - Sweet Sally [02:34]
8. Ted Nugent - A Thousand Knives [04:47]
9. Ted Nugent - Fist Fightin' Son Of A Gun [02:51]
10. Ted Nugent - Out Of Control [03:37]
11. Ted Nugent - Cat Scratch Fever (Live) [04:49]
12. Ted Nugent - Wang Dang Sweet Poontang (Live) [05:47]

...( Info )...

Artist: Various Artists
Album: Klangvoller Advent
Year: (2025)
Genre: Classic
Format: [Mp3 320kbps]

...( TrackList )...

01. Sir Neville Marriner - Messiah, HWV 56, Pt. 1: No. 13, Pifa (Orchester) (03:17)
02. Thibaut García - El noi de la mare (Arr. Llobet for Guitar) (02:01)
03. Richard Whilds - Weihnachtsfriede (Arr. Whilds for Trumpet) (03:42)
04. Sir Simon Rattle - The Nutcracker, Op. 71, Act II: No. 14, Pas de deux: Var. II. Dance of the Sugar-Plum Fairy (02:25)
05. Ton Koopman - Weihnachtsoratorium, BWV 248, Pt. 2: Sinfonia (05:34)
06. Johanna Malangré - Amazing Grace (Arr. Jérôme Ducros) (04:16)
07. Pavlo Beznosiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": I. Vivace - Grave (01:23)
08. Pavlo Beznosiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": II. Allegro (02:22)
09. Pavlo Beznosiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": III. Adagio - Allegro (02:59)
10. Pavlo Beznosiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": IV. Vivace (00:58)
11. Pavlo Beznosiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": V. Allegro (02:09)
12. Pavlo Beznosiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": VI. Largo. Pastorale ad libitum (03:30)
13. Sir Neville Marriner - Hunt Cantata, BWV 208: No. 9, Sheep May Safely Graze (Arr. Marriner) (04:37)
14. Deutsches Filmorchester Babelsberg - Have Yourself a Merry Little Christmas (Arr. Tempel) (03:37)
15. Trevor Pinnock - Oboe Concerto No. 1 in B-Flat Major, HWV 301: I. Adagio (01:59)
16. Anneleen Lenaerts - Stille Nacht, heilige Nacht, H. 145 (Arr. Lenaerts) (02:55)
17. Renaud Capuçon - The Four Seasons, Violin Concerto in F Minor, RV 297 "Winter": II. Largo (01:51)
18. Yevgeny Svetlanov - The Seasons, Op. 67, Tab. I "Winter": IV. Ice. Andantino (01:20)
19. Die 12 Cellisten der Berliner Philharmoniker - Herz und Mund und Tat und Leben, BWV 147: No. 10, Jesu bleibet meine Freude (03:27)
20. Thibaut García - Wachet auf, ruft uns die Stimme, BWV 140: I. Chorale, Wachet auf, ruft uns die Stimme (Arr. for Guitar by Garcia) (04:47)
21. Piotr Anderszewski - English Suite No. 1 in A Major, BWV 806: II. Allemande (03:57)
22. Sir Stephen Cleobury - In the Bleak Mid-Winter (Arr. Drake) (04:23)
23. Rainer Kussmaul - Tafelmusik, Pt. 1, Concerto for Flute, Violin and Cello in A Major, TWV 53:A2: I. Largo (04:18)
24. Richard Whilds - Weihnachten (Arr. Whilds) (03:11)
25. John Eliot Gardiner - Watermusic Suite No 1 in F Major, HWV 348: VIII. Air (03:50)
26. Yevgeny Svetlanov - The Seasons, Op. 67, Tab. I "Winter": VI. Snow. Allegretto (01:14)
27. Xuefei Yang - Bist du bei mir, BWV 508 (Arr. Yang) (02:39)
28. Emmanuel Pahud - Flute Concerto in D Minor, Wq. 22: II. Un poco andante (07:54)
29. Philippe Rombi - Hymne des fraternisés (04:25)
30. Sir Simon Rattle - The Nutcracker, Op. 71, Act I: No. 8, In the Pine Forest (03:58)
31. Sir Neville Marriner - Berenice, HWV 38, Act II: Minuet (03:50)
32. Sir Neville Marriner - Canon and Gigue in D Major, P. 37: I. Canon (05:00)
33. Simon Wright - Music for the Royal Fireworks, HWV 351: IV. La Paix. Largo alla siciliana (03:41)
34. Morgan James - Good King Wenceslas (Arr. Morgan) (03:52)
35. Iona Brown - Chamber Concerto in D Major, RV 93: II. Largo (04:36)
36. Emmanuel Pahud - Flute Concerto in G Major, TWV 51:G1: I. Andante (02:47)
37. Sir Simon Rattle - The Nutcracker, Op. 71a: I. Miniature Overture. Allegro giusto (03:09)
38. Giovanni Antonini - Orchestral Suite No. 3 in D Major, BWV 1068: II. Air (04:40)
39. Fabio Biondi - Concerto for 2 Mandolins in G Major, RV 532: II. Andante (02:49)
40. Piotr Anderszewski - Prelude and Fugue in A-Flat Major, BWV 886: I. Prelude (03:32)
41. Jerzy Maksymiuk - Concerto Grosso in C Major, Op. 3 No. 12 "Per Il Santissimo Natale": I. Pastorale. Largo (05:30)
42. Chanticleer - El noi de la mare (Arr. Ribo) (02:21)
43. Giovanni Antonini - Oboe Concerto in D Minor, Op. 9 No. 2: II. Adagio (05:26)
44. Alison Balsom - Herz und Mund und Tat und Leben, BWV 147: X. Jesu, Joy of Man's Desiring (Arr. Wright for Trumpet) (03:02)
45. Martha Argerich - The Nutcracker, Op. 71a: VII. Danse des mirlitons (Arr. for Two Pianos) (02:11)
46. Antoine Touche - Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo (02:48)
47. Xuefei Yang - Prelude and Fugue in C Major, BWV 846: I. Prelude (Arr. Yang for Guitar) (02:23)
48. John Rutter - Il est né, le divin Enfant (02:48)
49. Jerzy Maksymiuk - Concerto Grosso in G Minor, Op. 6 No. 8 "Christmas Concerto": VI. Largo. Pastorale ad libitum (04:53)
50. Riccardo Minasi - Stille Nacht, heilige Nacht, H. 145 (Arr. Whilds for Trumpet) (04:51)
51. Sir Simon Rattle - The Nutcracker, Op. 71, Act II: No. 13, Waltz of the Flowers (06:55)
52. Alison Balsom - Trumpet Concerto, TWV 51:D7: I. Adagio (02:08)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

'The Reborn' to jeden z najbardziej niezależnych i najlepszych albumów heavy/power metalowych, jakie kiedykolwiek przekroczyły granice naszych zachodnich sąsiadów i wciąż uważam go za absolutny hit tego gatunku!

FA


The German metal scene was a really happy-go-lucky place in the late-80’s/early-90’s; myriads of bands were rushing to secure for themselves a place under the metal sun, be it with just one isolated effort. Many of them never managed to leave their motherland, maybe not even their hometown, but they did take part in a movement which at some stage was probably bigger than the one in The States even. Risk were one of the lucky ones who managed to carve a longer career, and although they never became a premier league outfit, quite a few are those who fondly remember these lads who once upon a time were spreading “the daily horror news” on a more or less regular basis.

The band’s history starts way back in time, actually, the early 1970’s to be precise, and they can officially be considered the second heavy metal outfit on German ground after Scorpions. Now that’s something to be proud of! However, unlike The Scorps who quickly found the way to more aggressive musical dimensions, our risk takers, who were operating under the name Faithful Breath at that time, spent too much time roaming around the radio-friendly hard rock arena, and it took them wholesome ten years before they decided to step on the pedal harder. The result from this decision were two decent classic heavy metal albums (“Gold’n Glory” (1984) & “Skol” (1985)). Another however, the tastes in the mid-80’s were changing towards heavier, more brutal horizons and the guys didn’t think twice before embracing the speed/thrash metal idea, first by changing their name to Risk, and second with their excellent debut, “The Daily Horror News” (1988), under this new moniker. The style initially was more speed metal-based, but by the time the band reached their third opus “Dirty Surfaces” (1990), the transition into an accomplished thrash metal outfit was pretty much complete.

The guys had managed to establish a fairly individual face backed up by very memorable song-writing (“Russian Nights” from their sophomore effort remains one of the perennial metal hymns on the scene) and the excellent dramatic clean vocals of Heinz Mikus. The man had made some adjustments to his performance behind the mike from the Faithful Breath days to suit the more aggressive music, but his attached melodic vocal lines could always be recognized unerringly. Back to “Dirty Surfaces”: so the emphasis on speed from the early Risk days has given way to more serious, more thought-out music characterized by several imposing stompers. Those who liked this tendency into the band’s delivery were heading towards their dream album…

the introductory “Arise” goes straight into last year’s Sepultura’s magnum opus… kidding of course!, is a great melodic lead-driven piece which energetic aura is like a precursor to another speed/thrash metal storm. Yes, but no; starts “Last Warning” with those infectious morose Oriental hooks, and the listener has to adjust his/her senses to this surprisingly ambitious progressive composition which marches for over 9-min not forgetting about the staple memorable chorus. 9-min are more than enough for one to reconsider his/her music conceptions, and those who have opened their hearts (and ears) for the established steam-roller hegemony, will have the time of their lives on the following “Be No More”, a creepy minimalistic shredder without any fast-paced temptations. More surprises later with ”Lullaby” which deserves its title being a great heavy ballad.

All illusions are inevitably cast aside after this compelling sleeper, but the only way is up from now on, and the guys serve “Turn back to Ecstasy”, a much more dynamic number with intriguing semi-technical guitar work, a brilliant main motif introduced from the get-go, and another nice catchy chorus. Further we go up the speed scale with the nighty... sorry, mighty “Night Will Fall”, a dark razor-sharp mid-pacer which may even make some more vigorous fans headbang for a bit. Our favourite speed is implacably killed on the doomy depresser “Phantasmagoria”, and for the band to stop the wave of suicides which would inadvertently follow after such a piece, they have to provide a more dynamic track which in this case is the brilliant “Armageddon (Fight Back))”, an almost fast-paced thrasher with very good leads and more flexible riffage bordering on the technical. This is the last life-saver, though, since after it comes the closer “No One Will Remember”, the song which indeed one will hardly remember several years down the line, this over 7-min saga being another ballad/semi-ballad, a bit faster than the "Lullaby", but not doing much to elevate the album to the true masterpiece pedestal despite the superb, albeit overlong lead section.

That last song could be viewed as the weakest track here since there were a few numbers already in the slow camp, and this one can’t be seen as a really valuable addition to an effort which was already full to the brim with doom and gloom. The darker overtones were already introduced on the previous offering, but here they totally dominate the landscape making this new saga an entirely different “beast”; it’s really hard to think of another work from the European thrash metal scene which captures the pessimistic, brooding side of the genre as well and so thoroughly without completely crossing over the boundaries of the band’s staple style (Assorted Heap’s “Mindwaves” maybe? Or Sacrosanct’s “Recesses for the Depraved”?). On the other hand, if you think of it, the guys have always been in a league of their own, neither following the vicious outbreaks of the Holy Three from their homeland, nor becoming fascinated with the more ambitious, intricate arrangements of the Bay Area brotherhood from the other side of the Atlantic. 1992 was a year for experimentation (Kreator, Exodus, Overkill, Testament, etc.) for the metal world, a time to try and expand beyond the true and tested formulas… Risk indeed took a risk worth taking, giving thrash metal a sombre shade that would have suited the genre way better than the groovy/angry transformation which befell it later in the decade, and threatened to completely erase it from the face of the music map.

Well, this transformation finally caught up with the band as well on their next instalment “Turpitude” released less than a year later. The hopes were, having in mind the short gap between the two albums, that this effort would be really close in spirit to its predecessor. Although it contained the same dark depressing mood, it was widely based on the new post-thrashy trends making the few splashes of classic metallisms seem like ridiculous, erroneous afterthoughts. Yes, the aggro-movement finally took Risk, too, another fortress which defiantly stood its ground, albeit for not much longer than the other fallen heroes.

The band still play indifferent to the thrash metal rebirth witnessed through the new millennium. They haven’t been doing much, as a matter of fact, during this dormant period randomly appearing for brief recording sessions of other acts (Centaur, Crows, etc.). I guess they are musing over a serious dilemma right now: to reform Faithful Breath, or to bring Risk back to life… to us, the thrash metal fraternity, the latter option would always seem like the less risky, and the far more preferrable proposition.

Bayern



..::TRACK-LIST::..

1. Arise 00:46
2. Last Warning 09:16
3. Be No More 04:30
4. Lullaby 04:02
5. Awakening 01:15
6. Turn Back to Ecstasy 04:49
7. Eclipse 00:52
8. The Night Will Fall 05:37
9. Phantasmagoria 04:18
10. Armageddon (Fight Back) 04:08
11. No One Will Remember 07:12

Bonus Tracks:
12. Be No More [The Reborn demo]
13. Last Warning [The Reborn demo]



..::OBSADA::..

Heimi Mikus - Vocals
Jürgen Düsterloh (R.I.P. 2014) - Percussion, Drums
Peter Dell - Bass
Christian Sumser - Guitars, Sitar
Romme 'Romme' Keymer - Guitars, Sitar



https://www.youtube.com/watch?v=aw5pHcQqRAY



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

'The Reborn' to jeden z najbardziej niezależnych i najlepszych albumów heavy/power metalowych, jakie kiedykolwiek przekroczyły granice naszych zachodnich sąsiadów i wciąż uważam go za absolutny hit tego gatunku!

FA


The German metal scene was a really happy-go-lucky place in the late-80’s/early-90’s; myriads of bands were rushing to secure for themselves a place under the metal sun, be it with just one isolated effort. Many of them never managed to leave their motherland, maybe not even their hometown, but they did take part in a movement which at some stage was probably bigger than the one in The States even. Risk were one of the lucky ones who managed to carve a longer career, and although they never became a premier league outfit, quite a few are those who fondly remember these lads who once upon a time were spreading “the daily horror news” on a more or less regular basis.

The band’s history starts way back in time, actually, the early 1970’s to be precise, and they can officially be considered the second heavy metal outfit on German ground after Scorpions. Now that’s something to be proud of! However, unlike The Scorps who quickly found the way to more aggressive musical dimensions, our risk takers, who were operating under the name Faithful Breath at that time, spent too much time roaming around the radio-friendly hard rock arena, and it took them wholesome ten years before they decided to step on the pedal harder. The result from this decision were two decent classic heavy metal albums (“Gold’n Glory” (1984) & “Skol” (1985)). Another however, the tastes in the mid-80’s were changing towards heavier, more brutal horizons and the guys didn’t think twice before embracing the speed/thrash metal idea, first by changing their name to Risk, and second with their excellent debut, “The Daily Horror News” (1988), under this new moniker. The style initially was more speed metal-based, but by the time the band reached their third opus “Dirty Surfaces” (1990), the transition into an accomplished thrash metal outfit was pretty much complete.

The guys had managed to establish a fairly individual face backed up by very memorable song-writing (“Russian Nights” from their sophomore effort remains one of the perennial metal hymns on the scene) and the excellent dramatic clean vocals of Heinz Mikus. The man had made some adjustments to his performance behind the mike from the Faithful Breath days to suit the more aggressive music, but his attached melodic vocal lines could always be recognized unerringly. Back to “Dirty Surfaces”: so the emphasis on speed from the early Risk days has given way to more serious, more thought-out music characterized by several imposing stompers. Those who liked this tendency into the band’s delivery were heading towards their dream album…

the introductory “Arise” goes straight into last year’s Sepultura’s magnum opus… kidding of course!, is a great melodic lead-driven piece which energetic aura is like a precursor to another speed/thrash metal storm. Yes, but no; starts “Last Warning” with those infectious morose Oriental hooks, and the listener has to adjust his/her senses to this surprisingly ambitious progressive composition which marches for over 9-min not forgetting about the staple memorable chorus. 9-min are more than enough for one to reconsider his/her music conceptions, and those who have opened their hearts (and ears) for the established steam-roller hegemony, will have the time of their lives on the following “Be No More”, a creepy minimalistic shredder without any fast-paced temptations. More surprises later with ”Lullaby” which deserves its title being a great heavy ballad.

All illusions are inevitably cast aside after this compelling sleeper, but the only way is up from now on, and the guys serve “Turn back to Ecstasy”, a much more dynamic number with intriguing semi-technical guitar work, a brilliant main motif introduced from the get-go, and another nice catchy chorus. Further we go up the speed scale with the nighty... sorry, mighty “Night Will Fall”, a dark razor-sharp mid-pacer which may even make some more vigorous fans headbang for a bit. Our favourite speed is implacably killed on the doomy depresser “Phantasmagoria”, and for the band to stop the wave of suicides which would inadvertently follow after such a piece, they have to provide a more dynamic track which in this case is the brilliant “Armageddon (Fight Back))”, an almost fast-paced thrasher with very good leads and more flexible riffage bordering on the technical. This is the last life-saver, though, since after it comes the closer “No One Will Remember”, the song which indeed one will hardly remember several years down the line, this over 7-min saga being another ballad/semi-ballad, a bit faster than the "Lullaby", but not doing much to elevate the album to the true masterpiece pedestal despite the superb, albeit overlong lead section.

That last song could be viewed as the weakest track here since there were a few numbers already in the slow camp, and this one can’t be seen as a really valuable addition to an effort which was already full to the brim with doom and gloom. The darker overtones were already introduced on the previous offering, but here they totally dominate the landscape making this new saga an entirely different “beast”; it’s really hard to think of another work from the European thrash metal scene which captures the pessimistic, brooding side of the genre as well and so thoroughly without completely crossing over the boundaries of the band’s staple style (Assorted Heap’s “Mindwaves” maybe? Or Sacrosanct’s “Recesses for the Depraved”?). On the other hand, if you think of it, the guys have always been in a league of their own, neither following the vicious outbreaks of the Holy Three from their homeland, nor becoming fascinated with the more ambitious, intricate arrangements of the Bay Area brotherhood from the other side of the Atlantic. 1992 was a year for experimentation (Kreator, Exodus, Overkill, Testament, etc.) for the metal world, a time to try and expand beyond the true and tested formulas… Risk indeed took a risk worth taking, giving thrash metal a sombre shade that would have suited the genre way better than the groovy/angry transformation which befell it later in the decade, and threatened to completely erase it from the face of the music map.

Well, this transformation finally caught up with the band as well on their next instalment “Turpitude” released less than a year later. The hopes were, having in mind the short gap between the two albums, that this effort would be really close in spirit to its predecessor. Although it contained the same dark depressing mood, it was widely based on the new post-thrashy trends making the few splashes of classic metallisms seem like ridiculous, erroneous afterthoughts. Yes, the aggro-movement finally took Risk, too, another fortress which defiantly stood its ground, albeit for not much longer than the other fallen heroes.

The band still play indifferent to the thrash metal rebirth witnessed through the new millennium. They haven’t been doing much, as a matter of fact, during this dormant period randomly appearing for brief recording sessions of other acts (Centaur, Crows, etc.). I guess they are musing over a serious dilemma right now: to reform Faithful Breath, or to bring Risk back to life… to us, the thrash metal fraternity, the latter option would always seem like the less risky, and the far more preferrable proposition.

Bayern



..::TRACK-LIST::..

1. Arise 00:46
2. Last Warning 09:16
3. Be No More 04:30
4. Lullaby 04:02
5. Awakening 01:15
6. Turn Back to Ecstasy 04:49
7. Eclipse 00:52
8. The Night Will Fall 05:37
9. Phantasmagoria 04:18
10. Armageddon (Fight Back) 04:08
11. No One Will Remember 07:12

Bonus Tracks:
12. Be No More [The Reborn demo]
13. Last Warning [The Reborn demo]



..::OBSADA::..

Heimi Mikus - Vocals
Jürgen Düsterloh (R.I.P. 2014) - Percussion, Drums
Peter Dell - Bass
Christian Sumser - Guitars, Sitar
Romme 'Romme' Keymer - Guitars, Sitar



https://www.youtube.com/watch?v=aw5pHcQqRAY



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]




6 lutego 1987 roku zespół nagrał trzy utwory na żywo w studiu BBC Maida Vale Studios w Londynie na potrzeby piątkowego programu Rock Show, wyemitowanego 27 lutego 1987 roku.



..::TRACK-LIST::..

CD 4 - BBC Radio 1 - Friday Rock Show Session 1987:
1. A Cautionary Tale
2. For Those Who Died
3. The 13th Disciple

Recorded Maida Vale Studios, 6th February 1987, previously unreleased




https://www.youtube.com/watch?v=IRSLx6qbfO0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]




6 lutego 1987 roku zespół nagrał trzy utwory na żywo w studiu BBC Maida Vale Studios w Londynie na potrzeby piątkowego programu Rock Show, wyemitowanego 27 lutego 1987 roku.



..::TRACK-LIST::..

CD 4 - BBC Radio 1 - Friday Rock Show Session 1987:
1. A Cautionary Tale
2. For Those Who Died
3. The 13th Disciple

Recorded Maida Vale Studios, 6th February 1987, previously unreleased




https://www.youtube.com/watch?v=IRSLx6qbfO0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Rzadki, limitowany dwupłytowy CD zawierający trwający 138-minut, doskonały występ z 17 czerwca 1975 roku - obok występu z Los Angeles z kwietnia 1975 bez wątpienia najlepiej brzmiący koncert z trasy promującej 'Wish You Were Here'. O dziwo, będący wówczas u szczytu popularności zespół (ani wytwórnia), nie zarejestrował profesjonalnie żadnego koncertu w 1975 roku, podobnie jak żadne radio nie transmitowało występów grupy. Na szczęście zarejestrowany wśród publiczności ('audience recording') na profesjonalnym sprzęcie koncert brzmi lepiej niż zdecydowana większość nagrań ze stołu mikserskiego. Biorąc pod uwagę okoliczności powstania, jakość dźwięku jest naprawdę świetna i słuchanie tej płyty jest po prostu ogromną przyjemnością! Prawdopodobnie nic lepszego floydowskiego z 1975 roku nigdy się nie pojawi na rynku! Dodatkowo fajna oprawa graficzna. CD brzmi jakieś 10% lepiej niż załączony materiał z YouTube.



..::TRACK-LIST::..

CD 1:
1. Raving and Drooling [early 'Sheep']
2. You've Got to Be Crazy [early 'Dogs']
3. Shine On You Crazy Diamond (Parts I-V)
4. Have a Cigar
5. Shine On You Crazy Diamond (Parts VI-IX)
6. Speak to Me
7. Breathe
8. On the Run


CD 2:
1. Time/Breathe (Reprise)
2. The Great Gig in the Sky
3. Money
4. Us and Them
5. Any Colour You Like
6. Brain Damage
7. Eclipse
8. Echoes



..::OBSADA::..

David Gilmour - vocals, guitar
Roger Waters - bass, vocals
Richard Wright - keyboards, vocals
Nick Mason - drums
+
Dick Perry - saxophone
Venetta Fields - backing vocals
Carlena Williams - backing vocals




youtube.com/watch?si=Q9wtD4Cu3NyE6v1L&v=Hb0f_UPcpUk&feature=youtu.be



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Rzadki, limitowany dwupłytowy CD zawierający trwający 138-minut, doskonały występ z 17 czerwca 1975 roku - obok występu z Los Angeles z kwietnia 1975 bez wątpienia najlepiej brzmiący koncert z trasy promującej 'Wish You Were Here'. O dziwo, będący wówczas u szczytu popularności zespół (ani wytwórnia), nie zarejestrował profesjonalnie żadnego koncertu w 1975 roku, podobnie jak żadne radio nie transmitowało występów grupy. Na szczęście zarejestrowany wśród publiczności ('audience recording') na profesjonalnym sprzęcie koncert brzmi lepiej niż zdecydowana większość nagrań ze stołu mikserskiego. Biorąc pod uwagę okoliczności powstania, jakość dźwięku jest naprawdę świetna i słuchanie tej płyty jest po prostu ogromną przyjemnością! Prawdopodobnie nic lepszego floydowskiego z 1975 roku nigdy się nie pojawi na rynku! Dodatkowo fajna oprawa graficzna. CD brzmi jakieś 10% lepiej niż załączony materiał z YouTube.



..::TRACK-LIST::..

CD 1:
1. Raving and Drooling [early 'Sheep']
2. You've Got to Be Crazy [early 'Dogs']
3. Shine On You Crazy Diamond (Parts I-V)
4. Have a Cigar
5. Shine On You Crazy Diamond (Parts VI-IX)
6. Speak to Me
7. Breathe
8. On the Run


CD 2:
1. Time/Breathe (Reprise)
2. The Great Gig in the Sky
3. Money
4. Us and Them
5. Any Colour You Like
6. Brain Damage
7. Eclipse
8. Echoes



..::OBSADA::..

David Gilmour - vocals, guitar
Roger Waters - bass, vocals
Richard Wright - keyboards, vocals
Nick Mason - drums
+
Dick Perry - saxophone
Venetta Fields - backing vocals
Carlena Williams - backing vocals




youtube.com/watch?si=Q9wtD4Cu3NyE6v1L&v=Hb0f_UPcpUk&feature=youtu.be



SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

---------------------------------------------------------------------
Wishbone Ash - Bona Fide - (Limited Edition)
---------------------------------------------------------------------

Artist...............: Wishbone Ash
Album................: Bona Fide
Genre................: Hard Rock
Source...............: CD
Year.................: 2006
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 74 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Talking Elephant

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. Wishbone Ash - Almighty Blues [05:24]
2. Wishbone Ash - Enigma [04:10]
3. Wishbone Ash - Faith, Hope And Love [05:55]
4. Wishbone Ash - Ancient Remedy [04:48]
5. Wishbone Ash - Changing Tracks [04:18]
6. Wishbone Ash - Shoulda, Woulda, Coulda [04:00]
7. Wishbone Ash - Bona Fide [03:08]
8. Wishbone Ash - Difference In Time [04:30]
9. Wishbone Ash - Come Rain, Come Shine [06:09]
10. Wishbone Ash - Peace [03:50]
11. Wishbone Ash - Hard On You (studio 2005-bonus) [04:42]
12. Wishbone Ash - Almighty Blues (live 2006-bonus) [07:18]
13. Wishbone Ash - Tales Of The Wise (live 2006-bonus) [10:54]

Playing Time.........: 01:09:11
Total Size...........: 517,08 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::TRACK-LIST::..

1. The Golden Chamber: Awaken (Intro)
2. Eye of the Storm
3. Demons in You
4. Tears in Rain
5. Dark Star
6. Undertaker
7. I Walk Alone (with 'I walk with you' acapella outro)
8. Victim of Ritual (Extended outro)
9. Silent Masquerade (with Marko Hietala)
10. Wishmaster (Nightwish song with Marko Hietala)
11. Dead Promises (with Marko Hietala - Extended outro)
12. The Phantom of the Opera (Andrew Lloyd Webber) with Marko Hietala
13. Wish I Had an Angel (Nightwish song with Marko Hietala)
14. Until My Last Breath




https://www.youtube.com/watch?v=SGD68SZ4l94



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

'Under Pressure' is the debut album by grind Kings Rotten Sound originally released in 1997. This is where it all began, where Rotten Sound earned a reputation for being one of the most intense bands on the Scandinavian death metal/grindcore scene, a reputation they have upheld for nearly 2 decades. The album features 22 relentlessly brutal tracks that the band rip through in under 40 minutes!



..::TRACK-LIST::..

1. Dominion 1:56
2. Controlled Mind 1:21
3. Stages 2:14
4. Under Pressure 2:00
5. I, A Product 1:20
6. Insomnia 1:39
7. Natural 2:03
8. Skinsaw 1:39
9. Corporate Fuck 1:18
10. Vicious Circle 2:10
11. Social Rinse 1:55
12. Debility 1:51
13. Principles Of Abuse 1:32
14. Saviour-Pressurewave 2:04
15. Jesus Christ Fan Club 1:29
16. Loosin' Face 1:46
17. Renewer 1:23
18. Subordinated 1:02
19. Shut Down 2:38
20. Affected 1:51
21. Nerves 1:15
22. Guard Of The Paradise 3:58


..::OBSADA::..

Vocals - Keijo Bagge
Bass - Pekka Ranta
Drums - Kai Hahto
Guitar - Mika Aalto



https://www.youtube.com/watch?v=K4a-ZEN540A



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

'Under Pressure' is the debut album by grind Kings Rotten Sound originally released in 1997. This is where it all began, where Rotten Sound earned a reputation for being one of the most intense bands on the Scandinavian death metal/grindcore scene, a reputation they have upheld for nearly 2 decades. The album features 22 relentlessly brutal tracks that the band rip through in under 40 minutes!



..::TRACK-LIST::..

1. Dominion 1:56
2. Controlled Mind 1:21
3. Stages 2:14
4. Under Pressure 2:00
5. I, A Product 1:20
6. Insomnia 1:39
7. Natural 2:03
8. Skinsaw 1:39
9. Corporate Fuck 1:18
10. Vicious Circle 2:10
11. Social Rinse 1:55
12. Debility 1:51
13. Principles Of Abuse 1:32
14. Saviour-Pressurewave 2:04
15. Jesus Christ Fan Club 1:29
16. Loosin' Face 1:46
17. Renewer 1:23
18. Subordinated 1:02
19. Shut Down 2:38
20. Affected 1:51
21. Nerves 1:15
22. Guard Of The Paradise 3:58



..::OBSADA::..

Vocals - Keijo Bagge
Bass - Pekka Ranta
Drums - Kai Hahto
Guitar - Mika Aalto



https://www.youtube.com/watch?v=K4a-ZEN540A



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::TRACK-LIST::..

1. The Arrival of Satan's Empire
2. Hail Murder
3. Goddess of Sodomy
4. Diabolis Interium
5. An Apprentice of Satan
6. Thus I Have Spoken
7. Armageddon Finally Comes
8. Heart of Ice (First time since 2012)
9. Where Shadows Forever Reign



https://www.youtube.com/watch?v=RXmn1W2TUbA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::TRACK-LIST::..

1. We Go to War
2. Bleed Out
3. Faster
4. In the Middle of the Night
5. Stand My Ground
6. Wireless
7. Shot in the Dark
8. Angels
9. Paradise (What About Us?)
10. Don't Pray for Me
11. Supernova
12. Lost
13. The Reckoning

Encore:
14. Our Solemn Hour
15. Shed My Skin (with Annisokay-Christoph Wieczorek)
16. Ice Queen
17. Mother Earth



https://www.youtube.com/watch?v=QnLBtEMRpZw


SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

---------------------------------------------------------------------
VA - Greatest Pop Ballads of the 80s & 90s
---------------------------------------------------------------------

Artist...............: Various Artists
Album................: Greatest Pop Ballads of the 80s & 90s
Genre................: Pop
Source...............: WEB
Year.................: 2025
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 66 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Digital Media

Included.............: NFO, M3U, CUE
Covers...............: Front

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. All-4-One - I Swear [04:19]
2. Diddy - I’ll Be Missing You (feat. Faith Evans & 112) [05:06]
3. Foreigner - I Want to Know What Love Is (1999 Remaster) [05:04]
4. The Pretenders - I’ll Stand by You [04:00]
5. Seal - Kiss from a Rose [04:48]
6. Tina Turner - What’s Love Got to Do with It [03:46]
7. Alejandro Sanz - Corazón partío [05:43]
8. Peter Cetera - Glory of Love [04:18]
9. Alannah Myles - Black Velvet [04:47]
10. Roxette - Almost Unreal [03:54]
11. Chicago - You’re the Inspiration [03:49]
12. Simply Red - If You Don't Know Me by Now [03:26]
13. Spandau Ballet - True [05:28]
14. Limahl - Never Ending Story [03:30]
15. Talk Talk - It’s My Life [03:52]
16. All Saints - Never Ever [06:27]

Playing Time.........: 01:12:24
Total Size...........: 485,49 MB

..::INFO::..

Wykonawca:Różni Artyści
Typ: Składanka
Okładka: Tak
Gatunek: Dance, Eurodance
Kraj: Polska
Rok: Lata 90e....../2025
Audio kodek: mp3
Audio bitrate: 320kbps
Audio CD.rip:d11
Music Created: d11

..::TRACK-LIST::..


01.Kasia Lesing..............................Wielki błękit
02.I & I.....................................Pocałuj mnie
03.Afterlife.................................Hola Amigo
04.United....................................Zdrada i fałsz
05.Grind Zone................................Popatrz na mnie
06.Alphabeat.................................Nie jestem sobą
07.Jumps.....................................Wezmiesz wszystko
08.Stachursky................................Chcesz czy nie
09.I & I.....................................Chcę zawsze
10.D.Bomb....................................Kochaj mnie
11.Master B..................................Bądz ze mną
12.Shake.....................................Chora miłość
13.Stachursky................................Jeżeli możesz
14.Jamrose...................................Funk Machine
15.United....................................Dotykaj mnie co noc
16.Stachursky................................Jak w niebie
17.Enyojer...................................Dotykaj mnie
18.Daniel....................................Przychodzę co noc
19.Afterlife.................................Powstrzymaj mnie
20.Ghana & Kasia Lesing......................Czekam całą noc
21.Alphabeat.................................Kraj zaklętych barw
22.Kaśka Myszkiewicz.........................Ty istniejesz
23.Karina Sedkowska..........................Unosisz mnie
24.Mc Diva & Gba Studio......................Muzyka naszych serc
25.I & I.....................................Spróbuj zmienić to
26.Daniel....................................Szalony doping
27.Holtezky..................................Pokochaj mnie
28.Kasia Lesing..............................Daj mi trochę siebie
29.I & I.....................................Ten jeden raz
30.D'adekoya.................................Milość to wiatr
31.Grind Zone................................Strefa
32.Base of Drum..............................Da Da Da
33.United....................................Koniec gry
34.Top One...................................Rejs dookoła świata
35.Kasia Lesing..............................Wielki ogień
36.La Strada.................................To był błąd
37.Izabella..................................Czy znasz dni
38.Simone....................................Sen o Tobie
39.Nietykalni................................Zasnąć w Twych ramionach
40.Dance Factory.............................Czekam
41.Del Junior................................Kawałek własnego nieba
42.D'adekoya.................................Kołysz się kołysz
43.La Strada.................................Kochałam się w Tobie
44.United....................................Naprawdę nie wiem
45.Ciemna Strona Miasta......................Dziewczyna
46.Stachursky................................Stay Baby
47.Shake.....................................W strnę światła
48.Boom Box..................................Co będzie
49.Zero & Kasia Lesing.......................Gdy zgaśnie słońce
50.D.Bomb....................................Koniec
51.Stachursky................................Ty i ja
52.D.Bomb....................................Złoty deszcz
53.Jam Box...................................Niespełniona

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Scratching Soil plays black metal since 1996 and the band is consisted only of two members, Kein and Alastor. War Experience is their second effort, their previous album - El Nihilo Nihil - came out in 2001. Unlike in the case of Devil-May-Care, is more suitable to label Scratching Soil as black metal, even if their music is not 100% pure black metal. We can hear mostly fast and rough black riffs on this record, but I also sense a death metal influence. Don’t imagine a technical complex US death metal riffing, because Scratching Soil has more in common with the early days of death metal, their riffs somehow reminding me of early primitive death metal bands, like Death, Necrophagia, or Possessed. There are 9 tracks on the CD, and the total playing hits around 35 minutes. In 6 tracks of the 9 sweeping, rapid riffs are dominant, while the other 3 tracks have a more mid-tempo, and we can even find a few nice slow riffs. These slower parts reminded me of cult-bands like Darkthrone, Celtic Frost and Carpathian Forest, but Scratching Soil has a cleaner sound then Darkhtrone for example. I cannot say that SS has an original way of black metal, but they play fine their instruments, they have nothing trendy in their music and the most important thing is that they have memorable themes and they managed to write a few nice songs. The CD has a very professional lay-out, just as the other Stygian Crypt releases.

robert sun



..::TRACK-LIST::..

1. No One (But Rusty Salted Taste) 3:22
2. Cracks In Ground Have Told... 2:41
3. Ice Only 3:03
4. Dead By Numbers (An Unofficial Version) 4:42
5. II (The Birth) 4:36
6. III (The Action) 4:01
7. Envy 2:59
8. Means Never 5:20
9. Last Words (Last Boiled Spit) 4:47

Recorded August to September 2003



..::OBSADA::..

Kein (R.I.P. 2021) - Guitars, Bass
Alastor - Vocals



https://www.youtube.com/watch?v=XxQD8rmWQX8


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Scratching Soil plays black metal since 1996 and the band is consisted only of two members, Kein and Alastor. War Experience is their second effort, their previous album - El Nihilo Nihil - came out in 2001. Unlike in the case of Devil-May-Care, is more suitable to label Scratching Soil as black metal, even if their music is not 100% pure black metal. We can hear mostly fast and rough black riffs on this record, but I also sense a death metal influence. Don’t imagine a technical complex US death metal riffing, because Scratching Soil has more in common with the early days of death metal, their riffs somehow reminding me of early primitive death metal bands, like Death, Necrophagia, or Possessed. There are 9 tracks on the CD, and the total playing hits around 35 minutes. In 6 tracks of the 9 sweeping, rapid riffs are dominant, while the other 3 tracks have a more mid-tempo, and we can even find a few nice slow riffs. These slower parts reminded me of cult-bands like Darkthrone, Celtic Frost and Carpathian Forest, but Scratching Soil has a cleaner sound then Darkhtrone for example. I cannot say that SS has an original way of black metal, but they play fine their instruments, they have nothing trendy in their music and the most important thing is that they have memorable themes and they managed to write a few nice songs. The CD has a very professional lay-out, just as the other Stygian Crypt releases.

robert sun



..::TRACK-LIST::..

1. No One (But Rusty Salted Taste) 3:22
2. Cracks In Ground Have Told... 2:41
3. Ice Only 3:03
4. Dead By Numbers (An Unofficial Version) 4:42
5. II (The Birth) 4:36
6. III (The Action) 4:01
7. Envy 2:59
8. Means Never 5:20
9. Last Words (Last Boiled Spit) 4:47

Recorded August to September 2003



..::OBSADA::..

Kein (R.I.P. 2021) - Guitars, Bass
Alastor - Vocals



https://www.youtube.com/watch?v=XxQD8rmWQX8


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

DVD 5
NTSC
4:3
DD 2.0

Co się stanie, gdy wsadzisz czterech prawdziwych nowojorskich ulicznych punków do furgonetki i wyślesz ich przez granicę do Meksyku?
Pozostawiają po sobie ślad entuzjazmu i zniszczenia!!!

W Japonii scena była zupełnie inna: nie było opalonych nastoletnich punków w skórzanych kurtkach i starych dżinsach, ale kompletnie wystrojeni, punkowcy, wyglądający jak karykatury samych siebie. Mnóstwo ćwieków, boleśnie obcisłe spodnie, irokezy...



..::TRACK-LIST::..

1. For The Punx
2. Nightmare
3. Punx Unite
4. Made In NYC
5. Casualties Army
6. Fight For Your Life
7. Get Off My Back
8. Unknown Soldier
9. Tomorrow Belongs To Us
10. Diehards
11. Police Brutality
12. Criminal Class
13. On The Front Line
14. Media Control
15. Ugly Bastards
16. Punx & Skins
17. Punk Rock Love
18. City Life



..::OBSADA::..

Bass - Rick
Drums - Meggers
Guitar - Jake
Vocals - Jorge




https://www.youtube.com/watch?v=EbS8RuAOQEc



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

If there is one man who can fill the void left in the hearts of music lovers by the untimely death of Hank Williams, he is Johnny Cash. Only a few years have elapsed since Hank Williams was living — and singing his heart-touching songs. But already he has been accorded that type of immortality which comes to performers who are truly “great.” The little people who enjoyed his music were important to Hank, and this is probably why they are in turn idolized this man who was the symbol of all the warmth and sincerity and genuine emotion that country music possesses.

Johnny Cash is a singer who makes the same type of appeal which Hank Williams did. Audiences like not only his singing and playing — they like him as a person. They trust him and they sense that Johnny is their friend.

It is very appropriate that Johnny Cash should keep alive the music and memory of Hank Williams through this album. Hank Williams fans are almost sure to be Johnny Cash fans, and vice versa. The numbers recorded here are representative of the best of Hank Williams as a songwriter and the best of Johnny Cash as an artist.

Included in the album also are some of “Johnny’s million sellers” — the choice records that are most in demand by the collectors of Cash records. The popular Gene Lowery Singers provide an added element on several of the selections in the album.

Barbara Barnes



..::TRACK-LIST::..

1. I Can't Help It
2. You Win Again
3. Hey Good Lookin'
4. I Could Never Be Ashamed Of You
5. Cold Cold Heart
6. (I Heard That) Lonesome Whistle
7. Folsom Prison Blues
8. I Couldn't Keep From Crying
9. I Walk The Line
10. I Love You Because
11. Come In Stranger
12. Mean Eyed Cat
13. The Little Drummer Boy (1959 - Bonus Track)



..::OBSADA::..

Johnny Cash - Vocal
Luther Perkins - Electric guitar
Marshall Grant - Bass
Al Casey - Guitar




https://www.youtube.com/watch?v=x2z2Uy_j2JI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]




If there is one man who can fill the void left in the hearts of music lovers by the untimely death of Hank Williams, he is Johnny Cash. Only a few years have elapsed since Hank Williams was living — and singing his heart-touching songs. But already he has been accorded that type of immortality which comes to performers who are truly “great.” The little people who enjoyed his music were important to Hank, and this is probably why they are in turn idolized this man who was the symbol of all the warmth and sincerity and genuine emotion that country music possesses.

Johnny Cash is a singer who makes the same type of appeal which Hank Williams did. Audiences like not only his singing and playing — they like him as a person. They trust him and they sense that Johnny is their friend.

It is very appropriate that Johnny Cash should keep alive the music and memory of Hank Williams through this album. Hank Williams fans are almost sure to be Johnny Cash fans, and vice versa. The numbers recorded here are representative of the best of Hank Williams as a songwriter and the best of Johnny Cash as an artist.

Included in the album also are some of “Johnny’s million sellers” — the choice records that are most in demand by the collectors of Cash records. The popular Gene Lowery Singers provide an added element on several of the selections in the album.

Barbara Barnes




1. I Can't Help It
2. You Win Again
3. Hey Good Lookin'
4. I Could Never Be Ashamed Of You
5. Cold Cold Heart
6. (I Heard That) Lonesome Whistle
7. Folsom Prison Blues
8. I Couldn't Keep From Crying
9. I Walk The Line
10. I Love You Because
11. Come In Stranger
12. Mean Eyed Cat
13. The Little Drummer Boy (1959 - Bonus Track)




Johnny Cash - Vocal
Luther Perkins - Electric guitar
Marshall Grant - Bass
Al Casey - Guitar




https://www.youtube.com/watch?v=x2z2Uy_j2JI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Until this album, Johnny Cash has been represented on records chiefly in his own compositions, such as I Walk the Line, Don’t Take Your Guns to Town and What Do I Care. Here he turns to songs made famous by other singers, saluting the artists who introduced them. At the same time he gives the songs his own distinctive interpretations. It’s the kind of singing that makes a listener declare, “Now, there was a song!” His rich voice, the stirring warmth and the straightforward approach have made Johnny Cash one of the world’s most popular artists. These are great songs, and Johnny Cash is a great singer.

Seasons of My Heart was introduced by George Jones, as was another selection, Just One Move. Ferlin Husky popularized I Feel Better All Over, and Marty Robbins scored one of his biggest successes with I Couldn’t Keep From Crying. Time Changes Everything was present by Bob Wills, with a vocal by Tommy Duncan. The same Mr. Wills also had a big hit with My Shoes Keep Walking Back To You, recently given new life by Ray Price. I’d Just Be Fool Enough was introduced by Melvin Endsley, and Roy Hogshead offered Transfusion Blues. One of Hank Snow’s biggest hits was Why Do You Punish Me; Earnest Tubbs had equal success with I Will Miss You When you Go. I’m So Lonesome I Could Cry was given best-seller status by Hank Williams, and Hank Thompson performed the same feat with Honey-Tonk Girl.

Johnny first began to sing while working with his family on a farm near Kingsland, Arkansas. He achieved local fame for his singing in high school, and continued his performances in impromptu shows during a tour of duty with the Air Force in Germany. A civilian once again, he enrolled in a radio and television school, hoping to become an announcer, but lack of finances changed his plans.

While he was working as a salesman, Johnny arrived in Memphis, Tennessee, where Elvis Presley was just beginning to record for a small local record company. Johnny brought his talents to the attention of the same company, and was advised to write some songs.



..::TRACK-LIST::..

1. Seasons Of My Heart
2. I Couldn't Keep From Crying
3. I Feel Better All Over
4. My Shoes Keep Walking Back To You
5. Time Changes Everything
6. I'd Just Be Fool Enough (To Fall)
7. Why Do You Punish Me
8. Transfusion Blues
9. I Will Miss You When You Go
10. I'm So Lonesome I Could Cry
11. Just One More
12. Honky Tonk Girl

13. Down The Street To 301 (1960 - Bonus Track)



..::OBSADA::..

Johnny Cash - vocals, rhythm guitar

Tennessee Two
Luther Perkins - lead guitar
Marshall Grant - bass

with:
Johnny Western - rhythm guitar
Floyd Cramer - piano
Buddy Harman - drums
Gordon Terry - fiddle
Don Helms - steel guitar




https://www.youtube.com/watch?v=I6tOipe0MMM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Until this album, Johnny Cash has been represented on records chiefly in his own compositions, such as I Walk the Line, Don’t Take Your Guns to Town and What Do I Care. Here he turns to songs made famous by other singers, saluting the artists who introduced them. At the same time he gives the songs his own distinctive interpretations. It’s the kind of singing that makes a listener declare, “Now, there was a song!” His rich voice, the stirring warmth and the straightforward approach have made Johnny Cash one of the world’s most popular artists. These are great songs, and Johnny Cash is a great singer.

Seasons of My Heart was introduced by George Jones, as was another selection, Just One Move. Ferlin Husky popularized I Feel Better All Over, and Marty Robbins scored one of his biggest successes with I Couldn’t Keep From Crying. Time Changes Everything was present by Bob Wills, with a vocal by Tommy Duncan. The same Mr. Wills also had a big hit with My Shoes Keep Walking Back To You, recently given new life by Ray Price. I’d Just Be Fool Enough was introduced by Melvin Endsley, and Roy Hogshead offered Transfusion Blues. One of Hank Snow’s biggest hits was Why Do You Punish Me; Earnest Tubbs had equal success with I Will Miss You When you Go. I’m So Lonesome I Could Cry was given best-seller status by Hank Williams, and Hank Thompson performed the same feat with Honey-Tonk Girl.

Johnny first began to sing while working with his family on a farm near Kingsland, Arkansas. He achieved local fame for his singing in high school, and continued his performances in impromptu shows during a tour of duty with the Air Force in Germany. A civilian once again, he enrolled in a radio and television school, hoping to become an announcer, but lack of finances changed his plans.

While he was working as a salesman, Johnny arrived in Memphis, Tennessee, where Elvis Presley was just beginning to record for a small local record company. Johnny brought his talents to the attention of the same company, and was advised to write some songs.



..::TRACK-LIST::..

1. Seasons Of My Heart
2. I Couldn't Keep From Crying
3. I Feel Better All Over
4. My Shoes Keep Walking Back To You
5. Time Changes Everything
6. I'd Just Be Fool Enough (To Fall)
7. Why Do You Punish Me
8. Transfusion Blues
9. I Will Miss You When You Go
10. I'm So Lonesome I Could Cry
11. Just One More
12. Honky Tonk Girl

13. Down The Street To 301 (1960 - Bonus Track)



..::OBSADA::..

Johnny Cash - vocals, rhythm guitar

Tennessee Two
Luther Perkins - lead guitar
Marshall Grant - bass

with:
Johnny Western - rhythm guitar
Floyd Cramer - piano
Buddy Harman - drums
Gordon Terry - fiddle
Don Helms - steel guitar




https://www.youtube.com/watch?v=I6tOipe0MMM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 1 - COMPLEX (1971):
1. Funny Feeling
2. Message From The Year 2000
3. Green-Eyed Lucy
4. Josie
5. Witch's Spell
6. Norwegian Butterfly
7. Self-Declaration
8. Images Blue
9. Storm On Way
10. Mademoiselle Jackie
11. Live For The Minute

Bonus Tracks:
12. Hush (Joe South cover)
13. Images Blue (Alternative Version)
14. Green-Eyed Lucy (Alternative Version)
15. Norwegian Butterfly (Alternative Version)
16. Green-Eyed Lucy (Original Demo Version)


1-11 The album 'Complex', recorded November 1970
12-13 Unreleased at the time 7" acetate, recorded July 1970
14-15 Unreleased at the time, recorded January 1971
16 Previously unreleased, recorded circa mid-1970



..::OBSADA::..

Organ - Steve Coe
Vocals, Drums - Tony Shakespeare
Bass, Vocals - Lance Fogg
Guitar, Vocals - Brian Lee



https://www.youtube.com/watch?v=I3uZuCn9EdA


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 1 - COMPLEX (1971):
1. Funny Feeling
2. Message From The Year 2000
3. Green-Eyed Lucy
4. Josie
5. Witch's Spell
6. Norwegian Butterfly
7. Self-Declaration
8. Images Blue
9. Storm On Way
10. Mademoiselle Jackie
11. Live For The Minute

Bonus Tracks:
12. Hush (Joe South cover)
13. Images Blue (Alternative Version)
14. Green-Eyed Lucy (Alternative Version)
15. Norwegian Butterfly (Alternative Version)
16. Green-Eyed Lucy (Original Demo Version)


1-11 The album 'Complex', recorded November 1970
12-13 Unreleased at the time 7" acetate, recorded July 1970
14-15 Unreleased at the time, recorded January 1971
16 Previously unreleased, recorded circa mid-1970



..::OBSADA::..

Organ - Steve Coe
Vocals, Drums - Tony Shakespeare
Bass, Vocals - Lance Fogg
Guitar, Vocals - Brian Lee



https://www.youtube.com/watch?v=I3uZuCn9EdA


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Z ogromną radością informuję, że 6 października nakładem wytwórni Karisma Records ukazuje się czwarty album studyjny grupy Jordsjø zatytułowany „Salighet”. I, co najważniejsze, jest to kolejny piękny przykład wspaniałego oldschoolowego folkowego rocka progresywnego w wydaniu tej norweskiej formacji.

„Salighet” (po polsku „Rozkosz” – przyp. aut.), zgodnie ze swoim tytułem, przynosi mnóstwo bardzo przyjemnych doznań, które przypadną do gustu szczególnie tym słuchaczom, którzy cenią sobie vintage’owe granie oparte na analogowych instrumentach, tradycyjnych technikach realizacji dźwięku i w ogóle na poszanowaniu tradycji progresywnego gatunku oraz klimatów mocno zakorzenionych w latach 70. XX wieku.

Przypomnijmy, Jordsjø to muzyczny duet z Oslo (w skład zespołu wchodzą multiinstrumentalista Håkon Oftung, którego znamy z przedstawianych na naszych łamach zespołów Tusmørke, Black Magic, The Chronicles of Father Robin, oraz perkusista Kristian Frøland), którego muzyczne wpływy rozciągają się od skandynawskiego folkloru i jazzu, po tradycje związane ze starym brytyjskim prog rockiem. Album „Salighet” posiada własny, mocny muzyczny wymiar – może dziś już odrobinę niemodny i jakby nieoszlifowany, ale zawsze fascynujący, inspirujący i, pomimo swojego całego zapatrzenia w przeszłość, poszukujący nowych rozwiązań i nowych ciekawych pomysłów. I co by nie mówić, tymi wszystkimi szacownymi inspiracjami grupie Jordsjø w mistrzowski sposób udaje się połączyć rock progresywny z fantastycznymi melodiami i licznymi folkowymi akcentami.

Na płycie „Salighet” znajdujemy siedem premierowych utworów, które składają się na jeden z najlepszych albumów, które dotarły do nas ze Skandynawii w 2023 roku. Przedstawia ona różne formy ekstazy poprzez ambitne kompozycje i dające do myślenia teksty (zespół wykonuje swoje utwory w ojczystym języku). Rozpiętość tematyczna jest spora, lecz norwescy muzycy potrafią co chwila zadziwić słuchacza. Robią to za pomocą szerokiego wachlarza środków artystycznego wyrazu - czy to w formie rytualnego tańca, górskiej wędrówki, bajki, rozważań religijnych czy innego rodzaju duchowych podróży utrzymanych w barwnym, symfonicznym brzmieniu folkowego prog rocka.

Album rozpoczyna się w ciekawy sposób - od mocnego wstępu „Invokasjon”, z którego płynnie wyłania się świetny utwór „Sankeren” („Żniwiarz” – przyp. aut.). Jest to opowieść o grupie podróżników spotykających tajemniczą postać, która żyje z tego, co może zebrać jako swoje śmiertelne żniwo. Piosenka ta jest hołdem dla życia i wszystkich doświadczeń, które zbiera się w jego trakcie. Utwór zaczyna się i kończy tym samym tematem, podczas gdy gorączkowa, mocno rozedrgana środkowa część odzwierciedla działanie napoju, który Żniwiarz podaje gościom, zanim obudzą się w domu wypełnionym artefaktami pochodzącymi z innego świata, innego czasu i innego wymiaru.

Po tej przejmującej historii czas na dwie części kompozycji tytułowej „Salighet”. Obie mocne, obie przekonywujące, pełne rozmachu, finezyjnego grania i niesamowitych klimatów zbudowanych przy pomocy szlachetnego brzmienia melotronów i szalejących swobodnie gitar.

Następnie na płycie pojawia się „Ura” – rzecz oparta jest na wierszu napisanym po górskiej wyprawie w otoczeniu mgły i deszczu oraz poczuciu utraty orientacji na szlaku, którym się podąża. Nawet w znanych miejscach, w których wędruje się niezliczoną ilość razy, przyroda może zachować się w taki sposób, który sprawi, że zgubi się szlak. Samo życie może czasem być postrzegane w ten sam sposób, a z mgły mogą wyłaniać się nowe drogi i kierunki. Wiersz został napisany w podobnej formie, co dawne norweskie pieśni ludowe, co świadczy o tym, że komponowanie muzyki jest dla Jordsjø procesem bardzo naturalnym. „Ura” została wydana na singlu i myślę, że był to dobry pomysł, gdyż niczym magnes przyciągnie do tego albumu zarówno starszych, jak i nowych fanów.

Ale to jeszcze nie koniec płyty. Mamy tu jeszcze krótki, pełen muzycznych fajerwerków instrumental „Danseritualer fra Jordsjø – Posesjon & Ekstase” oraz finałowy, ponad dziesięciominutowy epik pt. „Sjernestigen” („Drabiną do gwiazd” – przyp. aut.). I tak właśnie się dzieje – panowie Håkon Oftung i Kristian Frøland zabierają nas tym rozbudowanym i wielowątkowym utworem do gwiazd… To zdecydowanie najmocniejszy punkt programu tego albumu.

Muzyka grupy Jordsjø stanowi kontrapunkt dla prozaicznej codzienności, tęskni za tajemnicą i alternatywnymi rzeczywistościami, zabierając słuchacza w świat naznaczony niczym nieograniczoną wyobraźnią. Robi to z wielką dynamiką i brzmieniowym patosem, cały czas poszukując dobrych, stosunkowo łatwo przyswajalnych melodii utrzymanych w staromodnym stylu.

Jeżeli kochacie ciepłe, vintage'owe brzmienia w stylu grup Änglagård, Black Magic, Wobbler czy Sinkadus, to najnowszy album Jordsjø urzeknie Was bez reszty...

Artur Chachlowski



Jordsjø is a duo from Oslo, Norway inspired by Scandinavian folklore via jazz to early British prog. Following in the tradition of some of the best Nordic rock from the last century, Jordsjø manages to meld progressive rock with fantastic melodies and a folkish twist.

“Salighet” is the band’s fourth proper studio album. Seven new tracks, making up what has to be one of the greatest prog albums of 2023. Here, Jordsjø continues their musical journey in the heights and abysses: With “Salighet” they explore different forms of ecstasy through compositions and lyrics. Be it in the shape of dance, a mountain hike, a fairytale, religious pondering or other kinds of inner travels, in a colourful symphonic folk-rock sound. The music is a counterpoint to the mundane everyday life, and longs for mystery and alternate realities – with grand dynamics and dramatics, always searching for a good melody. The album draws inspiration from Nordic jazz and folk music, classical 1900s music and sensory expanding 60-s & 70s rock, creating its own potent musical brew – unfashionable and unpolished.



The dynamic duo out of Norway are back in 2023 with "Salighet" a 42 1/2 minute, seven track affair. I'm a huge fan of the cover art and as far as the music goes I feel this is their best one yet. It took me the longest of all of their albums to appreciate, I was starting to wonder there, but this is their most serious work and it's an absolute pleasure.
Hakon Oftung again plays a variety of instruments and sings. What a talent. It's his guitar work that stood out for me this time. He's taken those intricate melodies to another level here. But his keyboard work including fender rhodes, organ, clavinet and mellotron are all over this one plus he's is fairly dominant with the flute at times. He also recorded, produced and mixed this album. The drummer Kristian Froland keeps getting better if that's possible and we have three guests with two of them playing clarinet and synths and the other offering backing vocals. The clarinet is such a great add on for me and all three of these guests have been on past JORDSJO albums.

I'm not sure what took me so long to crack this one because it's usually pretty immediate with this band, I love retro music but this one just seemed different and it was harder to figure out at times. I think it was my fourth spin when I decided to really listen to the music and that was the key. I can't pick a top three because I'm right into all of the seven tunes and this has a uniform sound to it thankfully.

I will mention the guitar after 5 1/2 minutes on the closer bringing to mind GILA and POPOL VUH's Conny Veit. Also the distorted organ bringing Canterbury to mind again around 5 1/2 minutes on "Salighet I". And lastly the way the album ends over those 4 minutes or so as it drifts along beautifully. So many highlights though and no hesitation with the 5 stars. I'm excited about this one and yes a top ten for 2023. This one will have staying power.

Mellotron Storm



..::TRACK-LIST::..

1. Invokasjon 02:52
2. Sankeren 07:21
3. Salighet I 06:17
4. Salighet II 06:10
5. Ura 06:38
6. Danseritualer fra Jordsjø - Prosesjon & Ekstase 02:54
7. Stjernestigen 10:21



..::OBSADA::..

Vocals, Flute, Guitar [Guitars], Bass, Electric Organ [Hammond M100], Clavinet [D6], Synth [ARP Pro Soloist], Electric Piano [Fender Rhodes], Synth [Solina] - Haakon
Drums, Percussion, Vocals, Percussion [Melodic Percussion] - Kristian

Guests:
Backing Vocals [Kor] - Vilde
Guest, Clarinet [Clarinets] - Mats Lemjan
Guest, Synth [ARP Pro Soloist] - Staale (tracks: 5)



https://www.youtube.com/watch?v=FA3BG79n6v0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Z ogromną radością informuję, że 6 października nakładem wytwórni Karisma Records ukazuje się czwarty album studyjny grupy Jordsjø zatytułowany „Salighet”. I, co najważniejsze, jest to kolejny piękny przykład wspaniałego oldschoolowego folkowego rocka progresywnego w wydaniu tej norweskiej formacji.

„Salighet” (po polsku „Rozkosz” – przyp. aut.), zgodnie ze swoim tytułem, przynosi mnóstwo bardzo przyjemnych doznań, które przypadną do gustu szczególnie tym słuchaczom, którzy cenią sobie vintage’owe granie oparte na analogowych instrumentach, tradycyjnych technikach realizacji dźwięku i w ogóle na poszanowaniu tradycji progresywnego gatunku oraz klimatów mocno zakorzenionych w latach 70. XX wieku.

Przypomnijmy, Jordsjø to muzyczny duet z Oslo (w skład zespołu wchodzą multiinstrumentalista Håkon Oftung, którego znamy z przedstawianych na naszych łamach zespołów Tusmørke, Black Magic, The Chronicles of Father Robin, oraz perkusista Kristian Frøland), którego muzyczne wpływy rozciągają się od skandynawskiego folkloru i jazzu, po tradycje związane ze starym brytyjskim prog rockiem. Album „Salighet” posiada własny, mocny muzyczny wymiar – może dziś już odrobinę niemodny i jakby nieoszlifowany, ale zawsze fascynujący, inspirujący i, pomimo swojego całego zapatrzenia w przeszłość, poszukujący nowych rozwiązań i nowych ciekawych pomysłów. I co by nie mówić, tymi wszystkimi szacownymi inspiracjami grupie Jordsjø w mistrzowski sposób udaje się połączyć rock progresywny z fantastycznymi melodiami i licznymi folkowymi akcentami.

Na płycie „Salighet” znajdujemy siedem premierowych utworów, które składają się na jeden z najlepszych albumów, które dotarły do nas ze Skandynawii w 2023 roku. Przedstawia ona różne formy ekstazy poprzez ambitne kompozycje i dające do myślenia teksty (zespół wykonuje swoje utwory w ojczystym języku). Rozpiętość tematyczna jest spora, lecz norwescy muzycy potrafią co chwila zadziwić słuchacza. Robią to za pomocą szerokiego wachlarza środków artystycznego wyrazu - czy to w formie rytualnego tańca, górskiej wędrówki, bajki, rozważań religijnych czy innego rodzaju duchowych podróży utrzymanych w barwnym, symfonicznym brzmieniu folkowego prog rocka.

Album rozpoczyna się w ciekawy sposób - od mocnego wstępu „Invokasjon”, z którego płynnie wyłania się świetny utwór „Sankeren” („Żniwiarz” – przyp. aut.). Jest to opowieść o grupie podróżników spotykających tajemniczą postać, która żyje z tego, co może zebrać jako swoje śmiertelne żniwo. Piosenka ta jest hołdem dla życia i wszystkich doświadczeń, które zbiera się w jego trakcie. Utwór zaczyna się i kończy tym samym tematem, podczas gdy gorączkowa, mocno rozedrgana środkowa część odzwierciedla działanie napoju, który Żniwiarz podaje gościom, zanim obudzą się w domu wypełnionym artefaktami pochodzącymi z innego świata, innego czasu i innego wymiaru.

Po tej przejmującej historii czas na dwie części kompozycji tytułowej „Salighet”. Obie mocne, obie przekonywujące, pełne rozmachu, finezyjnego grania i niesamowitych klimatów zbudowanych przy pomocy szlachetnego brzmienia melotronów i szalejących swobodnie gitar.

Następnie na płycie pojawia się „Ura” – rzecz oparta jest na wierszu napisanym po górskiej wyprawie w otoczeniu mgły i deszczu oraz poczuciu utraty orientacji na szlaku, którym się podąża. Nawet w znanych miejscach, w których wędruje się niezliczoną ilość razy, przyroda może zachować się w taki sposób, który sprawi, że zgubi się szlak. Samo życie może czasem być postrzegane w ten sam sposób, a z mgły mogą wyłaniać się nowe drogi i kierunki. Wiersz został napisany w podobnej formie, co dawne norweskie pieśni ludowe, co świadczy o tym, że komponowanie muzyki jest dla Jordsjø procesem bardzo naturalnym. „Ura” została wydana na singlu i myślę, że był to dobry pomysł, gdyż niczym magnes przyciągnie do tego albumu zarówno starszych, jak i nowych fanów.

Ale to jeszcze nie koniec płyty. Mamy tu jeszcze krótki, pełen muzycznych fajerwerków instrumental „Danseritualer fra Jordsjø – Posesjon & Ekstase” oraz finałowy, ponad dziesięciominutowy epik pt. „Sjernestigen” („Drabiną do gwiazd” – przyp. aut.). I tak właśnie się dzieje – panowie Håkon Oftung i Kristian Frøland zabierają nas tym rozbudowanym i wielowątkowym utworem do gwiazd… To zdecydowanie najmocniejszy punkt programu tego albumu.

Muzyka grupy Jordsjø stanowi kontrapunkt dla prozaicznej codzienności, tęskni za tajemnicą i alternatywnymi rzeczywistościami, zabierając słuchacza w świat naznaczony niczym nieograniczoną wyobraźnią. Robi to z wielką dynamiką i brzmieniowym patosem, cały czas poszukując dobrych, stosunkowo łatwo przyswajalnych melodii utrzymanych w staromodnym stylu.

Jeżeli kochacie ciepłe, vintage'owe brzmienia w stylu grup Änglagård, Black Magic, Wobbler czy Sinkadus, to najnowszy album Jordsjø urzeknie Was bez reszty...

Artur Chachlowski



Jordsjø is a duo from Oslo, Norway inspired by Scandinavian folklore via jazz to early British prog. Following in the tradition of some of the best Nordic rock from the last century, Jordsjø manages to meld progressive rock with fantastic melodies and a folkish twist.

“Salighet” is the band’s fourth proper studio album. Seven new tracks, making up what has to be one of the greatest prog albums of 2023. Here, Jordsjø continues their musical journey in the heights and abysses: With “Salighet” they explore different forms of ecstasy through compositions and lyrics. Be it in the shape of dance, a mountain hike, a fairytale, religious pondering or other kinds of inner travels, in a colourful symphonic folk-rock sound. The music is a counterpoint to the mundane everyday life, and longs for mystery and alternate realities – with grand dynamics and dramatics, always searching for a good melody. The album draws inspiration from Nordic jazz and folk music, classical 1900s music and sensory expanding 60-s & 70s rock, creating its own potent musical brew – unfashionable and unpolished.



The dynamic duo out of Norway are back in 2023 with "Salighet" a 42 1/2 minute, seven track affair. I'm a huge fan of the cover art and as far as the music goes I feel this is their best one yet. It took me the longest of all of their albums to appreciate, I was starting to wonder there, but this is their most serious work and it's an absolute pleasure.
Hakon Oftung again plays a variety of instruments and sings. What a talent. It's his guitar work that stood out for me this time. He's taken those intricate melodies to another level here. But his keyboard work including fender rhodes, organ, clavinet and mellotron are all over this one plus he's is fairly dominant with the flute at times. He also recorded, produced and mixed this album. The drummer Kristian Froland keeps getting better if that's possible and we have three guests with two of them playing clarinet and synths and the other offering backing vocals. The clarinet is such a great add on for me and all three of these guests have been on past JORDSJO albums.

I'm not sure what took me so long to crack this one because it's usually pretty immediate with this band, I love retro music but this one just seemed different and it was harder to figure out at times. I think it was my fourth spin when I decided to really listen to the music and that was the key. I can't pick a top three because I'm right into all of the seven tunes and this has a uniform sound to it thankfully.

I will mention the guitar after 5 1/2 minutes on the closer bringing to mind GILA and POPOL VUH's Conny Veit. Also the distorted organ bringing Canterbury to mind again around 5 1/2 minutes on "Salighet I". And lastly the way the album ends over those 4 minutes or so as it drifts along beautifully. So many highlights though and no hesitation with the 5 stars. I'm excited about this one and yes a top ten for 2023. This one will have staying power.

Mellotron Storm



..::TRACK-LIST::..

1. Invokasjon 02:52
2. Sankeren 07:21
3. Salighet I 06:17
4. Salighet II 06:10
5. Ura 06:38
6. Danseritualer fra Jordsjø - Prosesjon & Ekstase 02:54
7. Stjernestigen 10:21



..::OBSADA::..

Vocals, Flute, Guitar [Guitars], Bass, Electric Organ [Hammond M100], Clavinet [D6], Synth [ARP Pro Soloist], Electric Piano [Fender Rhodes], Synth [Solina] - Haakon
Drums, Percussion, Vocals, Percussion [Melodic Percussion] - Kristian

Guests:
Backing Vocals [Kor] - Vilde
Guest, Clarinet [Clarinets] - Mats Lemjan
Guest, Synth [ARP Pro Soloist] - Staale (tracks: 5)



https://www.youtube.com/watch?v=FA3BG79n6v0



SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

---------------------------------------------------------------------
U2 - Live From Paris - 1987
4th Of July, 1987
---------------------------------------------------------------------

Artist...............: U2
Album................: Live From Paris - 1987
Genre................: Rock
Source...............: WEB
Year.................: 2008
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 72 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music s.r.o.

Included.............: NFO, M3U
Covers...............: Front

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. U2 - I Will Follow [03:58]
2. U2 - Trip Through Your Wires [03:33]
3. U2 - I Still Haven't Found What I'm Looking For [05:26]
4. U2 - MLK [01:27]
5. U2 - Unforgettable Fire [04:40]
6. U2 - Sunday Bloody Sunday [05:33]
7. U2 - Exit [04:12]
8. U2 - In God's Country [02:51]
9. U2 - The Electric Co. [04:32]
10. U2 - Bad [07:04]
11. U2 - October [02:04]
12. U2 - New Year's Day [04:44]
13. U2 - Pride (In The Name Of Love) [04:55]
14. U2 - Bullet The Blue Sky [04:53]
15. U2 - Running To Stand Still [04:07]
16. U2 - With Or Without You [09:59]
17. U2 - Party Girl [04:11]
18. U2 - "40" [06:46]

Playing Time.........: 01:25:05
Total Size...........: 620,63 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Za nagrywanie oraz produkcję odpowiadają Eve oraz Yuma Van Eekelen. Masteringiem zajął się Dereck Blackburn w Quiethouse Recording. Okładkę oraz layout stworzył Travis Smith (Amorphis, King Diamond, Cynic).

Kilka słów o albumie:
„Tetradōm” to debiutancki album instrumentalnego, progresywnego kwartetu metal-fusion QUADVIUM, w połowie w Kalifornii, w połowie w Holandii, założonego pod koniec 2019 roku przez amerykańskiego basistę Steve’a Di Giorgio (Testament, Death) i holenderskiego basistę Jeroena Paula Thesselinga (Obscura, Pestilence).

Steve Di Giorgio i Jeroen Paul Thesseling są innowatorami w przenoszeniu innego stylu gry na bezprogowym basie do metalu. Założenie zespołu z dwoma głównie wielostrunowymi bezprogowymi basistami nie jest częstym zjawiskiem, a duet basowy uznał, że musi poświęcić bardzo specjalny i rozważny czas, aby uzyskać odpowiednie dopasowanie do uczestników i jaki będzie końcowy efekt – co oznacza odpowiednie brzmienie i kompozycję, aby przedstawić tę rzadką wizję.

Z czasem, wraz z holenderskim mistrzem perkusji Yumą van Eekelenem (Our Oceans, Pestilence) i amerykańską wirtuozerką gitary/kompozytorką Eve (Myth Of I, Kaathe) – których wkład i doświadczenie odgrywają ogromną rolę w QUADVIUM – muzyka zaczęła nabierać kształtu. Skład jest dokładnie taką mieszanką, która łączy delikatną równowagę tak ciężkiej oferty dźwiękowej i pełnego słownictwa utworów o wysokim poziomie konstrukcji.

'Mieliśmy zamiar wiele, wiele lat temu stworzyć razem muzykę… aby zaprezentować dwóch głównie wielostrunowych basistów bezprogowych grających w formie duetu”, komentują basiści QUADVIUM Steve i Jeroen. „To znaczy, ani «bas rytmiczny i bas prowadzący», ani bałagan z gorącymi solówkami. Ale łatwiej powiedzieć niż zrobić! Podczas gdy spędzaliśmy czas, wymieniliśmy się przemyśleniami na temat tego, jak to byłoby utworzyć grupę, która wspierałaby nasze basowe potrzeby. Wtedy był to po prostu spontaniczny pomysł, ale przez lata temat ten był poruszany raz po raz. Ta wizja była w najlepszym razie niewyraźna i zajęło nam dużo czasu, aby nie tylko wyobrazić sobie, jak w ten sposób zaprezentować bas, ale co ważniejsze — kto podzieliłby się z nami tą koncepcją. Yuma jest starym znajomym i na szczęście dla nas, potrzebował tego projektu, aby dodać go do swojej listy tysiąca innych! Ale mając perkusistę, który rozumiał, że 2 basistów wypełni spektrum dźwiękowe, był niezrażony wnoszeniem kręgosłupa, a także trzymaniem naszych dziwacznych pomysłów w ryzach. Po długich poszukiwaniach kolejnego muzyka, kopalnia złota została odkryta na Instagram reels o imieniu Eve. Jedne z najbardziej szalonych filmów z gitarą (i basem!), jakie kiedykolwiek widzieliśmy, zainspirowały nas do zadania pytania jeśli był to projekt warty dołączenia… nie tylko mieliśmy na pokładzie naszego ostatniego członka, ale także geniusza studia i głównego kompozytora tej strategii, którą mieliśmy tak dawno temu, który zebrał wszystko do kupy i skupił wszystko na albumie, którym z dumą możemy się z wami teraz podzielić. Dziękujemy za solidne wsparcie Agonia Records za wsparcie naszego marzenia i uczynienie tego albumu rzeczywistością! Fani instrumentalnego progresywnego metalu fusion – i bezprogowego basu! – z pewnością pokochają te muzyczne podróże.'



"Tetradōm" is the debut album of the instrumental progressive metal-fusion quartet QUADVIUM, half in California - half in the Netherlands, founded in late 2019 by American bass player Steve Di Giorgio (Testament, Death) and Dutch bass player Jeroen Paul Thesseling (Obscura, Pestilence).

Steve Di Giorgio and Jeroen Paul Thesseling are both innovators in bringing a different style of fretless bass playing to metal. Launching a band with two predominantly multi-string fretless bass players is no common occurrence, and the bass-duo felt they needed to take very special and deliberate time to get the right alignment with who is participating and what will be the end result - meaning the right sound and composition to represent this rare vision.

Over time, together with Dutch master drummer Yuma van Eekelen (Our Oceans, Pestilence) and American guitar virtuoso/composer Eve (Myth Of I, Kaathe) - whose contribution and expertise play a huge part of QUADVIUM - the music began to take shape. The line-up is just the right blend to mix the delicate balance of such a heavy aural offering and a full vocabulary of high level constructed pieces.

“We had an intention many many years ago to make some music together… to feature two predominately multistring fretless bass players playing in duet form," QUADVIUM bassists Steve and Jeroen comment. "That is to say, neither being «rhythm bass & lead bass» nor some trading off hot solo licks mess. But easier said than done! While hanging out, we exchanged some thoughts about how it would be to form a group to support our bass-ic needs. At that time it was just a spontaneous idea, but over the years the topic was brought up again and again. This vision was blurry at best and it took us a long time to not only imagine how to feature the bass in this way, but more importantly – who would share in this concept with us. Yuma is an old acquaintance and lucky for us, he needed this project to add to his list of a thousand others! But having a drummer that understood that 2 bass players would be filling the sonic spectrum, he was undaunted in contributing the backbone as well as keeping our outlandish ideas in check. After a long search for the next musician, a gold mine was found on Instagram reels by the name of Eve. Some of the most insane guitar (and bass!) videos we ever saw inspired us to ask if this was a project worth joining… not only did we have our final member aboard, but a studio genius and the main composer of this strategy we had so long ago, who brought it all together and focused everything into the album we are so proud to share with you now. Thanks to the solid support from Agonia Records for supporting our dream and making this album a reality! Fans of instrumental progressive metal fusion – and fretless bass! – will surely enjoy these musical journeys.”

"Tetradōm" was recorded and produced by Eve and co-produced by Yuma van Eekelen. The album was mastered by Dereck Blackburn at Quiethouse Recording. Travis Smith (Amorphis, King Diamond, Cynic) created the album's artwork and layout.



..::TRACK-LIST::..

1. Moksha 06:08
2. Náströnd 03:57
3. Apophis 05:54
4. Ghardus 05:12
5. Adhyasa 04:18
6. Sarab 04:35
7. Eidolon 05:30



..::OBSADA::..

Steve DiGiorgio - Bass (fretless 5-string)
Jeroen Paul Thesseling - Bass (fretless 7-string)

Yuma van Eekelen - Drums
Eve Smith - Guitars, Synth Guitars




https://www.youtube.com/watch?v=bBW-071hJu8



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Za nagrywanie oraz produkcję odpowiadają Eve oraz Yuma Van Eekelen. Masteringiem zajął się Dereck Blackburn w Quiethouse Recording. Okładkę oraz layout stworzył Travis Smith (Amorphis, King Diamond, Cynic).

Kilka słów o albumie:
„Tetradōm” to debiutancki album instrumentalnego, progresywnego kwartetu metal-fusion QUADVIUM, w połowie w Kalifornii, w połowie w Holandii, założonego pod koniec 2019 roku przez amerykańskiego basistę Steve’a Di Giorgio (Testament, Death) i holenderskiego basistę Jeroena Paula Thesselinga (Obscura, Pestilence).

Steve Di Giorgio i Jeroen Paul Thesseling są innowatorami w przenoszeniu innego stylu gry na bezprogowym basie do metalu. Założenie zespołu z dwoma głównie wielostrunowymi bezprogowymi basistami nie jest częstym zjawiskiem, a duet basowy uznał, że musi poświęcić bardzo specjalny i rozważny czas, aby uzyskać odpowiednie dopasowanie do uczestników i jaki będzie końcowy efekt – co oznacza odpowiednie brzmienie i kompozycję, aby przedstawić tę rzadką wizję.

Z czasem, wraz z holenderskim mistrzem perkusji Yumą van Eekelenem (Our Oceans, Pestilence) i amerykańską wirtuozerką gitary/kompozytorką Eve (Myth Of I, Kaathe) – których wkład i doświadczenie odgrywają ogromną rolę w QUADVIUM – muzyka zaczęła nabierać kształtu. Skład jest dokładnie taką mieszanką, która łączy delikatną równowagę tak ciężkiej oferty dźwiękowej i pełnego słownictwa utworów o wysokim poziomie konstrukcji.

'Mieliśmy zamiar wiele, wiele lat temu stworzyć razem muzykę… aby zaprezentować dwóch głównie wielostrunowych basistów bezprogowych grających w formie duetu”, komentują basiści QUADVIUM Steve i Jeroen. „To znaczy, ani «bas rytmiczny i bas prowadzący», ani bałagan z gorącymi solówkami. Ale łatwiej powiedzieć niż zrobić! Podczas gdy spędzaliśmy czas, wymieniliśmy się przemyśleniami na temat tego, jak to byłoby utworzyć grupę, która wspierałaby nasze basowe potrzeby. Wtedy był to po prostu spontaniczny pomysł, ale przez lata temat ten był poruszany raz po raz. Ta wizja była w najlepszym razie niewyraźna i zajęło nam dużo czasu, aby nie tylko wyobrazić sobie, jak w ten sposób zaprezentować bas, ale co ważniejsze — kto podzieliłby się z nami tą koncepcją. Yuma jest starym znajomym i na szczęście dla nas, potrzebował tego projektu, aby dodać go do swojej listy tysiąca innych! Ale mając perkusistę, który rozumiał, że 2 basistów wypełni spektrum dźwiękowe, był niezrażony wnoszeniem kręgosłupa, a także trzymaniem naszych dziwacznych pomysłów w ryzach. Po długich poszukiwaniach kolejnego muzyka, kopalnia złota została odkryta na Instagram reels o imieniu Eve. Jedne z najbardziej szalonych filmów z gitarą (i basem!), jakie kiedykolwiek widzieliśmy, zainspirowały nas do zadania pytania jeśli był to projekt warty dołączenia… nie tylko mieliśmy na pokładzie naszego ostatniego członka, ale także geniusza studia i głównego kompozytora tej strategii, którą mieliśmy tak dawno temu, który zebrał wszystko do kupy i skupił wszystko na albumie, którym z dumą możemy się z wami teraz podzielić. Dziękujemy za solidne wsparcie Agonia Records za wsparcie naszego marzenia i uczynienie tego albumu rzeczywistością! Fani instrumentalnego progresywnego metalu fusion – i bezprogowego basu! – z pewnością pokochają te muzyczne podróże.'



"Tetradōm" is the debut album of the instrumental progressive metal-fusion quartet QUADVIUM, half in California - half in the Netherlands, founded in late 2019 by American bass player Steve Di Giorgio (Testament, Death) and Dutch bass player Jeroen Paul Thesseling (Obscura, Pestilence).

Steve Di Giorgio and Jeroen Paul Thesseling are both innovators in bringing a different style of fretless bass playing to metal. Launching a band with two predominantly multi-string fretless bass players is no common occurrence, and the bass-duo felt they needed to take very special and deliberate time to get the right alignment with who is participating and what will be the end result - meaning the right sound and composition to represent this rare vision.

Over time, together with Dutch master drummer Yuma van Eekelen (Our Oceans, Pestilence) and American guitar virtuoso/composer Eve (Myth Of I, Kaathe) - whose contribution and expertise play a huge part of QUADVIUM - the music began to take shape. The line-up is just the right blend to mix the delicate balance of such a heavy aural offering and a full vocabulary of high level constructed pieces.

“We had an intention many many years ago to make some music together… to feature two predominately multistring fretless bass players playing in duet form," QUADVIUM bassists Steve and Jeroen comment. "That is to say, neither being «rhythm bass & lead bass» nor some trading off hot solo licks mess. But easier said than done! While hanging out, we exchanged some thoughts about how it would be to form a group to support our bass-ic needs. At that time it was just a spontaneous idea, but over the years the topic was brought up again and again. This vision was blurry at best and it took us a long time to not only imagine how to feature the bass in this way, but more importantly – who would share in this concept with us. Yuma is an old acquaintance and lucky for us, he needed this project to add to his list of a thousand others! But having a drummer that understood that 2 bass players would be filling the sonic spectrum, he was undaunted in contributing the backbone as well as keeping our outlandish ideas in check. After a long search for the next musician, a gold mine was found on Instagram reels by the name of Eve. Some of the most insane guitar (and bass!) videos we ever saw inspired us to ask if this was a project worth joining… not only did we have our final member aboard, but a studio genius and the main composer of this strategy we had so long ago, who brought it all together and focused everything into the album we are so proud to share with you now. Thanks to the solid support from Agonia Records for supporting our dream and making this album a reality! Fans of instrumental progressive metal fusion – and fretless bass! – will surely enjoy these musical journeys.”

"Tetradōm" was recorded and produced by Eve and co-produced by Yuma van Eekelen. The album was mastered by Dereck Blackburn at Quiethouse Recording. Travis Smith (Amorphis, King Diamond, Cynic) created the album's artwork and layout.



..::TRACK-LIST::..

1. Moksha 06:08
2. Náströnd 03:57
3. Apophis 05:54
4. Ghardus 05:12
5. Adhyasa 04:18
6. Sarab 04:35
7. Eidolon 05:30



..::OBSADA::..

Steve DiGiorgio - Bass (fretless 5-string)
Jeroen Paul Thesseling - Bass (fretless 7-string)

Yuma van Eekelen - Drums
Eve Smith - Guitars, Synth Guitars




https://www.youtube.com/watch?v=bBW-071hJu8



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



SEED 15:00-22:00.
POLECAM!!!