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


..::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 2 - The Way We Feel (1971):
1. Every Time I Hear That Song 2:45
2. Am I 4:08
3. We Don't Exist 5:53
4. Lemon Pie Fair 3:57
5. The Way I Feel 3:20
6. Moving Moor 4:46
7. Jeananette 4:30
8. Hey Girl, You've Got Style 3:00
9. If You Are My Love 6:40

Bonus Tracks:
10. Moving Moor (Alternative Version) 4:47
11. The Way I Feel (Alternative Version) 3:18



..::OBSADA::..

Lead Vocals, Drums - Tony Shakespeare
Organ, Electric Piano - Steve Coe
Bass Guitar, Vocals - Lance Fogg
Electric Guitar, Acoustic Guitar, Vocals - Brian Lee




https://www.youtube.com/watch?v=z1MuXWKS89k



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

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


..::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 2 - The Way We Feel (1971):
1. Every Time I Hear That Song 2:45
2. Am I 4:08
3. We Don't Exist 5:53
4. Lemon Pie Fair 3:57
5. The Way I Feel 3:20
6. Moving Moor 4:46
7. Jeananette 4:30
8. Hey Girl, You've Got Style 3:00
9. If You Are My Love 6:40

Bonus Tracks:
10. Moving Moor (Alternative Version) 4:47
11. The Way I Feel (Alternative Version) 3:18



..::OBSADA::..

Lead Vocals, Drums - Tony Shakespeare
Organ, Electric Piano - Steve Coe
Bass Guitar, Vocals - Lance Fogg
Electric Guitar, Acoustic Guitar, Vocals - Brian Lee




https://www.youtube.com/watch?v=z1MuXWKS89k



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

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


..::OPIS::..

To fantastyczny album, wyróżniający się bogactwem ostrych, a zarazem porywających riffów, a także zjawiskowym wokalem Amy Lee Carlson , gdzie surowy, często porównywalny z Leather Leone , ton i przyzwoite vibrato przywodzą na myśl erę NWOBHM i speed metalu wyjętego z połowy lat 80.

Bojowo-energetyczny speed metal!!!

FA


Seattle speed metal tyrants Sölicitör are back with a vengeance in the form of their second studio album!

Sölicitör are finally bringing forth their sophomore release of classic 80s style speed metal fury. Ten songs of haunting, powerful and destructive metal mania.

Five years have passed since “Spectral Devastation”, Sölicitör’s debut LP was unleashed. Now they are back with a bang. More leather-bound, more aggression, more power and more metal than ever. From the powerful riffing and impressive drum work to the evocative vocals; it won’t take you long to fall in love with the classic and authentic sound of this new offering. Mixing heavy, speed and even some thrash metal elements to achieve a unique sound of metallic excellence, none shall be spared on this ferocious new opus.

Fans will notice the more dynamic, emotive and varied approach on this album that still retains all of the power and fury of their previous efforts.

The band took a more DIY approach to the actual recording while re-amping, mixing and mastering was done by Chris Mannino to truly bring the electrifying takes to life. Speaking of DIY, the band’s vocalist Amy handled the artwork for this release, ensuring the bands vision was appropriately represented.

The band put this into words best: "This album was built on blood, sweat and struggle, personal catastrophes and triumphs, division and uncertainty - ultimately pulled together by dedication to a long term vision and determination above all odds to deliver performances that will surely outlast our previous offerings. We believe in the integrity of these songs, as a representation of our evolution and arrival to this point. This album is darker, more melodic, much more expressive, personal, and may take some by surprise for better or worse. Themes of the paranormal, revenge and retribution, betrayal, and a steadfast commitment to heavy metal and all that has come before us as we continue to pursue and mark our place in a drastically different and ever changing landscape."



..::TRACK-LIST::..

1. The Descent 01:45
2. Paralysis 05:01
3. Iron Wolves of War 05:23
4. Spellbound Mist 06:11
5. We Who Remain 05:28
6. Fallen Angel 05:44
7. Crimson Battle Beast 03:46
8. Enemy in Mirrors 04:43
9. Black Magick & The Devil's Hand Pt I 05:35
10. Black Magick & The Devil's Hand Pt II 04:09



..::OBSADA::..

Amy Lee Carlson - Vocals
Matthew Vogan - Guitars, Keyboards
Patrick Fry - Guitars
Damon Cleary-Erickson - Bass
Johanson Waymire - Drums

Guest vocals on track 3 by Leif Julin



https://www.youtube.com/watch?v=UCUaAc6aHbU



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

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


..::OPIS::..

To fantastyczny album, wyróżniający się bogactwem ostrych, a zarazem porywających riffów, a także zjawiskowym wokalem Amy Lee Carlson , gdzie surowy, często porównywalny z Leather Leone , ton i przyzwoite vibrato przywodzą na myśl erę NWOBHM i speed metalu wyjętego z połowy lat 80.

Bojowo-energetyczny speed metal!!!

FA


Seattle speed metal tyrants Sölicitör are back with a vengeance in the form of their second studio album!

Sölicitör are finally bringing forth their sophomore release of classic 80s style speed metal fury. Ten songs of haunting, powerful and destructive metal mania.

Five years have passed since “Spectral Devastation”, Sölicitör’s debut LP was unleashed. Now they are back with a bang. More leather-bound, more aggression, more power and more metal than ever. From the powerful riffing and impressive drum work to the evocative vocals; it won’t take you long to fall in love with the classic and authentic sound of this new offering. Mixing heavy, speed and even some thrash metal elements to achieve a unique sound of metallic excellence, none shall be spared on this ferocious new opus.

Fans will notice the more dynamic, emotive and varied approach on this album that still retains all of the power and fury of their previous efforts.

The band took a more DIY approach to the actual recording while re-amping, mixing and mastering was done by Chris Mannino to truly bring the electrifying takes to life. Speaking of DIY, the band’s vocalist Amy handled the artwork for this release, ensuring the bands vision was appropriately represented.

The band put this into words best: "This album was built on blood, sweat and struggle, personal catastrophes and triumphs, division and uncertainty - ultimately pulled together by dedication to a long term vision and determination above all odds to deliver performances that will surely outlast our previous offerings. We believe in the integrity of these songs, as a representation of our evolution and arrival to this point. This album is darker, more melodic, much more expressive, personal, and may take some by surprise for better or worse. Themes of the paranormal, revenge and retribution, betrayal, and a steadfast commitment to heavy metal and all that has come before us as we continue to pursue and mark our place in a drastically different and ever changing landscape."



..::TRACK-LIST::..

1. The Descent 01:45
2. Paralysis 05:01
3. Iron Wolves of War 05:23
4. Spellbound Mist 06:11
5. We Who Remain 05:28
6. Fallen Angel 05:44
7. Crimson Battle Beast 03:46
8. Enemy in Mirrors 04:43
9. Black Magick & The Devil's Hand Pt I 05:35
10. Black Magick & The Devil's Hand Pt II 04:09



..::OBSADA::..

Amy Lee Carlson - Vocals
Matthew Vogan - Guitars, Keyboards
Patrick Fry - Guitars
Damon Cleary-Erickson - Bass
Johanson Waymire - Drums

Guest vocals on track 3 by Leif Julin



https://www.youtube.com/watch?v=UCUaAc6aHbU



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

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


..::OPIS::..

417 previously unreleased live performances! 'Very limited'

Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.

The box set offers fans 417 previously unreleased live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording.

In 1974 Dylan toured live for the first time in eight years and reunited with The Band, who since they last performed live together (in 1966) had released six albums and played Woodstock and recorded with Bob (The Basement Tapes, Planet Waves).

Dylan and The Band performed 30 dates in 42 days (often playing two sets per day) and recordings were captured on a stereo soundboard mix, on both quarter-inch tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multi-track tape, for eventual release on Before the Flood. The 1974 Live Recordings includes it all of these and the shows that were recorded on 16-track tape are newly-mixed for this box set, which comes with with new sleeve notes by Elizabeth Nelson.



..::TRACK-LIST::..

CD 16 - January 26, 1974 (Evening) - Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (And I'll Go Mine) 3:40
2. Lay, Lady, Lay 2:51
3. Just Like Tom Thumb's Blues 5:18
4. Rainy Day Women #12 & 35 3:19
5. It Ain't Me, Babe 3:29
6. Ballad Of A Thin Man 3:15
7. All Along The Watchtower 2:38
8. Ballad Of Hollis Brown 3:48
9. Knockin' On Heaven's Door 3:11
10. The Times They Are A-Changin' 2:59
11. Don't Think Twice, It's All Right 3:26
12. Gates Of Eden 4:06
13. Just Like A Woman 3:56
14. It's Alright, Ma (I'm Only Bleeding) 4:48
15. Forever Young 4:37
16. Something There Is About You 4:15
17. Like A Rolling Stone 5:49
18. Most Likely You Go Your Way (And I'll Go Mine)




https://www.youtube.com/watch?v=9AD8zFrLuzc



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

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


..::OPIS::..

417 previously unreleased live performances! 'Very limited'

Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.

The box set offers fans 417 previously unreleased live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording.

In 1974 Dylan toured live for the first time in eight years and reunited with The Band, who since they last performed live together (in 1966) had released six albums and played Woodstock and recorded with Bob (The Basement Tapes, Planet Waves).

Dylan and The Band performed 30 dates in 42 days (often playing two sets per day) and recordings were captured on a stereo soundboard mix, on both quarter-inch tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multi-track tape, for eventual release on Before the Flood. The 1974 Live Recordings includes it all of these and the shows that were recorded on 16-track tape are newly-mixed for this box set, which comes with with new sleeve notes by Elizabeth Nelson.



..::TRACK-LIST::..

CD 16 - January 26, 1974 (Evening) - Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (And I'll Go Mine) 3:40
2. Lay, Lady, Lay 2:51
3. Just Like Tom Thumb's Blues 5:18
4. Rainy Day Women #12 & 35 3:19
5. It Ain't Me, Babe 3:29
6. Ballad Of A Thin Man 3:15
7. All Along The Watchtower 2:38
8. Ballad Of Hollis Brown 3:48
9. Knockin' On Heaven's Door 3:11
10. The Times They Are A-Changin' 2:59
11. Don't Think Twice, It's All Right 3:26
12. Gates Of Eden 4:06
13. Just Like A Woman 3:56
14. It's Alright, Ma (I'm Only Bleeding) 4:48
15. Forever Young 4:37
16. Something There Is About You 4:15
17. Like A Rolling Stone 5:49
18. Most Likely You Go Your Way (And I'll Go Mine)




https://www.youtube.com/watch?v=9AD8zFrLuzc



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

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


..::OPIS::..

417 previously unreleased live performances! 'Very limited'

Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.

The box set offers fans 417 previously unreleased live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording.

In 1974 Dylan toured live for the first time in eight years and reunited with The Band, who since they last performed live together (in 1966) had released six albums and played Woodstock and recorded with Bob (The Basement Tapes, Planet Waves).

Dylan and The Band performed 30 dates in 42 days (often playing two sets per day) and recordings were captured on a stereo soundboard mix, on both quarter-inch tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multi-track tape, for eventual release on Before the Flood. The 1974 Live Recordings includes it all of these and the shows that were recorded on 16-track tape are newly-mixed for this box set, which comes with with new sleeve notes by Elizabeth Nelson.



..::TRACK-LIST::..

CD 15 - January 26, 1974 (Afternoon) - Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (And I'll Go Mine) 3:32
2. Lay, Lady, Lay 3:00
3. Just Like Tom Thumb's Blues 5:35
4. Rainy Day Women #12 & 35 3:12
5. It Ain't Me, Babe 3:15
6. Ballad Of A Thin Man 3:28
7. All Along The Watchtower 2:38
8. Ballad Of Hollis Brown 3:53
9. Knockin' On Heaven's Door 3:14
10. The Times They Are A-Changin' 2:56
11. Don't Think Twice, It's All Right 3:25
12. Gates Of Eden 4:06
13. Just Like A Woman 5:09
14. It's Alright, Ma (I'm Only Bleeding) 4:59
15. Forever Young 4:58
16. Something There Is About You 4:29
17. Like A Rolling Stone 5:49
18. Most Likely You Go Your Way (And I'll Go Mine) 3:31




https://www.youtube.com/watch?v=9AD8zFrLuzc



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


..::OPIS::..

417 previously unreleased live performances! 'Very limited'

Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.

The box set offers fans 417 previously unreleased live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording.

In 1974 Dylan toured live for the first time in eight years and reunited with The Band, who since they last performed live together (in 1966) had released six albums and played Woodstock and recorded with Bob (The Basement Tapes, Planet Waves).

Dylan and The Band performed 30 dates in 42 days (often playing two sets per day) and recordings were captured on a stereo soundboard mix, on both quarter-inch tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multi-track tape, for eventual release on Before the Flood. The 1974 Live Recordings includes it all of these and the shows that were recorded on 16-track tape are newly-mixed for this box set, which comes with with new sleeve notes by Elizabeth Nelson.



..::TRACK-LIST::..

CD 15 - January 26, 1974 (Afternoon) - Hofheinz Pavilion, Houston, TX
1. Most Likely You Go Your Way (And I'll Go Mine) 3:32
2. Lay, Lady, Lay 3:00
3. Just Like Tom Thumb's Blues 5:35
4. Rainy Day Women #12 & 35 3:12
5. It Ain't Me, Babe 3:15
6. Ballad Of A Thin Man 3:28
7. All Along The Watchtower 2:38
8. Ballad Of Hollis Brown 3:53
9. Knockin' On Heaven's Door 3:14
10. The Times They Are A-Changin' 2:56
11. Don't Think Twice, It's All Right 3:25
12. Gates Of Eden 4:06
13. Just Like A Woman 5:09
14. It's Alright, Ma (I'm Only Bleeding) 4:59
15. Forever Young 4:58
16. Something There Is About You 4:29
17. Like A Rolling Stone 5:49
18. Most Likely You Go Your Way (And I'll Go Mine) 3:31




https://www.youtube.com/watch?v=9AD8zFrLuzc



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..::INFO::..

---------------------------------------------------------------------
Extreme - The Best Of Extreme
An Accidental Collication Of Atoms?
---------------------------------------------------------------------

Artist...............: Extreme
Album................: The Best Of Extreme
Genre................: Rock
Source...............: CD
Year.................: 1998
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
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..........: A&M Records

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

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

1. Extreme - Decadence Dance [06:51]
2. Extreme - Rest In Peace [06:04]
3. Extreme - Kid Ego [04:04]
4. Extreme - Get The Funk Out [04:25]
5. Extreme - Tragic Comic [04:46]
6. Extreme - Hip Today [04:42]
7. Extreme - Stop The World [06:05]
8. Extreme - More Than Words [05:36]
9. Extreme - Cupid's Dead (Horn Mix) [05:56]
10. Extreme - Leave Me Alone [04:49]
11. Extreme - Play With Me [03:31]
12. Extreme - Hole-Hearted [03:41]
13. Extreme - Am I Ever Gonna Change [06:58]

Playing Time.........: 01:07:35
Total Size...........: 485,85 MB

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


..::OPIS::..

The disc lifts off with the captivating in-house Elektra Records film of the Doors performing “Break On Through” on a darkened set. The video, widely seen on MTV and released on multiple VHS and DVD collections, succinctly captures the excitement of the early Doors. The early TV appearances on shows like Shebang, American Bandstand and Malibu U are all a bit stiff, partly due to the band’s inexperience and their inability to properly lip sync their performances. It was part and parcel of being a rock band in the 1960s. More shows would follow — Murray The K In New York, The Jonathan Winters Show, and even an odd sequence around “Hello, I Love You” from German TV — and great live and semi-live performances have been preserved.

The clip of “Touch Me,” another previously released video of the Doors on the Smothers Brothers Comedy Hour is perhaps the best of the TV appearances here, with Morrison sounding together, singing live over the pre-recorded orchestration track. Conspicuously missing is the band’s infamous appearance on The Ed Sullivan Show on September 17, 1969. Despite being banned from the show, the producers have no problem including the performance on their Rock & Roll Classics DVD releases. Squeezed in between is the short film behind “The Unknown Soldier,” in which Morrison is mock executed on the beach as footage from Vietnam is mixed in for dramatic effect. Far different from the TV shows.

Several music videos made from archival live film and additional footage shot, some with and by Ray Manzarek, Robby Kreiger and John Densmore, plus lots of candid cutaways of Jim Morrison. Many of these videos have been released on previous VHS and DVD collections, and shown on MTV. The 1984 video for “Strange Days” attempts to create a live action sequence of the album’s cover featuring sideshow circus performers and cameos of Manzarek. The Doors keyboardist’s directorial role is more apparent in the suave and fun video for “LA Woman,” which vividly captures the spirit of the City of Angels (maybe even better than Randy Newman), before it veers off into a tangent of strange bedfellows and weird hallucinations.

“Ghost Song,” the final video in the main section, is taken from An American Prayer, the 1978 album the surviving Doors cut, blending new music with tapes of spoken word poetry from Jim Morrison. It shows Manzarek, Kreiger and Densmore playing along with brief flashes of Morrison. The Bonus section is highlighted by the story behind that video and many of the others, as told by Krieger, Densmore, engineer Bruce Botnik and Elektra president Jac Holzman in the Breaking Through The Lens documentary. There’s also a performance of “Break On Through (To The Other Side)” from the Isle of Wight 1970 festival, and a rather off-track excursion in the form of a Ford Motors training film the Doors apparently did the soundtrack for. Strange days indeed. It would seem R-Evolution fills in every last nook and cranny of available Doors footage, but you never know what’s buried in the vault. Stand by for the next chapter.

Shawn Perry


https://raymanzarek.com/films-revolution/



..::TRACK-LIST::..

1. Break On Through (To The Other Side): Music Film – January 1967
2. Break On Through (To The Other Side): Shebang – March 6, 1967
3. The Crystal Ship: American Bandstand – July 22, 1967
4. Light My Fire: American Bandstand – July 22, 1967
5. Light My Fire: Malibu U – August 25 1967
6. People Are Strange: Murray The K In New York – September 22, 1967
7. Moonlight Drive: From The Jonathan Winters Show – December 27, 1967
8. The Unknown Soldier: Music Film – February 1968
9. Hello, I Love You: Musik Für Junge Leute: 4-3-2-1 Hot And Sweet – September 13, 1968
10. Touch Me: The Smothers Brothers Comedy Hour – December 15, 1968
11. Wild Child: Music Film – July 1969
12. Roadhouse Blues: Music Film – February 1970
13. Crawling King Snake: GTK (Get To Know) – December 1970
14. The Changeling: Music Film – April 1971
15. Gloria: Music Film – October 1983
16. People Are Strange: Music Film – 1980’s
17. Strange Days: Music Film – 1984
18. L.A. Woman: Music Film – 1985
19. Ghost Song: Music Film – 1995

Bonus Features :
20. Love Thy Customer
21. Break On Through (To The Other Side)
22. Breaking Through The Lens
23. Commentary



https://www.youtube.com/watch?v=RrDsSPtZOu4


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


..::OPIS::..

Montreux Sounds and Eagle Vision present a Montreux Jazz Festival production, The Crusaders: Live at Montreux 2003. Recorded live in concert with guest Randy Crawford on July 18, 2003 at the Auditorium Stravinski, Montreux, Switzerland.



The Jazz Crusaders was formed in 1960 from a group that played together in Houston, Texas. Stix Hooper, Joe Sample and Wilton Felder moved out to form the new band and pulled in Wayne Henderson to complete the basic quartet. They got rid of "Jazz" in the group's title in 1971, a reflection of the assimilation of the different streams their music imbibed including funk and soul.

Time is not static, and neither are tastes. There were personnel changes over the year, and The Crusaders finally disbanded. In 2003, however, Hooper, Sample and Felder came back to record Rural Renewal with Ray Parker Jr. They toured in support of the album. Montreux, the setting for this video performance, was on their list of destinations.

A live performance by a familiar cast thrives not only on current repertoire but also on nostalgia. The Crusaders balanced playing three songs from Rural Renewal with giving the past another look on nine songs, including the Parker smash hit "Ghostbusters," which closes the set.

The viewer will see that the Crusaders are in the groove right from the first note, but as the concert progresses it becomes apparent their then current material paled in comparison to the old. "Viva De Funk" just about greases the wheels of the rhythm while "Rural Renewal" is a tad too smooth and easy. But let those pass: the band shouts in glory on the other material, particularly on the classic fare, "Put It Where You Want It" and "Way Back Home." Both continue to be pulse-pounders in their own way. Parker sets up the first, his guitar heralding the horns and establishing a deep, solid rhythm bed. The mood is infectious, abetted by the groove and the changes in tempo. Sample calls the second "The Anthem," and so it's appropriately named. Felder mines the blues, and the band cuts in and turns on a spellbinding performance. It still shines as a majestic composition.

Randy Crawford is in fine voice as she sings blues, soul and pop. Her soft vocals are like a silk thread weaving a magic spell as she brings her impress to bear on a jazzy version of "Imagine," The highlight however, is her version of "Soul Shadows," on which she harvests every word and its nuance to perfection.

At the end of it all, The Crusaders and Crawford turn on the heat and let their music capture the night.

Jerry D'Souza



..::TRACK-LIST::..

2003
1. Spiral
2. Viva De Funk
3. Creepin'
4. Way Back Home
5. Carnival Of The Night
6. Put It Where You Want It
7. Thrill Is Gone
8. Soul Shadows (with Randy Crawford)
9. Street Life (with Randy Crawford)
10. Imagine (with Randy Crawford)
11. Rural Renewal
12. Ghostbusters

Bonus Tracks: 1976
1. Soul caravan
2. A Ballad For Joe (Louis)
3. Spiral
4. Hard Times

The Crusaders at the Montreux Jazz Festival in 2003 & 1976 Montreux bonus tracks



..::OBSADA::..

Joe Sample - Keyboards
Stephan Baxter - Trombone
Wilton Felder - Sax
Ray Parker Jr, - Guitar
Kendrick Scott - Drums
Freddie Washington - Bass
Randy Crawford - Vocal



https://www.youtube.com/watch?v=IpMN3DYgTP8


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


..::OPIS::..

Cult Dutch thrash metal from the late 80’s. Complete discography on cd featuring:
Liquidation demo 1988, Sandgrains Ep 1990, Live at Geronimo Rotterdam (restored / remastered by Robbie Woning (Dead Head). The demo and ep were recorded at Franky's Recording Kitchen with Berthus Westerhuys (God Dethroned, Altar, Severe Torture ). The booklet contains old pictures, flyers and extensive liner notes from Steven Willems (Rock Tribune / Voices from the Darkside). Brain Implosion featured members of Abacinate, Remote Control, Out of the System and Radiathor. In total the album contains 15 tracks!



..::TRACK-LIST::..

1. Liquidation (Liquidation demo 1988) 03:29
2. Lunacy (Liquidation demo 1988) 05:01
3. Implosion Fear Rules (Liquidation demo 1988) 08:50
4. In Your Face (Liquidation demo 1988) 04:47
5. Sandgrains (Sandgrains Ep 1990) 04:51
6. Intramural (Sandgrains Ep 1990) 06:07
7. In Your Face (Live at Geronimo) 05:36
8. Lunacy (Live at Geronimo) 05:15
9. Pikketrekker (Live at Geronimo) 03:25
10. Six Feet (Live at Geronimo) 05:03
11. Fear Rules (Live at Geronimo) 06:46
12. Nostalgia (Live at Geronimo) 03:34
13. Liquidation (Live at Geronimo) 03:55
14. Intra Mural (Live at Geronimo) 06:40
15. New Song (Live at Geronimo) 03:42

Liquidation demo 1988 recorded at Franky's Recording Kitchen, Nieuwleusden, Netherlands.
Sandgrains EP 1990 recorded 1989 at Franky's Recording Kitchen, Nieuwleusden, Netherlands. Cover, artwork, design & logo design by Rene R.
Live At Geronimo digitalised, restored and remastered by Robbie Woning, Jan. 2024.



..::OBSADA::..

Vocals - Alex Geerts (tracks: 3)
Rhythm Guitar - Jochem Steenbergen
Lead Guitar, Vocals, Rhythm Guitar - Miguel Van Sloten
Bass Guitar - Alex Geerts
Drums - Ian Van Sloten




https://www.youtube.com/watch?v=LMtWqwdzdN8



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


..::OPIS::..

Cult Dutch thrash metal from the late 80’s. Complete discography on cd featuring:
Liquidation demo 1988, Sandgrains Ep 1990, Live at Geronimo Rotterdam (restored / remastered by Robbie Woning (Dead Head). The demo and ep were recorded at Franky's Recording Kitchen with Berthus Westerhuys (God Dethroned, Altar, Severe Torture ). The booklet contains old pictures, flyers and extensive liner notes from Steven Willems (Rock Tribune / Voices from the Darkside). Brain Implosion featured members of Abacinate, Remote Control, Out of the System and Radiathor. In total the album contains 15 tracks!



..::TRACK-LIST::..

1. Liquidation (Liquidation demo 1988) 03:29
2. Lunacy (Liquidation demo 1988) 05:01
3. Implosion Fear Rules (Liquidation demo 1988) 08:50
4. In Your Face (Liquidation demo 1988) 04:47
5. Sandgrains (Sandgrains Ep 1990) 04:51
6. Intramural (Sandgrains Ep 1990) 06:07
7. In Your Face (Live at Geronimo) 05:36
8. Lunacy (Live at Geronimo) 05:15
9. Pikketrekker (Live at Geronimo) 03:25
10. Six Feet (Live at Geronimo) 05:03
11. Fear Rules (Live at Geronimo) 06:46
12. Nostalgia (Live at Geronimo) 03:34
13. Liquidation (Live at Geronimo) 03:55
14. Intra Mural (Live at Geronimo) 06:40
15. New Song (Live at Geronimo) 03:42

Liquidation demo 1988 recorded at Franky's Recording Kitchen, Nieuwleusden, Netherlands.
Sandgrains EP 1990 recorded 1989 at Franky's Recording Kitchen, Nieuwleusden, Netherlands. Cover, artwork, design & logo design by Rene R.
Live At Geronimo digitalised, restored and remastered by Robbie Woning, Jan. 2024.



..::OBSADA::..

Vocals - Alex Geerts (tracks: 3)
Rhythm Guitar - Jochem Steenbergen
Lead Guitar, Vocals, Rhythm Guitar - Miguel Van Sloten
Bass Guitar - Alex Geerts
Drums - Ian Van Sloten




https://www.youtube.com/watch?v=LMtWqwdzdN8



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


..::OPIS::..

Nagranie powstało w ramach akustycznej trasy koncertowej w dniach 21 i 22 stycznia 2016 r. W słynnej nowojorskiej Carnegie Hall. Wsparciem dla wokalisty i gitarzysty na scenie byli: pianista Reese Wynans, perkusista Anton Fig i Eric Bazilian na mandolinie, lira korbowa, saksofon i gitara akustyczna. Obecni byli także chińska wiolonczelistka Tina Guo oraz egipski perkusista i kompozytor Hossam Ramzy.



Przodownik pracy Joe Bonamassa niezmiennie wyrabia 300% normy i nie ma roku, by na rynku nie pojawiło się dzieło podpisane jego nazwiskiem.

"This train don't stop for no one / This train got a mind of its own / This train don't wait for no one / This train, I'm gonna leave this town" - tak śpiewa Joe Bonamassa w otwierającym nowe wydawnictwo utworze "This Train" pochodzącym ze świetnego ostatniego albumu "Blues of Desperation". Trudno oprzeć się wrażeniu, że napędzana muzycznym ADHD kariera gitarzysty mknie jak tytułowy pociąg. W końcu "Live at Carnegie Hall - An Acoustic Evening" to już piętnasta koncertówka w karierze ledwie 40-letniego Bonamassy. Co więcej, niedawno na rynku pojawiła się przecież w każdym calu rewelacyjna akustyczna koncertówka "An Acoustic Evening at the Vienna Opera House". Określenie 'niedawno' odnosi się jednak do zwykłych śmiertelników, bowiem w czasie czterech lat dzielących obydwa wydawnictwa Joe zdążył wydać jeszcze osiem (!) innych albumów nagranych na żywo. Powrót do akustycznych dźwięków wydaje się więc - z jego perspektywy - jak najbardziej uzasadniony.

"Live at Carnegie Hall" w pewnym stopniu powiela schemat płyty nagranej w wiedeńskiej operze - Joe raz jeszcze postarał się o międzynarodowy skład towarzyszących mu muzyków. W styczniu 2016 roku, podczas dwóch koncertów w kultowej Carnegie Hall w Nowym Jorku, na scenie pojawił się 9 osobowy zespół, w skład którego weszli, poza Bonamassą, chińska wiolonczelistka i erhuistka Tina Guo, egipski perkusjonista i kompozytor Hossam Ramzy, który ma na koncie m.in. współpracę z Jimmy Page'm i Robertem Plantem, a także Reese Wynans (fortepian), świetny Anton Fig (perkusja), Eric Bazilian (mandolina, lira korbowa, saksofon, gitara akustyczna, wokal) oraz australijskie wokalistki i wokalista - Mahalia Barnes, Juanita Tippins i Gary Pinto.

Aż by się chciało zobaczyć to wszystko na własne oczy, bo "Live at Carnegie Hall" ukazał się oczywiście również w formacie DVD i Blu-ray, ale niestety tak się złożyło, że dysponuję tylko nośnikiem audio. 'Tylko' to zresztą słowo klucz, bo tak jak w przypadku "An Acoustic Evening at the Vienna Opera House", gdzie główną siłę materiału stanowił obraz cudów wyprawianych przez muzyków, tak samo byłoby zapewne w przypadku nagrania z Nowego Jorku. Nie da się ukryć, wersja CD bez obrazu nie rusza tak jak powinna, a fakt ponownego połączenia muzycznych kultur ewidentnie schodzi na dalszy plan. Tym bardziej, że tym razem lider projektu nie pozostawił zbyt wiele miejsca towarzyszącym mu muzykom, może poza Tiną Guo, która "Woke Up Dreaming" rozpoczyna solową partią, brzmiącą jak wariacja na temat "Lotu trzmiela", później zaś aktywnie prowadzi z Bonamassą wiolonczelowo-gitarowy dialog. Szkoda, że podobnych momentów nie ma na "Live at Carnegie Hall" więcej.

Przearanżowane utwory z "Blues of Desperation" prezentują się świetnie (niestety, zabrakło kompozycji tytułowej), podobnie zresztą jak większość innych utworów, pod którymi podpisał się Bonamassa, choć wersje takich kawałków jak "Dust Bowl" czy "Driving Towards the Daylight" wykonane w Wiedniu podobały mi się bardziej. Przy okazji, ciekawostką jest otwarcie wspomnianego "This Train", w którym Reese Wynans przemyca intro znane z nieśmiertelnego "Locomotive Breath" Jethro Tull. Tematyczna zbieżność obu tytułów nie jest przypadkowa. Od pewnego czasu Bonamassa, który może wybierać w stale rosnącym repertuarze, ucieka od sztandarowych do niedawna kompozycji i rzeczywiście w setliście koncertu zabrakło takich przebojów jak "Slow Train" czy "The Ballad Of John Henry". I nie ma w tym nic złego, przynajmniej do momentu, gdy kończy się pierwszy, bardzo solidny krążek, a do odtwarzacza trafia płyta nr 2.

Tu napięcie siada już za sprawą pierwszego, przesłodzonego "Mountain Time" (czy nie lepiej sprawdziłby się "Mountain Climbing"?), a później wzrasta tylko sporadycznie, głównie dzięki "Woke Up Dreaming". Niezbyt trafione okazują się umieszczone tu covery, może z wyjątkiem starego standardu Blind Alfred Reeda "How Can a Poor Man Stand Such Times and Live", który nie wypada gorzej niż interpretacja Bruce Springsteena, oraz akustycznej wersji "Song of Yesterday". Utwór ma odpowiedni klimat, szczególnie dobrze pracują perkusjonalia Hossama Ramzy i nie można mu właściwie niczego zarzucić. Choć nie da się ukryć, że 'elektryczny' oryginał Black Country Communion brzmiał po prostu lepiej. Znacznie gorzej jest za to z "Hummingbird" Leona Russela, który wypada całkowicie bezpłciowo. A także z popową balladą "The Rose". Owszem, pasuje ona do repertuaru Amandy McBroom albo Bette Midler, ale w wykonaniu Bonamassy brzmi, jakby wpadła do niej torba cukru. Nie idź tą drogą, Joe, pop zostaw innym. Po tak przesłodzonym daniu dobrze smakuje gorzka kawa, ale tej gitarzysta postanowił słuchaczom oszczędzić, ponieważ "The Rose" zamyka album.

Podsumowując, "Live at Carnegie Hall - An Acoustic Evening" jest trochę nierówna. Być może na nie do końca trafioną setlistę wpływ ma klęska urodzaju w koncertowych wydawnictwach Bonamassy, który chcąc uciec od powtarzania znanych publiczności kompozycji sięga po inny repertuar. Tak czy owak, mimo wad nowe wydawnictwo to kawał solidnej rozrywki. Jednocześnie, można odnieść wrażenie, że krótki urlop nie zaszkodziłby ani Joe, ani jego - przynajmniej tym mniej fanatycznym - fanom.

Szymon Kubicki



..::TRACK-LIST::..

1. Cold Streets (Intro)
2. This Train
3. Drive
4. The Valley Runs Low
5. Dust Bowl
6. Driving Towards The Dayllight
7. Black Lung Heartache
8. Blue And Evil
9. Livin' Easy
10. Get Back My Tomorrow
11. Band Introductions
12. Mountain Time
13. How Can A Poor Man Stand Such Times And Live
14. Song Of Yesterday
15. Woke Up Dreaming
16. Hummingbird
17. Encore Farewell
18. The Rose
19. Cold Streets (Credits)

Bonus Features:
20. Joe Bonamassa At Carnegie Hall Behind The Scenes
21. Woke Up Dreaming (Second Night)
22. Live At Carnegie Photo Gallery



..::OBSADA::..

Joe Bonamassa - Vocals, Guitar
Gary Pinto, Juanita Tippins, Mahalia Barnes - Vocals
Eric Bazilian - Mandolin, Banjo, Saxophone
Reese Wynans - Piano
Tina Guo - Cello, Erhu
Anton Fig - Drums
Hossam Ramzy - Percussion



https://www.youtube.com/watch?v=E01_7nkNLMU


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


..::OPIS::..

Drugi album zabójczego rosyjskiego zespołu grającego mieszankę metalicznego hardcore, sludge, grind...
Dla fanów PIG DESTROYER, CONVERGE, MARTYRDÖD, WOLF KING, NAILS, CULT LEADER, KVELERTAK, ENABLER.

Od grindowego, przypominającego Pig Destroyer szaleństwa , po uzależniające, kvelertakowskie refreny, 'Awakened' oferuje prawdziwy zastrzyk stylów i faktur od samego początku do końca!

Awakened! MIAŻDŻĄCY heavy metal, który łączy różne gatunki. Ma ten ciężki, zabójczy klimat, a cały album po prostu GENIALNIE DZIAŁA!



..::TRACK-LIST::..

1. Hyenas 02:34
2. Paths We Have Strayed From 04:45
3. Niebo 04:34
4. Shaped By The Void 05:11
5. Red Mistress 02:28
6. Superscum 04:19
7. The Reason 02:52
8. Of Those Who Bled 05:59
9. Stalemate 06:32
10. The Greatest Threat 03:37
11. By Nomads Expelled 04:19
12. Anhalter Bahnhof 08:51



..::OBSADA::..

Eli Mavrychev - lead & backing vocals (all tracks), guitars (tracks 1, 3, 4, 6, 8, 9, 11, 12), keys (tracks 7, 12), bouzouki (track 7)
Eugene Cherevkov - guitars (tracks 1-6, 8-11),backing vocals (tracks 1, 8)
Igor Butz - bass (all tracks), backing vocals (2, 4-6, 8), noise (track 1)
Maxim Prokofyev - drums (all tracks), backing vocals (tracks 3, 6, 8)

Guests:
Anastasia Skvortsova - cellos (track 7)
Johnny, Lyuba & Philip - gang vocals (track 8)




https://www.youtube.com/watch?v=f-jJBRUp0V0



SEED 15:00-22:00.
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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Drugi album zabójczego rosyjskiego zespołu grającego mieszankę metalicznego hardcore, sludge, grind...
Dla fanów PIG DESTROYER, CONVERGE, MARTYRDÖD, WOLF KING, NAILS, CULT LEADER, KVELERTAK, ENABLER.

Od grindowego, przypominającego Pig Destroyer szaleństwa , po uzależniające, kvelertakowskie refreny, 'Awakened' oferuje prawdziwy zastrzyk stylów i faktur od samego początku do końca!

Awakened! MIAŻDŻĄCY heavy metal, który łączy różne gatunki. Ma ten ciężki, zabójczy klimat, a cały album po prostu GENIALNIE DZIAŁA!



..::TRACK-LIST::..

1. Hyenas 02:34
2. Paths We Have Strayed From 04:45
3. Niebo 04:34
4. Shaped By The Void 05:11
5. Red Mistress 02:28
6. Superscum 04:19
7. The Reason 02:52
8. Of Those Who Bled 05:59
9. Stalemate 06:32
10. The Greatest Threat 03:37
11. By Nomads Expelled 04:19
12. Anhalter Bahnhof 08:51



..::OBSADA::..

Eli Mavrychev - lead & backing vocals (all tracks), guitars (tracks 1, 3, 4, 6, 8, 9, 11, 12), keys (tracks 7, 12), bouzouki (track 7)
Eugene Cherevkov - guitars (tracks 1-6, 8-11),backing vocals (tracks 1, 8)
Igor Butz - bass (all tracks), backing vocals (2, 4-6, 8), noise (track 1)
Maxim Prokofyev - drums (all tracks), backing vocals (tracks 3, 6, 8)

Guests:
Anastasia Skvortsova - cellos (track 7)
Johnny, Lyuba & Philip - gang vocals (track 8)




https://www.youtube.com/watch?v=f-jJBRUp0V0



SEED 15:00-22:00.
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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Ten dokument, wyreżyserowany przez niemieckiego filmowca Rüdigera Nüchterna, przedstawia kulisy powstawania filmu, podczas którego 'progresywni rockerzy' nagrywają swój debiutancki album 'Phallus Dei' w monachijskim studiu nagraniowym w 1968 roku. Łącząc nagrania z występów z zbiorem psychodelicznych klipów przyrodniczych, medytacyjny film Nüchterna oddaje prawdziwą istotę legendarnego krautrockowego kolektywu.
Film miał premierę na Festiwalu Filmowym w Edynburgu.



This short DVD consists of Rüdiger Nüchtern's film "Amon Düül II Spielt Phallus Dei" from 1968. And just as the title says, it shows Amon Düül II performing what soon would be the title-track from their first album. The film itself is very artsy, and mixes the band with footage of the sunrise above a forest, trees, clouds and general shots of the German countryside. The band plays in front of a wall with lots of animated psychedelic colours and patterns, but it surprisingly enough never becomes distractive or disturbing. The film is shot from only one angle, and in the beginning we see little else than Renate Knaup and Shrat, but the angle fortunately widens after a while, and we're allowed to see the rest of the band. The musical performance is very good, and the track lasts for 5 minutes longer than the studio version. Chris Karrer's dancing during the percussion part is priceless. "Play Phallus Dei" gives you not just a unique glimpse of some classic early krautrock, but stands also as one of the first examples of making a music video.



The title of the DVD explains it's contents...a short 16mm film depicting Amon Duul II playing selections from their album Phallus Dei. However, what one does not infer from the title its it's unfortunately short lenghth (28min) and the poor quality of the print it's taken from (check screen caps). Still, this is a fantastic performance with great sound quality, and any fan of the band knows how scarce this footage is.

Of special note is that one of the cinematographers on this project was none other than Wim Wenders.

Includes short album retrospective and optional surround audio.

This cinematic retrospective focusing on the early experimental days of Amon Duul II. The original film shot in the summer of 1966 at a Munich studio, features the German rock group with their legendary line-up. A few months before signing their first recording contract. The group was filmed performing the title track from their 1969 debut album. The movie was launched at the Edinburgh Film Festival. The film could be entitled 'the creation of sound', remarked the programme notes. A respected national daily newspaper enthused: "...a German rock music movie - Rudiger Nuchtern's one of the Munich rock group Amon Duul turned out to be the most successful entry and the only one to earn spontaneous applause and requests for a repeat performance. In addition to earning the curious accolade, "It's rough, it's vicious, it's drama."

CD-Net.cz




https://www.youtube.com/watch?v=ZnSoPxjA9SM



SEED 15:00-22:00.
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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Obsesja na punkcie grozy przenika szerokie pasma ekstremalnej muzyki niczym kosa Wielkiego Niwelatora. Najbardziej pierwotne i nieuleczalne lęki ludzkości przybierały mnogość przerażających kształtów, zarówno potwornych, jak i widmowych, w rozmaitych muzycznych formach od najdawniejszych czasów najcięższej muzyki.
Ta fascynacja śmiercią i tym, co może czaić się za tym straszliwym horyzontem zdarzeń, lub tym, co może czaić się nawet teraz na poszarpanej krawędzi między naszym wymiarem a innym, wciąż ożywia twórcze impulsy wielu zespołów, ale niewiele jest albumów tak skutecznie oddających makabryczne lęki.

Mówiąc najogólniej, album jest niezwykle ciężki i potrafi zarówno zmrozić krew w żyłach, jak i podpalić nerwy. Tworzy głęboką, nadprzyrodzoną atmosferę, przesiąkniętą upiornością i mrokiem, ale także nieustannie wyzwala przypływy adrenaliny poprzez niszczycielskie napady pulsującego, wręcz nieodpartego, barbarzyństwa.



..::TRACK-LIST::..

1. Phobia In Excelsis 01:06
2. The Silent Static 12:06
3. Mind Tap 02:56
4. Dream Paralysis 05:13
5. Waves of Defacement 02:41
6. Transmissions From Beneath 05:42
7. Consuming Repulse 03:23
8. Exit Daze 06:10
9. Bleaching 07:46
10. Serum 01:07



..::OBSADA::..

Aort - electric lead, rhythm and bass guitars, synths
I.R.G. - singing, electric lead guitars, synths
A. Carrier - drums and percussion



https://www.youtube.com/watch?v=0d5UhWa7WJc



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..::INFO::..

---------------------------------------------------------------------
Rote Gitarren - Hits und Raritaten
Czerwone Gitary - Hits und Raritäten
---------------------------------------------------------------------

Artist...............: Rote Gitarren
Album................: Hits und Raritaten
Genre................: Rock, Pop
Source...............: CD
Year.................: 1971 - 2007
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 67 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: AMIGA, Sony BMG - Germany

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

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

1. Rote Gitarren - Es brennen die Berge und Walder [03:49]
2. Rote Gitarren - Weisses Boot [03:04]
3. Rote Gitarren - Madchen, deine Augen [02:33]
4. Rote Gitarren - Der Flotenspieler [02:53]
5. Rote Gitarren - Gehen [02:26]
6. Rote Gitarren - Laut Statistik [02:56]
7. Rote Gitarren - Ich stech' hier und warte [03:22]
8. Rote Gitarren - Launisches Madchen [02:01]
9. Rote Gitarren - Kusse bei Nacht [04:42]
10. Rote Gitarren - Waschsein im Dunkel [05:27]
11. Rote Gitarren - Weit und fern [03:30]
12. Rote Gitarren - Leben mit dir [04:51]
13. Rote Gitarren - Anna M [03:38]
14. Rote Gitarren - Worte sind Wellen [02:15]
15. Rote Gitarren - Und es regnet [03:28]
16. Rote Gitarren - Piraten-Lied [03:25]
17. Rote Gitarren - Wie Sand im Wind [03:49]
18. Rote Gitarren - Altes Paar [02:47]
19. Rote Gitarren - Wege [02:26]
20. Rote Gitarren - Leute, baut das Haus zu Ende [03:04]

Playing Time.........: 01:06:35
Total Size...........: 451,09 MB

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


..::OPIS::..

Obsesja na punkcie grozy przenika szerokie pasma ekstremalnej muzyki niczym kosa Wielkiego Niwelatora. Najbardziej pierwotne i nieuleczalne lęki ludzkości przybierały mnogość przerażających kształtów, zarówno potwornych, jak i widmowych, w rozmaitych muzycznych formach od najdawniejszych czasów najcięższej muzyki.
Ta fascynacja śmiercią i tym, co może czaić się za tym straszliwym horyzontem zdarzeń, lub tym, co może czaić się nawet teraz na poszarpanej krawędzi między naszym wymiarem a innym, wciąż ożywia twórcze impulsy wielu zespołów, ale niewiele jest albumów tak skutecznie oddających makabryczne lęki.

Mówiąc najogólniej, album jest niezwykle ciężki i potrafi zarówno zmrozić krew w żyłach, jak i podpalić nerwy. Tworzy głęboką, nadprzyrodzoną atmosferę, przesiąkniętą upiornością i mrokiem, ale także nieustannie wyzwala przypływy adrenaliny poprzez niszczycielskie napady pulsującego, wręcz nieodpartego, barbarzyństwa.



..::TRACK-LIST::..

1. Phobia In Excelsis 01:06
2. The Silent Static 12:06
3. Mind Tap 02:56
4. Dream Paralysis 05:13
5. Waves of Defacement 02:41
6. Transmissions From Beneath 05:42
7. Consuming Repulse 03:23
8. Exit Daze 06:10
9. Bleaching 07:46
10. Serum 01:07



..::OBSADA::..

Aort - electric lead, rhythm and bass guitars, synths
I.R.G. - singing, electric lead guitars, synths
A. Carrier - drums and percussion



https://www.youtube.com/watch?v=0d5UhWa7WJc



SEED 15:00-22:00.
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..::INFO::..

---------------------------------------------------------------------
Rote Gitarren - Die Grossten Erfolge
Czerwone Gitary - Die Grössten Erfolge
---------------------------------------------------------------------

Artist...............: Rote Gitarren
Album................: Die Grossten Erfolge
Genre................: Rock, Pop
Source...............: CD
Year.................: 2005
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
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..........: BuschFunk, AMIGA Germany

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

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

1. Rote Gitarren - Anfang (Instrumental) [02:09]
2. Rote Gitarren - Weisses Brot [03:07]
3. Rote Gitarren - Wir ziehen weiter [03:55]
4. Rote Gitarren - Auf dem Dach dieser Welt [04:32]
5. Rote Gitarren - Ein guter Tag [02:53]
6. Rote Gitarren - Draussen bei den Weiden [02:43]
7. Rote Gitarren - Sie heisst Anna [04:41]
8. Rote Gitarren - Wiesst du noch [02:41]
9. Rote Gitarren - Es brennen die Berge und Waelder [03:43]
10. Rote Gitarren - Schon ein Jahr [03:07]
11. Rote Gitarren - Consuela [03:54]
12. Rote Gitarren - Anna Maria [03:43]
13. Rote Gitarren - Ueberall bist du [02:45]
14. Rote Gitarren - Was willst du mehr [03:02]
15. Rote Gitarren - Solche schoenen Augen [02:13]
16. Rote Gitarren - Heut' kennst du mich nicht mehr [02:14]
17. Rote Gitarren - Hochzeit [02:42]
18. Rote Gitarren - Kuchen auf den Tisch [02:54]
19. Rote Gitarren - Ohne unsere Schuld [04:24]
20. Rote Gitarren - Wenn du willst [01:57]
21. Rote Gitarren - Das ist ein Tag [04:03]
22. Rote Gitarren - Purpurrote Segel [02:15]

Playing Time.........: 01:09:47
Total Size...........: 465,48 MB

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


..::OPIS::..

To jeden z najbardziej fascynujących występów w historii rocka progresywnego!


A rare example of a band that has actually gained power over the years - and a rare example of an orchestra'n'band arrangement which doesn't lend the music a cosy background, but rather a fair amount of catharsis and Celtic gloom. Questionlessly essential material, not only for the half-a-dozen of fans, but for *every* fan of folk/jazz rock. It actually can't get much better than that!
I've already highlighted the several qualities of this amazing band in my seperate reviews. Take this album as the document of a fascinating reunion concert with a kind of 'best-of' set-list. I don't know if the CD/DVD is still available somewhere (please contact Charly Heidenreich from Germany or Gregg Walker of Synphonic to obtain this gem), but if it is, you should definitely get it soon. There are plenty of reasons to do so. Firstly (and profanely), this band is totally exotic and makes a fine addition to an unconventional record collection (it's not that this is the main reason, of course!). Secondly, among all the releases by bands of such a slight publicity I've rarely seen an album as affectionately designed as this one: immaculate sound and video quality, a silk-mat cardboard box, lots of photos and extensive comments. Unfortunately, the texts are in Icelandic - unsurprisingly the band is better known there than on mainland of Europe or the US.

Thirdly, and most importantly, all of the qualities of this exciting band have survived - and, in a way, ripened - until 2008. The excellent little orchestra named Capút adds a lot to the sound and provides welcome changes, for sure, but the biggest surprise might be how the new-wavey songs from the early 1980s are treated here. Seven of nine Gæti eins verið songs appear here, and those who disliked the sparse synth-pop sound will definitely be more contented with the new versions: they're a lot more organic, bassoonist Rúnar Vilbergsson plays some of the formerly synthesizer-played lines on his bassoon (most notably in Gegnum holt og hædir and the orientalisms in Nú er heima) whilst þorður Árnason plays totally heartfelt guitar solos in Ranimósk and Vill einhver elska? with the kind of inspired melodies and biting harmonics which also enriched Æri-Tobbi in 1979. The refined arrangements prove that Gæti eins verið was a jazz rock album after all, even though the jazz was hidden amidst all of the synthesizers - I really started to appreciate Gæti eins verið after listening to the orchestral versions.

Égill Ólafsson's voice, just like David Gilmour's, has become deeper and more sonorous over the years, but - as a voice - sounds better to me than before. It might be due to his professional singing techniques used in the musicals which he sang over the 1980s and 1990s, but the range is there, the power is there, the accuracy is there - a fabulous singer all the way through. Interestingly, he presents some unknown tunes from his musicals here. Apart from the more contemplative Draumasöngur Grettis and the ballad version of Gegnum holt og hæðir (both available as rough þursaflokkurinn recordings on Okomin forneskjan) it's especially the jaunty Upphafssöngur ur Gretti/Álagaþula Gláms which stands out as one of the most Canterburesque tunes here, with all of these weird chord voicings and swirling jazzy Hammond organ chords - a great song. Drummer Ásgeir Oskarsson does a great job as well: powerful, accurate and imaginative drumming.

Those who already know the studio albums will find some pleasant changes in the arrangement from time to time. I don't want to spoil the surprise, but to say the least all of these little (sometimes humorous) alterations always stay in line with the positively native and astonishingly consistent atmosphere in this concert. Granted that the landscape and atmosphere in Sigur Rós' Heima is a true representation of what is 'quintessentially Icelandic', I feel that this Þursaflokkurinn album is rooted as firmly in the culture and nature of Iceland, representing both the jolly folk aspect (Bruðkaupsvísur, Einsetumaður einu sinni) which we also know from Swedish RIO bands and the more reflective and sombre ballads (Grafskript, Skriftagangur). Surprisingly, exactly 50% of the songs have a traditional folk background. You won't notice that if you concentrate on the arrangements or the rhythms because it's mainly the lyrics (which you probably won't understand) and the melodies ('tunes') which are derived from the traditional material.

The encore, Jón var kræfur karl og hraustur, is the expection to the rule as a genuine punk rock song by bassist Tómas Tómasson, first released on the first þursaflokkurinn live album in 1980. It's always been inspiring to me to see an 'art rock' band ending a concert with such a lot of enthusiasm. (Of course, the orchestra doesn't play here.) Bassoonist Rúnar Vilbergsson, however, moves over to a second drum kit, Hammond organist Eyþór Gunnarson engages in some free-form organ bashing à la Mike Ratledge while Tómasson yells his lungs out, including a maniac scatting-plus-bass improvisation. Cathartic and hilarious at the same time, especially if you know that Tómasson is a critically acclaimed opera baritone who sang for the Wagner Festspiele in Bayreuth in 2011.

Again I have to say: this group deserves its late appreciation. These guys aren't some of the many third-row prog plagiarists, and it also ain't no neo-prog band which winks at Genesis and Yes all of the time. Especially those who enjoy Samla Mammas Manna, Gryphon, Camel, Magma, Mike Oldfield, Focus, Caravan or other artists with a sense of melancholy, reflection and creative individualism might at least listen to the little MP3 tasters on the Progarchives page. Highly recommendable!

Einsetumadur



..::TRACK-LIST::..

1. Ranimosk
2. Stóðum Tvö Í Túni
3. Búnaðarbálkur
4. Einsetumaður Einu Sinni
5. Vera Mátt Góður
6. Æri-Tobbi
7. Sjö Sinnum...
8. Brúðkaupssálmur (Guð Skóp Adam...)
9. Brúðkaupsvísur
10. Skriftagangur/Bannfæring
11. Grafskript
12. Upphafssöngur Úr Gretti/Álagaþula Gláms
13. Draumsöngur Grettis
14. Vill Einhver Elska...?
15. Nú Er Heima! (Ein Mann)
16. Sérfræðingar Segja... (Læknar Hafa Tjáð Mér)
17. Pínulítill Karl
18. Gegnum Holt og Hæðir (feat. Ragnheidur Gröndal)
19. Sigtrygur Vann...
20. Nútíminn
21. Gegnum Holt Og Hæðir
22. Jón Var Kræfur Karl Og Hraustur

Aukaefni
23. Þursasía



..::OBSADA::..

Þórður Arnason - guitar
Égill Ólafsson - lead vocals, keyboards
Ásgeir Óskarsson - drums, percussion
Tómas M. Tómasson - bass, keyboards, backing vocals
Rúnar Vilbergsson - bassoon, drums
Eyþór Gunnarsson - Hammond organ, keyboards

With:
Caput Chamber Orchestra
Guðni Franzson - didgeridoo (track 8 on DVD)
Ragnheiður Gröndal - vocals (track 18 on DVD)



https://www.youtube.com/watch?v=gI0AlkpbnG0


SEED 15:00-22:00.
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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Ten krążek stanowi świadectwo artystycznego dojrzewania i kreatywnej ewolucji zespołu.
Od melodii, przez solówki, po niesamowite harmonie...

Piękna płyta!!!
Przesiąknięta monumentalnymi dziełami THIN LIZZY, URIAH HEEP, GENTLE GIANT, JETHRO TULL, MAGNUM i innymi kultowymi kapelami.

FA


Bursting forth from The Black Spire with a charming blend of classic prog rock and NWOBHM-era metal, Phantom Spell has been tantalising unsuspecting onlookers since emerging in 2021… Dexterous twin-lead guitars entwine with undulating synths and Hammond organ to form the perfect backdrop for Kyle McNeill’s enchanting voice. Like a long-lost soundtrack to your favourite AD&D supplement, Phantom Spell promises adventure and mystery aplenty!

Heather & Hearth

It’s coming up on three long years since Phantom Spell’s debut album, Immortal’s Requiem, left the comfort of its dusty home.
Since then, only whispers have been heard — the odd rumour caught on the wind. Reports of a skulking wizard with a travelling band of roguish bards, appearing only for a fleeting moment before retiring back to the shadows of his tower. Now, the wizard returns with a new set of compositions. Hark!
Phantom Spell’s second full-length offering, Heather & Hearth, is a collection of heartfelt tales, weaving the potent nostalgia of home with vivid fantasy and cautionary storytelling. It retains all the ingredients that made Immortal’s Requiem such a tantalising listen, but adds fragility and subtlety. As the album title suggests, a folk thread is woven into the fabric of each song. Acoustic guitar moves to the forefront, no longer just a supporting role. The artful use of space in the brooding quiet sections amplifies the Hammond-fuelled uproar that follows. There is melancholy in the majesty, but hope is never lost.
Once again, McNeill plays and programs all instruments on the record. Recorded and mixed at his own Wizard Tower Studios, Heather & Hearth is another solo adventure. However, with a now-established live act, it won’t be long before these new compositions take on a life of their own out in the wild. Mastered once again by Justin Weis of Trakworx.



..::TRACK-LIST::..

1. The Autumn Citadel 11:50
2. Siren Song 03:33
3. Evil Hand 03:46
4. A Distant Shore 05:52
5. Heather & Hearth 11:00
6. Old Pendle 03:37



..::OBSADA::..

Kyle McNeill - Vocals, Guitar
Jose Soler - Guitar
Ramon Romero - Keyboards
Miguel Moreno - Bass
José Vicente - Drums



https://www.youtube.com/watch?v=jdX42bci4YM


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

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


..::OPIS::..

Ten krążek stanowi świadectwo artystycznego dojrzewania i kreatywnej ewolucji zespołu.
Od melodii, przez solówki, po niesamowite harmonie...

Piękna płyta!!!
Przesiąknięta monumentalnymi dziełami THIN LIZZY, URIAH HEEP, GENTLE GIANT, JETHRO TULL, MAGNUM i innymi kultowymi kapelami.

FA


Bursting forth from The Black Spire with a charming blend of classic prog rock and NWOBHM-era metal, Phantom Spell has been tantalising unsuspecting onlookers since emerging in 2021… Dexterous twin-lead guitars entwine with undulating synths and Hammond organ to form the perfect backdrop for Kyle McNeill’s enchanting voice. Like a long-lost soundtrack to your favourite AD&D supplement, Phantom Spell promises adventure and mystery aplenty!

Heather & Hearth

It’s coming up on three long years since Phantom Spell’s debut album, Immortal’s Requiem, left the comfort of its dusty home.
Since then, only whispers have been heard — the odd rumour caught on the wind. Reports of a skulking wizard with a travelling band of roguish bards, appearing only for a fleeting moment before retiring back to the shadows of his tower. Now, the wizard returns with a new set of compositions. Hark!
Phantom Spell’s second full-length offering, Heather & Hearth, is a collection of heartfelt tales, weaving the potent nostalgia of home with vivid fantasy and cautionary storytelling. It retains all the ingredients that made Immortal’s Requiem such a tantalising listen, but adds fragility and subtlety. As the album title suggests, a folk thread is woven into the fabric of each song. Acoustic guitar moves to the forefront, no longer just a supporting role. The artful use of space in the brooding quiet sections amplifies the Hammond-fuelled uproar that follows. There is melancholy in the majesty, but hope is never lost.
Once again, McNeill plays and programs all instruments on the record. Recorded and mixed at his own Wizard Tower Studios, Heather & Hearth is another solo adventure. However, with a now-established live act, it won’t be long before these new compositions take on a life of their own out in the wild. Mastered once again by Justin Weis of Trakworx.



..::TRACK-LIST::..

1. The Autumn Citadel 11:50
2. Siren Song 03:33
3. Evil Hand 03:46
4. A Distant Shore 05:52
5. Heather & Hearth 11:00
6. Old Pendle 03:37



..::OBSADA::..

Kyle McNeill - Vocals, Guitar
Jose Soler - Guitar
Ramon Romero - Keyboards
Miguel Moreno - Bass
José Vicente - Drums



https://www.youtube.com/watch?v=jdX42bci4YM


SEED 15:00-22:00.
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...( Info )...

Artist...............: Giorgia
Album................: Strano Il Mio Destino (Live & Studio 95/96)
Genre................: Pop Rock
Year.................: 1996
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Giorgia - Strano Il Mio Destino
002. Giorgia - Senza segreti - Nasceremo (Live)
003. Giorgia - Endless Love
004. Giorgia - Nessun dolore (Live)
005. Giorgia - E Poi (Live)
006. Giorgia - You Don't Know What Love Is (Live)
007. Giorgia - E C'è Ancora Mare (Pulp Beat Version)

TRACKLISTA:

1. WPR Prolog
2. Hymn Feat. Frank Leen
3. Milano Feat. Benito
4. Blackjack
5. Monarcha Feat. Kaz Bałagane
6. Nintendo
7. Perły Feat. Paluch
8. Antrakt
9. Alcantra Feat. Kukon
10. Kawior
11. Miłość
12. Imago Feat. Jan-rapowanie & Pezet
13. Mufasa
14. Psalm Feat. Louis Villain
15. Obama
16. Ecce Homo


DANE TECHNICZNE:

Wielkość uploadu: 103,8 MB
Format/Kodek: Mp3

TRACKLISTA:

1. Intro
2. Lokalny TeReN
3. Sznyt
4. Dla kumatych
5. Skit
6. Hymn osiedli
7. Pseudo grajki
8. Sentymenty
9. Kanonada
10. Luz
11. Outro


DANE TECHNICZNE:

Wielkość uploadu: 85,7 MB
Format/Kodek: Mp3

...( Info )...
Genre: Heavy Metal
Country of Artist (Band): USA / Mexico
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 40:14

...( TrackList )...
1. Unleashed
2. Rising Judgement
3. Human Storm
4. Standing Our Ground
5. Playin' Heavy
6. Legion of the Unknown
7. Victims of God
8. Thugs
9. Maverick
10. Reduced to Ashes

...( Info )...
Genre: Thrash Metal
Country of Artist (Band): Greece
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 28:47

...( TrackList )...
01. Empty Shell
02. Decay
03. Song Of Sadness
04. Isolation
05. Imprisonment
06. The Final Test
07. Against the Wall
08. ...I Am You

...( Info )...
Genre: Thrash/Groove Metal
Country of Artist (Band): Canada
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 45:10

...( TrackList )...
1. Intro
2. Stuck Inside
3. Smelling Salts
4. Wafflestomp
5. Apprehension
6. Cracked Down
7. Nothing Left For You
8. Gutless
9. Contempt
10. Too Sick (For Your Issues)
11. You're Not God
12. Out of My Skin
13. Convulsion