TRACKLISTA:

1. W objęciach Morfeusza /śpiew Marcin Lićwinko
2. Promienie /śpiew Monika Horodek
3. Czego mi brak
4. Czas nas zmienił
5. 7 żyć Feat. Siara
6. W prawdzie
7. Bezsenność /śpiew Kroolik Underwood
8. Nie ma ludzi idealnych
9. Dalej w grze Feat. Kriso
10. Zaufaj dobru / gitara klasyczna Artur Miernicki
11. Sen na jawie / śpiew Monika Horodek
12. W sercu nosisz dom Feat. Fidżi
13. Szklane tulipany
14. Dzisiaj wszystko jest inaczej
15. Z przeznaczeniem nie wygrasz


DANE TECHNICZNE:

Wielkość uploadu: 130,3 MB
Format/Kodek: Mp3

...( Info )...
Genre: Death Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 26:58

...( TrackList )...
01. Groaning Retch
02. Succulent Slop
03. Meticulous Mutilation
04. Sloshed in Filth
05. Deliberate Deformity
06. Putrid Pulse
07. Constrict and Consume
08. Cathemeral Bloodshed

...( Info )...
Genre: Death Metal
Country of Artist (Band): Denmark
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 19:55

...( TrackList )...
1. Beyond Lobotomy
2. Cadaver Creation
3. March of the Ravenous Dead
4. Dødsangst
5. A Single Muscle Twitches as I Wrest My Blade from Your Gut to Your Throat and Leave You Dying, Helpless, and Alone
6. Carrion Offspring
7. Gurgling Pustulence

..::INFO::..

Vangelis (gr. Βαγγέλης), właśc. Ewangelos Odiseas Papatanasiu (gr. Ευάγγελος Οδυσσέας Παπαθανασίου; ur. 29 marca 1943 w Agrii koło Wolos, zm. 17 maja 2022 w Paryżu - grecki kompozytor muzyki elektronicznej i filmowej. Vangelis urodził się 29 marca 1943 roku w Agrii koło Wolos, w Grecji. Edukację muzyczną rozpoczął w wieku 4 lat, a już w wieku 6 lat miał swój pierwszy publiczny występ, na którym prezentował własne kompozycje. Vangelis był w dużej części samoukiem - odmawiał pobierania lekcji gry na pianinie, a w ciągu swojej kariery nie zdobył formalnej wiedzy na temat notacji muzycznej. Uczył się muzyki poważnej, malarstwa i reżyserii filmowej na Akademii Sztuk Pięknych w Atenach. Zyskał światową sławę dzięki swoim wyjątkowym, często epickim kompozycjom, które łączyły elementy muzyki elektronicznej, symfonicznej i rockowej.

Title: Beaubourg

Artist: Vangelis

Country: Grecja

Year: 1978

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( Track list )...

1. Beaubourg part I
2. Beaubourg part II

..::INFO::..

Baxter Dury to jeden z najbardziej intrygujących brytyjskich artystów ostatnich dwóch dekad. Syn legendarnego Iana Dury’ego (wokalisty The Blockheads), od początku kariery wypracował własny, rozpoznawalny styl. Jego muzyka to unikalna mieszanka leniwego, zmysłowego spoken word, filmowej melancholii i retro-elektroniki, w której ironia i emocjonalna szczerość idą ramię w ramię. Na scenie Dury przyciąga charyzmą i teatralnym luzem, a jego koncerty balansują między intymnym performansem a klubowym transem. Wstawka zawiera dziewiąty, najnowszy album artysty.

Artist: Baxter Dury

Title: Allbarone

Country: Wielka Brytania

Year: 2025

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Allbarone (with JGrrey)
2.Schadenfreude
3.Kubla Khan
4.Alpha Dog
5.The Other Me
6.Hapsburg
7.Return of the Sharp Heads (with JGrrey)
8.Mockingjay (with JGrrey)
9.Mr W4

..::INFO::..

Catch 22 ska-punkowy zespół z East Brunswick, New Jersey. Utworzony został przez gitarzystę i wokalistę Tomasa Kalnokyego i perkusistę Chrisa Greera. W skład zespołu wchodzą także: Kevin Gunther (trąbka), Josh Ansley (gitara basowa), Ryan Eldred (saksofon) i Jamie Egan (puzon). Nazwa zespołu nawiązuje do tytułu znanej powieści amerykańskiego pisarza Josepha Hellera "Paragraf 22". Nagrali cztery albumy długogrające. Alone in a Crowd to czwarty album Catch 22.

Title: Permanent Revolution

Artist: Catch 22

Country: USA

Year: 2006

Genre: SkaPunk

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Prologue
2.The Spark (1902) (The beginning of Trotsky's political activism)
3.Party Song (1917) (Communists win control of Russia)
4.The Decembrists' Song (1921) (Remembering of The Decembrists' Revolt)
5.A Minor Point (1922) (Soviet Union founded)
6.On the Black Sea (1924) (Lenin's death)
7.Bad Party (1927) (Trotsky expelled from party)
8.Alma Ata (1928) (Stalin takes control)
9.The Purge (1936) (Stalin gains absolute power by killing any who oppose him)
10.Opportunity (1940) (Trotsky is exiled from the Soviet Union, then assassinated by a Soviet agent.)
11.Epilogue

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


..::OPIS::..

Nie wiem jak wam, ale mnie Obituary już do śmierci — nieważne ich, czy mojej — kojarzyć się będzie z kolorem zielonym. Zgniło zielonym, gwoli ścisłości. A wszystkiemu winien jest rewelacyjny wprost debiut Amerykanów, który klimatem i otoczką sprowadza na słuchacza tak jednoznaczne konotacje. Wszystko obraca się wokół śmierci, rozkładu, agonii, pustki i niebytu… Nie oczekujcie jednak po tekstach jakichś głębszych przemyśleń. Nie ma także sensu doszukiwać się w nich drugiego dna, bo nawet to pierwsze właściwie nie istnieje. Tak czy inaczej tematyka poruszana w tytułach jest dla gatunku typowa. Co ważniejsze, daje to jakieś podstawy do tego, aby John mógł zaprezentować swoje niesamowite możliwości wokalne. A zaprawdę jest się czym pochwalić!

Rzekłbym, że wymioty starszego z braci Tardy można porównać do ostatniego rozpaczliwego wrzasku pogrzebanego żywcem nieszczęśnika. I mniejsza już z tym, iż nie mam pojęcia, jak coś takiego w ogóle miałoby zabrzmieć. Mniemam jednak, że zestawienie jest wystarczająco obrazowe i przemawiające do wyobraźni? Schodząc na ziemię (czy raczej pod nią), już normalnie wam komunikuję, iż Jonhn w wyjątkowo młodym wieku doprowadził swój głos do ostateczności. Dość powiedzieć, że do dziś nikt nie osiągnął takiego efektu, choć garstka wytrwałych nieco się do niego zbliżyła. Napierducha na Slowly We Rot jest stosunkowo szybka (mając na uwadze ówczesne standardy), a przy tym prosta, dzika (czy nawet momentami chaotyczna), niezaprzeczalnie brutalna i przede wszystkim odarta z wszelkich upiększeń. Obok bezkompromisowej sieczki mamy jeszcze mocarne, okrutnie ciężarne zwolnienia, do grania których inni w tamtym czasie niezbyt się palili. W wykonaniu Obituary takie zabiegi zabijają, wystarczy wspomnieć o potwornie zdołowanym utworze tytułowym. Syf i brud zawarty w muzyce przełożył się również na brzmienie, które jest cholernie szorstkie i surowe, choć z czytelności wiele nie straciło. Wszystkie te składniki zebrane do kupy dają 35 minut pierwszorzędnego death’owego wyziewu prosto z otchłani Florydy. Musicie to mieć, choćby na przyszłość - tak się akurat składa, że debiut Nekrologu to idealny podkład do gnicia. Bo chyba nie wierzycie w życie wieczne?

demo

I was a fan, back in those days. Bought their stuff, went to their gigs, got the stuff autographed. You get the picture. Not a huge fan though. Obituary were one of the death metal bands I was really into but not in my top 10 of favourite acts. Music-wise Obituary weren’t even close to Death, Morbid Angel, Carcass, Bolt Thrower, Pestilence and such bands in ’89-’90.

But John Tardy was unique! Eyes wide open when I first heard ‘Slowly We Rot’. Damn this boy was sick! That guitar tone, so dirty. Evil leads and solo’s making Kerry King sound like a choirboy. The whole concept of ‘Slowly We Rot’ overwhelmed me.

To be honest it was mostly the impact this album made back in ’89 which did and still does the trick. A unique sound and new level of dirtiness yet totally incomparable to Autopsy and such.

Take the riffing of Celtic Frost, let Scott Burns have a go at smudging the sound, thrust it through a meat grinder with a big load of Possessed madness and there your have Obituary’s music. Including the meat grinder that it. Give a youngster a microphone tell him to imagine he’s being eaten alive while eating a fellow man himself simultaneously and John Tardy even becomes more than the icing on the cake but almost the cake itself.

12 songs in 35 minutes, Unequalled by the band themselves to this day. Relentless!

morbert

Obituary is definitely one of my least favorite death metal bands ever, as well as one of the most overrated bands ever, but their crushing debut "Slowly We Rot" is most definitely exempt of that. Their debut couldn't have been better, it's a great album to start with, especially since it's an OSDM album, this is one of the best.

For a debut album, Obituary sure does make a name for themselves, already having their own style and sound. The music on this album makes me think of a rotting body with green pus slowly oozing out of it. Pure sickening repugnant death. Truly a disgusting and menacing sound that matches the artwork. Honestly, the artwork was MADE for the music, the cover is insanely appropriate considering how the music sounds.

The guitar sounds magnificent. To me, it sounds like TV static, but made into music, as if it were an instrument that could play musical notes, it's amazing. I love this guitar sound. There's no better or exact way else I could describe it, but the guitars on this album are awesome as hell! It gives the album a nastier sound than it already has; gives it the aesthetic of death, gore, and doom; which is what most OSDM is all about. The drumming is just as great, Donald Tardy is good with balance in his work here. He slows down or speeds up when necessary, not leaving any part underdone nor overdone. The drums themself are perfect too. The snare is great, it has a softer "poppy" sound that's solid and satisfying at the same time, same goes for the kick drum, they're great. They fit with the sound of the guitars as well. Same thing applies to Malevolent Creation's "In Cold Blood", the drums sound the same as on this album, and they also fit with the guitar on that album as well as it does with the drums on here. Instrumentally, everything fits together and works well! I seriously cannot express enough how great everything sounds, from the tone of the guitars, and to the drums and the drumming, great instrumentation.

John Tardy I'm not really a fan of, his vocals can be extremely annoying and overdone at times. But this is the band's debut album, the starting point. So it's not as annoying/bad as when it is. Here, he's pretty much perfect. Nothing overdone or cringey. On the faster parts he manages to keep up with the music, and on the slower parts he focuses more and lays down a solid foundation and direction. This is what every vocalist should do, sing along with the music and seek to follow it's path, and not let the vocals wander off on their own too much. On top of all that, the vocals go great with the music, so bonus! J. Tardy's work on the debut is his BEST, and isn't annoying and excruciating like on other records. Props to him here.

The songwriting is good. There's no identity crisis, no screw ups, no boringness or anything like that here. I wish this was the case with every OSDM album, to maintain solid songwriting throughout an entire album. Luckily, Obituary does this percfectly here. There's slower songs, faster songs; slower parts, faster parts. There's also solos, mini solos, good riffs, consistent drums,,,, this album is THE PACKAGE. Slowly We Rot is PERFECT OSDM. The production helps with it's nasty sound too, great job on that. Another good example of balance on Slowly We Rot. It's slightly raw but it doesn't overdo it. THIS is how it should be. Perfect with a hint of unfiltered rawness. Everything flows together with no "bad" or "less good" parts, everything has WORTH and is fucking kickass!

So many great songs here, let's start with Internal Bleeding. Starts off with a drum fill, then begins the mid-paced riffing, it's catchy and John comes in with his bloody wet vocals that even further pushes the theme of an unavoidable, doomy, certain death. Internal Bleeding is a sweet introduction to the album. Godly Beings shows the album's faster side, a more "DEATH METAL" vibe song, it has a catchy riff and the fast riffing/drumming is great! One of my top 5 Obituary songs for sure. The title track, what a smacker! It shows the album's more slower, groovier, doomier side. The riff is very easy to remember and spot out as well, one of the BEST Obituary riffs ever. Gates to Hell is similar to Godly Beings, except this time the riff is twice as awesome! The fast consistency is still there too. All the other songs are more riff-orientated and chiller, the best songs are Internal Bleeding, Godly Beings, Slowly We Rot, and Gates to Hell. All the songs are great reguardless of the album having best tracks. Some songs are definitely better than others, but at the end of the day every song is great and nothing is bad.

This has always been my favorite Obituary album, no doubt. This destroys all their other work, including Cause of Death. THIS is Obituary. THIS is their trademark sound. It's perfect and there's nothing to complain about, nor anything missing. Zero bad songs, catchy riffs, good songwriting, fits the theme of gore, death, and doom, this album undoubtedly has everything; and also everything an OSDM fan could ask for! Compared to this album, every single other Obituary release ain't shit. Take your focus away from Cause of Death, and give it all to Slowly We Rot, which truly deserves the most attention.

deathmetal69


Ah yes, slowly we all march towards the inevitability of death.....and no one reminds us of this fact more readily than the mighty Obituary. In addition to its all too acutely gory titles, this particular release's artwork is topped off with a seemingly dead, presumably-drunkard-in-life, poor sap lying on the street, graphically rendered in the style of a cheesy 80s beat 'em up style video game. This only serves to accentuate and compliment Obituary's already over-the-top, sensational nature, as exemplified by John Tardy's unmistakable long-winded growls and simple, to-the-point lyrical content dealing with nihilism and the inevitability of our own demise. Everything about Obituary is catchy and easily retained after only a few listens, a rare gift indeed, as I've not ever heard any other band in death metal that is so easily comprehensible and yet has such endless replay value as does Obituary. Obituary has not changed hardly at all stylistically in the 25 years of their existence, and you can kind of compare them to the ancient creatures that have seen little to no evolutionary change, with their phenotypes being essentially the same for millions and millions of years, dubbed "living fossils," and such is the same for Obituary, a living fossil of death metal--resisting change--not needing it. And this is what makes Obituary so special, their consistency and uncompromising nature; they are what they are, and if you don't like it, they don't care (as a later song title would declare). Perhaps one of the remotely few comparable bands in this regard that comes to mind would be Jungle Rot in all their simple stupid splendor, but they don't have the magic of John Tardy on the mic or the riff construction skills of Obituary.

Each Obituary album has its own identity with subtle differences, yet still being unmistakably Obituary. Slowly We Rot has the driest, bone-crunchingest (I think I just made that word up), most cacophonous guitar tone they've ever utilized throughout their long career, with a touch more of their thrash roots showing through. I would say the most obvious comparison to Slowly We Rot in terms of guitar tone and riffing would be another Florida band with an album out this very same year: Morbid Angel. Altars of Madness reminds me a bit of Slowly We Rot mostly due to the dry crunchy thrashy guitar tone and riff onslaught that both albums erupt forth. However, the comparisons mostly end there between these two albums (and bands too, really). I don't know who is predominately responsible for coming up with Obituary's riffs, but I do know that the period when they had Allen West was when most of their best albums were made. His soloing is definitely the best of the guitarists they had, blending into their riffing style best and most naturally. I've never been too keen on guitar solos, often ignoring them, more or less, to focus on the rhythm and riffing (since that's what I love so much about death metal), but Allen West's soloing really meshes well with the riffs and enhances each song in Slowly We Rot (since the soloing is kept to reasonable amounts), as in the opening song "Internal Bleeding", which gets a lot of its character from his efforts.

In addition to some excellent soloing, there is also some excellent riffing, what a surprise--aye! As I said in my opening paragraph, Obituary possesses a rare ability to construct fantastic death metal that is easily comprehensible, and their riffing is the foundation of this ability--catchy, yet morbid as all hell riffing that sticks with the listener from the very first listen. Their riffing tends to be straight-forward, with simple sickly melodies surrounded by the grotesque rhythms of Trevor Peres and John Tardy. As mentioned in the introduction; Obituary is a living fossil, and so too has their songwriting changed little in those 25 years, being very formulaic, but that's not necessarily a bad thing and Obituary has made it work so well. They often start with a slow to mid-paced groove riff, followed by a pummeling double bass section, then transition quickly into an up-tempo punky section, utilizing tremolo riffs and skank beats to increase the intensity, and finally coming full circle back to the slow/mid-paced groove of the beginning. There are so many obvious examples of this, but one example of a highlight that sticks out far above and beyond would be during the middle of "'Till Death," when the song transitions into that slow, ultra-doomy riff that could come straight from a funeral procession for Satan himself, unholy shit! That is the highlight of this entire album, so unbelievably amazing....And to top it all off, this doomy mood carries over into the beginning of the title track; "Slowly We Rot," before it breaks out into a faster punkier section guilty of inducing the most wild moshing I've ever seen. I was there, during MDF 2010 (so old school), right in the pit! And I saw what this did to the people....it made them go so crazy, I feared for my life! And I haven't even gotten to the highlight of the album yet--John Tardy! I say this because the riffing here on Slowly We Rot is actually not the best the band has ever come up with. Regardless, all the classic Obituary ingredients are here, but now we're all just waiting for the (ironically) immortal riffing to come in on a release like Cause of Death, to make something truly and horrifically unforgettable.

"BLAAAAHHHHUUUURRRRRRR!" Tardy exclaims with gut-busting power on "Internal Bleeding," as it repeats until it fades out briefly--only to enter back in a few seconds later. And here you have what makes this album so god damn good: John Tardy's beyond sick and morbid vocal performance, which puts all these shitty new school pig-squealing bands to shame. If there is one aspect of Obituary that has always been consistently good it's John Tardy's vocals. Sometimes the riffing has been lackluster; sometimes the production and guitar tone have been flat; but John Tardy has always been there, spewing forth his over-the-top and instantly recognizable take on death metal vocals. His distinct style has a tendency to transition suddenly from low gutturals into piercing screams rather often--sometimes even on the same syllable, creating a sort of rhythmic progression--which adds lots of extra dramatic effect, and enhances the horrific nature Obituary is attempting to construct in their music. And Tardy is a master at creating these brutal rhythms under (and in the case of this album, OVER) the classic Obituary riffing. His performance here on Slowly We Rot is loud and totally in-your-god-damn-face, utilizing short and sweet lyrical bursts, ala his profuse growls of "Rotting, beneath, below!" at the opening of the song "Suffocation"--his catchiest vocals lines on the album. And yet, the entire album is chock-full of ghastly, brutal-as-fuck, yet catchy vocal moments like this, elevating the album to new levels of excellence not often heard in death metal at the time--indeed, Tardy's work here would play a big part in the development of early death metal vocal styles.

And there you have it--Obituary's early classic masterpiece Slowly We Rot in a nutshell. While similar in approach to and possessing the replayability of other notable classics of its day, such as Altars of Madness and Leprosy, Slowly We Rot ups the ante on morbidity and sick nihilism--just the way I like it. I've never been all that impressed with Death personally, and Morbid Angel took a rapid dive into mediocrity after their masterpiece Altars of Madness. Both of these bands are notable for changing up their style and approach with each successive album, and while I can understand their desire to try new things and experiment, their varying directions didn't work all that well, and I'm glad Obituary decided not to follow such trends, retaining their basic style throughout their career--forever remaining a living fossil. All I can tell you now, my dear reader, is this: If you happen to be one of the lucky few enlightened death metal enthusiasts in this world, but have not yet explored the grisly wonders of Obituary, do so now and waste not another minute of your decaying, rotting existence on this Earth and go buy ALL of their albums.... NOW!

kybernetic



..::TRACK-LIST::..

1. Internal Bleeding
2. Godly Beings
3. ‘Til Death
4. Slowly We Rot
5. Immortal Visions
6. Gates To Hell
7. Words of Evil
8. Suffocation
9. Intoxicated
10. Deadly Intentions
11. Bloodsoaked
12. Stinkpuss

Bonus Tracks:
13. Find The Arise (demo version)
14. Like The Dead (demo version)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Daniel Tucker - bass
Donald Tardy - drums, percussion

JP Chartier - lead guitar on tracks 13 and 14
Jerome Grable - bass on tracks 13 and 14




https://www.youtube.com/watch?v=2HqLvNlN3Rc



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

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


..::OPIS::..

Nie wiem jak wam, ale mnie Obituary już do śmierci — nieważne ich, czy mojej — kojarzyć się będzie z kolorem zielonym. Zgniło zielonym, gwoli ścisłości. A wszystkiemu winien jest rewelacyjny wprost debiut Amerykanów, który klimatem i otoczką sprowadza na słuchacza tak jednoznaczne konotacje. Wszystko obraca się wokół śmierci, rozkładu, agonii, pustki i niebytu… Nie oczekujcie jednak po tekstach jakichś głębszych przemyśleń. Nie ma także sensu doszukiwać się w nich drugiego dna, bo nawet to pierwsze właściwie nie istnieje. Tak czy inaczej tematyka poruszana w tytułach jest dla gatunku typowa. Co ważniejsze, daje to jakieś podstawy do tego, aby John mógł zaprezentować swoje niesamowite możliwości wokalne. A zaprawdę jest się czym pochwalić!

Rzekłbym, że wymioty starszego z braci Tardy można porównać do ostatniego rozpaczliwego wrzasku pogrzebanego żywcem nieszczęśnika. I mniejsza już z tym, iż nie mam pojęcia, jak coś takiego w ogóle miałoby zabrzmieć. Mniemam jednak, że zestawienie jest wystarczająco obrazowe i przemawiające do wyobraźni? Schodząc na ziemię (czy raczej pod nią), już normalnie wam komunikuję, iż Jonhn w wyjątkowo młodym wieku doprowadził swój głos do ostateczności. Dość powiedzieć, że do dziś nikt nie osiągnął takiego efektu, choć garstka wytrwałych nieco się do niego zbliżyła. Napierducha na Slowly We Rot jest stosunkowo szybka (mając na uwadze ówczesne standardy), a przy tym prosta, dzika (czy nawet momentami chaotyczna), niezaprzeczalnie brutalna i przede wszystkim odarta z wszelkich upiększeń. Obok bezkompromisowej sieczki mamy jeszcze mocarne, okrutnie ciężarne zwolnienia, do grania których inni w tamtym czasie niezbyt się palili. W wykonaniu Obituary takie zabiegi zabijają, wystarczy wspomnieć o potwornie zdołowanym utworze tytułowym. Syf i brud zawarty w muzyce przełożył się również na brzmienie, które jest cholernie szorstkie i surowe, choć z czytelności wiele nie straciło. Wszystkie te składniki zebrane do kupy dają 35 minut pierwszorzędnego death’owego wyziewu prosto z otchłani Florydy. Musicie to mieć, choćby na przyszłość - tak się akurat składa, że debiut Nekrologu to idealny podkład do gnicia. Bo chyba nie wierzycie w życie wieczne?

demo

I was a fan, back in those days. Bought their stuff, went to their gigs, got the stuff autographed. You get the picture. Not a huge fan though. Obituary were one of the death metal bands I was really into but not in my top 10 of favourite acts. Music-wise Obituary weren’t even close to Death, Morbid Angel, Carcass, Bolt Thrower, Pestilence and such bands in ’89-’90.

But John Tardy was unique! Eyes wide open when I first heard ‘Slowly We Rot’. Damn this boy was sick! That guitar tone, so dirty. Evil leads and solo’s making Kerry King sound like a choirboy. The whole concept of ‘Slowly We Rot’ overwhelmed me.

To be honest it was mostly the impact this album made back in ’89 which did and still does the trick. A unique sound and new level of dirtiness yet totally incomparable to Autopsy and such.

Take the riffing of Celtic Frost, let Scott Burns have a go at smudging the sound, thrust it through a meat grinder with a big load of Possessed madness and there your have Obituary’s music. Including the meat grinder that it. Give a youngster a microphone tell him to imagine he’s being eaten alive while eating a fellow man himself simultaneously and John Tardy even becomes more than the icing on the cake but almost the cake itself.

12 songs in 35 minutes, Unequalled by the band themselves to this day. Relentless!

morbert

Obituary is definitely one of my least favorite death metal bands ever, as well as one of the most overrated bands ever, but their crushing debut "Slowly We Rot" is most definitely exempt of that. Their debut couldn't have been better, it's a great album to start with, especially since it's an OSDM album, this is one of the best.

For a debut album, Obituary sure does make a name for themselves, already having their own style and sound. The music on this album makes me think of a rotting body with green pus slowly oozing out of it. Pure sickening repugnant death. Truly a disgusting and menacing sound that matches the artwork. Honestly, the artwork was MADE for the music, the cover is insanely appropriate considering how the music sounds.

The guitar sounds magnificent. To me, it sounds like TV static, but made into music, as if it were an instrument that could play musical notes, it's amazing. I love this guitar sound. There's no better or exact way else I could describe it, but the guitars on this album are awesome as hell! It gives the album a nastier sound than it already has; gives it the aesthetic of death, gore, and doom; which is what most OSDM is all about. The drumming is just as great, Donald Tardy is good with balance in his work here. He slows down or speeds up when necessary, not leaving any part underdone nor overdone. The drums themself are perfect too. The snare is great, it has a softer "poppy" sound that's solid and satisfying at the same time, same goes for the kick drum, they're great. They fit with the sound of the guitars as well. Same thing applies to Malevolent Creation's "In Cold Blood", the drums sound the same as on this album, and they also fit with the guitar on that album as well as it does with the drums on here. Instrumentally, everything fits together and works well! I seriously cannot express enough how great everything sounds, from the tone of the guitars, and to the drums and the drumming, great instrumentation.

John Tardy I'm not really a fan of, his vocals can be extremely annoying and overdone at times. But this is the band's debut album, the starting point. So it's not as annoying/bad as when it is. Here, he's pretty much perfect. Nothing overdone or cringey. On the faster parts he manages to keep up with the music, and on the slower parts he focuses more and lays down a solid foundation and direction. This is what every vocalist should do, sing along with the music and seek to follow it's path, and not let the vocals wander off on their own too much. On top of all that, the vocals go great with the music, so bonus! J. Tardy's work on the debut is his BEST, and isn't annoying and excruciating like on other records. Props to him here.

The songwriting is good. There's no identity crisis, no screw ups, no boringness or anything like that here. I wish this was the case with every OSDM album, to maintain solid songwriting throughout an entire album. Luckily, Obituary does this percfectly here. There's slower songs, faster songs; slower parts, faster parts. There's also solos, mini solos, good riffs, consistent drums,,,, this album is THE PACKAGE. Slowly We Rot is PERFECT OSDM. The production helps with it's nasty sound too, great job on that. Another good example of balance on Slowly We Rot. It's slightly raw but it doesn't overdo it. THIS is how it should be. Perfect with a hint of unfiltered rawness. Everything flows together with no "bad" or "less good" parts, everything has WORTH and is fucking kickass!

So many great songs here, let's start with Internal Bleeding. Starts off with a drum fill, then begins the mid-paced riffing, it's catchy and John comes in with his bloody wet vocals that even further pushes the theme of an unavoidable, doomy, certain death. Internal Bleeding is a sweet introduction to the album. Godly Beings shows the album's faster side, a more "DEATH METAL" vibe song, it has a catchy riff and the fast riffing/drumming is great! One of my top 5 Obituary songs for sure. The title track, what a smacker! It shows the album's more slower, groovier, doomier side. The riff is very easy to remember and spot out as well, one of the BEST Obituary riffs ever. Gates to Hell is similar to Godly Beings, except this time the riff is twice as awesome! The fast consistency is still there too. All the other songs are more riff-orientated and chiller, the best songs are Internal Bleeding, Godly Beings, Slowly We Rot, and Gates to Hell. All the songs are great reguardless of the album having best tracks. Some songs are definitely better than others, but at the end of the day every song is great and nothing is bad.

This has always been my favorite Obituary album, no doubt. This destroys all their other work, including Cause of Death. THIS is Obituary. THIS is their trademark sound. It's perfect and there's nothing to complain about, nor anything missing. Zero bad songs, catchy riffs, good songwriting, fits the theme of gore, death, and doom, this album undoubtedly has everything; and also everything an OSDM fan could ask for! Compared to this album, every single other Obituary release ain't shit. Take your focus away from Cause of Death, and give it all to Slowly We Rot, which truly deserves the most attention.

deathmetal69


Ah yes, slowly we all march towards the inevitability of death.....and no one reminds us of this fact more readily than the mighty Obituary. In addition to its all too acutely gory titles, this particular release's artwork is topped off with a seemingly dead, presumably-drunkard-in-life, poor sap lying on the street, graphically rendered in the style of a cheesy 80s beat 'em up style video game. This only serves to accentuate and compliment Obituary's already over-the-top, sensational nature, as exemplified by John Tardy's unmistakable long-winded growls and simple, to-the-point lyrical content dealing with nihilism and the inevitability of our own demise. Everything about Obituary is catchy and easily retained after only a few listens, a rare gift indeed, as I've not ever heard any other band in death metal that is so easily comprehensible and yet has such endless replay value as does Obituary. Obituary has not changed hardly at all stylistically in the 25 years of their existence, and you can kind of compare them to the ancient creatures that have seen little to no evolutionary change, with their phenotypes being essentially the same for millions and millions of years, dubbed "living fossils," and such is the same for Obituary, a living fossil of death metal--resisting change--not needing it. And this is what makes Obituary so special, their consistency and uncompromising nature; they are what they are, and if you don't like it, they don't care (as a later song title would declare). Perhaps one of the remotely few comparable bands in this regard that comes to mind would be Jungle Rot in all their simple stupid splendor, but they don't have the magic of John Tardy on the mic or the riff construction skills of Obituary.

Each Obituary album has its own identity with subtle differences, yet still being unmistakably Obituary. Slowly We Rot has the driest, bone-crunchingest (I think I just made that word up), most cacophonous guitar tone they've ever utilized throughout their long career, with a touch more of their thrash roots showing through. I would say the most obvious comparison to Slowly We Rot in terms of guitar tone and riffing would be another Florida band with an album out this very same year: Morbid Angel. Altars of Madness reminds me a bit of Slowly We Rot mostly due to the dry crunchy thrashy guitar tone and riff onslaught that both albums erupt forth. However, the comparisons mostly end there between these two albums (and bands too, really). I don't know who is predominately responsible for coming up with Obituary's riffs, but I do know that the period when they had Allen West was when most of their best albums were made. His soloing is definitely the best of the guitarists they had, blending into their riffing style best and most naturally. I've never been too keen on guitar solos, often ignoring them, more or less, to focus on the rhythm and riffing (since that's what I love so much about death metal), but Allen West's soloing really meshes well with the riffs and enhances each song in Slowly We Rot (since the soloing is kept to reasonable amounts), as in the opening song "Internal Bleeding", which gets a lot of its character from his efforts.

In addition to some excellent soloing, there is also some excellent riffing, what a surprise--aye! As I said in my opening paragraph, Obituary possesses a rare ability to construct fantastic death metal that is easily comprehensible, and their riffing is the foundation of this ability--catchy, yet morbid as all hell riffing that sticks with the listener from the very first listen. Their riffing tends to be straight-forward, with simple sickly melodies surrounded by the grotesque rhythms of Trevor Peres and John Tardy. As mentioned in the introduction; Obituary is a living fossil, and so too has their songwriting changed little in those 25 years, being very formulaic, but that's not necessarily a bad thing and Obituary has made it work so well. They often start with a slow to mid-paced groove riff, followed by a pummeling double bass section, then transition quickly into an up-tempo punky section, utilizing tremolo riffs and skank beats to increase the intensity, and finally coming full circle back to the slow/mid-paced groove of the beginning. There are so many obvious examples of this, but one example of a highlight that sticks out far above and beyond would be during the middle of "'Till Death," when the song transitions into that slow, ultra-doomy riff that could come straight from a funeral procession for Satan himself, unholy shit! That is the highlight of this entire album, so unbelievably amazing....And to top it all off, this doomy mood carries over into the beginning of the title track; "Slowly We Rot," before it breaks out into a faster punkier section guilty of inducing the most wild moshing I've ever seen. I was there, during MDF 2010 (so old school), right in the pit! And I saw what this did to the people....it made them go so crazy, I feared for my life! And I haven't even gotten to the highlight of the album yet--John Tardy! I say this because the riffing here on Slowly We Rot is actually not the best the band has ever come up with. Regardless, all the classic Obituary ingredients are here, but now we're all just waiting for the (ironically) immortal riffing to come in on a release like Cause of Death, to make something truly and horrifically unforgettable.

"BLAAAAHHHHUUUURRRRRRR!" Tardy exclaims with gut-busting power on "Internal Bleeding," as it repeats until it fades out briefly--only to enter back in a few seconds later. And here you have what makes this album so god damn good: John Tardy's beyond sick and morbid vocal performance, which puts all these shitty new school pig-squealing bands to shame. If there is one aspect of Obituary that has always been consistently good it's John Tardy's vocals. Sometimes the riffing has been lackluster; sometimes the production and guitar tone have been flat; but John Tardy has always been there, spewing forth his over-the-top and instantly recognizable take on death metal vocals. His distinct style has a tendency to transition suddenly from low gutturals into piercing screams rather often--sometimes even on the same syllable, creating a sort of rhythmic progression--which adds lots of extra dramatic effect, and enhances the horrific nature Obituary is attempting to construct in their music. And Tardy is a master at creating these brutal rhythms under (and in the case of this album, OVER) the classic Obituary riffing. His performance here on Slowly We Rot is loud and totally in-your-god-damn-face, utilizing short and sweet lyrical bursts, ala his profuse growls of "Rotting, beneath, below!" at the opening of the song "Suffocation"--his catchiest vocals lines on the album. And yet, the entire album is chock-full of ghastly, brutal-as-fuck, yet catchy vocal moments like this, elevating the album to new levels of excellence not often heard in death metal at the time--indeed, Tardy's work here would play a big part in the development of early death metal vocal styles.

And there you have it--Obituary's early classic masterpiece Slowly We Rot in a nutshell. While similar in approach to and possessing the replayability of other notable classics of its day, such as Altars of Madness and Leprosy, Slowly We Rot ups the ante on morbidity and sick nihilism--just the way I like it. I've never been all that impressed with Death personally, and Morbid Angel took a rapid dive into mediocrity after their masterpiece Altars of Madness. Both of these bands are notable for changing up their style and approach with each successive album, and while I can understand their desire to try new things and experiment, their varying directions didn't work all that well, and I'm glad Obituary decided not to follow such trends, retaining their basic style throughout their career--forever remaining a living fossil. All I can tell you now, my dear reader, is this: If you happen to be one of the lucky few enlightened death metal enthusiasts in this world, but have not yet explored the grisly wonders of Obituary, do so now and waste not another minute of your decaying, rotting existence on this Earth and go buy ALL of their albums.... NOW!

kybernetic



..::TRACK-LIST::..

1. Internal Bleeding
2. Godly Beings
3. ‘Til Death
4. Slowly We Rot
5. Immortal Visions
6. Gates To Hell
7. Words of Evil
8. Suffocation
9. Intoxicated
10. Deadly Intentions
11. Bloodsoaked
12. Stinkpuss

Bonus Tracks:
13. Find The Arise (demo version)
14. Like The Dead (demo version)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Daniel Tucker - bass
Donald Tardy - drums, percussion

JP Chartier - lead guitar on tracks 13 and 14
Jerome Grable - bass on tracks 13 and 14




https://www.youtube.com/watch?v=2HqLvNlN3Rc



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

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



DVD 9
NTSC
4:3 & 16:9
DD 2.0
DD 5.1



..::TRACK-LIST::..

Recorded at The Arrow Rock Festival, Lichtenvoorde, 13th June 2004
Arrow Rock Festival.

1. Iron Butterfly Theme
2. Unconscious Power
3. Stone Believer
4. Flowers And Beads
5. Easy Rider (Let The Wind Pay The Way)
6. Butterfly Bleu
7. In-A-Gadda-Da-Vida

EXTRAS:
8. In The Time Of Our Lives
9. Whispers In The Wind
10. Interviews With Steve Howe (Yes)



..::OBSADA::..

Ron Bushy - drums
Lee Dorman - bass,
Larry Rust - Keyboards
Charlie Marinkovich - guitar



https://www.youtube.com/watch?v=FUhEWkJ2G60



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

..::INFO::..

---------------------------------------------------------------------
Simple Minds - New Gold Dream (81-82-83-84) - (5 CD)
(Deluxe Edition)
---------------------------------------------------------------------

Artist...............: Simple Minds
Album................: New Gold Dream
Genre................: New Wave, Rock
Source...............: CD
Year.................: 1982 - 2016 - Remastered
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63-68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music

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

---------------------------------------------------------------------
Tracklisting - CD 1 Original Album
---------------------------------------------------------------------

1. Simple Minds - Someone Somewhere In Summertime [04:37]
2. Simple Minds - Colours Fly And Catherine Wheel [03:49]
3. Simple Minds - Promised You A Miracle [04:27]
4. Simple Minds - Big Sleep [05:00]
5. Simple Minds - Somebody Up There Likes You [05:02]
6. Simple Minds - New Gold Dream (81-82-83-84) [05:38]
7. Simple Minds - Glittering Prize [04:33]
8. Simple Minds - Hunter And The Hunted [05:54]
9. Simple Minds - King Is White And In The Crowd [07:03]

Playing Time.........: 46:07
Total Size...........: 294,34 MB

---------------------------------------------------------------------
Tracklisting - CD 2 Extended Versions
---------------------------------------------------------------------

1. Simple Minds - Promised You A Miracle (Extended) [04:49]
2. Simple Minds - Seeing Out The Angel (Instrumental Remix)[06:35]
3. Simple Minds - Promised You A Miracle (US Remix) [06:04]
4. Simple Minds - Promised You A Miracle (US Dub) [05:26]
5. Simple Minds - Promised You A Miracle (US Special Extended Remix)[06:20]
6. Simple Minds - Glittering Prize (Club Mix 12'' Single) [04:58]
7. Simple Minds - Glittering Prize (Extended Theme) [04:57]
8. Simple Minds - Someone Somewhere In Summertime (Extended 12'' Single)[06:06]
9. Simple Minds - New Gold Dream (81-82-83-84) (German 12'' Mix)[06:53]
10. Simple Minds - King Is White And In The Crowd (Instrumental)[08:46]
11. Simple Minds - New Gold Dream (81-82-83-84) (German 12'' Remix With Drums / Outtake)[06:56]
12. Simple Minds - In Every Heaven (Outtake) [04:24]

Playing Time.........: 01:12:19
Total Size...........: 474,09 MB

---------------------------------------------------------------------
Tracklisting - CD 3 Edits And B-Sides
---------------------------------------------------------------------

1. Simple Minds - Promised You A Miracle (Edit) [04:02]
2. Simple Minds - Theme From Great Cities [05:51]
3. Simple Minds - Glittering Prize (Edit) [04:01]
4. Simple Minds - Glittering Prize (Theme) [04:06]
5. Simple Minds - Someone Somewhere In Summertime (Edit) [04:00]
6. Simple Minds - Soundtrack For Every Heaven [04:56]
7. Simple Minds - New Gold Dream (81-82-83-84) (7'' Mix) [04:46]

Playing Time.........: 31:45
Total Size...........: 217,23 MB

---------------------------------------------------------------------
Tracklisting - CD 4 Radio Sessions
---------------------------------------------------------------------

1. Simple Minds - Promised You A Miracle (David Jensen Session 1982)[04:23]
2. Simple Minds - In Trance As Mission (David Jensen Session 1982)[04:33]
3. Simple Minds - King Is White And In The Crowd (David Jensen Session 1982)[05:20]
4. Simple Minds - Promised You A Miracle (John Peel Session 1982)[04:40]
5. Simple Minds - Love Song (John Peel Session 1982) [05:48]
6. Simple Minds - Sons And Fascination (John Peel Session 1982)[06:43]
7. Simple Minds - King Is White And In The Crowd (John Peel Session 1982)[06:05]
8. Simple Minds - Someone Somewhere In Summertime (David Jensen Session 1982)[05:08]
9. Simple Minds - Glittering Prize (David Jensen Session 1982)[04:21]
10. Simple Minds - Hunter And The Hunted (David Jensen Session 1982)[05:48]

Playing Time.........: 52:54
Total Size...........: 363,47 MB

---------------------------------------------------------------------
Tracklisting - CD 5 Alternative Mixes, Roughs And Demos
---------------------------------------------------------------------

1. Simple Minds - Someone Somewhere In Summertime (Full Duration)[05:46]
2. Simple Minds - Colours Fly And Catherine Wheel (Full Duration Instrumental)[04:42]
3. Simple Minds - Promised You A Miracle (Remix For Album: Long)[04:55]
4. Simple Minds - Big Sleep (Instrumental) [05:14]
5. Simple Minds - In Every Heaven (Full Duration) [05:40]
6. Simple Minds - Somebody Up There Likes You (Full Duration Instrumental)[05:18]
7. Simple Minds - New Gold Dream (81-82-83-84) (Full Duration)[07:02]
8. Simple Minds - Hunter And The Hunted (Alternative Take) [05:16]
9. Simple Minds - King Is White And In The Crowd (Monitor Mix)[07:15]
10. Simple Minds - In Every Heaven (Early Version) [04:36]

Playing Time.........: 55:49
Total Size...........: 358,55 MB

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


..::OPIS::..

Fenomenalna muzykalność jak na coś tak agresywnie dysonansowego!

FA


Kilka słów o albumie:
Tworząc brutalny, techniczny i dysonansowy death metal, Dischordia stworzyła triumwirat rozwiniętego i skomplikowanego death metalu, który będzie wymagał rozwinięcia mózgów, aby go w pełni rozszyfrować. Być może trzeba go namoczyć przez noc lub poświęcić mu tyle czasu, aby wchłonąć tak imponującą masę muzyki, wielokrotne odsłuchiwanie, szczególnie za pomocą słuchawek, aby pomóc w jej analizie, jest obowiązkowe. Każda piosenka na albumie oferuje coś wyjątkowego; osobliwe są wszelkiego rodzaju niekonwencjonalne przerywniki dające słuchaczowi dziwną formę wytchnienia, aby mózg nie eksplodował, co jest jednocześnie uspokajające i niepokojące, zawsze przygotowując Cię na niezmienny punkt kulminacyjny. Każda piosenka to triumf. Każdy oferuje własną nagrodę. Przez cały czas dzieje się tak wiele, że prawdopodobnie byłoby to zbyt klaustrofobiczne, gdyby nie genialne miksowanie i mastering wykonane przez Colina Marstona (Gorguts, Replicant), zapewniające przejrzystość bez poświęcania ciężkości Dishordii, która upłynnia mózg. Nieprzewidywalna, niemal narracyjna struktura, wydobywa najlepsze występy członków, z których każdy stara się osiągnąć zupełnie nowy poziom. I nawet przy przerywnikach i różnych unikalnych instrumentach, dźwięk pozostaje w dużej mierze spójny i efektowny. W sumie to arcydzieło, do którego trafia tego typu muzyka. Dzięki odważnemu, przemyślanemu zastosowaniu i okrutnemu wykonaniu ustanawia nowe standardy w skrajnych sytuacjach.

Transcending Obscurity Records



Forging the brutal, technical and dissonant death metal styles, Dischordia have created a triumvirate of evolved and complicated death metal which will require the unspooling of brains to fully decipher it. It may have to be soaked overnight or given as much time with it too, for indeed, to absorb such an imposing mass of music, multiple listens particularly with the aid of headphones to help dissect it are mandatory. Every song on the album offers something unique; what’s peculiar are the unconventional interludes of all kinds giving the listener some strange form of respite, lest the brains explode, which are both calming and unsettling, always preparing you for the invariable climax. Every song is a triumph. Each offers its own reward. There’s so much happening at all times, it would probably feel too claustrophobic if it weren’t for the brilliant mixing and mastering work done by Colin Marston (Gorguts, Replicant), ensuring clarity without sacrificing Dischordia's brain-liquefying heaviness. Unpredictable, almost narrative structuring, brings out the best performances from the members, each of whom is trying to attain a whole new level. And even with the interludes and various unique instruments being brought into play, the sound remains largely cohesive and impactful. All in all, this is a masterwork where music of this kind goes. It sets new standards in extremity with bold, thoughtful application and ferocious execution.



..::TRACK-LIST::..

1. Minds of Dust 05:00
2. Bodies of Ash 06:51
3. Spirits of Dirt 06:55
4. The Wheel 06:45
5. The Whip 04:11
6. The Carriage 08:29
7. Panopticon 05:42
8. Purifying Flame 05:30
9. Le Petite Mort 06:54



..::OBSADA::..

Bass, Flute, Vox, Percussion, & Wrenches - Josh Turner
Guitars, Vox, & Slam Ball - Keeno
Drums, Guitar, Piano, & Filing Cabinet - Josh Fallin



https://www.youtube.com/watch?v=Iz5rz8QbmZE


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

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


..::OPIS::..

Fenomenalna muzykalność jak na coś tak agresywnie dysonansowego!

FA


Kilka słów o albumie:
Tworząc brutalny, techniczny i dysonansowy death metal, Dischordia stworzyła triumwirat rozwiniętego i skomplikowanego death metalu, który będzie wymagał rozwinięcia mózgów, aby go w pełni rozszyfrować. Być może trzeba go namoczyć przez noc lub poświęcić mu tyle czasu, aby wchłonąć tak imponującą masę muzyki, wielokrotne odsłuchiwanie, szczególnie za pomocą słuchawek, aby pomóc w jej analizie, jest obowiązkowe. Każda piosenka na albumie oferuje coś wyjątkowego; osobliwe są wszelkiego rodzaju niekonwencjonalne przerywniki dające słuchaczowi dziwną formę wytchnienia, aby mózg nie eksplodował, co jest jednocześnie uspokajające i niepokojące, zawsze przygotowując Cię na niezmienny punkt kulminacyjny. Każda piosenka to triumf. Każdy oferuje własną nagrodę. Przez cały czas dzieje się tak wiele, że prawdopodobnie byłoby to zbyt klaustrofobiczne, gdyby nie genialne miksowanie i mastering wykonane przez Colina Marstona (Gorguts, Replicant), zapewniające przejrzystość bez poświęcania ciężkości Dishordii, która upłynnia mózg. Nieprzewidywalna, niemal narracyjna struktura, wydobywa najlepsze występy członków, z których każdy stara się osiągnąć zupełnie nowy poziom. I nawet przy przerywnikach i różnych unikalnych instrumentach, dźwięk pozostaje w dużej mierze spójny i efektowny. W sumie to arcydzieło, do którego trafia tego typu muzyka. Dzięki odważnemu, przemyślanemu zastosowaniu i okrutnemu wykonaniu ustanawia nowe standardy w skrajnych sytuacjach.

Transcending Obscurity Records



Forging the brutal, technical and dissonant death metal styles, Dischordia have created a triumvirate of evolved and complicated death metal which will require the unspooling of brains to fully decipher it. It may have to be soaked overnight or given as much time with it too, for indeed, to absorb such an imposing mass of music, multiple listens particularly with the aid of headphones to help dissect it are mandatory. Every song on the album offers something unique; what’s peculiar are the unconventional interludes of all kinds giving the listener some strange form of respite, lest the brains explode, which are both calming and unsettling, always preparing you for the invariable climax. Every song is a triumph. Each offers its own reward. There’s so much happening at all times, it would probably feel too claustrophobic if it weren’t for the brilliant mixing and mastering work done by Colin Marston (Gorguts, Replicant), ensuring clarity without sacrificing Dischordia's brain-liquefying heaviness. Unpredictable, almost narrative structuring, brings out the best performances from the members, each of whom is trying to attain a whole new level. And even with the interludes and various unique instruments being brought into play, the sound remains largely cohesive and impactful. All in all, this is a masterwork where music of this kind goes. It sets new standards in extremity with bold, thoughtful application and ferocious execution.



..::TRACK-LIST::..

1. Minds of Dust 05:00
2. Bodies of Ash 06:51
3. Spirits of Dirt 06:55
4. The Wheel 06:45
5. The Whip 04:11
6. The Carriage 08:29
7. Panopticon 05:42
8. Purifying Flame 05:30
9. Le Petite Mort 06:54



..::OBSADA::..

Bass, Flute, Vox, Percussion, & Wrenches - Josh Turner
Guitars, Vox, & Slam Ball - Keeno
Drums, Guitar, Piano, & Filing Cabinet - Josh Fallin



https://www.youtube.com/watch?v=Iz5rz8QbmZE


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

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


..::OPIS::..

Słucham z rozdziawioną gębą... jak niegdyś 'Live After Death'
Wyśmienity krążek!!!


A raucous 90-minute set of Night Demon captured in their prime, recorded live in Cleveland, Ohio at the Beachland Ballroom on December 2nd, 2017.



..::TRACK-LIST::..

CD 1:
1. Welcome To The Night
2. Full Speed Ahead
3. Ritual
4. Curse Of The Damned
5. Dawn Rider
6. Save Me Now
7. Hallowed Ground
8. Maiden Hell
9. Mastermind
10. On Your Own
11. Life On The Run

CD 2:
1. The Howling Man
2. Black Widow
3. Ancient Evil
4. Satan
5. Evil Like A Knife
6. Stranger In The Room
7. Screams In The Night
8. Flight Of The Manticore
9. The Chalice
10. Darkness Remains
11. Heavy Metal Heat
12. Night Demon



..::OBSADA::..

Dusty Squires - Drums, Vocals (backing)
Armand John Anthony - Guitars, Vocals (backing)
Jarvis Leatherby - Vocals, Bass



https://www.youtube.com/watch?v=AXzo1IrdBTc



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

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


..::OPIS::..

Słucham z rozdziawioną gębą... jak niegdyś 'Live After Death'
Wyśmienity krążek!!!


A raucous 90-minute set of Night Demon captured in their prime, recorded live in Cleveland, Ohio at the Beachland Ballroom on December 2nd, 2017.



..::TRACK-LIST::..

CD 1:
1. Welcome To The Night
2. Full Speed Ahead
3. Ritual
4. Curse Of The Damned
5. Dawn Rider
6. Save Me Now
7. Hallowed Ground
8. Maiden Hell
9. Mastermind
10. On Your Own
11. Life On The Run

CD 2:
1. The Howling Man
2. Black Widow
3. Ancient Evil
4. Satan
5. Evil Like A Knife
6. Stranger In The Room
7. Screams In The Night
8. Flight Of The Manticore
9. The Chalice
10. Darkness Remains
11. Heavy Metal Heat
12. Night Demon



..::OBSADA::..

Dusty Squires - Drums, Vocals (backing)
Armand John Anthony - Guitars, Vocals (backing)
Jarvis Leatherby - Vocals, Bass



https://www.youtube.com/watch?v=AXzo1IrdBTc



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

..::INFO::..

---------------------------------------------------------------------
Sting - Duets
---------------------------------------------------------------------

Artist...............: Sting
Album................: Duets
Genre................: Pop, Rock
Source...............: CD
Year.................: 2021
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: A&M Records

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

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

1. Sting - Little Something (with Melody Gardot) [02:42]
2. Sting - It's Probably Me (with Eric Clapton) [05:02]
3. Sting - Stolen Car (with Mylene Farmer) [03:21]
4. Sting - Desert Rose (with Cheb Mami) [04:47]
5. Sting - Rise & Fall (with Craig David) [04:46]
6. Sting - Whenever I Say Your Name (with Mary J. Blige) [05:24]
7. Sting - Don't Make Me Wait (with Shaggy) [03:35]
8. Sting - Reste (with GIMS) [03:49]
9. Sting - We'll Be Together (with Annie Lennox) [03:52]
10. Sting - L'Amour C'est Comme Un Jour (with Charles Aznavour)[04:08]
11. Sting - My Funny Valentine (with Herbie Hancock) [04:53]
12. Sting - Fragile (with Julio Iglesias) [04:25]
13. Sting - Mama (with Gashi) [03:18]
14. Sting - September (with Zucchero) [03:27]
15. Sting - Practical Arrangement (with Jo Lawry) [04:35]
16. Sting - None Of Us Are Free (with Sam Moore) [04:03]
17. Sting - In The Wee Small Hours Of The Morning (with Chris Botti)[04:28]

Playing Time.........: 01:10:41
Total Size...........: 486,36 MB

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


..::OPIS::..

Świat Sisyphean jest równie dziwny i dysonansowy, co interesujący.
'Colors of Faith' nie zna granic, czyniąc 'swój black metal' falą permanentnego i przytłaczającego dysonansu, pozwalając korzeniom Old School spotykać się z różnymi wpływami.
Absolutnie genialny album!


Intense as well as atmospheric, Lithuanian black metal band Sisyphean have the perfectly tempered sound for this style of music. Their inherent dissonance magnifies their expression, elevating them over hordes of predictable bands, but their real mastery is in crafting thrilling and engaging songs that are both coherent and fulfilling. Everything seems in place and is there for a reason, and they even cover a wide range of emotions, making it a well-rounded affair. Each song bears its own individual sentiment, somehow complementing the songs preceding it, as if carrying on from where the last one ended and doing something more with it. Clearly, it’s a brilliantly written and arranged album, providing for intuitive undulations of extremity and emotions, not only captivating your attention throughout but also moving you. Virtually flawless, ‘Colours of Faith’ is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style.



Intense as well as atmospheric, Vilnius, Lithuania-based Dissonant Black Metal entity Sisyphean has the perfectly tempered sound for this style of music by crafting thrilling and engaging songs that are both coherent and fulfilling, which can be appreciated in all of its glory in their brand new opus, entitled Colours of Faith. Mixed by Satanic Audio, mastered by Resonance Sound Studio, and displaying a stylish cover artwork by Adam Burke of Nightjar Illustration, Colours of Faith is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style, showcasing all the talent of Dainius P. on vocals, Adomas V. and Kamil U. on the guitars, guest Andrius B. on bass, and Mantas D. on drums, appealing to admirers of the music by Svartidaudi, Deathspell Omega, Blut aus Nord, Mgla and Svartulven, just to name a few.

The dissonant, futuristic intro Before the Light warms up the listener for the pulverizing aria Scorched Timeless, with Adomas and Kamil showing absolutely zero mercy for their stringed axes accompanied by the rumbling bass by Andrius, all spiced up by the demonic vociferations by Dainius. Then investing in a more straightforward, no shenanigans Black Metal sonority, the band will darken your thoughts to the sound of Hearts of Mercury, again showcasing visceral riffs boosted by the infernal blast beats by Mantas, whereas strident guitar lines ignite the multi-layered Black Metal extravaganza titled Sovereigns of Livid Hope, offering our avid ears seven minutes of total chaos and darkness where Dainius roars in anger while Mantas adds a good dosage of intricacy to the overall result with his wicked drums.

After 25 seconds of ethereal sounds in the interlude The Descent the band comes crushing our senses with the beyond Stygian and heavy-as-hell Exiles, where the riffage by Adomas and Kamil will penetrate deep inside your psyche while Andrius and Mantas keep shaking the foundations of the earth with their respective bass and drums, resulting in a classic Black Metal tune with modern nuances. Their second to last explosion of evil sounds comes in the form of Open Wounds, a somber tune with Doom Metal hints that reminds me of some of the most recent creations by the almighty Watain; and lastly, it’s time for almost 10 minutes of insanity and chaos titled Conqueror, starting in a more than obscure manner before evolving into a sluggish, visceral feast of our beloved Black Metal where Mantas dictates the song’s hellish pace while Dainius keeps vociferating rabidly like there’s no tomorrow, with its second half becoming the soundtrack to a sinister horror movie until all fades into the unknown.

Gustavo Scuderi



..::TRACK-LIST::..

1. Before The Light 00:58
2. Scorched Timeless 06:43
3. Hearts of Mercury 05:18
4. Sovereigns of Livid Hope 07:02
5. The Descent 00:26
6. Exiles 05:49
7. Open Wounds 04:58
8. Conqueror 09:45



..::OBSADA::..

Dainius P. - Vocals
Adomas V. - Guitars
Kamil U. - Guitars
Mantas D. - Drums
Andrius B. - Session Bass




https://www.youtube.com/watch?v=6qIOGii7v6E



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

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


..::OPIS::..

Świat Sisyphean jest równie dziwny i dysonansowy, co interesujący.
'Colors of Faith' nie zna granic, czyniąc 'swój black metal' falą permanentnego i przytłaczającego dysonansu, pozwalając korzeniom Old School spotykać się z różnymi wpływami.
Absolutnie genialny album!


Intense as well as atmospheric, Lithuanian black metal band Sisyphean have the perfectly tempered sound for this style of music. Their inherent dissonance magnifies their expression, elevating them over hordes of predictable bands, but their real mastery is in crafting thrilling and engaging songs that are both coherent and fulfilling. Everything seems in place and is there for a reason, and they even cover a wide range of emotions, making it a well-rounded affair. Each song bears its own individual sentiment, somehow complementing the songs preceding it, as if carrying on from where the last one ended and doing something more with it. Clearly, it’s a brilliantly written and arranged album, providing for intuitive undulations of extremity and emotions, not only captivating your attention throughout but also moving you. Virtually flawless, ‘Colours of Faith’ is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style.



Intense as well as atmospheric, Vilnius, Lithuania-based Dissonant Black Metal entity Sisyphean has the perfectly tempered sound for this style of music by crafting thrilling and engaging songs that are both coherent and fulfilling, which can be appreciated in all of its glory in their brand new opus, entitled Colours of Faith. Mixed by Satanic Audio, mastered by Resonance Sound Studio, and displaying a stylish cover artwork by Adam Burke of Nightjar Illustration, Colours of Faith is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style, showcasing all the talent of Dainius P. on vocals, Adomas V. and Kamil U. on the guitars, guest Andrius B. on bass, and Mantas D. on drums, appealing to admirers of the music by Svartidaudi, Deathspell Omega, Blut aus Nord, Mgla and Svartulven, just to name a few.

The dissonant, futuristic intro Before the Light warms up the listener for the pulverizing aria Scorched Timeless, with Adomas and Kamil showing absolutely zero mercy for their stringed axes accompanied by the rumbling bass by Andrius, all spiced up by the demonic vociferations by Dainius. Then investing in a more straightforward, no shenanigans Black Metal sonority, the band will darken your thoughts to the sound of Hearts of Mercury, again showcasing visceral riffs boosted by the infernal blast beats by Mantas, whereas strident guitar lines ignite the multi-layered Black Metal extravaganza titled Sovereigns of Livid Hope, offering our avid ears seven minutes of total chaos and darkness where Dainius roars in anger while Mantas adds a good dosage of intricacy to the overall result with his wicked drums.

After 25 seconds of ethereal sounds in the interlude The Descent the band comes crushing our senses with the beyond Stygian and heavy-as-hell Exiles, where the riffage by Adomas and Kamil will penetrate deep inside your psyche while Andrius and Mantas keep shaking the foundations of the earth with their respective bass and drums, resulting in a classic Black Metal tune with modern nuances. Their second to last explosion of evil sounds comes in the form of Open Wounds, a somber tune with Doom Metal hints that reminds me of some of the most recent creations by the almighty Watain; and lastly, it’s time for almost 10 minutes of insanity and chaos titled Conqueror, starting in a more than obscure manner before evolving into a sluggish, visceral feast of our beloved Black Metal where Mantas dictates the song’s hellish pace while Dainius keeps vociferating rabidly like there’s no tomorrow, with its second half becoming the soundtrack to a sinister horror movie until all fades into the unknown.

Gustavo Scuderi



..::TRACK-LIST::..

1. Before The Light 00:58
2. Scorched Timeless 06:43
3. Hearts of Mercury 05:18
4. Sovereigns of Livid Hope 07:02
5. The Descent 00:26
6. Exiles 05:49
7. Open Wounds 04:58
8. Conqueror 09:45



..::OBSADA::..

Dainius P. - Vocals
Adomas V. - Guitars
Kamil U. - Guitars
Mantas D. - Drums
Andrius B. - Session Bass




https://www.youtube.com/watch?v=6qIOGii7v6E



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

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


..::TRACK-LIST::..

1. Please Don't
2. Walk On
3. Ain't Fit to Live Here
4. Twice
5. Cold Love
6. Uncomfortably Numb
7. Bird of Paradise
8. Breathe In Breathe Out
9. Hisingen Blues
10. Goliath
11. From a Hole in the Wall
12. The Siren



https://www.youtube.com/watch?v=giP4xpd2JFg



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

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


..::TRACK-LIST::..

1. (A)
2. De tes yeux bleus perlés
3. Des torrents de coups
4. Il a tant rêvé d’elles
5. Nonchalantes de beauté
6. Le cœur noir charbon
7. Comme des amants en reflet
8. Ces belles de rêve aux verres embués




https://www.youtube.com/watch?v=UG0yFi0mz3o



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

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


..::OPIS::..

Atrakcyjnie wydana, limitowana kompilacja rzadkich nagrań z wczesnych singli oraz taśm demo, zarejestrowanych w latach 1967-1973. Ten blisko 80-minutowy CD zawiera wszystkie znane/dostępne nagrania zarejestrowanie przez najwcześniejszy Genesis (Gabriel/Banks/Rutherford/Phillips/Silver) do czasu debiutanckiego LP "From Genesis To Revelation", m.in. doskonały, niepublikowany "Build Me A Mountain", który byłby chyba najlepszym kawałkiem na debiucie! Poza tym zamieszczono oryginalne, singlowe, winylowe miksy takich nagrań, jak "Twilight Alehouse", "Happy The Man" oraz skróconej wersji (z alternatywnym zakończeniem) "Watcher Of The Skies". Poza tym zmieściły się także dwie wersje demo z perkusistą Johnem Mayhew, z sierpnia 1969: "Going Out To Get You" oraz "Dusk".

Wszystkie nagrania były profesjonalnie zarejestrowane i brzmią po prostu doskonale! Proszę zwrócić też uwagę na bardzo atrakcyjną, fantazyjną okładkę autorstwa Paula Whiteheada (twórcy okładek do "Trespass", "Nursery Cryme" i "Foxtrot") + kilka rzadkich zdjęć, w tym jedno przedstawiające Genesis w towarzystwie włoskiego tria Le Orme (w 1972 roku)!!!



..::TRACK-LIST::..

1. Twilight Alchouse [UK single B-side, 1973] 7:40
2. Watcher of the Skies [German single version, 1972] 3:41
3. Happy the Man [UK single, 1972]
4. Going Out to Get You [August 1969 demo]
5. Dusk [August 1969 demo]
6. Build Me a Mountain 4:09
7. Image Blown Out 2:11
8. In the Wilderness [without strings] 2:57
9. One Day [without strings] 3:06
10. A Winter's Tale [UK single A-side, 1968]
11. One-Eyed Hound [UK single B-side, 1968]
12. That's Me [UK single B-side, 1968]
13. Where The Sour Turns To Sweet 3:12
14. In the Beginning 3:29
15. The Magic of Time 1:58
16. Hey! 2:26
17. Hidden in the World of Dawn 3:08
18. Sea Bee 3:02
19. The Mystery of the Flannan Isle Lighthouse 2:32
20. Hair on the Arms and Legs 2:40
21. She is Beautiful 3:17
22. Try a Little Sadness 3:17
23. Patricia (instrumental) 3:02



..::OBSADA::..

Peter Gabriel - lead vocals, tambourine, flute
Tony Banks - hammond organ, piano, acoustic guitars, vocals
Mike Rutherford - bass guitar, acoustic guitars, vocals
Anthony Phillips - acoustic & electric guitars, vocals (tracks 4-23)
Chris Stewart - drums (tracks 12, 15, 22)
Steve Hackett - acoustic & electric guitars (tracks 1-3)
John Silver - drums (tracks 6-11, 13, 14, 16)
Phil Collins - drums, percussion (tracks 1-3)



https://www.youtube.com/watch?v=Ii0eCtVl-is



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

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


..::OPIS::..

Atrakcyjnie wydana, limitowana kompilacja rzadkich nagrań z wczesnych singli oraz taśm demo, zarejestrowanych w latach 1967-1973. Ten blisko 80-minutowy CD zawiera wszystkie znane/dostępne nagrania zarejestrowanie przez najwcześniejszy Genesis (Gabriel/Banks/Rutherford/Phillips/Silver) do czasu debiutanckiego LP "From Genesis To Revelation", m.in. doskonały, niepublikowany "Build Me A Mountain", który byłby chyba najlepszym kawałkiem na debiucie! Poza tym zamieszczono oryginalne, singlowe, winylowe miksy takich nagrań, jak "Twilight Alehouse", "Happy The Man" oraz skróconej wersji (z alternatywnym zakończeniem) "Watcher Of The Skies". Poza tym zmieściły się także dwie wersje demo z perkusistą Johnem Mayhew, z sierpnia 1969: "Going Out To Get You" oraz "Dusk".

Wszystkie nagrania były profesjonalnie zarejestrowane i brzmią po prostu doskonale! Proszę zwrócić też uwagę na bardzo atrakcyjną, fantazyjną okładkę autorstwa Paula Whiteheada (twórcy okładek do "Trespass", "Nursery Cryme" i "Foxtrot") + kilka rzadkich zdjęć, w tym jedno przedstawiające Genesis w towarzystwie włoskiego tria Le Orme (w 1972 roku)!!!



..::TRACK-LIST::..

1. Twilight Alchouse [UK single B-side, 1973] 7:40
2. Watcher of the Skies [German single version, 1972] 3:41
3. Happy the Man [UK single, 1972]
4. Going Out to Get You [August 1969 demo]
5. Dusk [August 1969 demo]
6. Build Me a Mountain 4:09
7. Image Blown Out 2:11
8. In the Wilderness [without strings] 2:57
9. One Day [without strings] 3:06
10. A Winter's Tale [UK single A-side, 1968]
11. One-Eyed Hound [UK single B-side, 1968]
12. That's Me [UK single B-side, 1968]
13. Where The Sour Turns To Sweet 3:12
14. In the Beginning 3:29
15. The Magic of Time 1:58
16. Hey! 2:26
17. Hidden in the World of Dawn 3:08
18. Sea Bee 3:02
19. The Mystery of the Flannan Isle Lighthouse 2:32
20. Hair on the Arms and Legs 2:40
21. She is Beautiful 3:17
22. Try a Little Sadness 3:17
23. Patricia (instrumental) 3:02



..::OBSADA::..

Peter Gabriel - lead vocals, tambourine, flute
Tony Banks - hammond organ, piano, acoustic guitars, vocals
Mike Rutherford - bass guitar, acoustic guitars, vocals
Anthony Phillips - acoustic & electric guitars, vocals (tracks 4-23)
Chris Stewart - drums (tracks 12, 15, 22)
Steve Hackett - acoustic & electric guitars (tracks 1-3)
John Silver - drums (tracks 6-11, 13, 14, 16)
Phil Collins - drums, percussion (tracks 1-3)



https://www.youtube.com/watch?v=Ii0eCtVl-is



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

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


..::OPIS::..

4CD REMASTERED CLAMSHELL BOX ANTHOLOGY COMPRISING ALL OF SKIN ALLEY’S RECORDINGS FOR CBS & TRANSATLANTIC RECORDS BETWEEN 1969-1973.

INCLUDES ALL THE TRACKS FROM THE ALBUMS ‘SKIN ALLEY’, ‘TO PAGHAM & BEYOND’, ‘TWO QUID DEAL’ & ‘SKINTIGHT’ ALONG WITH ALL TRACKS FROM ‘STOP VERUSHKA!’, THE BAND’S “LOST” 1970 SOUNDTRACK ALBUM & RARE SINGLES.

ALL TRACKS REMASTERED FROM THE ORIGINAL MASTER TAPES.

INCLUDES AN ILLUSTRATED BOOKLET WITH NEW ESSAY.

Formed in 1968, Skin Alley were part of the infamous Clearwater stable that included fellow acts such as Hawkwind, High Tide, Trees and Cochise. The band’s infectious fusion of jazz and rock was suited to the time and the band became a regular attraction on the underground festival and concert circuit.

Skin Alley recorded their self-titled debut album for CBS Records in November 1969 with former Pretty Things guitarist Dick Taylor producing. The band’s second album, ‘To Pagham and Beyond’ was recorded in 1970, along with a shelved soundtrack album for an unreleased film about the German model Verushka.

In June 1971 Skin Alley performed at the legendary Glastonbury Fayre and the following year they contributed a track to the fund-raising triple album of the same name which also featured The Grateful Dead, David Bowie, Marc Bolan, Gong and Hawkwind among others. Signing to Transatlantic Records in 1972 they released the album ‘Two Quid Deal’ later that year. Their final album, ‘Skintight’, was issued in 1973.

This 4CD set has been newly remastered and is a fine tribute to one of Britain’s great unsung underground acts of the early 1970s includes all of Skin Alley’s albums and rare single tracks, along with the shelved Stop Verushka! soundtrack and the version of ‘Sun Music’ from Glastonbury Fayre.



A cop (and an ugly one at that) pulling his tongue right in your face under their bloodied name is the opening image that Skin Alley chose as an approach to music fans. Despite such a poor decision, the album was well received by the press and the fans alike, and rightfully so, because this unusual quartet (line-up wise) developed a distinctive mix of jazz and blues into their rock music, fronted by Bob James' wind instruments and Juskiewicz's (bless you ;-) organ and piano and usually offering "male" lyrics.
Opening on one of their most popular track Living In Sin (it was part of the sampler Fill Your Head With Rock), the group sets the tone for the whole album, as their jazz-inflected rock (it can be included in the early 70's UK proto prog) that enthrals the listener directly as the communicative enthusiasm of the band is almost overwhelming. Indeed Bob James alternates between the flute and guitar, while bassist Crimble sounds like Cressida's Angus Cullen on vocals. The same Cressida name is also reminded on Tell Me (mellotrons), this time more to do with the songwriting (I'm sure there is an unintentional borrowing from whomever recorded their track second, which is probably Cressida). The Mother Help Your Child track is one of the album's highlights, as Crimble's voice takes on dramatic Out Of Focus tones, after a menacing church-organ sound and an isolated flute opened it. The lengthier Marsha is an up-tempoed organ-driven groove that allows for a few wild sax solos, alternated by organ lines, reminiscent of the second-era Traffic.

On the flipside, past the short pastoral and medieval (piccolo flute and harpsichord) Country Aire, with the other mammoth track, the dark 8-mins All Alone, SA gets to serious business with the slow sinister organ that will drive the entire track, sharing the spotlight with the sax. Night time is one of my fave from the album, loaded with flute and tron layers, and later on evolving rolling jazzy piano ditty. Juskiewicz gives us another pointless taste of his harpsichord before the group closes the album with a boogie-ing Highway, maybe the album's weaker moment.

Included as bonus tracks are the two songs from the non-album single (engineered by Martin Birch, the first being a fairly different version of Tell Me with some wild cello lines replacing the melotron, the track resembling less the Cressida track, under this version, which I find better. Better Be Blind has a deceiving vocal line coupled with an annoying whistle, but outside this, it remains a worthy SA track, but sounding fairly different from the album per se.

A bit of a lost classic proto-prog album, Skin Alley's debut has recently received a re-issue through Eclectic Discs, with an excellent booklet and extensive liner notes, the object narrowingly missing the perfect mark, because of the band's name being black instead of the orange-blood colour scheme on the front cover, the rear artwork taken from a much weather-beaten vinyl. Besides this nitpicking, Skin Alley's debut comes awfully close to a masterpiece, but no cigar. Essential, certainly!!

Sean Trane


John Peel apparently discovered these guys playing live somewhere and invited them to do a live gig on his show. I really like their sound with the vocals, organ and flute all being for the most part warm and nostalgic for me. A sort of melancholy too bringing CAMEL to mind at times. Two of the guys play mellotron although it's only featured on two tracks. A four piece with sax and harpsichord also in play. There are five really good tracks on here and the only two I'm not into amount to less than 3 minutes so a very solid 4 star album in my books.
"Living In Sin" is an excellent opener and the lyrics from a bye gone day talking about "sin" which is usually boasted about these days and a non-issue. Pulsating bass with a beat and flute as vocals and organ join in. A CAMEL vibe here and the guitar arrives before 1 1/2 minutes. It comes to the fore around 2 minutes as the vocals step aside. Sax replaces the guitar before 3 1/2 minutes some nice prominent bass too. Flute and that earlier sound with vocals returning late.

"Tell Me Why" is my favourite. It's melancholic with picked guitar, mellotron and sad vocals to start. The chorus is meaningful and moving with 60's sounding harmonies. Pulsating organ before 3 minutes during an instrumental section. Just a killer tune. "Mother Please Help Your Child" has meaningful lyrics and after a dramatic intro it settles right down with flute as reserved vocals join in and solemn organ. It turns fuller 1 1/2 minutes in with passionate vocals. The chorus is downright sad then themes are repeated. Some powerful lyrics here.

"Marsha" obviously a Brady Bunch reference(kidding) is an excellent almost 7 1/2 minute instrumental. Love this organ led tune as bass and drums standout as well early on. Sax before 3 minutes as the organ steps aside but it's back before 5 minutes replacing the sax. The sax is back a minute later but the organ continues this time pulsating powerfully before settling back. "Country Aire" has this fairy sounding flute with harpsichord. So not my thing(haha). It's better a minute in though when the drums, bass and more arrive. "All Alone" has relaxed organ to start as bass and drums join in, sax too then reserved vocals. Very laid back then it's fuller after 2 minutes but it settles back quickly. A sax solo follows then organ as it stays laid back. Vocals are back before 6 minutes then it turns fuller with sax after 7 minutes but again it's brief. "Night Time" opens with flute, drums and bass then it kicks in quickly with mellotron too. Nice. Vocals just before a minute. Back to that opening theme and I just love the sound of this one. Some rare piano 2 1/2 minutes in.

"Concerto Grosso(Take Heed)" is but 26 seconds of harpsichord. "(Going Down The)Highway" has a catchy rhythm and is blues flavoured with pulsating organ and vocals. Sax 1 1/2 minutes in as the vocals step aside then the organ takes over. Vocals return but this isn't one of my favs.

Kind of a weird cover not representing the music in any way. I guess they thought it was funny. Anyway the music here is quite amazing for the most part, just a big fan of their sound and easily 4 stars for this one.

Mellotron Storm



..::TRACK-LIST::..

CD 1 - Skin Alley (1969):
1. Living in Sin
2. Tell Me
3. Mother, Please Help Your Child
4. Marsha
5. Country Aire
6. All Alone
7. Night Time
8. Concerto Grosso (Take Heed)
9. (Going Down the) Highway

Bonus Tracks:
10. Better Be Blind (B-side of single)
11. Tell Me (single version)
12. Shower Music (from Stop Verushka)
13. Sofa, Taxi and Sand Themes (from Stop Verushka)
14. Cemetery Scene (from Stop Verushka)
15. First Drug Scene (from Stop Verushka)



..::OBSADA::..

Organ, Piano, Harpsichord, Mellotron [Melotron], Vocals - Krzysztof-Henryk Juskiewicz
Bass, Mellotron [Melotron], Vocals - Thomas Crimble
Drums, Congas, Timpani - Alvin Pope
Guitar, Alto Saxophone, Flute, Vocals - Bob James




https://www.youtube.com/watch?v=tCpLseZObp8



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

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..::OPIS::..

4CD REMASTERED CLAMSHELL BOX ANTHOLOGY COMPRISING ALL OF SKIN ALLEY’S RECORDINGS FOR CBS & TRANSATLANTIC RECORDS BETWEEN 1969-1973.

INCLUDES ALL THE TRACKS FROM THE ALBUMS ‘SKIN ALLEY’, ‘TO PAGHAM & BEYOND’, ‘TWO QUID DEAL’ & ‘SKINTIGHT’ ALONG WITH ALL TRACKS FROM ‘STOP VERUSHKA!’, THE BAND’S “LOST” 1970 SOUNDTRACK ALBUM & RARE SINGLES.

ALL TRACKS REMASTERED FROM THE ORIGINAL MASTER TAPES.

INCLUDES AN ILLUSTRATED BOOKLET WITH NEW ESSAY.

Formed in 1968, Skin Alley were part of the infamous Clearwater stable that included fellow acts such as Hawkwind, High Tide, Trees and Cochise. The band’s infectious fusion of jazz and rock was suited to the time and the band became a regular attraction on the underground festival and concert circuit.

Skin Alley recorded their self-titled debut album for CBS Records in November 1969 with former Pretty Things guitarist Dick Taylor producing. The band’s second album, ‘To Pagham and Beyond’ was recorded in 1970, along with a shelved soundtrack album for an unreleased film about the German model Verushka.

In June 1971 Skin Alley performed at the legendary Glastonbury Fayre and the following year they contributed a track to the fund-raising triple album of the same name which also featured The Grateful Dead, David Bowie, Marc Bolan, Gong and Hawkwind among others. Signing to Transatlantic Records in 1972 they released the album ‘Two Quid Deal’ later that year. Their final album, ‘Skintight’, was issued in 1973.

This 4CD set has been newly remastered and is a fine tribute to one of Britain’s great unsung underground acts of the early 1970s includes all of Skin Alley’s albums and rare single tracks, along with the shelved Stop Verushka! soundtrack and the version of ‘Sun Music’ from Glastonbury Fayre.



A cop (and an ugly one at that) pulling his tongue right in your face under their bloodied name is the opening image that Skin Alley chose as an approach to music fans. Despite such a poor decision, the album was well received by the press and the fans alike, and rightfully so, because this unusual quartet (line-up wise) developed a distinctive mix of jazz and blues into their rock music, fronted by Bob James' wind instruments and Juskiewicz's (bless you ;-) organ and piano and usually offering "male" lyrics.
Opening on one of their most popular track Living In Sin (it was part of the sampler Fill Your Head With Rock), the group sets the tone for the whole album, as their jazz-inflected rock (it can be included in the early 70's UK proto prog) that enthrals the listener directly as the communicative enthusiasm of the band is almost overwhelming. Indeed Bob James alternates between the flute and guitar, while bassist Crimble sounds like Cressida's Angus Cullen on vocals. The same Cressida name is also reminded on Tell Me (mellotrons), this time more to do with the songwriting (I'm sure there is an unintentional borrowing from whomever recorded their track second, which is probably Cressida). The Mother Help Your Child track is one of the album's highlights, as Crimble's voice takes on dramatic Out Of Focus tones, after a menacing church-organ sound and an isolated flute opened it. The lengthier Marsha is an up-tempoed organ-driven groove that allows for a few wild sax solos, alternated by organ lines, reminiscent of the second-era Traffic.

On the flipside, past the short pastoral and medieval (piccolo flute and harpsichord) Country Aire, with the other mammoth track, the dark 8-mins All Alone, SA gets to serious business with the slow sinister organ that will drive the entire track, sharing the spotlight with the sax. Night time is one of my fave from the album, loaded with flute and tron layers, and later on evolving rolling jazzy piano ditty. Juskiewicz gives us another pointless taste of his harpsichord before the group closes the album with a boogie-ing Highway, maybe the album's weaker moment.

Included as bonus tracks are the two songs from the non-album single (engineered by Martin Birch, the first being a fairly different version of Tell Me with some wild cello lines replacing the melotron, the track resembling less the Cressida track, under this version, which I find better. Better Be Blind has a deceiving vocal line coupled with an annoying whistle, but outside this, it remains a worthy SA track, but sounding fairly different from the album per se.

A bit of a lost classic proto-prog album, Skin Alley's debut has recently received a re-issue through Eclectic Discs, with an excellent booklet and extensive liner notes, the object narrowingly missing the perfect mark, because of the band's name being black instead of the orange-blood colour scheme on the front cover, the rear artwork taken from a much weather-beaten vinyl. Besides this nitpicking, Skin Alley's debut comes awfully close to a masterpiece, but no cigar. Essential, certainly!!

Sean Trane


John Peel apparently discovered these guys playing live somewhere and invited them to do a live gig on his show. I really like their sound with the vocals, organ and flute all being for the most part warm and nostalgic for me. A sort of melancholy too bringing CAMEL to mind at times. Two of the guys play mellotron although it's only featured on two tracks. A four piece with sax and harpsichord also in play. There are five really good tracks on here and the only two I'm not into amount to less than 3 minutes so a very solid 4 star album in my books.
"Living In Sin" is an excellent opener and the lyrics from a bye gone day talking about "sin" which is usually boasted about these days and a non-issue. Pulsating bass with a beat and flute as vocals and organ join in. A CAMEL vibe here and the guitar arrives before 1 1/2 minutes. It comes to the fore around 2 minutes as the vocals step aside. Sax replaces the guitar before 3 1/2 minutes some nice prominent bass too. Flute and that earlier sound with vocals returning late.

"Tell Me Why" is my favourite. It's melancholic with picked guitar, mellotron and sad vocals to start. The chorus is meaningful and moving with 60's sounding harmonies. Pulsating organ before 3 minutes during an instrumental section. Just a killer tune. "Mother Please Help Your Child" has meaningful lyrics and after a dramatic intro it settles right down with flute as reserved vocals join in and solemn organ. It turns fuller 1 1/2 minutes in with passionate vocals. The chorus is downright sad then themes are repeated. Some powerful lyrics here.

"Marsha" obviously a Brady Bunch reference(kidding) is an excellent almost 7 1/2 minute instrumental. Love this organ led tune as bass and drums standout as well early on. Sax before 3 minutes as the organ steps aside but it's back before 5 minutes replacing the sax. The sax is back a minute later but the organ continues this time pulsating powerfully before settling back. "Country Aire" has this fairy sounding flute with harpsichord. So not my thing(haha). It's better a minute in though when the drums, bass and more arrive. "All Alone" has relaxed organ to start as bass and drums join in, sax too then reserved vocals. Very laid back then it's fuller after 2 minutes but it settles back quickly. A sax solo follows then organ as it stays laid back. Vocals are back before 6 minutes then it turns fuller with sax after 7 minutes but again it's brief. "Night Time" opens with flute, drums and bass then it kicks in quickly with mellotron too. Nice. Vocals just before a minute. Back to that opening theme and I just love the sound of this one. Some rare piano 2 1/2 minutes in.

"Concerto Grosso(Take Heed)" is but 26 seconds of harpsichord. "(Going Down The)Highway" has a catchy rhythm and is blues flavoured with pulsating organ and vocals. Sax 1 1/2 minutes in as the vocals step aside then the organ takes over. Vocals return but this isn't one of my favs.

Kind of a weird cover not representing the music in any way. I guess they thought it was funny. Anyway the music here is quite amazing for the most part, just a big fan of their sound and easily 4 stars for this one.

Mellotron Storm



..::TRACK-LIST::..

CD 1 - Skin Alley (1969):
1. Living in Sin
2. Tell Me
3. Mother, Please Help Your Child
4. Marsha
5. Country Aire
6. All Alone
7. Night Time
8. Concerto Grosso (Take Heed)
9. (Going Down the) Highway

Bonus Tracks:
10. Better Be Blind (B-side of single)
11. Tell Me (single version)
12. Shower Music (from Stop Verushka)
13. Sofa, Taxi and Sand Themes (from Stop Verushka)
14. Cemetery Scene (from Stop Verushka)
15. First Drug Scene (from Stop Verushka)



..::OBSADA::..

Organ, Piano, Harpsichord, Mellotron [Melotron], Vocals - Krzysztof-Henryk Juskiewicz
Bass, Mellotron [Melotron], Vocals - Thomas Crimble
Drums, Congas, Timpani - Alvin Pope
Guitar, Alto Saxophone, Flute, Vocals - Bob James




https://www.youtube.com/watch?v=tCpLseZObp8



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Zespół nie planował wydania dwupłytowego albumu. Gdy jednak zakończyły się prace nad materiałem, okazało się, że jego długość przekracza optymalną pojemność płyty winylowej. Zamiast zrezygnować z części utworów lub nieco je skrócić, zdecydowano się na bardziej kontrowersyjne posunięcie - rozszerzenie "Physical Graffiti" do dwóch płyt i zapełnienie miejsca odrzutami z poprzednich longplayów. O ile część z nich faktycznie zasłużyła na lepszy los, niż gnicie w archiwach, tak inne zdecydowanie nie powinny ich opuszczać. Powstał bardzo nierówny album. Często można spotkać się z opiniami, że pierwsza płyta jest zdecydowanie bardziej udana od drugiej i gdyby zespół ograniczył się tylko do niej, "Physical Graffiti" byłby kolejnym wielkim dziełem. W rzeczywistości nie jest to takie proste.

Biorąc pod uwagę ogólny poziom, pierwsza płyta faktycznie wypada znacznie lepiej, ale nie jest pozbawiona wad. Już na otwarcie pojawia się całkiem bezbarwny "Custard Pie". Zaraz potem rozbrzmiewa jednak porywający "The Rover" - niesamowicie chwytliwy, pełen świetnych zagrywek Page'a. Aż trudno uwierzyć, że to jeden z odrzutów - napisany został już podczas prac nad "Led Zeppelin III", tutaj jednak zamieszczono wersję nagraną podczas sesji "Houses of the Holy" (na którym byłby drugim najlepszym - po "No Quarter" utworem). Wysoki poziom utrzymuje jedenastominutowy blues " In My Time of Dying", oparty na tradycyjnej pieśni, ale podpisany jako autorska kompozycja - jak zwykle muzycy nadali zupełnie nowej jakości, co nieco ich usprawiedliwia. "Houses of the Holy", kolejny odrzut z tego albumu, to niestety tylko prosta, banalna piosenka. Zaraz potem rozbrzmiewa jednak świetny "Trampled Under Foot", inspirowany twórczością Steviego Wondera. To przede wszystkim popis Johna Paula Jonesa, odpowiadającego za fantastyczną partię basu i klawisze, dodające funkowego charakteru. Pierwszą płytę kończy słynny "Kashmir" - oparty na mocarnym, orientalizującym riffie, ale niepotrzebnie wzbogacony pretensjonalną orkiestracją.

Druga płyta, faktycznie jest dużo słabsza. W nowych utworach brakuje dobrych pomysłów. W hardrockowym "In the Light" nic nie wnoszą długie popisy Jonesa na syntezatorze. "Ten Years Gone" brzmi jak nowa, słabsza wersja "The Rain Song". Zupełnie nijaki jest natomiast "Sick Again", który dodatkowo pod koniec robi się mocno chaotyczny. W "The Wanton Song" pojawia się za to całkiem fajny riff i sporo energii, lecz ogólnie utwór wypada dość przeciętnie (choć moim zdaniem sprawdziłby się w roli otwieracza dużo lepiej od "Custard Pie"). Ze starszych kawałków najlepsze wrażenie sprawiają dwa utwory napisane w czasie pobytu Page'a i Planta w chacie na walijskiej wsi, gdzie tworzyli materiał na trzeci album. Instrumentalny "Bron-Yr-Aur" to fantastyczny popis umiejętności gitarzysty, nagrany podczas sesji "Trójki". Przyjemnie wypada także lekko ocierający się o stylistykę country, melodyjny "Down by the Seaside" - odrzut z "Czwórki". Ale są też ewidentne gnioty, jak "Night Flight", "Boogie with Stu" i "Black Country Woman", słusznie pominięte na wcześniejszych albumach (dwa pierwsze zostały zarejestrowane podczas sesji "IV", ostatni powstał w trakcie nagrywania "Houses of the Holy").

Skrócenie "Physical Graffiti" do jednej płyty winylowej byłoby najlepszym rozwiązaniem. Jednak wtedy znów najprawdopodobniej zostałyby pominięte tak dobre utwory, jak "The Rover" i "Bron-Yr-Aur". Zatem ostatecznie dobrze się stało, że album ukazał się w takiej formie, nawet jeśli jest bardzo nierówny i obok rewelacyjnych momentów zawiera kompletne niewypały.

Paweł Pałasz


Wydana w 1975 roku płyta Physical Graffiti to szósty, dwupłytowy, najdłuższy album studyjny Led Zeppelin. Składa się nań 15 utworów, zarejestrowanych podczas wielu sesji nagraniowych: siedem to kawałki z lat 1970-1972, pierwotnie tworzone z myślą o zeppelinowskiej „Trójce”, „Czwórce” i Houses Of The Holy, a reszta, nagrana w Headley Grange, pochodzi z 1974 roku. Kompozycje te stylistycznie są bardzo różnorodne, stanowią dobitne świadectwo wszechstronności grupy, jej wysokich umiejętności instrumentalnych i kompozytorskich. Zapisywane jednak w rozmaitych miejscach i warunkach, różnią się pomiędzy sobą tak jakością nagrania, jak i dbałością opracowania.

Znajdują się na tym wydawnictwie zagrane z iście hardrockową mocą numery, takie jak The Wanton Song i Sick Again, oba jednak należy uznać za dość stereotypowe. Lepsze są od nich przyjemnie bluesujące, nieznacznie mniej ostre, a dużo ciekawsze: Custard Pie oraz szczególnie lubiany przeze mnie za swój chwytliwy riff The Rover. Jakość nagrania tego ostatniego pozostawia niestety wiele do życzenia. Są na tej płycie i lekkie, żartobliwe kawałki, jak zahaczające o stylistykę country Black Country Woman, nagrany przy współudziale pianisty The Rolling Stones, Iana Stewarta, i skoczny, saloonowy Boogie With Stu, rodem z Dzikiego Zachodu. Do optymistycznych należą też kompozycyjnie mało skomplikowane numery, takie jak Night Flight czy żywo idąca, a nosząca ten sam tytuł co poprzednia płyta piosenka Houses Of The Holy, w warstwie słownej pełna seksualnych podtekstów. Cechuje je duży entuzjazm wykonania, podobnie jak bardziej od nich wyrafinowaną, a nawiązującą do stylu disco Trampled Under Foot. Pierwszorzędny popis swych umiejętności dali Zeppelini w zagranym z dużym polotem In My Time Of Dying, najdłuższym zarejestrowanym w studio utworze Led Zeppelin. Jest to ujęta w formę jam session swobodna aranżacja ludowego bluesa, znanego z wykonań Blind Willie Johnsona i zwłaszcza Boba Dylana, który rozsławił ten numer umieszczając go na swoim debiutanckim albumie z 1962 roku. Ujmująco brzmi prosta, czysto akustyczna ballada Bron-Yr-Aur, pochodząca z okresu powstawania folkowego Led Zeppelin III, natomiast drobinę żmudna jest Down By The Seaside, w której Plant wyrzuca współczesnym, że w codziennym zabieganiu odwrócili się od Natury i zapomnieli o tym, co rzeczywiście w życiu jest ważne. Na Physical Graffiti znaleźć można i ambitniejsze, bardziej rozbudowane kompozycje zespołu, takie jak przywołujący szkockiego ducha utwór In The Light, w którym głos Planta przypomina chwilami śpiew Ozzy’ego Osbourne’a, i nostalgiczny Ten Years Gone, oba "progresywizujące", z dużym, lecz niestety roztrwonionym potencjałem.
W zasadzie można uznać, że wszystkie wymienione kawałki – pomimo cechujących niektóre z nich mankamentów – są dobre lub nawet bardzo dobre. Jest jednakże na opisywanym wydawnictwie jeszcze jeden utwór, prawdziwy Koh-i-noor w dorobku Led Zeppelin, przy którym pozostałe 14 numerów z Physical Graffiti blednie, jawiąc się jako świecidełka albo klejnoty o mniejszej lub większej wartości. Utworem tym jest Kashmir, istne arcydzieło na miarę Babe I’m Gonna Leave You i Dazed And Confused z „Jedynki”, Whole Lotta Love z „Dwójki”, Since I’ve Been Loving You z „Trójki”, Stairway To Heaven z Zoso, No Quarter z Houses Of The Holy oraz Achilles Last Stand z kolejnej płyty, Presence. Kompozycja ta, napisana przez Page’a i Planta, a po części także Bonhama, oparta jest na w kółko powtarzanym ciężkim, hipnotyzującym riffie gitarowym, przepuszczonej przez phaser, bardzo wyrazistej perkusji, orientalnych motywach, wzorowanych na klasycznej muzyce marokańskiej, bliskowschodniej i indyjskiej, nadto na wspaniałym śpiewie Planta, który interpretuje ułożone przez siebie podczas podróży przez Maroko słowa to chłodnym, jakby obojętnym głosem, to znów przepełnionym potężną emocją rozdzierającym krzykiem. Tak, pełen orkiestrowego rozmachu i brzmienia Kashmir jest dziełem samym w sobie, dziełem skończonym, o klasę przewyższającym każdy utwór z osobna, jak i wszystkie razem wzięte spośród tych, które zamieszczone zostały na Physical Graffiti. Na koniec wyznam, że utwór ten pokochałem od pierwszego przesłuchania, które nastąpiło kiedy miałem dziesięć lat. Od tamtego czasu słuchałem go z uwagą bodaj setki razy, zawsze z tym samym co wówczas zapartym tchem, w zupełności porwany tą niesamowitą opowieścią niesioną światu przez „podróżnika w czasie i przestrzeni” (a traveller of both time and space).

Physical Grafitti prezentuje materiał bardzo różnorodny, który, aczkolwiek niespójny i nierówny, jest wartościowy, świadczy o bardzo rozległych horyzontach muzycznych członków Led Zeppelin. Można by zapytać, czy był to album roku 1975? Choć z całą pewnością można stwierdzić, że nie, mając w pamięci tak wybitne muzyczne arcydzieła z niego pochodzące, jak Godbluff Van der Graaf Generator i – być może album wszech czasów – Wish You Were Here Pink Floyd, to jednak nie ulega wątpliwości, że Physical Graffiti jest jednym z najwspanialszych bluesrockowych tworów, płytą prezentującą Led Zeppelin at its best.

Krzysztof Niweliński


Wprawdzie najlepszą płytą najlepszego zespołu świata jest "Led Zeppelin II", ale ja postanowiłem wziąć na tapetę płytę mniej znaną, aczkolwiek niemalże równie dobrą. "Led Zeppelin II" była zbiorem utworów, które wystrzeliły nagle z głów muzyków. Była płytą od początku do końca spontaniczną, pełną energii i hard rockowej zadziorności. Wstrząsnęła całym światem - przypominam, że jak na rok 1969 był to bardzo ciężki materiał. Gdy w 1975 zespół wydał podwójną płytę "Physical Graffiti", nie odniosła takiego muzycznego sukcesu jak "Led Zeppelin II", ponieważ fani byli na to przygotowani. OK, "Physical Graffiti" jest podwójnym albumem, na którym znajduje się 8 premierowych kawałków i 7 odrzutów z lat 1970-1972. Płyta nadaje się do słuchania dosłownie wszędzie i zawsze.

Zaczynamy z bluesowym "Custard Pie". Super riff, Bonzo za garami wybija groovowy riff, a Robert śpiewa przesycony erotyzmem tekst. A później solo Page'a z Wah-Wah.

Lecimy dalej - "The Rover", odrzut z "Houses Of The Holy" - świetna gitara. Kolejną pozycją jest przeróbka utworu Boba Dylana "In My Time Of Dying". Przerażający riff grany slidem, jedenaście minut bluesa. Od zabawnego ataku kaszlu zaczyna się weselszy kawałek. "House Of The Holy", bo o nim mowa, to odrzut z płyty o tym samym tytule. Przyjemny riff i tekst. "Trampled Underfoot" - nawiązanie do Steviego Wondera i jego soulowych utworów. Świetny tekst, w którym Robert porównuje ciało kobiety do części samochodu. Świetne klawisze. Zeppelin leci dalej, "Kashmir" to kawałek historia, który można umieścić w jednym szeregu z "Whole Lotta Love", "Stairway To Heaven" i "No Quarter". Świetna orkiestracja, cudowny riff. Co ciekawe, żaden z Zeppelinów nigdy nie był w Kaszmirze. Pierwszą stronę kasety wieńczy gitarowy popis Page'a "Bron Y Aur". Prześliczny akustyczny kawałek. Te melodie...

Drugą stronę rozpoczynają orientalne klawisze i wchodzi "In The Light", ciężki riff, fajne melodie w refrenie. W kolejce stoi już "Down By The Seaside", od którego na kilometr powiewa morzem. Akustyczne intro gitary wprowadza nas w "Ten Years Gone", gdzie Robert opowiada o swojej przyjaciółce, która kazała mu wybierać pomiędzy sobą a muzyką. Chyba nikt nie ma wątpliwości co wzięło górę? OK. Następny utwór może kojarzyć się z Rolling Stones. "Night Flight", bo o nim mowa, to typowy rockowy kawałek, klawisze i gitary bez zastrzeżeń. Później kilkuminutowy czad w postaci "The Wanton Song" - super riff. Wyluzowanie i kolejna perełka - "Boogie With Stu". Świetny numer na pianino, bębenek, akustyka plus solo na mandolinie. Następny akustyczny kawałek to luźny jam grany w ogródku posiadłości Micka Jaggera "Stargroves". Na początku słychać nawet przelatujący samolot. Na koniec killer, czyli "Sick Again". Cool gitary i tekst.

Tak kończy się jedna z najlepszych płyt w historii rocka. Warto ją kupić za każde pieniądze!!!

Wickerman



..::TRACK-LIST::..

Original Album
CD 1:
1. Custard Pie 4:15
2. The Rover 5:39
3. In My Time Of Dying 11:08
4. Houses Of The Holy 4:04
5. Trampled Under Foot 5:36
16. Kashmir 8:37

CD 2:
1. In The Light 8:47
2. Bron-Yr-Aur 2:06
3. Down By The Seaside 5:15
4. Ten Years Gone 6:34
5. Night Flight 3:38
6. The Wanton Song 4:08
7. Boogie With Stu 3:52
8. Black Country Woman 4:24
9. Sick Again 4:42

CD 3 - Companion Audio:
1. Brandy & Coke (Trampled Under Foot) (Initial/Rough Mix) 5:38
2. Sick Again (Early Version) 3:20
3. In My Time Of Dying (Initial Rough Mix) 10:45
4. Houses Of The Holy (Rough MIx With Overdubs) 3:51
5. Everybody Makes It Through (In The Light) (Early Version / In Transit) 6:27
6. Boogie With Stu (Sunset Sound Mix) 3:36
7. Driving Through Kashmir (Kashmir) (Rough Orchestra Mix) 8:33


1. Studio: Ronnie Lane's Mobile, Headley Grange, February 15, 1974.
2. Studio: Ronnie Lane's Mobile, Headley Grange, October 25, 1973.
3. Studio: Ronnie Lane's Mobile, Headley Grange, February 15, 1974.
4. Studio: Olympic, No.1. London, April 12, 1972.
5. Studio: Ronnie Lane's Mobile and Headley Grange, February 28, 1974.
6. Studio: Rolling Stones Mobile and Headley Grange, January 1971.
7. Studio: Ronnie Lane's Mobile and Headley Grange, October 25, 1973.



..::OBSADA::..

Robert Plant - vocals, harmonica
Jimmy Page - electric, acoustic, lap steel and slide guitars, production
John Paul Jones - bass guitar, keyboards, mandolin, acoustic guitar
John Bonham - drums, percussion

Additional musicians:
Ian Stewart - piano on 'Boogie with Stu'
Uncredited session musicians - strings and horns on 'Kashmir'





https://www.youtube.com/watch?v=qhjaUsJ8PIk



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

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


..::OPIS::..

Zespół nie planował wydania dwupłytowego albumu. Gdy jednak zakończyły się prace nad materiałem, okazało się, że jego długość przekracza optymalną pojemność płyty winylowej. Zamiast zrezygnować z części utworów lub nieco je skrócić, zdecydowano się na bardziej kontrowersyjne posunięcie - rozszerzenie "Physical Graffiti" do dwóch płyt i zapełnienie miejsca odrzutami z poprzednich longplayów. O ile część z nich faktycznie zasłużyła na lepszy los, niż gnicie w archiwach, tak inne zdecydowanie nie powinny ich opuszczać. Powstał bardzo nierówny album. Często można spotkać się z opiniami, że pierwsza płyta jest zdecydowanie bardziej udana od drugiej i gdyby zespół ograniczył się tylko do niej, "Physical Graffiti" byłby kolejnym wielkim dziełem. W rzeczywistości nie jest to takie proste.

Biorąc pod uwagę ogólny poziom, pierwsza płyta faktycznie wypada znacznie lepiej, ale nie jest pozbawiona wad. Już na otwarcie pojawia się całkiem bezbarwny "Custard Pie". Zaraz potem rozbrzmiewa jednak porywający "The Rover" - niesamowicie chwytliwy, pełen świetnych zagrywek Page'a. Aż trudno uwierzyć, że to jeden z odrzutów - napisany został już podczas prac nad "Led Zeppelin III", tutaj jednak zamieszczono wersję nagraną podczas sesji "Houses of the Holy" (na którym byłby drugim najlepszym - po "No Quarter" utworem). Wysoki poziom utrzymuje jedenastominutowy blues " In My Time of Dying", oparty na tradycyjnej pieśni, ale podpisany jako autorska kompozycja - jak zwykle muzycy nadali zupełnie nowej jakości, co nieco ich usprawiedliwia. "Houses of the Holy", kolejny odrzut z tego albumu, to niestety tylko prosta, banalna piosenka. Zaraz potem rozbrzmiewa jednak świetny "Trampled Under Foot", inspirowany twórczością Steviego Wondera. To przede wszystkim popis Johna Paula Jonesa, odpowiadającego za fantastyczną partię basu i klawisze, dodające funkowego charakteru. Pierwszą płytę kończy słynny "Kashmir" - oparty na mocarnym, orientalizującym riffie, ale niepotrzebnie wzbogacony pretensjonalną orkiestracją.

Druga płyta, faktycznie jest dużo słabsza. W nowych utworach brakuje dobrych pomysłów. W hardrockowym "In the Light" nic nie wnoszą długie popisy Jonesa na syntezatorze. "Ten Years Gone" brzmi jak nowa, słabsza wersja "The Rain Song". Zupełnie nijaki jest natomiast "Sick Again", który dodatkowo pod koniec robi się mocno chaotyczny. W "The Wanton Song" pojawia się za to całkiem fajny riff i sporo energii, lecz ogólnie utwór wypada dość przeciętnie (choć moim zdaniem sprawdziłby się w roli otwieracza dużo lepiej od "Custard Pie"). Ze starszych kawałków najlepsze wrażenie sprawiają dwa utwory napisane w czasie pobytu Page'a i Planta w chacie na walijskiej wsi, gdzie tworzyli materiał na trzeci album. Instrumentalny "Bron-Yr-Aur" to fantastyczny popis umiejętności gitarzysty, nagrany podczas sesji "Trójki". Przyjemnie wypada także lekko ocierający się o stylistykę country, melodyjny "Down by the Seaside" - odrzut z "Czwórki". Ale są też ewidentne gnioty, jak "Night Flight", "Boogie with Stu" i "Black Country Woman", słusznie pominięte na wcześniejszych albumach (dwa pierwsze zostały zarejestrowane podczas sesji "IV", ostatni powstał w trakcie nagrywania "Houses of the Holy").

Skrócenie "Physical Graffiti" do jednej płyty winylowej byłoby najlepszym rozwiązaniem. Jednak wtedy znów najprawdopodobniej zostałyby pominięte tak dobre utwory, jak "The Rover" i "Bron-Yr-Aur". Zatem ostatecznie dobrze się stało, że album ukazał się w takiej formie, nawet jeśli jest bardzo nierówny i obok rewelacyjnych momentów zawiera kompletne niewypały.

Paweł Pałasz


Wydana w 1975 roku płyta Physical Graffiti to szósty, dwupłytowy, najdłuższy album studyjny Led Zeppelin. Składa się nań 15 utworów, zarejestrowanych podczas wielu sesji nagraniowych: siedem to kawałki z lat 1970-1972, pierwotnie tworzone z myślą o zeppelinowskiej „Trójce”, „Czwórce” i Houses Of The Holy, a reszta, nagrana w Headley Grange, pochodzi z 1974 roku. Kompozycje te stylistycznie są bardzo różnorodne, stanowią dobitne świadectwo wszechstronności grupy, jej wysokich umiejętności instrumentalnych i kompozytorskich. Zapisywane jednak w rozmaitych miejscach i warunkach, różnią się pomiędzy sobą tak jakością nagrania, jak i dbałością opracowania.

Znajdują się na tym wydawnictwie zagrane z iście hardrockową mocą numery, takie jak The Wanton Song i Sick Again, oba jednak należy uznać za dość stereotypowe. Lepsze są od nich przyjemnie bluesujące, nieznacznie mniej ostre, a dużo ciekawsze: Custard Pie oraz szczególnie lubiany przeze mnie za swój chwytliwy riff The Rover. Jakość nagrania tego ostatniego pozostawia niestety wiele do życzenia. Są na tej płycie i lekkie, żartobliwe kawałki, jak zahaczające o stylistykę country Black Country Woman, nagrany przy współudziale pianisty The Rolling Stones, Iana Stewarta, i skoczny, saloonowy Boogie With Stu, rodem z Dzikiego Zachodu. Do optymistycznych należą też kompozycyjnie mało skomplikowane numery, takie jak Night Flight czy żywo idąca, a nosząca ten sam tytuł co poprzednia płyta piosenka Houses Of The Holy, w warstwie słownej pełna seksualnych podtekstów. Cechuje je duży entuzjazm wykonania, podobnie jak bardziej od nich wyrafinowaną, a nawiązującą do stylu disco Trampled Under Foot. Pierwszorzędny popis swych umiejętności dali Zeppelini w zagranym z dużym polotem In My Time Of Dying, najdłuższym zarejestrowanym w studio utworze Led Zeppelin. Jest to ujęta w formę jam session swobodna aranżacja ludowego bluesa, znanego z wykonań Blind Willie Johnsona i zwłaszcza Boba Dylana, który rozsławił ten numer umieszczając go na swoim debiutanckim albumie z 1962 roku. Ujmująco brzmi prosta, czysto akustyczna ballada Bron-Yr-Aur, pochodząca z okresu powstawania folkowego Led Zeppelin III, natomiast drobinę żmudna jest Down By The Seaside, w której Plant wyrzuca współczesnym, że w codziennym zabieganiu odwrócili się od Natury i zapomnieli o tym, co rzeczywiście w życiu jest ważne. Na Physical Graffiti znaleźć można i ambitniejsze, bardziej rozbudowane kompozycje zespołu, takie jak przywołujący szkockiego ducha utwór In The Light, w którym głos Planta przypomina chwilami śpiew Ozzy’ego Osbourne’a, i nostalgiczny Ten Years Gone, oba "progresywizujące", z dużym, lecz niestety roztrwonionym potencjałem.
W zasadzie można uznać, że wszystkie wymienione kawałki – pomimo cechujących niektóre z nich mankamentów – są dobre lub nawet bardzo dobre. Jest jednakże na opisywanym wydawnictwie jeszcze jeden utwór, prawdziwy Koh-i-noor w dorobku Led Zeppelin, przy którym pozostałe 14 numerów z Physical Graffiti blednie, jawiąc się jako świecidełka albo klejnoty o mniejszej lub większej wartości. Utworem tym jest Kashmir, istne arcydzieło na miarę Babe I’m Gonna Leave You i Dazed And Confused z „Jedynki”, Whole Lotta Love z „Dwójki”, Since I’ve Been Loving You z „Trójki”, Stairway To Heaven z Zoso, No Quarter z Houses Of The Holy oraz Achilles Last Stand z kolejnej płyty, Presence. Kompozycja ta, napisana przez Page’a i Planta, a po części także Bonhama, oparta jest na w kółko powtarzanym ciężkim, hipnotyzującym riffie gitarowym, przepuszczonej przez phaser, bardzo wyrazistej perkusji, orientalnych motywach, wzorowanych na klasycznej muzyce marokańskiej, bliskowschodniej i indyjskiej, nadto na wspaniałym śpiewie Planta, który interpretuje ułożone przez siebie podczas podróży przez Maroko słowa to chłodnym, jakby obojętnym głosem, to znów przepełnionym potężną emocją rozdzierającym krzykiem. Tak, pełen orkiestrowego rozmachu i brzmienia Kashmir jest dziełem samym w sobie, dziełem skończonym, o klasę przewyższającym każdy utwór z osobna, jak i wszystkie razem wzięte spośród tych, które zamieszczone zostały na Physical Graffiti. Na koniec wyznam, że utwór ten pokochałem od pierwszego przesłuchania, które nastąpiło kiedy miałem dziesięć lat. Od tamtego czasu słuchałem go z uwagą bodaj setki razy, zawsze z tym samym co wówczas zapartym tchem, w zupełności porwany tą niesamowitą opowieścią niesioną światu przez „podróżnika w czasie i przestrzeni” (a traveller of both time and space).

Physical Grafitti prezentuje materiał bardzo różnorodny, który, aczkolwiek niespójny i nierówny, jest wartościowy, świadczy o bardzo rozległych horyzontach muzycznych członków Led Zeppelin. Można by zapytać, czy był to album roku 1975? Choć z całą pewnością można stwierdzić, że nie, mając w pamięci tak wybitne muzyczne arcydzieła z niego pochodzące, jak Godbluff Van der Graaf Generator i – być może album wszech czasów – Wish You Were Here Pink Floyd, to jednak nie ulega wątpliwości, że Physical Graffiti jest jednym z najwspanialszych bluesrockowych tworów, płytą prezentującą Led Zeppelin at its best.

Krzysztof Niweliński


Wprawdzie najlepszą płytą najlepszego zespołu świata jest "Led Zeppelin II", ale ja postanowiłem wziąć na tapetę płytę mniej znaną, aczkolwiek niemalże równie dobrą. "Led Zeppelin II" była zbiorem utworów, które wystrzeliły nagle z głów muzyków. Była płytą od początku do końca spontaniczną, pełną energii i hard rockowej zadziorności. Wstrząsnęła całym światem - przypominam, że jak na rok 1969 był to bardzo ciężki materiał. Gdy w 1975 zespół wydał podwójną płytę "Physical Graffiti", nie odniosła takiego muzycznego sukcesu jak "Led Zeppelin II", ponieważ fani byli na to przygotowani. OK, "Physical Graffiti" jest podwójnym albumem, na którym znajduje się 8 premierowych kawałków i 7 odrzutów z lat 1970-1972. Płyta nadaje się do słuchania dosłownie wszędzie i zawsze.

Zaczynamy z bluesowym "Custard Pie". Super riff, Bonzo za garami wybija groovowy riff, a Robert śpiewa przesycony erotyzmem tekst. A później solo Page'a z Wah-Wah.

Lecimy dalej - "The Rover", odrzut z "Houses Of The Holy" - świetna gitara. Kolejną pozycją jest przeróbka utworu Boba Dylana "In My Time Of Dying". Przerażający riff grany slidem, jedenaście minut bluesa. Od zabawnego ataku kaszlu zaczyna się weselszy kawałek. "House Of The Holy", bo o nim mowa, to odrzut z płyty o tym samym tytule. Przyjemny riff i tekst. "Trampled Underfoot" - nawiązanie do Steviego Wondera i jego soulowych utworów. Świetny tekst, w którym Robert porównuje ciało kobiety do części samochodu. Świetne klawisze. Zeppelin leci dalej, "Kashmir" to kawałek historia, który można umieścić w jednym szeregu z "Whole Lotta Love", "Stairway To Heaven" i "No Quarter". Świetna orkiestracja, cudowny riff. Co ciekawe, żaden z Zeppelinów nigdy nie był w Kaszmirze. Pierwszą stronę kasety wieńczy gitarowy popis Page'a "Bron Y Aur". Prześliczny akustyczny kawałek. Te melodie...

Drugą stronę rozpoczynają orientalne klawisze i wchodzi "In The Light", ciężki riff, fajne melodie w refrenie. W kolejce stoi już "Down By The Seaside", od którego na kilometr powiewa morzem. Akustyczne intro gitary wprowadza nas w "Ten Years Gone", gdzie Robert opowiada o swojej przyjaciółce, która kazała mu wybierać pomiędzy sobą a muzyką. Chyba nikt nie ma wątpliwości co wzięło górę? OK. Następny utwór może kojarzyć się z Rolling Stones. "Night Flight", bo o nim mowa, to typowy rockowy kawałek, klawisze i gitary bez zastrzeżeń. Później kilkuminutowy czad w postaci "The Wanton Song" - super riff. Wyluzowanie i kolejna perełka - "Boogie With Stu". Świetny numer na pianino, bębenek, akustyka plus solo na mandolinie. Następny akustyczny kawałek to luźny jam grany w ogródku posiadłości Micka Jaggera "Stargroves". Na początku słychać nawet przelatujący samolot. Na koniec killer, czyli "Sick Again". Cool gitary i tekst.

Tak kończy się jedna z najlepszych płyt w historii rocka. Warto ją kupić za każde pieniądze!!!

Wickerman



..::TRACK-LIST::..

Original Album
CD 1:
1. Custard Pie 4:15
2. The Rover 5:39
3. In My Time Of Dying 11:08
4. Houses Of The Holy 4:04
5. Trampled Under Foot 5:36
16. Kashmir 8:37

CD 2:
1. In The Light 8:47
2. Bron-Yr-Aur 2:06
3. Down By The Seaside 5:15
4. Ten Years Gone 6:34
5. Night Flight 3:38
6. The Wanton Song 4:08
7. Boogie With Stu 3:52
8. Black Country Woman 4:24
9. Sick Again 4:42

CD 3 - Companion Audio:
1. Brandy & Coke (Trampled Under Foot) (Initial/Rough Mix) 5:38
2. Sick Again (Early Version) 3:20
3. In My Time Of Dying (Initial Rough Mix) 10:45
4. Houses Of The Holy (Rough MIx With Overdubs) 3:51
5. Everybody Makes It Through (In The Light) (Early Version / In Transit) 6:27
6. Boogie With Stu (Sunset Sound Mix) 3:36
7. Driving Through Kashmir (Kashmir) (Rough Orchestra Mix) 8:33


1. Studio: Ronnie Lane's Mobile, Headley Grange, February 15, 1974.
2. Studio: Ronnie Lane's Mobile, Headley Grange, October 25, 1973.
3. Studio: Ronnie Lane's Mobile, Headley Grange, February 15, 1974.
4. Studio: Olympic, No.1. London, April 12, 1972.
5. Studio: Ronnie Lane's Mobile and Headley Grange, February 28, 1974.
6. Studio: Rolling Stones Mobile and Headley Grange, January 1971.
7. Studio: Ronnie Lane's Mobile and Headley Grange, October 25, 1973.



..::OBSADA::..

Robert Plant - vocals, harmonica
Jimmy Page - electric, acoustic, lap steel and slide guitars, production
John Paul Jones - bass guitar, keyboards, mandolin, acoustic guitar
John Bonham - drums, percussion

Additional musicians:
Ian Stewart - piano on 'Boogie with Stu'
Uncredited session musicians - strings and horns on 'Kashmir'





https://www.youtube.com/watch?v=qhjaUsJ8PIk



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

...( Info )...

Artist...............: Thin Lizzy
Album................: Johnny The Fox (Deluxe Edition)
Genre................: Hard rock
Year.................: 1976
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Thin Lizzy - Johnny
002. Thin Lizzy - Rocky
003. Thin Lizzy - Borderline
004. Thin Lizzy - Don't Believe A Word (Album Version)
005. Thin Lizzy - Fools Gold
006. Thin Lizzy - Johnny The Fox Meets Jimmy The Weed (Album Version)
007. Thin Lizzy - Old Flame
008. Thin Lizzy - Massacre (Album Version)
009. Thin Lizzy - Sweet Marie
010. Thin Lizzy - Boogie Woogie Dance
011. Thin Lizzy - Don't Believe A Word (Redux Remix)
012. Thin Lizzy - Johnny (Redux Remix)
013. Thin Lizzy - Don't Believe A Word (BBC Session 11-10-76)
014. Thin Lizzy - Johnny The Fox Meets Jimmy The Weed (BBC Session 11-10-1976)
015. Thin Lizzy - Fools Gold (BBC Session 11-10-1976)
016. Thin Lizzy - Johnny (BBC Session 11-10-1976)
017. Thin Lizzy - Fools Gold (Instrumental Run Through)
018. Thin Lizzy - Johnny The Fox Meets Jimmy The Weed (Instrumental Run Through - Extended)
019. Thin Lizzy - Rocky (Instrumental Run Through)
020. Thin Lizzy - Massacre (Instrumental Take)
021. Thin Lizzy - Scott's Tune (Unreleased Scott Gorham Composition)

...( Info )...

Artist...............: Thin Lizzy
Album................: Fighting (Deluxe Edition)
Genre................: Hard rock
Year.................: 1975
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Thin Lizzy - Rosalie
002. Thin Lizzy - For Those Who Love To Live
003. Thin Lizzy - Suicide (Album Version)
004. Thin Lizzy - Wild One
005. Thin Lizzy - Fighting My Way Back
006. Thin Lizzy - King's Vengeance
007. Thin Lizzy - Spirit Slips Away
008. Thin Lizzy - Silver Dollar
009. Thin Lizzy - Freedom Song
010. Thin Lizzy - Ballad Of A Hard Man
011. Thin Lizzy - Half Caste
012. Thin Lizzy - Rosalie (US Mix)
013. Thin Lizzy - Half Caste (BBC Radio 1 John Peel Session)
014. Thin Lizzy - Rosalie (BBC Radio 1 John Peel Session)
015. Thin Lizzy - Suicide (BBC Radio 1 John Peel Session)
016. Thin Lizzy - Ballad Of A Hard Man (Instrumental Demo)
017. Thin Lizzy - Try A Little Harder (Alternate Vocal)
018. Thin Lizzy - Fighting My Way Back (Rough Mix)
019. Thin Lizzy - Song For Jesse
020. Thin Lizzy - Leaving Town (Instrumental Version)
021. Thin Lizzy - Blues Boy
022. Thin Lizzy - Leaving Town (Extended Take)
023. Thin Lizzy - Spirit Slips Away (Extended Version Take 4)
024. Thin Lizzy - Wild One (Instrumental Version)
025. Thin Lizzy - Brian's Funky Fazer - Silver Dollar

..::INFO::..

---------------------------------------------------------------------
Smokie – Original Album Classics (5 CD)
---------------------------------------------------------------------
CD 1. Pass it Around
CD 2. Changing all the Time
CD 3. Midnight Café
CD 4. Bright Lights and Back Alleys
CD 5. The Montreaux Album
---------------------------------------------------------------------

---------------------------------------------------------------------
CD 1. Smokie - Pass It Around
---------------------------------------------------------------------

Artist...............: Smokie
Album................: Pass It Around
Genre................: Rock, Pop Rock
Source...............: CD
Year.................: 1975 - 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: 64 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Ariola

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

---------------------------------------------------------------------
Tracklisting - CD 1
---------------------------------------------------------------------

1. Smokie - Pass It Around [03:08]
2. Smokie - Daydreamin' [02:17]
3. Smokie - Oh Well, Oh Well [03:17]
4. Smokie - My Woman [03:22]
5. Smokie - It Makes Me Money [02:57]
6. Smokie - Headspin [03:32]
7. Smokie - Goin' Tomorrow [03:45]
8. Smokie - I Do Declare [03:47]
9. Smokie - Don't Turn Out Your Light [04:01]
10. Smokie - Will You Love Me [03:46]
11. Smokie - A Day At The Mother-In-Law's [02:51]
12. Smokie - The Coldest Night [04:16]
13. Smokie - Shy Guy [03:23]

Playing Time.........: 44:28
Total Size...........: 286,79 MB


---------------------------------------------------------------------
CD 2. Smokie - Changing All The Time
---------------------------------------------------------------------

Artist...............: Smokie
Album................: Changing All The Time
Genre................: Rock, Pop Rock
Source...............: CD
Year.................: 1975 - 2009
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..........: Ariola

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

---------------------------------------------------------------------
Tracklisting - CD 2
---------------------------------------------------------------------

1. Smokie - Don't Play Your Rock 'N' Roll To Me [03:19]
2. Smokie - If You Think You Know How To Love Me [03:27]
3. Smokie - It's Natural [02:39]
4. Smokie - Give It To Me [04:06]
5. Smokie - We're Flyin' High [03:55]
6. Smokie - Changing All The Time [03:23]
7. Smokie - Julia [03:04]
8. Smokie - Take Me In [03:55]
9. Smokie - Umbrella Day [03:46]
10. Smokie - Back To Bradford [02:41]

Playing Time.........: 34:20
Total Size...........: 227,43 MB


---------------------------------------------------------------------
CD 3. Smokie - Midnight Cafe
---------------------------------------------------------------------

Artist...............: Smokie
Album................: Midnight Cafe
Genre................: Rock, Pop Rock
Source...............: CD
Year.................: 1976 - 2009
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Ariola

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

---------------------------------------------------------------------
Tracklisting - CD 3
---------------------------------------------------------------------

1. Smokie - Something's Been Making Me Blue [03:01]
2. Smokie - Wild Wild Angels [03:57]
3. Smokie - Poor Lady (Midnight Baby) [04:42]
4. Smokie - When My Back Was Against The Wall [03:38]
5. Smokie - Make Ya Boogie [05:13]
6. Smokie - Stranger [04:40]
7. Smokie - What Can I Do [03:37]
8. Smokie - Little Lucy [03:46]
9. Smokie - Going Home [07:33]
10. Smokie - I'll Meet You At Midnight [03:16]

Playing Time.........: 43:29
Total Size...........: 272,94 MB


---------------------------------------------------------------------
CD 4. Smokie - Bright Lights & Back Alleys
---------------------------------------------------------------------

Artist...............: Smokie
Album................: Bright Lights & Back Alleys
Genre................: Rock / Pop Rock
Source...............: CD
Year.................: 1977 - 2009
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 62 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Ariola

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

---------------------------------------------------------------------
Tracklisting - CD 4
---------------------------------------------------------------------

1. Smokie - It's Your Life [03:36]
2. Smokie - I Can't Stay Here Tonight [04:09]
3. Smokie - Sunshine Avenue [03:12]
4. Smokie - Think Of Me [04:44]
5. Smokie - In The Heat Of The Night [04:50]
6. Smokie - Needles And Pins [02:46]
7. Smokie - No One Could Ever Love You More [02:33]
8. Smokie - The Dancer [03:53]
9. Smokie - Baby It's You [03:51]
10. Smokie - Walk Right Back [05:30]

Playing Time.........: 39:07
Total Size...........: 243,98 MB


---------------------------------------------------------------------
CD 5. Smokie - The Montreux Album
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Artist...............: Smokie
Album................: The Montreux Album
Genre................: Rock, Pop Rock
Source...............: CD
Year.................: 1978 - 2009
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 65 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Ariola

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

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Tracklisting - CD 5
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1. Smokie - The Girl Can't Help It [03:49]
2. Smokie - Power Of Love [01:57]
3. Smokie - No More Letters [03:31]
4. Smokie - Mexican Girl [04:00]
5. Smokie - You Took Me By Surprise [03:38]
6. Smokie - Oh Carol [03:40]
7. Smokie - Liverpool Docks [02:58]
8. Smokie - Light Up My Life [04:25]
9. Smokie - Petesey's Song [02:53]
10. Smokie - For A Few Dollars More [03:35]

Playing Time.........: 34:31
Total Size...........: 227,53 MB

..::INFO::..

Ścieżka dźwiękowa Nine Inch Nails do filmu TRON:Ares.

Title: TRON Ares [Original Motion Picture Soundtrack]

Artist: Nine Inch Nails

Country: USA

Year: 2025

Genre: Industrialna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01 .Init
02.Forked Reality
03.As Alive as You Need Me to Be
04.Echoes
05.This Changes Everything
06.In the Image Of
07.I Know You Can Feel It
08.Permanence
09.Infiltrator
10.100% Expendable
11.Still Remains
12.Who Wants to Live Forever
13.Building Better Worlds
14.Target Identified
15.Daemonize
16.Empahetic Response
17.What Have You Done
18.A Question of Trust
19.Ghost in the Machine
20.No Going Back
21.Nemesis
22.New Directive
23.Out in the World
24.Shadow Over Me

..::INFO::..

Skalariak to zespół muzyczny założony w 1994 w Pampelunie (Nawarra, Hiszpania) przez Juantxo Skalari oraz Peio Skalari. Zespół gra muzykę ska od prawdziwego ska z lat 60. do szybkiego ska z lat 90. mieszając je z reggae oraz punkiem. W czerwcu 1997 nagrali swój pierwszy album „Skalariak”. Utwór „Jaia” z tej płyty był jedną z najczęściej granych piosenek podczas święta San Fermin. Był również uważany za jeden z najlepszych utworów ska roku 1997. W 1999 zespół odbył kilka tras koncertowych po takich krajach jak Francja, Włochy, Szwajcaria, Meksyk, USA i Wenezuela. Wraz z wydaniem na jesieni 1999 kolejnego albumu „klub ska” zespół stał się jedną z najbardziej wpływowych grup sceny alternatywnej w kraju. W związku z silną promocją swojego drugiego albumu Skalariak zaczął się regularnie pojawiać w mediach – nie tylko w radiu, ale również w telewizji, jak i prasie. Wstawka zawiera piąty i ostatni jak na razie album zespołu.

Title: Luz Rebelde

Artist: Skalariak

Country: Hiszpania

Year: 2005

Genre: Ska Punk

Format / Codec: MP3
Audio bitrate: 128 Kbps

...( AlbumList )...

1.Sarrera V
2.Global Musik
3.Corazon Rebelde
4.Anti-Cancion
5.Rude Control
6.Ale
7.Luz Rebelde
8.Hartu
9.Queremos Mas
10.Maldito
11.Segapotoen Lurraldea
12.Oil Bombs
13.Preso Del Sabado
14.Donde Esta La Luz
15.Sarrera V (Reprise)