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


..::TRACK-LIST::..

Live In Venice, The Grand Canal (Venice/Italy) - July 15, 1989

1. Shine On You Crazy Diamond (Part 1)
2. Learning To Fly
3. Yet Another Movie
4. Round And Around
5. Sorrow
6. The Dogs Of War
7. On The Turning Away
8. Time
9. The Great Gig In The Sky
10. Wish You Were Here
11. Money
12. Another Brick In The Wall (Part 2)
13. Comfortably Numb
14. Run Like Hell

Extras:
15. 6 Bonus News Clips



..::OBSADA::..

Lead Vocals, Lead Guitar - David Gilmour
Percussion - Gary Wallis
Saxophone - Scott Page
Bass, Vocals - Guy Pratt
Drums, Percussion - Nick Mason
Guitar, Vocals - Tim Renwick
Keyboards, Vocals - Jon Carin, Richard Wright
Backing Vocals - Durga McBroom, Lorelei McBroom, Rachel Fury




https://www.youtube.com/watch?v=Zbu1SulDbog



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

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


..::OPIS::..

Jeśli szukasz klasycznego metalowego albumu z dobrym songwritingiem, charakterystycznym wokalem i melodiami, to Witch Cross jest wart uwagi.
Krążek dla każdego, kto poszukuje autentycznej, melodyjnej, poprawiającej nastrój, 'sierocej likantropii' z tamtych przełomowych czasów.

FA


Oh the sweet 80s, what a wonderful history. However, from where I come from if I would have lived in the 80s, I wouldn't have probably known the large number of bands that I came to know since I was first affected by the blackish touch of Heavy Metal music. Time and time again I stumble upon reissues of old 80s albums mostly by bands that I have never heard of. Well, since I am a dead curious like a cat, I had to investigate. Though I haven't reached all of what has been released but I try to keep up as I can. This time Hells Headbangers Records blessed me with the reissue (probably remastered) of something Denmark, yeah the land of the King. I received the debut album, named "Fit For Fight", originally released back in 1984, of the Heavy Metal band WITCH CROSS. The word pure might be delinquent to describe these guys' appreciation towards their roots because they can be categorized as the roots of what is going on today. Nevertheless, these guys also had their derivations and as many back in that time in Europe, took most of their influences from British Metal, meaning NWOBHM, displaying 70s and early 80s JUDAS PRIEST, IRON MAIDEN but also taking that a bit darkened creativeness of their local MERCYFUL FATE, while even producing the debut in a sound outline that is a reminiscent of the older releases of the Danish giant.

In general, "Fit For Fight" isn't probably a so called uniqueness but that vibe and that old school atmosphere that it generates is so rich, sometimes while playing the album it got me a bit emotional as I felt that the old times came back to life for almost forty minutes. There were plenty of bands back then trying to reach to top, some laid down and die, some paved their road to become stars and some were just there sharing their music and keeping the flame burning. WITCH CROSS could have been something glorious in the 80s, but the curse of the lineup changes struck them hard and they left the scenes in 1986. However, both their legacy and their identity came back alive with this release. Playing traditional, somewhat in the zone of post NWOBHM, upstart Rock along with early JUDAS PRIEST ("British Steel" and "Screaming For Vengeance") and IRON MAIDEN ("Number Of The Beast","Piece Of Mind"), crispy sounded guitaring of the twin axe duo displaying cutting edge riffing plus melodies and harmonics, basic kind of drumming and classy bass in a British fashion, high register vocals that made me tremble reminding some of England's old shouters, energetic soloing filled with passion, lack of bass on the entire album's production all the way, along with a few raw moments especially on the last track "Alien Savage", but I didn't care because this one felt so much like a vinyl so I let it go.

Though some of these track might sound as cliché' in comparison to what is going on today in the worldwide Metal scene, it shouldn't be approached with that attitude. WITCH CROSS is a classic band that played in the classic times of traditional Metal. Everyone wanted to be somebody, as today, but the material that went on back then more or less was less constructive than the racing for exceptionality that has been going on in the present. With "Fit For Fight" the straightforward basics do the talking, of course with great talents and wonderful musicianship because you can't leave without those. "Rocking TheNight Away" blew my head off right away, such a great vibe of "Living After Midnight", SCORPIONS kind, along with MAIDENish soloing. And when Alex "Savage" Nyborg Madsen started popping the lyrics on the verses, it was back to the late 70s. Now I know why this guy was with a LED ZEPPELIN oriented band years back. The riffing is extra crispy, catchy showcasing why I am a huge fan of rhythm guitars and drumming so basic by so fundamental. The instrumental "Axe Dance" better than "Transylvania", though rather poorly produced it kills. It started a bit foggy, probably from the distortions, but it is insanely melodic, great solo section with a profound rhythm support, main riff chops, should have been classic. "Light Of ATorch" is an early kind of street Metal, reminded me a bit of early RATT at first but continued on that great British path. A one powerful intro that filled me with joy and then it started getting PRIEST all around, damn what a great feeling from those riffs. In last few words, take this one why don't you. It might not sound modern or that highly produced, but it is an important piece of Metal history, essential for your survival with this genre so come share the glory.

Lior 'Steinmetal' Stein



..::TRACK-LIST::..

1. Nightflight To Tokyo 4:23
2. Face Of A Clown 5:17
3. Rocking The Night Away 5:11
4. Killer Dogs 5:04
5. Fight The Fire 5:21
6. Axe Dance 3:21
7. Light Of A Torch 5:42
8. Alien Savage 6:09



..::OBSADA::..

Vocals - Alex Savage
Guitar - Cole Hamilton
Guitar, Backing Vocals - Mike Wlad
Bass - 'Little' John Field
Drums - A.C.




https://www.youtube.com/watch?v=2YdCUmGp1zs



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

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


..::OPIS::..

Jeśli szukasz klasycznego metalowego albumu z dobrym songwritingiem, charakterystycznym wokalem i melodiami, to Witch Cross jest wart uwagi.
Krążek dla każdego, kto poszukuje autentycznej, melodyjnej, poprawiającej nastrój, 'sierocej likantropii' z tamtych przełomowych czasów.

FA


Oh the sweet 80s, what a wonderful history. However, from where I come from if I would have lived in the 80s, I wouldn't have probably known the large number of bands that I came to know since I was first affected by the blackish touch of Heavy Metal music. Time and time again I stumble upon reissues of old 80s albums mostly by bands that I have never heard of. Well, since I am a dead curious like a cat, I had to investigate. Though I haven't reached all of what has been released but I try to keep up as I can. This time Hells Headbangers Records blessed me with the reissue (probably remastered) of something Denmark, yeah the land of the King. I received the debut album, named "Fit For Fight", originally released back in 1984, of the Heavy Metal band WITCH CROSS. The word pure might be delinquent to describe these guys' appreciation towards their roots because they can be categorized as the roots of what is going on today. Nevertheless, these guys also had their derivations and as many back in that time in Europe, took most of their influences from British Metal, meaning NWOBHM, displaying 70s and early 80s JUDAS PRIEST, IRON MAIDEN but also taking that a bit darkened creativeness of their local MERCYFUL FATE, while even producing the debut in a sound outline that is a reminiscent of the older releases of the Danish giant.

In general, "Fit For Fight" isn't probably a so called uniqueness but that vibe and that old school atmosphere that it generates is so rich, sometimes while playing the album it got me a bit emotional as I felt that the old times came back to life for almost forty minutes. There were plenty of bands back then trying to reach to top, some laid down and die, some paved their road to become stars and some were just there sharing their music and keeping the flame burning. WITCH CROSS could have been something glorious in the 80s, but the curse of the lineup changes struck them hard and they left the scenes in 1986. However, both their legacy and their identity came back alive with this release. Playing traditional, somewhat in the zone of post NWOBHM, upstart Rock along with early JUDAS PRIEST ("British Steel" and "Screaming For Vengeance") and IRON MAIDEN ("Number Of The Beast","Piece Of Mind"), crispy sounded guitaring of the twin axe duo displaying cutting edge riffing plus melodies and harmonics, basic kind of drumming and classy bass in a British fashion, high register vocals that made me tremble reminding some of England's old shouters, energetic soloing filled with passion, lack of bass on the entire album's production all the way, along with a few raw moments especially on the last track "Alien Savage", but I didn't care because this one felt so much like a vinyl so I let it go.

Though some of these track might sound as cliché' in comparison to what is going on today in the worldwide Metal scene, it shouldn't be approached with that attitude. WITCH CROSS is a classic band that played in the classic times of traditional Metal. Everyone wanted to be somebody, as today, but the material that went on back then more or less was less constructive than the racing for exceptionality that has been going on in the present. With "Fit For Fight" the straightforward basics do the talking, of course with great talents and wonderful musicianship because you can't leave without those. "Rocking TheNight Away" blew my head off right away, such a great vibe of "Living After Midnight", SCORPIONS kind, along with MAIDENish soloing. And when Alex "Savage" Nyborg Madsen started popping the lyrics on the verses, it was back to the late 70s. Now I know why this guy was with a LED ZEPPELIN oriented band years back. The riffing is extra crispy, catchy showcasing why I am a huge fan of rhythm guitars and drumming so basic by so fundamental. The instrumental "Axe Dance" better than "Transylvania", though rather poorly produced it kills. It started a bit foggy, probably from the distortions, but it is insanely melodic, great solo section with a profound rhythm support, main riff chops, should have been classic. "Light Of ATorch" is an early kind of street Metal, reminded me a bit of early RATT at first but continued on that great British path. A one powerful intro that filled me with joy and then it started getting PRIEST all around, damn what a great feeling from those riffs. In last few words, take this one why don't you. It might not sound modern or that highly produced, but it is an important piece of Metal history, essential for your survival with this genre so come share the glory.

Lior 'Steinmetal' Stein



..::TRACK-LIST::..

1. Nightflight To Tokyo 4:23
2. Face Of A Clown 5:17
3. Rocking The Night Away 5:11
4. Killer Dogs 5:04
5. Fight The Fire 5:21
6. Axe Dance 3:21
7. Light Of A Torch 5:42
8. Alien Savage 6:09



..::OBSADA::..

Vocals - Alex Savage
Guitar - Cole Hamilton
Guitar, Backing Vocals - Mike Wlad
Bass - 'Little' John Field
Drums - A.C.




https://www.youtube.com/watch?v=2YdCUmGp1zs



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

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


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



A rather up and down offering from the band, at times featuring the strong melodies and inspired cover versions which enhanced previous albums, but sometimes drifting into mundane pop-rock. It is the band's own song writing which appears to be waning most, and thus weakening the album as a whole.

Things get off to a fine start with an excellent cover version of the Jam's "Going underground". The song is slowed down from the original punk anthem and transformed into a Springsteen like power ballad. Since there are no Dylan or Springsteen songs on the album, this track makes a more than adequate substitute, to the extent that it alone makes the album worthy of investigation.

Other covers include an atmospheric version of Joni Mitchell's "Banquet" and a superb version of Eddy and the Hotrods "Do anything you wanna do". While the latter is little more than a slightly slowed down pop based affair, complete with girlie vocals on the chorus, it does boast some excellent guitar work. The weakest of the covers is the Beatles "Bulldog" which is rather mundane.

Of the other tracks, "Rescue" is a reasonable Journey like pop piece, and "Crossfire" ends the album with an instrumental jam along the lines of "Waiter there's a yawn in my ear" from "The roaring silence".

There's little sign of the early prog work of the band here, the songs being almost entirely AOR pop rock. An enjoyable album for those who enjoy the more straightforward MMEB style, but don't go looking here for much in the way of prog.

The album is actually credited to Manfred Mann's Earth Band with Chris Thomson. Whether this was an attempt to entice him to remain with the band, or simply intended to acknowledge his distinctive tones is unclear. What is clear is that his vocals are undoubtedly a highlight of the album. (Thomson actually left the band in 1979, but continued to record and tour with them until this album was released in 1986. Concurrently, he attempted to develop a career with his new band, NIGHT.)

The band appeared to have a Uriah Heep moment during the recording of the album, using no less than three different bass players.

Easy Livin



..::TRACK-LIST::..

CD 13 - Manfred Mann's Earth Band with Chris Thompson - Criminal Tango (1986):
1. Going Underground 5:19
2. Who Are The Mystery Kids 3:45
3. Banquet 5:17
4. Killer On The Loose 4:01
5. Do Anything You Wanna Do 4:14
6. Rescue 3:00
7. You Got Me Right Through The Heart 3:54
8. Bulldog 4:24
9. Crossfire 3:42



..::OBSADA::..

Manfred Mann - keyboards
John Lingwood - drums, percussion
Mick Rogers - guitar, vocals
Chris Thompson - lead vocals
Steve Kinch - bass

Additional musicians:
John Giblin - bass
Durban Betancourt-Laverde - bass




https://www.youtube.com/watch?v=djqaHLlo6AM



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

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


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



A rather up and down offering from the band, at times featuring the strong melodies and inspired cover versions which enhanced previous albums, but sometimes drifting into mundane pop-rock. It is the band's own song writing which appears to be waning most, and thus weakening the album as a whole.

Things get off to a fine start with an excellent cover version of the Jam's "Going underground". The song is slowed down from the original punk anthem and transformed into a Springsteen like power ballad. Since there are no Dylan or Springsteen songs on the album, this track makes a more than adequate substitute, to the extent that it alone makes the album worthy of investigation.

Other covers include an atmospheric version of Joni Mitchell's "Banquet" and a superb version of Eddy and the Hotrods "Do anything you wanna do". While the latter is little more than a slightly slowed down pop based affair, complete with girlie vocals on the chorus, it does boast some excellent guitar work. The weakest of the covers is the Beatles "Bulldog" which is rather mundane.

Of the other tracks, "Rescue" is a reasonable Journey like pop piece, and "Crossfire" ends the album with an instrumental jam along the lines of "Waiter there's a yawn in my ear" from "The roaring silence".

There's little sign of the early prog work of the band here, the songs being almost entirely AOR pop rock. An enjoyable album for those who enjoy the more straightforward MMEB style, but don't go looking here for much in the way of prog.

The album is actually credited to Manfred Mann's Earth Band with Chris Thomson. Whether this was an attempt to entice him to remain with the band, or simply intended to acknowledge his distinctive tones is unclear. What is clear is that his vocals are undoubtedly a highlight of the album. (Thomson actually left the band in 1979, but continued to record and tour with them until this album was released in 1986. Concurrently, he attempted to develop a career with his new band, NIGHT.)

The band appeared to have a Uriah Heep moment during the recording of the album, using no less than three different bass players.

Easy Livin



..::TRACK-LIST::..

CD 13 - Manfred Mann's Earth Band with Chris Thompson - Criminal Tango (1986):
1. Going Underground 5:19
2. Who Are The Mystery Kids 3:45
3. Banquet 5:17
4. Killer On The Loose 4:01
5. Do Anything You Wanna Do 4:14
6. Rescue 3:00
7. You Got Me Right Through The Heart 3:54
8. Bulldog 4:24
9. Crossfire 3:42



..::OBSADA::..

Manfred Mann - keyboards
John Lingwood - drums, percussion
Mick Rogers - guitar, vocals
Chris Thompson - lead vocals
Steve Kinch - bass

Additional musicians:
John Giblin - bass
Durban Betancourt-Laverde - bass




https://www.youtube.com/watch?v=djqaHLlo6AM



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

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


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



Manfred Mann's Earth Band were, in their heyday, a very credible live act. Their performances were powerful but the musicianship was always of a high quality. Unlike many other bands, they do not make a habit of releasing live albums, thus enhancing the attraction of this collection.

The renditions are reasonably faithful to the originals, with the occasional slightly extended keyboard flurries from Manfred Mann and guitar solos by Steve Waller.

Chris Thompson is in fine form on vocals, Personally I find his voice to be one of the most atmospheric in the business. The version of Bob Marley's "Redemption song", stripped down to a soft, but at the same time powerful, acoustic performance is particularly noteworthy. "Lies (through the 80's)" is a great upbeat, commercial number. It is more notable now for the lyrics, which reflect all that was new in the late 70's, early 80's ("Credit card limits, push button cash"!).

"Budapest - Live" manages to capture the atmosphere of MMEB's live performances, while retaining something close to studio quality in the music.

Easy Livin



..::TRACK-LIST::..

CD 12 - Budapest Live (1984):
1. Spirits In The Night 6:05
2. Demolition Man 4:27
3. For You 6:49
4. Davy's On The Road Again 4:40
5. Lies (Through The 80s) 4:36
6. Blinded By The Light 7:47
7. Redemption Song 3:24
8. Mighty Quinn 4:10



..::OBSADA::..

Manfred Mann - keyboards, synthesisers, vocals
John Lingwood - drums
Steve Waller - guitar, vocals (except 'Runner')
Chris Thompson - vocals, guitar
Matt Irving - bass, vocals
Mick Rogers - guitar, vocals on 'Runner'




https://www.youtube.com/watch?v=AX6Xxve8_F0



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

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


..::OPIS::..

To wspaniałe wydawnictwo przygotowano dla uczczenia 40. rocznicy powstania zespołu. Pięknie wydany zestaw zawiera 21 CD (zremasterowanych i opakowanych jak LP), 36-stronicową książeczkę z historią zespołu i szczegółowymi opisami każdego albumu oraz 32-stronicową książkę ze wspomnieniami Manfreda, anegdotami i plakatem przedstawiającym aktualny skład zespołu.

Atrakcją jest bez wątpienia album 'Live In Ersingen' zarejestrowany 22 lipca 2011r. z nowym wokalistą Robertem Hartem oraz kompilacja 'Leftovers' zawierająca przebojowe single, nie publikowane wcześniej nagrania oraz rarytasy.
Nakład zestawu jest limitowany!



Manfred Mann's Earth Band were, in their heyday, a very credible live act. Their performances were powerful but the musicianship was always of a high quality. Unlike many other bands, they do not make a habit of releasing live albums, thus enhancing the attraction of this collection.

The renditions are reasonably faithful to the originals, with the occasional slightly extended keyboard flurries from Manfred Mann and guitar solos by Steve Waller.

Chris Thompson is in fine form on vocals, Personally I find his voice to be one of the most atmospheric in the business. The version of Bob Marley's "Redemption song", stripped down to a soft, but at the same time powerful, acoustic performance is particularly noteworthy. "Lies (through the 80's)" is a great upbeat, commercial number. It is more notable now for the lyrics, which reflect all that was new in the late 70's, early 80's ("Credit card limits, push button cash"!).

"Budapest - Live" manages to capture the atmosphere of MMEB's live performances, while retaining something close to studio quality in the music.

Easy Livin



..::TRACK-LIST::..

CD 12 - Budapest Live (1984):
1. Spirits In The Night 6:05
2. Demolition Man 4:27
3. For You 6:49
4. Davy's On The Road Again 4:40
5. Lies (Through The 80s) 4:36
6. Blinded By The Light 7:47
7. Redemption Song 3:24
8. Mighty Quinn 4:10



..::OBSADA::..

Manfred Mann - keyboards, synthesisers, vocals
John Lingwood - drums
Steve Waller - guitar, vocals (except 'Runner')
Chris Thompson - vocals, guitar
Matt Irving - bass, vocals
Mick Rogers - guitar, vocals on 'Runner'




https://www.youtube.com/watch?v=AX6Xxve8_F0



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

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


..::OPIS::..

Czy grindcore i progressive się łączą?
Cóż, powiedziałbym, że absolutnie nie, jednak zarówno w muzyce, jak i w życiu, od każdej reguły istnieją wyjątki.

FA

Crowpath sharpens their knives and continues their blazing path of aural destruction with their sophomore album, Son Of Sulphur. Sacrificing none of the jagged technicality of their debut, Red On Chrome, the band has evolved into a versatile machine that seamlessly marries the grating, trainwreck chaos factor of modern death and grind with lumbering doom metal contractions that inhale the clouds and melt your kneecaps. Son Of Sulphur emphasizes Crowpath's enthusiasm for dynamic musical growth without compromising their abrasive intensity or scab-coated attraction to perverse complexity.




“The floor had a pattern which I can’t describe but it was such to get lost in”–From “Scab Coated Attraction”

Fuckin’ Crowpath. Call ‘em whatever you want–grind, death, tech-core, metalcore; it’s of no consequence. To me it’s no more relevant than pondering the color of the cow when there’s a big tasty fucking steak on your plate. Red on Chrome, the band’s first full-length album, was one of my favorite albums of last year, so I’ve been eager to get my greedy hands on this album for some time. Even with so many strong 2005 offerings from Willowtip (Neuraxis, Gorod, and The Dying Light, to name a couple), the label has ended the year with the unequivocal deathblow of the one-two punch of Arsis and Crowpath. And just as Arsis tightened its chokehold on the genre with A Diamond For Disease, Crowpath has sent a brick through your window with their second album. If you haven’t been paying attention, now’s the time to start.

Crowpath hails from Sweden but has shrugged off the melodic tendencies of many of their compatriots. Looking for a catchy intro? No time. A nice melodic chorus? Fuck you. This band has little use for melody at all, and although this time out they find a little more room for it, we’re still talking jagged shards of dissonance–not exactly anything to hum along with. Drew Ailes was exactly right when in his review of Red on Chrome he said that the album was the first thing to reach for when you want to terrorize your non-metal friends, and that it sounded like the band were playing for their lives. Son of Sulphur, just like its predecessor Red on Chrome, is quite simply a pipe bomb of an album; an explosive blast of overwhelming force and flesh shearing shrapnel. The way the band’s bizarre, jagged technicality and hammering brutality lurch and collide, you’d think they grabbed the devil by the tail and just held on for dear life while havoc ensued. Drummer Eric Hall’s beastly, scattered, and flat out amazing drum work just barely harnesses chaos, as the guitars dive and slice wildly and front man Henrik Ivarsson howls like a tortured/torturing maniac. But for a band that deals in chaos, Crowpath isn’t what’s usually diplomatically referred to as “a difficult listen”. Sure it’s perfect for torturing the non-metal, but what separates Crowpath from a band like Ion Dissonance (who are great in their own right), is that most will find that it doesn’t take a handful of listens to become acclimated to their material. It’s tough to follow but quite easy to enjoy, and without sacrificing a shred of mind-bending technical battery, Son of Sulphurgets the blood pumping from the get go.

Son of Sulphur centers on the theme of pyromania and the obsession, compulsion and tortured soul of the album’s protagonist, seen on the cover as faceless, gaunt, with arms that extend into impossibly long appendages fused into struck matches, while everything around him burns. The concept of flames reaching out destructively in unpredictable directions, and the character’s battle atop the balance of control and chaos, and power and powerlessness lend themselves nicely to the band’s style. This time out Crowpath has expanded their sound slightly by slipping in ribbons of psychotic melody and caustic doomish swells. It’s debatable whether this actually makes the band better, but it definitely creates some nice variation, which separates it from Red on Chrome and shows that the band is continuing to develop. The slurred, staggering organ on “Children of Boredom” and the slow, lumbering behemoth “The Lycanthrope” show mutation without compromising an ounce of murderous intensity. But by far, the majority of the album’s twelve tracks are two-minute long eruptions of frenzied incendiary convulsions, until during the album’s finale, when, unable to live with himself any longer, the album’s protagonist extinguishes himself, the only way that fire meets death, by drowning himself in a lake.

Son of Sulphur has a cleaner production than the band’s debut, and it should also be noted that on “Seed of Arson” and “Picked Clean” Ivarsson gets some vocal help from Johan Karlsson of Abandon, who released the excellent In Reality We Suffer earlier this year (check the review—trust me). Crowpath’s second effort shows that not only are the band more than capable of replicating the addictive technical insanity of their fist album, but also continuing to expand their sound without sacrificing a shred of what makes this band such a promising monstrosity of extreme metal. For the second year in a row, Crowpath has released one of the best albums you’ll hear all year.

Matthew Cooper



..::TRACK-LIST::..

1. Candles And Kerosene 02:10
2. The Will To Burn 03:15
3. Chased, Caught And Charged 02:44
4. Pigeonsmasher 00:59
5. Children Of Boredom (Organ - Maxus Widar) 02:16
6. Self-Destructive Pessimist 02:02
7. Seed Of Arson (Additional Vocal - Johan Karlsson) 01:42
8. Picked Clean (Additional Vocal - Johan Karlsson) 02:05
9. The Lychanthrope 05:30
10. Scab Coated Attraction 01:43
11. Lights Out, Left For Dead 02:15
12. End In Water 07:08



..::OBSADA::..

Vocals - Henrik Ivarsson
Bass - Dan Bengtsson
Drums - Erik Hall
Guitar - Patrik Lundh




https://www.youtube.com/watch?v=E0P6P9usDJk



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

..::INFO::..
---------------------------------------------------------------------
Chuck Berry - Hail! Hail! Rock 'n' Roll
---------------------------------------------------------------------

Artist...............: Chuck Berry
Album................: Hail! Hail! Rock 'n' Roll
Genre................: Rock & Roll
Source...............: CD
Year.................: 1993
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..........: Charly Records

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

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

1. Chuck Berry - Maybellene [02:23]
2. Chuck Berry - Thirty Days [02:25]
3. Chuck Berry - No Money Down [02:59]
4. Chuck Berry - Roll Over Beethoven [02:25]
5. Chuck Berry - Brown Eyed Handsome Man [02:18]
6. Chuck Berry - Too Much Monkey Business [02:57]
7. Chuck Berry - You Can't Catch Me [02:45]
8. Chuck Berry - School Day (Ring! Ring! Goes The Bell) [02:43]
9. Chuck Berry - Rock & Roll Music [02:32]
10. Chuck Berry - Sweet Little Sixteen [03:13]
11. Chuck Berry - Reelin' and Rockin' [03:17]
12. Chuck Berry - Johnny B. Goode [02:40]
13. Chuck Berry - Around And Around [02:40]
14. Chuck Berry - Beutiful Delilah [02:16]
15. Chuck Berry - Carol [02:50]
16. Chuck Berry - Sweet Little Rock And Roller [02:22]
17. Chuck Berry - Almost Grown [02:22]
18. Chuck Berry - Little Queenie [02:43]
19. Chuck Berry - Back In The USA [02:29]
20. Chuck Berry - Memphis, Tenessee [02:13]
21. Chuck Berry - Let It Rock [01:47]
22. Chuck Berry - Bye Bye Johnny [02:08]
23. Chuck Berry - I'm Talking About You [01:51]
24. Chuck Berry - Come On [01:51]
25. Chuck Berry - Nadine (Is It You?) [02:36]
26. Chuck Berry - No Particular Place To Go [02:45]
27. Chuck Berry - You Never Can Tell [02:43]
28. Chuck Berry - Promised Land [02:22]

Playing Time.........: 01:10:47
Total Size...........: 439,33 MB

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


..::OPIS::..

Czy grindcore i progressive się łączą?
Cóż, powiedziałbym, że absolutnie nie, jednak zarówno w muzyce, jak i w życiu, od każdej reguły istnieją wyjątki.

FA

Crowpath sharpens their knives and continues their blazing path of aural destruction with their sophomore album, Son Of Sulphur. Sacrificing none of the jagged technicality of their debut, Red On Chrome, the band has evolved into a versatile machine that seamlessly marries the grating, trainwreck chaos factor of modern death and grind with lumbering doom metal contractions that inhale the clouds and melt your kneecaps. Son Of Sulphur emphasizes Crowpath's enthusiasm for dynamic musical growth without compromising their abrasive intensity or scab-coated attraction to perverse complexity.




“The floor had a pattern which I can’t describe but it was such to get lost in”–From “Scab Coated Attraction”

Fuckin’ Crowpath. Call ‘em whatever you want–grind, death, tech-core, metalcore; it’s of no consequence. To me it’s no more relevant than pondering the color of the cow when there’s a big tasty fucking steak on your plate. Red on Chrome, the band’s first full-length album, was one of my favorite albums of last year, so I’ve been eager to get my greedy hands on this album for some time. Even with so many strong 2005 offerings from Willowtip (Neuraxis, Gorod, and The Dying Light, to name a couple), the label has ended the year with the unequivocal deathblow of the one-two punch of Arsis and Crowpath. And just as Arsis tightened its chokehold on the genre with A Diamond For Disease, Crowpath has sent a brick through your window with their second album. If you haven’t been paying attention, now’s the time to start.

Crowpath hails from Sweden but has shrugged off the melodic tendencies of many of their compatriots. Looking for a catchy intro? No time. A nice melodic chorus? Fuck you. This band has little use for melody at all, and although this time out they find a little more room for it, we’re still talking jagged shards of dissonance–not exactly anything to hum along with. Drew Ailes was exactly right when in his review of Red on Chrome he said that the album was the first thing to reach for when you want to terrorize your non-metal friends, and that it sounded like the band were playing for their lives. Son of Sulphur, just like its predecessor Red on Chrome, is quite simply a pipe bomb of an album; an explosive blast of overwhelming force and flesh shearing shrapnel. The way the band’s bizarre, jagged technicality and hammering brutality lurch and collide, you’d think they grabbed the devil by the tail and just held on for dear life while havoc ensued. Drummer Eric Hall’s beastly, scattered, and flat out amazing drum work just barely harnesses chaos, as the guitars dive and slice wildly and front man Henrik Ivarsson howls like a tortured/torturing maniac. But for a band that deals in chaos, Crowpath isn’t what’s usually diplomatically referred to as “a difficult listen”. Sure it’s perfect for torturing the non-metal, but what separates Crowpath from a band like Ion Dissonance (who are great in their own right), is that most will find that it doesn’t take a handful of listens to become acclimated to their material. It’s tough to follow but quite easy to enjoy, and without sacrificing a shred of mind-bending technical battery, Son of Sulphurgets the blood pumping from the get go.

Son of Sulphur centers on the theme of pyromania and the obsession, compulsion and tortured soul of the album’s protagonist, seen on the cover as faceless, gaunt, with arms that extend into impossibly long appendages fused into struck matches, while everything around him burns. The concept of flames reaching out destructively in unpredictable directions, and the character’s battle atop the balance of control and chaos, and power and powerlessness lend themselves nicely to the band’s style. This time out Crowpath has expanded their sound slightly by slipping in ribbons of psychotic melody and caustic doomish swells. It’s debatable whether this actually makes the band better, but it definitely creates some nice variation, which separates it from Red on Chrome and shows that the band is continuing to develop. The slurred, staggering organ on “Children of Boredom” and the slow, lumbering behemoth “The Lycanthrope” show mutation without compromising an ounce of murderous intensity. But by far, the majority of the album’s twelve tracks are two-minute long eruptions of frenzied incendiary convulsions, until during the album’s finale, when, unable to live with himself any longer, the album’s protagonist extinguishes himself, the only way that fire meets death, by drowning himself in a lake.

Son of Sulphur has a cleaner production than the band’s debut, and it should also be noted that on “Seed of Arson” and “Picked Clean” Ivarsson gets some vocal help from Johan Karlsson of Abandon, who released the excellent In Reality We Suffer earlier this year (check the review—trust me). Crowpath’s second effort shows that not only are the band more than capable of replicating the addictive technical insanity of their fist album, but also continuing to expand their sound without sacrificing a shred of what makes this band such a promising monstrosity of extreme metal. For the second year in a row, Crowpath has released one of the best albums you’ll hear all year.

Matthew Cooper



..::TRACK-LIST::..

1. Candles And Kerosene 02:10
2. The Will To Burn 03:15
3. Chased, Caught And Charged 02:44
4. Pigeonsmasher 00:59
5. Children Of Boredom (Organ - Maxus Widar) 02:16
6. Self-Destructive Pessimist 02:02
7. Seed Of Arson (Additional Vocal - Johan Karlsson) 01:42
8. Picked Clean (Additional Vocal - Johan Karlsson) 02:05
9. The Lychanthrope 05:30
10. Scab Coated Attraction 01:43
11. Lights Out, Left For Dead 02:15
12. End In Water 07:08



..::OBSADA::..

Vocals - Henrik Ivarsson
Bass - Dan Bengtsson
Drums - Erik Hall
Guitar - Patrik Lundh




https://www.youtube.com/watch?v=E0P6P9usDJk



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

★ Szczęśliwego Nowego Roku ★

...( Info )...

Składanka mireczka-stare,nowe,najnowsze vol.40
Gatunek: Dance,Disco,Vixa/Pompa,Trance
Rok:2025
mp3@320kbps
CZAS:01:44:50

...( TrackList )...

1.Tiscore - In the End (Extended Mix)
2.Klaas - Ok Without You
3.Ilyaa, Rebecca Helena - Make A Move (Extended Mix)
4.Celine Dion - Pour Que Tu M'aimes Encore (Remix)
5.Gonzi - Don't Stop!
6.M-H-M - Take Control
7.Yellow Claw & Cesqeaux & GREEN KETCHUP - Make It Clup
8.Steve Aoki, Kaaze - Self Control
9.Steve Aoki & KAAZE - Self Control (Extended Mix)
10.Dominik Saltevski - Euronik
11.Ian Storm, Xavi Mundo, Bosque, Martina Prskalo - Beat Of My Heart (Remix)
12.Kosimo - The Rhythm of the Night
13.Rocco & Whizzer feat. Danil - Everybody money stack (2025)
14.New EuroDance - U Sexy Thing (2025)
15.Jackers Revenge - Cheri Lady (Club Mix)
16.Sound Bass & Mr. Cheez & Virgo Nightbasse ft. Danil x Wyrywka vs. Psycho - Pgrowski węgorz (2025)
17.UCH - Genius Of House
18.Steve Modana - High On a Melody
19.Nino D'Angelo - Senza Giacca e Cravatta (Remix)
20.DJ Manu and Oskar S - Give Up
21.ENDRIU - Deeper Love
22.Kid Dynamo - Anyone Can Dance
23.Zyrex & MCDooG - GOD’S PLAN (Original Mix)
24.DV-116 - No Limit (90's EuroDance Is Back!)
25.Jaime Guerrero - Set Me Free
26.WADE & SARGOS & MATTY & DAVEBORN - GET AFTER IT
27.Jason Derulo & Dj Antoine X Matson feat. Hicham & Lukas vs. Yessa - Talk revolution (2025)
28.AndreySv - Moving Up And Down
29.French Affair - Sexy (Remix)
30.Natasha Hagen - Que Sera (Mix Masters Remix) (SPEED + BASS BOOSTED)

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


..::OPIS::..

Wydany na jesieni 2009 roku box Milesa Davisa „zawiera 52 tytuły i łącznie aż 70 krążków! Po niedawnej, wystrzałowej reedycji dzieł wszystkich The Beatles, to przedsięwzięcie wydawnicze przebija rozmiarem wszystko tego typu, a już na pewno w kategorii jazzu. Po słynnej serii dziesięciu 3-7 kompaktowych boksów, integrujących wszystkie nagrania w wybranych okresach, firma Columbia „poszła na całość” i zaoferowała w jednym pudełku w cienkich tekturowych okładkach wszystkie płyty, jakie firmował Davis pod szyldem Columbii w okresie od 1955 do 1985 r., kiedy nagrywał wyłącznie dla Columbii lub Sony Music.

Pewien chronologiczny wyjątek stanowi włączenie do zwartej kolekcji nieco zapomnianego albumu „In Paris Festival International de Jazz; May 1949”, poszerzonego o dwa niepublikowane utwory. Wtedy to Davis odbył pierwszą podróż do Europy, gdzie przyjmowano go entuzjastycznie, a towarzyszyli mu na scenie: James Moody - ts, Tadd Dameron - p, Barney Spieler - b i Kenny Clarke - dr. Innym, niepublikowanym wcześniej dokumentem z trasy europejskiej jest krążek DVD „Live In Europe ’67” (jedyny w zestawie materiał wideo) zawierający rejestrację z dwóch występów kwintetu Davisa w Sztokholmie i Karlsruhe. Jak na mistrzowską formację przystało (Wayne Shorter - ts, Herbie Hancock - p, Ron Carter - b, Tony Williams - dr), podobny repertuar koncertu grywany w tamtym okresie, przedstawili w wyraźnie odmienny sposób. Można się naocznie przekonać, jak rodziła się ta unikalna interakcja między członkami grupy Davisa, choć on sam wydawał się być jakby ponad nią.

Znakomita większość kompaktów zawiera oryginalny materiał, jaki znajdował się jeszcze na płytach winylowych, lecz repertuar niektórych tytułów został rozszerzony, i tak do „Quiet Nights” dodano dwa utwory, które ukazały się wcześniej na składankach. Podwójny „At Plugged Nickel” zawiera oryginalną sekwencję utworów z koncertu, a wszystkie one pojawiły się w pełnym wymiarze, bez wcześniejszych edytorskich wyciszeń. Materiał z występu septetu Davisa (Gary Bartz - ss, Keith Jarrett, Chick Corea - keyb, Dave Holland - b, Jack DeJohnette - dr, Airto Moreira - perc) podczas angielskiego festiwalu rockowego na wyspie Wight był dotychczas dostępny tylko w okrojonej formie na potrójnej składance z udziałem innych zespołów, lub w pełnym wymiarze na DVD „Electric Miles” wydanym kilka lat temu. Utworzono więc nowy tytuł „Isle Of Wight”, zawierający pełną wersję koncertu w wersji audio i taki włączono do niniejszego zestawu. Wreszcie podwójny album „We Want Miles” wzbogacono o trzy utwory pochodzące z rzadkiej koncertowej płyty „Miles! Miles! Miles!”, wydanej wcześniej wyłącznie w Japonii.

Poszczególne kompakty, w zremasterowanej formie (w sensie audio), zostały opakowane w tekturowe okładki w stylu używanym przez wydawców japońskich. Na okładkach zamieszczono reprodukcje z oryginałów jakie znajdowały się na płytach winylowych. W pudełku o niemonstrualnych rozmiarach oprócz kompaktów znajduje się jeszcze 250-stronicowa książka z biograficznym esejem (w trzech językach) pióra Frederica Goaty’ego, rzadkimi fotosami, memorabiliami, pełną dyskografią z odnośnymi komentarzami Francka Bergerota i indeksem wszystkich utworów.

Powyższe szczegóły są istotne dla kolekcjonerów maksymalistów, również dla tych, którzy pragną odświeżyć zbiory zredukowanym objętościowo cackiem. Natomiast dla rozpoczynających przygodę z jazzem, pragnących zgłębić fenomen maestrii Davisa i prześledzić ewolucję jego koncepcji artystycznych, jest to kuszący (również ceną rzędu 170 EUR) sposób wejścia w posiadanie swego rodzaju jazzowej Biblii w wersji limitowanej.

Mniej wtajemniczonym należy przypomnieć, że znajdą w unikalnym zestawie albumy, które decydująco wpłynęły na rozwój jazzu i wytyczały obszar jazzowego idiomu. Mamy więc w zbiorze uznaną za bezapelacyjnie najwspanialszą płytę jazzową wszech czasów „Kind Of Blue”, której doskonałość i piękno dostrzegły jednomyślnie już dwa pokolenia fanów i krytyków; tego można słuchać bez końca! Kolejne tytuły, które zdobyły najwyższe oceny, a może tylko minimalnie ustępowały kunsztem artystycznym, jak „Miles Ahead”, „Milestones”, „Miles Smiles”, „Bitches Brew”, „On The Corner”, „Agharta” i „Aura”, stanowiły punkty zwrotne w kształtowaniu oblicza jazzu w różnych okresach, a niekiedy, jak w przypadku trzech ostatnich pozycji, wyprzedziły epokę.

Nie można też zapomnieć o cudownym potraktowaniu przez hipnotyczną trąbkę Davisa klimatów hiszpańskich w „Sketches Of Spain”, przy niezwykle harmonijnym wtórowaniu orkiestry Gila Evansa, kojącego nastrojem i urokiem albumu „In a Silent Way”, odmalowaniu bokserskich emocji w ścieżce muzycznej do filmu „Jack Johnson”, czy wreszcie futurystycznym szkicu jazzu przyszłości przedstawionym na koncertowym albumie „Pangaea”, jakby desperacko rzuconym przez mistrza przed pięcioletnią przerwą w działalności artystycznej. Na brak wrażeń nie można narzekać przy każdej pozycji.

Hasło noszone w klapach na pamiętnym Jazz Jamboree ’83 z udziałem Davisa jest nadal aktualne: „We Want Miles!”.

Cezary Gumiński


TO JUŻ OSTATNI KRĄŻEK Z TEGO WYBORNEGO BOXU.



..::TRACK-LIST::..

DVD - Live In Europe '67:
Karlsruhe, Germany
1. Agitation 6:43
2. Footprints 6:03
3. I Fall In Love Too Easily 11:34
4. Walkin' 9:17
5. Gingerbread Boy 5:34
6. The Theme 0:28

Stockholm, Sweden
7. Agitation 6:57
8. Footprints 9:06
9. 'Round Midnight 8:31
10. Gingerbread Boy 7:35
11. The Theme 1:34



..::OBSADA::..

Miles Davis - tpt
Wayne Shorter - ts
Herbie Hancock - p
Ron Carter - b
Tony Williams - dr




https://www.youtube.com/watch?v=VfxRiBn32Fs



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

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


..::OPIS::..

Aura – album nagrany w 1985 przez Milesa Davisa z poszerzonym składem Big Bandu Radia Duńskiego i wydany w 1989.

Aura jest albumem koncepcyjnym i zawiera suitę kompozycji Pallego Mikkelborga. Skomponowana została i dedykowana Milesowi Davisowi po otrzymaniu przez niego w grudniu 1984 nagrody Leonie Sonning Music Prize.
Każda z dziesięciu części suity zatytułowana jest innym kolorem.
Wykonawcą był rozszerzony jazzowy big band, którego rdzeniem był Big Band Radia Duńskiego z tak znanymi muzykami jak Niels-Henning Ørsted Pedersen i Marilyn Mazur. Dokooptowano między innymi Johna McLaughlina.
Było to pierwsze nagranie Milesa Davisa z big bandem po 20 latach.
Charakter muzyki jest stosunkowo mało jazzowy; bardziej zbliża się do fusion z silnymi wpływami współczesnej muzyki (poważnej), zwłaszcza takich kompozytorów jak Olivier Messiaen i Charles Ives. Samą muzykę cechuje chłód.

Po nagraniu albumu Miles Davis zachwycony umiejętnościami Marilyn Mazur zatrudnił ją w swoim następnym zespole koncertującym.
Ze względów kontraktowych album przeleżał na półce do 1989 r., kiedy został wydany przez Columbię.
W 1990 r. otrzymał nagrodę Grammy za "najlepsze jazzowe instrumentalne wykonanie".



The ten performances comprising Miles’ last album on the Columbia label were recorded in 1985 but not released until 1989, sandwiched between various titles on Warner Bros. It was special and unexpected, achieving an effective meeting of the old Miles, of the pinched, lost-in-the-wilderness cry on his Gil Evans collaborations, with mid-1970s, On The Corner Miles—with even the newer Miles: icy, yet still plaintive in his voice. The predominant sounds on Aura are electronic synthesizers and electric guitar mixed in with a jazz orchestra: somber brass and reed parts, delivering airy delicacy on some tracks and bubbling bursts of energy on others. The arrangements are austere and deeply resonant, leaving much space for Miles’ trumpet.

Aura derived from a tribute to Miles held in early 1985 in Denmark after he won the country’s top cultural award. Part of the prize was a recording with Danish musicians; Miles benefited greatly from the guiding hand of Danish composer/trumpeter Palle Mikkelborg, a jazz modernist with deep classical leanings who composed and arranged all the tunes, using the Danish Radio big band and a few special guests, including bassist Niels-Henning Ørsted Pedersen, drummer (and Miles’ nephew) Vince Wilburn, Jr. and guitarist John McLaughlin. Some dated musical elements—like gated drums and a heavy use of reverb—betray Aura as a product of the 1980s; fortunately a sense of good taste and balance prevails.

The tracks are named for simple colors—the closer to white the more subtle and subdued they are musically. The more intense the shade, the more dynamic. “Orange” introduces electronics to the party and gets it rocking. “Red”—with throbbing bass line and tide-like synthesizer swells—flows from one section to another with a kind of solemnity, like a movie score. “Violet” captures McLaughlin in full-force with his less distorted, 1990s sound, cleaner and clearer than the 1970s. It’s Aura’s final track and also includes an especially effective moment when Miles switches from playing mute to open bell. It makes one wish the guitarist and trumpeter had made more music together back in the day.

Aura is Miles’ last great album—fully realized, a suite that made sense as a whole. In 1990, the album earned Miles two GRAMMY Awards for both Best Jazz Instrumental Performance, Soloist and Best Jazz Instrumental Performance, Big Band.



..::TRACK-LIST::..

CD - Aura (1989):
1. Intro 4:26
2. White 6:02
3. Yellow 6:45
4. Orange 8:32
5. Red 6:03
6. Green 8:10
7. Blue 6:32
8. Electric Red 4:17
9. Indigo 5:56
10. Violet 9:00



..::OBSADA::..

Trumpet - Miles Davis
Trumpets and flugelhorns - Benny Rosenfeld, Idrees Sulieman, Jens Winther, Palle Bolvig, Perry Knudsen, Palle Mikkelborg
Trombones - Jens Engel, Ture Larsen, Vincent Nilsson
Bass trombone - Ole Kurt Jensen
Bass trombone, tuba - Axel Windfeld
Saxophones and woodwinds - Bent Jædig, Flemming Madsen, Jesper Thilo, Per Carsten, Uffe Karskov
Oboe and English horn - Niels Eje
Keyboards - Kenneth Knudsen, Ole Kock Hansen, Thomas Clausen
Guitars - Bjarne Roupé, John McLaughlin
Bass - Niels-Henning Ørsted Pedersen
Fender bass and fretless bass - Bo Stief
Drums - Lennart Gruvstedt
Electronic drums - Vincent Wilburn Jr.
Percussion - Ethan Weisgaard, Marilyn Mazur
Harp - Lillian Thornquist
Vocals - Eva Hess-Thaysen




https://www.youtube.com/watch?v=tlMB01PNDfQ


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

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


..::OPIS::..

Aura – album nagrany w 1985 przez Milesa Davisa z poszerzonym składem Big Bandu Radia Duńskiego i wydany w 1989.

Aura jest albumem koncepcyjnym i zawiera suitę kompozycji Pallego Mikkelborga. Skomponowana została i dedykowana Milesowi Davisowi po otrzymaniu przez niego w grudniu 1984 nagrody Leonie Sonning Music Prize.
Każda z dziesięciu części suity zatytułowana jest innym kolorem.
Wykonawcą był rozszerzony jazzowy big band, którego rdzeniem był Big Band Radia Duńskiego z tak znanymi muzykami jak Niels-Henning Ørsted Pedersen i Marilyn Mazur. Dokooptowano między innymi Johna McLaughlina.
Było to pierwsze nagranie Milesa Davisa z big bandem po 20 latach.
Charakter muzyki jest stosunkowo mało jazzowy; bardziej zbliża się do fusion z silnymi wpływami współczesnej muzyki (poważnej), zwłaszcza takich kompozytorów jak Olivier Messiaen i Charles Ives. Samą muzykę cechuje chłód.

Po nagraniu albumu Miles Davis zachwycony umiejętnościami Marilyn Mazur zatrudnił ją w swoim następnym zespole koncertującym.
Ze względów kontraktowych album przeleżał na półce do 1989 r., kiedy został wydany przez Columbię.
W 1990 r. otrzymał nagrodę Grammy za "najlepsze jazzowe instrumentalne wykonanie".



The ten performances comprising Miles’ last album on the Columbia label were recorded in 1985 but not released until 1989, sandwiched between various titles on Warner Bros. It was special and unexpected, achieving an effective meeting of the old Miles, of the pinched, lost-in-the-wilderness cry on his Gil Evans collaborations, with mid-1970s, On The Corner Miles—with even the newer Miles: icy, yet still plaintive in his voice. The predominant sounds on Aura are electronic synthesizers and electric guitar mixed in with a jazz orchestra: somber brass and reed parts, delivering airy delicacy on some tracks and bubbling bursts of energy on others. The arrangements are austere and deeply resonant, leaving much space for Miles’ trumpet.

Aura derived from a tribute to Miles held in early 1985 in Denmark after he won the country’s top cultural award. Part of the prize was a recording with Danish musicians; Miles benefited greatly from the guiding hand of Danish composer/trumpeter Palle Mikkelborg, a jazz modernist with deep classical leanings who composed and arranged all the tunes, using the Danish Radio big band and a few special guests, including bassist Niels-Henning Ørsted Pedersen, drummer (and Miles’ nephew) Vince Wilburn, Jr. and guitarist John McLaughlin. Some dated musical elements—like gated drums and a heavy use of reverb—betray Aura as a product of the 1980s; fortunately a sense of good taste and balance prevails.

The tracks are named for simple colors—the closer to white the more subtle and subdued they are musically. The more intense the shade, the more dynamic. “Orange” introduces electronics to the party and gets it rocking. “Red”—with throbbing bass line and tide-like synthesizer swells—flows from one section to another with a kind of solemnity, like a movie score. “Violet” captures McLaughlin in full-force with his less distorted, 1990s sound, cleaner and clearer than the 1970s. It’s Aura’s final track and also includes an especially effective moment when Miles switches from playing mute to open bell. It makes one wish the guitarist and trumpeter had made more music together back in the day.

Aura is Miles’ last great album—fully realized, a suite that made sense as a whole. In 1990, the album earned Miles two GRAMMY Awards for both Best Jazz Instrumental Performance, Soloist and Best Jazz Instrumental Performance, Big Band.



..::TRACK-LIST::..

CD - Aura (1989):
1. Intro 4:26
2. White 6:02
3. Yellow 6:45
4. Orange 8:32
5. Red 6:03
6. Green 8:10
7. Blue 6:32
8. Electric Red 4:17
9. Indigo 5:56
10. Violet 9:00



..::OBSADA::..

Trumpet - Miles Davis
Trumpets and flugelhorns - Benny Rosenfeld, Idrees Sulieman, Jens Winther, Palle Bolvig, Perry Knudsen, Palle Mikkelborg
Trombones - Jens Engel, Ture Larsen, Vincent Nilsson
Bass trombone - Ole Kurt Jensen
Bass trombone, tuba - Axel Windfeld
Saxophones and woodwinds - Bent Jædig, Flemming Madsen, Jesper Thilo, Per Carsten, Uffe Karskov
Oboe and English horn - Niels Eje
Keyboards - Kenneth Knudsen, Ole Kock Hansen, Thomas Clausen
Guitars - Bjarne Roupé, John McLaughlin
Bass - Niels-Henning Ørsted Pedersen
Fender bass and fretless bass - Bo Stief
Drums - Lennart Gruvstedt
Electronic drums - Vincent Wilburn Jr.
Percussion - Ethan Weisgaard, Marilyn Mazur
Harp - Lillian Thornquist
Vocals - Eva Hess-Thaysen




https://www.youtube.com/watch?v=tlMB01PNDfQ


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

..::INFO::..

---------------------------------------------------------------------
Samantha Fox - The Megamix Album
---------------------------------------------------------------------

Artist...............: Samantha Fox
Album................: The Megamix Album
Genre................: Pop
Source...............: CD
Year.................: 1987
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..........: Jive Japan

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

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

1. Samantha Fox - Touch Me (I Want Your Body) [03:56]
2. Samantha Fox - I Surrender (To The Spirit Of The Night) [04:40]
3. Samantha Fox - Naughty Girls (Need Love Too) [07:43]
4. Samantha Fox - Nothing's Gonna Stop Me Now [04:38]
5. Samantha Fox - If Music Be The Food Of Love [04:13]
6. Samantha Fox - I Promise You [04:51]
7. Samantha Fox - (I Can't Get No) Satisfaction [03:49]
8. Samantha Fox - He's Got Sex [01:41]
9. Samantha Fox - Hold On Tight [03:26]
10. Samantha Fox - Do Ya Do Ya (Wanna Please Me) [05:13]
11. Samantha Fox - True Devotion [04:36]

Playing Time.........: 48:51
Total Size...........: 322,01 MB

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


..::OPIS::..

Prawdziwy eksperyment, jak 'Why Don't You Eat Carrots'.
'Fresh Air' jest pełen barwnej wariacji dźwiękowej, całkowicie pozbawionej ograniczeń ze strony sceny rockowej. To ich podejście można by chyba uznać za swoistą antytezę wszystkiego, co dzieje się obecnie... jakby na całym albumie twierdzili, że 'muzyka pop musi iść do diabła'.

To powiew świeżości w wielkim schemacie rocka eksperymentalnego.



In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub and Ysanne Spevack as a wonderful wavemaker on the viola.

Books out! Class work! Subject: Geometry. What do all these rectangles, circles, dots, and triangles mean to you? It's not so old-school when Werner "Zappi" Diermaier presents his geometrical forms. But the question that bandmates and the audience at the California Institute of the Arts were confronted with was a rather similar one: How would you transform the graphic score, which is currently projected onto the screen, into acoustic signals? The result was a wildly meandering, high -intensity, 23 - second symphony, in which the onomatopoetic knot bursts. "It's a sort of dadaist choir, a musique impressionist e," says faUSt founder Jean-Hervé Péron. "People participated right away." "Sounds like a sporting event! And the audience screams: Hurray!" says Zappi Diermaier. Two perspectives on one idea from faUSt. Very good! Sit down! Continue!

But let's start from the beginning. faUSt has recorded a new album. It is entitled "Fresh Air" and differs in several respects from its predecessor "Just Us", from the year 2014. At the time, the recordings were made at Péron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, Péron and Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a 28-day tour in March/April 2016).

In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now.
Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. Or just phonetically – along the geometry. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub a nd Ysanne Spevack as a wonderful wavemaker on the viola. The seven and a half minute title track, which faUSt deliberately placed at the beginning of the album ("so you can enjoy it for a long time," says Zappi Diermaier), begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?"

"Engajouez vous!" Péron presents this franco-faUStian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl": "Allons enfants de l'Anarchie, notre jour de jouir est arrive ". The call results from wild horror at a collapsing world: "Artists, engage through your songs, L'art pour l'art is finished." Péron quotes with his voice, above the polyphonic undergrowth that colleague Zappi so nimbly unleashes, and Barbara Manning sneaks word sketches from her bag of tricks into the hymn. And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect - based text piece, which starts with Chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and a schnapps and suddenly sees two cows. "Is it from the chlorophyl?"Good question, but no answer comes. At the last moment, these texts also want to join in the shuffle. The words and music and noise fall together continuously, sometime s a track is created completely from the free interplay of the forces that emerge when the musicians in the session approach each other. "Enlightened dilettantism" is the term used by faUSt. The story of the band can tell that tale nicely.

As Krautrockers,Faust (as the name was written before they later reformed) had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to Bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. They were big in Britain before the notion of Krautrock had made the rounds in Germany. One can still feel the breathing of this music, the bubbling of this primal soup, in current faUSt pieces, in the stoneage thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". But you will also be able to distinguish the as - yet- unheard if you allow yourself enough audio time. The sound of a squeaky door from the house of Jean -Hervé Péron, for which the musician has the same kind of enthusiasm others might reserve for a brilliant guitar riff ("gripping, touching"); or the minute -long fadeout of "Fish", which Zappi Diermaier is so excited about. The only plan is for the band to take off without a plan. "We let the music play through us," says Jean-Hervé Péron. Everything else is up to the listener, to make his own film. Jean-Hervé Péron has a little tip for us:
Listen to the fish.



..::TRACK-LIST::..

1. Fresh Air 17:30
2. Birds Of Texas 2:30
3. Partitur 0:22
4. La Poulie 6:37
5. Chlorophyl 8:04
6. Lights Flickr 5:39
7. Fish 11:22

Tracks 1 and 7 recorded live at WFMU, Jersey City
Tracks 2 and 4 recorded at Al Nico Studios, Austin
Tracks 3, 5 and 6 recorded at CalArts, Los Angeles by John Baffa.




..::OBSADA::..

Jean-Hervé Peron - composer & performer
Werner Diermeier - composer & performer

With:
Maxime Manac'h - performer
Barbara Manning - performer
Beata Budkiewicz - performer
Braden Diotte - performer
Juergen Engler - performer
Michael Day - performer
Robert Pepper - performer
Ulrich Krieger - performer
Ulrike Stöve - performer
Ysanne Spevack - performer




https://www.youtube.com/watch?v=16K4r1F4b90



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

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


..::OPIS::..

Prawdziwy eksperyment, jak 'Why Don't You Eat Carrots'.
'Fresh Air' jest pełen barwnej wariacji dźwiękowej, całkowicie pozbawionej ograniczeń ze strony sceny rockowej. To ich podejście można by chyba uznać za swoistą antytezę wszystkiego, co dzieje się obecnie... jakby na całym albumie twierdzili, że 'muzyka pop musi iść do diabła'.

To powiew świeżości w wielkim schemacie rocka eksperymentalnego.



In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub and Ysanne Spevack as a wonderful wavemaker on the viola.

Books out! Class work! Subject: Geometry. What do all these rectangles, circles, dots, and triangles mean to you? It's not so old-school when Werner "Zappi" Diermaier presents his geometrical forms. But the question that bandmates and the audience at the California Institute of the Arts were confronted with was a rather similar one: How would you transform the graphic score, which is currently projected onto the screen, into acoustic signals? The result was a wildly meandering, high -intensity, 23 - second symphony, in which the onomatopoetic knot bursts. "It's a sort of dadaist choir, a musique impressionist e," says faUSt founder Jean-Hervé Péron. "People participated right away." "Sounds like a sporting event! And the audience screams: Hurray!" says Zappi Diermaier. Two perspectives on one idea from faUSt. Very good! Sit down! Continue!

But let's start from the beginning. faUSt has recorded a new album. It is entitled "Fresh Air" and differs in several respects from its predecessor "Just Us", from the year 2014. At the time, the recordings were made at Péron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, Péron and Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a 28-day tour in March/April 2016).

In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now.
Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. Or just phonetically – along the geometry. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub a nd Ysanne Spevack as a wonderful wavemaker on the viola. The seven and a half minute title track, which faUSt deliberately placed at the beginning of the album ("so you can enjoy it for a long time," says Zappi Diermaier), begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?"

"Engajouez vous!" Péron presents this franco-faUStian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl": "Allons enfants de l'Anarchie, notre jour de jouir est arrive ". The call results from wild horror at a collapsing world: "Artists, engage through your songs, L'art pour l'art is finished." Péron quotes with his voice, above the polyphonic undergrowth that colleague Zappi so nimbly unleashes, and Barbara Manning sneaks word sketches from her bag of tricks into the hymn. And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect - based text piece, which starts with Chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and a schnapps and suddenly sees two cows. "Is it from the chlorophyl?"Good question, but no answer comes. At the last moment, these texts also want to join in the shuffle. The words and music and noise fall together continuously, sometime s a track is created completely from the free interplay of the forces that emerge when the musicians in the session approach each other. "Enlightened dilettantism" is the term used by faUSt. The story of the band can tell that tale nicely.

As Krautrockers,Faust (as the name was written before they later reformed) had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to Bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. They were big in Britain before the notion of Krautrock had made the rounds in Germany. One can still feel the breathing of this music, the bubbling of this primal soup, in current faUSt pieces, in the stoneage thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". But you will also be able to distinguish the as - yet- unheard if you allow yourself enough audio time. The sound of a squeaky door from the house of Jean -Hervé Péron, for which the musician has the same kind of enthusiasm others might reserve for a brilliant guitar riff ("gripping, touching"); or the minute -long fadeout of "Fish", which Zappi Diermaier is so excited about. The only plan is for the band to take off without a plan. "We let the music play through us," says Jean-Hervé Péron. Everything else is up to the listener, to make his own film. Jean-Hervé Péron has a little tip for us:
Listen to the fish.



..::TRACK-LIST::..

1. Fresh Air 17:30
2. Birds Of Texas 2:30
3. Partitur 0:22
4. La Poulie 6:37
5. Chlorophyl 8:04
6. Lights Flickr 5:39
7. Fish 11:22

Tracks 1 and 7 recorded live at WFMU, Jersey City
Tracks 2 and 4 recorded at Al Nico Studios, Austin
Tracks 3, 5 and 6 recorded at CalArts, Los Angeles by John Baffa.




..::OBSADA::..

Jean-Hervé Peron - composer & performer
Werner Diermeier - composer & performer

With:
Maxime Manac'h - performer
Barbara Manning - performer
Beata Budkiewicz - performer
Braden Diotte - performer
Juergen Engler - performer
Michael Day - performer
Robert Pepper - performer
Ulrich Krieger - performer
Ulrike Stöve - performer
Ysanne Spevack - performer




https://www.youtube.com/watch?v=16K4r1F4b90



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

..::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. Wstawka zawiera ścieżkę dźwiękową do filmu Koreyoshi Kurahary Nankyoku Monogatari (znanego też jako Antarctica).

Title: Antarctica

Artist: Vangelis

Country: Grecja

Year: 1983

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( Track list )...

Theme from Antarctica
Antarctica Echoes
Kinematic
Song of White
Life of Antarctica
Memory of Antarctica
Other Side of Antarctica
Deliverance

...( Info )...

Artist: Whitney Houston
Title: Love, Whitney
Year: 2001
Genre: Electronic, Funk, Soul, Pop
Style: Contemporary R&B, Soul, Ballad
Publisher (label): Arista
Country: Europe
Duration: 01:13:28
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Until You Come Back (00:04:56)
02. I Have Nothing (00:04:51)
03. Why Does It Hurt So Bad (00:04:40)
04. You Give Good Love (00:04:12)
05. All The Man That I Need (00:03:58)
06. Where Do Broken Hearts Go (00:04:38)
07. Just The Lonely Talking Again (00:05:33)
08. Exhale (Shoop Shoop) (00:03:25)
09. Miracle (00:05:47)
10. For The Love Of You (00:05:36)
11. Saving All My Love For You (00:03:57)
12. Run To You (00:04:28)
13. I Believe In You And Me (00:03:55)
14. Didn't We Almost Have It All (00:04:39)
15. All At Once (00:04:29)
16. I Will Always Love You (00:04:24)

...( Info )...
Title: Confrontar
Artist: Immersyon
Year: 2025
Genre: Heavy, Thrash Metal
Country: Chile

Duration: 00:43:29
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...
01. Almas Navegantes (02:18)
02. Calaveras Amarillas (04:44)
03. Kalwarëngo (03:35)
04. Vaticano (03:45)
05. Confrontar (06:15)
06. Descendiente (04:48)
07. Hermanos y Lobos (03:20)
08. Precursor de Mentiras (04:38)
09. Por los Que No Están (02:52)
10. Esclavo Silente (07:09)

...( Info )...
Title: Nekromanteia
Artist: Usaria
Year: 2025
Genre: Progressive, Heavy Metal
Country: Poland

Duration: 00:50:12
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...
01. Ewokacja (07:55)
02. Zamiec (04:25)
03. Nemezis (06:58)
04. Gloria Victis (07:12)
05. Skrzydlata Husaria (08:11)
06. Elizjum (08:30)
07. Przepowiednia (06:56)

...( Info )...
Title: Dance of the undead
Artist: Midnight Driver
Year: 2025
Genre: Melodic, Power-Metal
Country: France

Duration: 00:46:47
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...
01. In vain (04:11)
02. Born again (04:05)
03. Take me home (04:32)
04. One love (04:09)
05. Cemetery challenge (04:25)
06. Every lies (04:26)
07. Dance of the undead (04:37)
08. The rhythm of midnight (04:33)
09. Brothers of the sea (05:44)
10. Power of thousand hearts (06:00)

..::INFO::..

---------------------------------------------------------------------
Jive Bunny And The Mastermixers - The Album
---------------------------------------------------------------------

Artist...............: Jive Bunny And The Mastermixers
Album................: The Album
Genre................: Pop
Source...............: CD
Year.................: 1989
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..........: ATCO Records

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

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

1. Jive Bunny And The Mastermixers - Swing The Mood [06:10]
2. Jive Bunny And The Mastermixers - Rock And Roll Party Mix[03:48]
3. Jive Bunny And The Mastermixers - Lover's Mix [05:41]
4. Jive Bunny And The Mastermixers - Do You Wanna Rock [06:08]
5. Jive Bunny And The Mastermixers - That's What I Like [05:26]
6. Jive Bunny And The Mastermixers - Glenn Miller Medley [03:50]
7. Jive Bunny And The Mastermixers - Swing Sisters Swing [05:21]
8. Jive Bunny And The Mastermixers - Hopping Mad [05:54]

Playing Time.........: 42:21
Total Size...........: 273,59 MB


"Swing The Mood" contains excerpts from:
In The Mood (A.Pazlof/J.Garland)
Pennsylvania 6-5000 (G.Sigmond/J.Gray)
Little Brown Jug (Trad. Arr. Doherty/Anderson)
Let's Twist Again (Mann/Appell)
Rock Around The Clock (Freeman/DeKnight)
Rock A Beatin' Boogie (Haley)
Tutti Frutti (LaBostrie/Penniman/Lubin)
Wake Up Little Suzie (F.&B.Bryant)
C'Mon Everybody (E.Cochran/J.Capeheart)
Hound Dog (Leiber/Stoller)
Shake, Rattle And Roll (Calhoun)
All Shook Up (Presley/Blackwell)
Jailhouse Rock (Leiber/Stoller)
At The Hop (Singer/Madara/White)

"Rock And Roll Part Mix" contains excerpts from:
Tutti Frutti (Labostrie/Penniman/Lubin)
Roll Over Beethoven (Berry)
Ooh My Soul (Penniman)
Keep A Knockin (Penniman)
Shout Shout (Knock Yourself Out) (Marasca/Bogdany)

"Lover's Mix" contains excerpts from:
All I Have Is To Dream (F.&B.Bryant)
Silence Is Golden (Gaudio/Crewe)
Rhythm Of The Rain (J. Gummoe)
Will You Still Love Me Tomorrow (King/Goffin)
Diana (Anka)

"Do You Wanna Rock" contains excerpts from:
Do You Wanna Dance (B.Blue /R.Rocker/G.Shury)
Do You Wanna Touch Me (Glitter/Leander)
Get It On (M.Bolan)
Teenage Rampage (Chinn/Chapman)
Hot Love (M.Bolan)
Devil Gate Drive (Chinn/Chapman)
I'm The Leader Of The Gang (Glitter/Leander)

"That's What I Like" contains excerpts from:
Hawaii 5-0 (Morton Stevens)
Let's Twist Again (Mann/Appell)
Let's Dance (Jim Lee)
Wipe Out (Wilson/Fuller/Hill/Conolly)
Great Balls Of Fire (J.Hammer/O.Blackwell)
Johnny B. Goode (Riff) (Chuck Berry)
Good Golly Miss Molly (Richard Penniman)
The Twist (Hand Ballard)
Summertime Blues (Riff) (Cochran/Capeheart)
Razzle Dazzle (Calhoun)
Runaround Sue (E.Maresca/D.Dimucci)
Chantilly Lace (J.P. Richardson)

"Glenn Miller Medley" contains excerpts from:
In The Mood (A.Pazof/J.Garland)
Little Brown Jug (Trad. Arr. Doherty/Anderson)
American Patrol (Trad. Arr. Doherty/Anderson)
Pennsylvania 6-5000 (G.Sigmund/J.Gray)

"Swing Sisters Swing" contains excerpts from:
Chattanooga Choo Choo (Warren/Gordon)
Don't Sit Under The Apple Tree With Anyone Else But Me (Brown/Tobias/Stept)
Hold Tight (Brandow/Spotswood)
The Coffee Song (Bob Hilliard/Dick Miles)
Lullabye Of Broadway (Dublin/Warren)
Boogie Woogie Bugle Boy (Rayne/H.Price)
String Of Pearls (Gray/DeLange)
St. Louis Blues (Handy)

"Hopping Mad" contains excerpts from:
Shout (Isley Brothers)
March Of The Mods (Tony Carr)
Da Doo Ron Ron (Spector/Greenwich/Barry)
Come Back My Love (Bobby Mansfield)
Runaway (Shannon/Croock)
Poetry In Motion (Kaufman/Anthony)
Lucille (Penniman/Collins)
I'm Into Something Good (Goffin King)
Help Me Rhonda (Brian Wilson)

...( Info )...

Artist: VA
Title: 190 Shades of Blues
Year: 2025
Genre: Blues, Lyric, Soul
Duration: 12:43:56
Format/Codec: MP3
Audio Bitrate: 320 Kbps


...( TrackList )...

001. Richard Cagle - Wish I Was In Heaven (00:03:19)
002. Crooked Myth - You Picked Me (00:03:20)
003. Reed Turchi - Get Back Train (00:02:36)
004. Andres Sanchez - Let Me Be (00:04:53)
005. Julio Sol - Streetlights & Silence (00:01:42)
006. Teskey - Redemption Blues (00:04:38)
007. 5Th Tha Chemist - Took Everything But The Dog (00:02:42)
008. Brandon Santini - She Got The Way (00:03:00)
009. Rhythmsoul - Whispers Of A Lonesome Road (00:04:00)
010. Sol Raven - Ways Of The World (00:03:30)
011. Kanoa - Truth In Every Tale (00:03:15)
012. Ron D Bowes - There's A Wooden Shack (00:04:30)
013. Eric Clapton - Walkin (00:04:14)
014. Lightnin' Malcolm - Bounce (00:04:02)
015. Carolyn Wonderland - Deepest Ocean Blue (00:03:52)
016. Wreckless James - Tears For The Labrador (00:02:42)
017. Wreckless James - Back In 85 (00:04:02)
018. Buddy Reed & Th' Rip It Ups - You Shop (00:02:45)
019. Caden Morrowick - Losing Sanity (00:04:10)
020. Anthony Big A Sherrod - Everybody Ain't Your Friend (00:05:05)
021. Mercedes Nicole - Life's Struggles (00:03:28)
022. Unna & Helge Tallqvist Band - Will My Man Be Home Tonight (00:03:54)
023. Dark Blues Society - Whispers In The Cellar (00:03:10)
024. Magnetic Gardener - Me And The River (00:04:34)
025. John Haydock - Stranger In The Promised Land (00:05:21)
026. Azure Riff - Fuck You (00:03:14)
027. Henrik Sundqvist - Waterfall (00:04:22)
028. Alex Deuzeman - Catching Flies (00:05:01)
029. Luke - Love, Peace & War (00:04:46)
030. Johnny Winter - By The Light Of The Silvery Moon (00:02:16)
031. Melon Jelly - This Life (00:04:03)
032. Trisha Yearwood - So Many Summers (00:03:29)
033. Kerry Kearney - Bobbique Romp (00:03:33)
034. Jack Ironwood - Hunger Of The Quiet (00:03:12)
035. Nancy Cassidy - Two More Hours (00:02:42)
036. Brad Wilson - I Work Alone (00:03:48)
037. Jon Cleary - Pickle For A Tickle (00:03:29)
038. Eva Carboni - Goin' Back Home (00:03:51)
039. J.T. & The Plastic Garden Band - Mudfunk Melee (00:03:00)
040. Kuddel Renner - I Won't Let The Fire Burn (00:04:16)
041. Howlin Monkey - Sunset Over The Mill House Stand (00:03:46)
042. Blues Escape - Do I Move You? (00:05:39)
043. Luther Johnson - Broken Glass And Broken Dreams (00:02:37)
044. D.K. Harrell - Good Man (00:03:32)
045. Al Jones - She Got Me (00:03:22)
046. Shack - Alcenia's (00:04:03)
047. Big Martin - You Don't Do Me Right (00:03:06)
048. Bobby Messano - One Inch From The Gun (00:05:16)
049. North Mississippi Allstars - Don't Let The Devil Ride (00:06:15)
050. The Christopher Dean Band - Running Stop Lights (00:05:13)
051. Fade Poet - Dark-Eyed Mary (00:03:59)
052. Downhome Kin - Harbor Of Dreams (00:02:41)
053. Julian Heart - Ashes On The Floor (00:06:25)
054. Alex Henley - Working Sideways (00:03:14)
055. Mississippi Macdonald - Got To Get To Walkin' (00:04:21)
056. Crystal Shawanda - Too Far To Turn Around (00:04:02)
057. Cottonfield Blues - I Kissed You In My Dreams (00:03:52)
058. Ghorppo - Shelter In His Shadow (00:03:03)
059. Gerrit Veldman Band - Help Me To Remember (00:03:28)
060. Lust Rhythms - Romantic Rhythm In The Dark (00:04:59)
061. Chapel Blues - Diesel Blues (00:05:49)
062. The British Bluescasting Corporation - I Don't Know How I'd Get By (00:04:08)
063. Mick Clarke - Don't Go No Further! (00:03:23)
064. Strong Bow & Wry - The Worst Thing (00:03:09)
065. Taj Mahal - Better Than Ever (00:05:04)
066. John Christopher Morgan - San Buenaventura (00:03:16)
067. Jennifer Lyn & The Groove Revival - Breaking Chains (00:02:50)
068. Van Morrison - The Only Love I Ever Need Is Yours (00:02:36)
069. Derek Mc Gowan - One More Song For The Road (00:05:04)
070. Between The Bricks - Breathe (00:05:51)
071. Andi Pexton - My Truck, Your Bar (00:02:28)
072. Rees Shad - Brighter Daze (00:04:44)
073. E&B Haircut - The Story Blues (00:04:26)
074. Bror Gunnar Jansson - Refuge (00:03:43)
075. Noir & Gerber - Toute La Nuit (00:05:06)
076. Andrea Marquee - Lovesick Blues (00:02:46)
077. Misty Blues - Easy Peasy (00:03:21)
078. Maria Muldaur - No, Papa, No! (00:03:15)
079. Tres Pistoleros E Donã Kay - Whiskey Woman (00:04:25)
080. Willie Buck & Bob Corritore - Me And My Baby (00:02:57)
081. Bob Corritore - Went Home This Morning (00:03:33)
082. Anvoid - Quando O Fim Chegar (00:03:53)
083. Bob Forte - Nureci Blues (00:03:22)
084. Max Hightower - Too Much Of Not Enough (00:03:43)
085. Selma French - Still Do Anything (00:05:23)
086. 74 After Dark - Gas Money Dreams (00:03:15)
087. Yates Mckendree - Something You Got (00:03:46)
088. Tommy Baldwin - Liar (00:04:28)
089. Harry Newcock - Room Full Of Me (00:03:15)
090. Lana Quyen - My Heart Belongs To You (00:02:58)
091. Ben E. King - Souvenir Of Mexico (00:02:24)
092. Daddy Longlegs - Devils Got My Details (00:05:10)
093. Nina Nesbitt - Crooked Teeth (00:04:21)
094. The Mavericks - Pardon Me (00:03:42)
095. Krioz - Mon Amour (00:03:49)
096. Kingboy N.D - Rich In Love (00:04:04)
097. Ruthie Foster - Mileage (00:04:02)
098. Flickering Alley - Fractured Abyss (00:03:30)
099. Cabin Ai - _Find My Rhythm (00:02:49)
100. Ebru - Şeytan Tüyü (00:02:48)
101. Pandora's Box - Queen Of The Storm (00:03:49)
102. Lowland Blues - Should The Night (00:04:14)
103. Felipe Renfro - Eyeliner And Alibis (00:03:02)
104. Big Hurt - Unbreak My Heart (00:03:15)
105. Lioren - Silent Love (00:04:50)
106. Jii Von Der - Dreams Of Heart (00:02:34)
107. Charlie Musselwhite - Open Road (00:03:30)
108. Huckleberry - Drinkin Wine Spodie Odie (00:03:51)
109. Frost Drift - Southern Love Engine (00:03:40)
110. Jessie Lee & The Alchemists - Good Old Days Are Gone (00:04:54)
111. Joharpo - Under Water (00:02:10)
112. Greg Boosh - Falling Rain And Sadness (00:03:14)
113. B.B. King - You Upset Me Baby (00:02:39)
114. The Smoothies - Forever And Always (00:03:03)
115. Bernie Marsden - Man Of The World (00:02:57)
116. I.P. Freely - This Is Hell (00:04:24)
117. Ps & Co - Biðraðablús (00:02:26)
118. Alison Joy Williams - Wish I Did (00:04:01)
119. Bryan Lee - You Sure Drive A Hard Bargain (00:04:27)
120. Madelief Vergeetmeniet - Ik Denk Dat Hij Nog Denkt Aan Mij (00:03:32)
121. Larry Mccray - Stop Your Crying (00:04:31)
122. Asger Jorn - I Am No Longer The Man Of Yesterday (00:03:32)
123. Lana Rosewood - Forever Starts Tonight (00:03:28)
124. John Primer - Shame Shame Shame (00:04:28)
125. Hi Blues - Pam - Dangerous Woman (00:05:14)
126. Terry Hanck - When I Get My Shit Together (00:04:08)
127. Chris Vincent - Skinned Knees (00:02:31)
128. Garret T. Willie - Hypnotist (00:06:07)
129. Aki Kumar - Hard To Get (00:03:49)
130. Mojo Hands - Troubles Troubles (00:02:56)
131. Sean Poluk - Something More (00:03:58)
132. Olav & The Blues Cruise - Here To Stay (00:05:09)
133. James Day - Desert Song (00:03:50)
134. Ed Alstrom - Success (00:04:09)
135. Father'n'son - You Got To Move (00:04:19)
136. Mitch Laddie - Faith (00:04:41)
137. Fabulous Gabriel - I Can't Believe It (00:04:32)
138. Pmad - Fire (00:03:47)
139. Freunde Lastaus - Entrümpeln (00:04:14)
140. Kinland Station - Baby's Back (00:04:30)
141. Askøld - Midnight Rush (00:05:04)
142. Mauro Ferrarese - Just Forget It (00:03:21)
143. Blue Blue - Mud On My Boots (00:03:51)
144. Arend Jansen - Feels Like Rain (00:05:00)
145. Lana Rosewood - Dreams Of Forever (00:03:25)
146. Bubba Coon - Long As I Got You Jimmy Goodwin (00:03:07)
147. Wildboy Sworn - Bring Me Your Love (00:02:46)
148. Nate Hammer - On The Run (00:05:26)
149. Soultide - Timeless Haven (00:02:58)
150. G4L4H4D - Electric Hunger (00:04:12)
151. Odd Berries - Shake It Down (00:02:39)
152. Koko Taylor - Voodoo Woman (00:03:48)
153. Mark Bennett Gartman - Crossing Of The Roads (00:03:33)
154. Adam Douglas - Be The Bad Guy (00:03:36)
155. Carlo Carena - Feel The Beat (00:03:40)
156. Harry Cassano - Long Gone (00:03:37)
157. Robin Trower - Time Stood Still (00:04:32)
158. Robin Trower - Without A Trace (00:03:39)
159. Paul Cargnello - Alfa India Romeo (00:07:01)
160. Clementine Moss - No Way We're Going Home (00:08:17)
161. Jonny’s Quintet/Lena Brookes - Christmas Without You Blues (00:03:05)
162. Josh Harp - Chicken Wang Blues (00:03:58)
163. Jazz Blues Nation - Midnight Train Shuffle (00:04:24)
164. Lioren - Can't Quit You (00:03:35)
165. Andy Whatley & Co. - The Garrett (00:05:48)
166. Michael Peloquin - Better Off Now (00:04:05)
167. Alfaroni - Gugur Tak Sia Sia (00:03:02)
168. Gina Sicilia - Blowing In The Wind (00:02:52)
169. Joe Bonamassa - Shake This Ground (00:04:07)
170. Joe Bonamassa - Trigger Finger (00:04:05)
171. Bob Stroger - Gold Tailed Bird (00:04:27)
172. Joe Galullo - Whisky And Woman (00:03:30)
173. Bayou Boogie House - Fields Of Yesterday (00:02:11)
174. Dj Cult Music - Cryin In The Rain Again (00:04:06)
175. Lady Bacanisima - Un Minuto Mas (00:04:08)
176. Van Meurs Van Peppen - Desert Daze (00:04:49)
177. Daxton Nightingale - The Sunrise (00:04:00)
178. Ganapathy Mahalingam - Just Had A Thought (00:02:47)
179. Jonny’s Quintet - Walking In Blue (00:04:59)
180. Joanne Shaw Taylor - All The Things I Said (00:04:48)
181. Big Dave & The Dutchmen - Never Love Again (00:04:29)
182. Elles Bailey - Truth Ain't Gonna Save Us (00:03:52)
183. Jeff Mcmillan - Better Off To Keep Her (00:03:49)
184. Tomas Jo´ Group - Blues Ain't Noting But (00:03:47)
185. Simon Barriere - Nola Blues Same Old Blues (00:04:13)
186. Magick - Sweet To The Ears (00:05:37)
187. Ironopolis Music - Vapor Trails (00:04:54)
188. Catfish John Tisdell - Tequila Sunrise (00:03:09)
189. Kammel Monroe - Blue Moonlight Lament (00:03:58)
190. Irma Thomas - Puppet On Your Striпg (00:04:20)
191. Hat Fitz & Cara - Hold On (00:04:37)
192. Ash Lambe & The 32-20's - Hazel Eyes (00:04:58)
193. Phil Pilorz - Great Day For The Blues (00:04:08)
194. Buddy Guy - Blues On Top (00:04:57)
195. Reverend Freakchild - A Day Late And A Dollar Short (00:03:10)

...( Info )...

Artist: VA
Title: Best of 2025 - Jazz
Year: 2025
Genre: Jazz
Publisher (label): Impulse!
Duration: 08:50:18
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Bit Depth: 24 Bit/44.1 kHz


...( TrackList )...

001. Brandee Younger Feat. Shabaka - End Means (00:04:12)
002. Dave McMurray - I LOVE LIFE even when I'm hurting (00:06:58)
003. Linda May Han Oh Feat. Ambrose Akinmusire & Tyshawn Sorey - Strange Heavens (00:04:49)
004. Neneh Cherry & Marshall Allen - New Dawn (00:06:34)
005. Hiromi Feat. Sonicwonder - OUT THERE: Takin' Off (00:06:33)
006. daoud & Mehdi Nassouli - la fièvre (00:02:29)
007. Mary Halvorson - About Ghosts (00:05:13)
008. Charles Lloyd - Figure In Blue, memories of Duke (00:07:13)
009. Kamasi Washington & Ami Taf Ra Feat. Kamasi Washington - Gnawa (00:07:16)
010. Kenny Barron Feat. Cécile McLorin Salvant - Song For Abdullah (00:05:43)
011. Emma Rawicz - Particles of Change (00:07:34)
012. GoGo Penguin - Fallowfield Loops (00:04:44)
013. Cécile McLorin Salvant - Anything but now (00:02:23)
014. Dave Holland, Django Bates, Anouar Brahem & Anja Lechner - Dancing Under the Meteorites (00:04:26)
015. Artemis - Olive Branch (00:05:31)
016. Alabaster Deplume - Oh My Actual Days (00:03:48)
017. Yuhan Su - Pieces Peace (00:06:35)
018. Aaron Parks - For María José (00:04:55)
019. Milena Casado - Yet I Can See (00:04:53)
020. Tyreek McDole Feat. Tomoki Sanders - The Creator Has A Master Plan (00:07:18)
021. Julia Hülsmann Quartet - They Stumble, They Walk (00:04:25)
022. Brad Mehldau - Everything Means Nothing to Me (00:05:20)
023. Terri Lyne Carrington & Christie Dashiell Feat. Julian Preister, Matthew Stevens, Weedie Braimah, Morgan Guerin & Milena Casado - Tears For Johannesburg (00:07:51)
024. Adrien Soleiman - Les Enfants (00:03:45)
025. Dabin Ryu - Baby Man (00:06:44)
026. Elliot Galvin Feat. Shabaka Hutchings - Gold Bright (00:07:28)
027. Gabi Hartmann - Take a Swing at the Moon (00:03:40)
028. Don Was & Don Was and the Pan-Detroit Ensemble - Nubian Lady (00:09:19)
029. Anat Fort - Mumbo Jumbo (00:05:33)
030. Donny McCaslin - Wasteland (00:05:23)
031. Brittany Davis - Change Me (00:06:20)
032. Chip Wickham & peach. - Nara Black (00:05:13)
033. Jesse Harris - Dolores (00:03:11)
034. Alfa mist - Roulette (00:07:40)
035. Enji - Ulbar (00:04:03)
036. Brandon Woody - Real Love Pt. 1 (00:07:36)
037. Holly Cole - Steppin' Out With My Baby (00:02:41)
038. Anders Jormin, Arve Henriksen, Trygve Seim & Markku Ounaskari - Armon Lapset (00:03:48)
039. Lucia - Veracruz (00:02:58)
040. Ambrose Akinmusire - Bloomed (the ongoing processional of nighas in hoodies) (00:07:35)
041. Anne Paceo Feat. Cynthia Abraham - Inside (00:03:28)
042. Azymuth - Andaraí (00:06:33)
043. Lea Maria Fries - Witch's Broom (00:04:13)
044. Harold Lopez-Nussa - Alma y Fuego (00:06:55)
045. Sun-Mi Hong - A Never-Wilting Petal II: Loneliness (00:05:59)
046. Jaleel Shaw - Baldwin's Blues (00:06:24)
047. Sml - Chicago Four (00:03:34)
048. Theo Croker & Sullivan Fortner - A Prayer for Peace (00:02:55)
049. Laura Agnusdei - The Drowned World (00:05:00)
050. John Scofield & Dave Holland - Memories of Home (00:05:28)
051. Kalia Vandever - Unearth What You Already Knew (00:07:30)
052. Pino Palladino & Blake Mills - Taka (00:04:19)
053. Olga Amelchenko - Irreversible (00:04:50)
054. Butcher Brown Feat. Melanie Charles - Unwind (00:03:58)
055. Joshua Redman Feat. Melissa Aldana, Philip Norris, Paul Cornish & Nazir Ebo - So It Goes (00:06:59)
056. Dhafer Youssef - Eyeblink and Eternity (Pt. 2) (00:04:03)
057. Kassa Overall - REBIRTH OF SLICK (COOL LIKE DAT) (00:03:05)
058. Metropole Orkest & Jasper Blom Quartet - Your Beauty and My Brains (00:09:06)
059. John Patitucci Feat. Chris Potter & Brian Blade - Lipím (00:07:40)
060. Mulatu Astatke - Nètsanèt (00:08:16)
061. Rez Abbasi Feat. Eric McPherson, Bill Ware & Stephan Crump - Presence (00:08:09)
062. Sven Wunder - Daybreak (00:02:18)
063. Fergus McCreadie - Sparrowsong (00:03:46)
064. James Brandon Lewis Quartet - Abstraction Is Deliverance (00:06:12)
065. Marius Neset, Anton Eger, Elliot Galvin & Conor Chaplin - Hyp3rsonic Cabar3t (00:05:43)
066. Cochemea - Ancestros Futuros (00:04:51)
067. Isaiah J. Thompson - I. The Cakewalk Dilemma (00:05:25)
068. Joe Lovano & Marcin Wasilewski Trio - Love in the Garden (00:04:12)
069. Tingvall Trio - Pax (00:04:00)
070. Branford Marsalis Quartet - Spiral Dance (00:08:21)
071. Harlan Silverman, Roman Norfleet, Kennedy Verrett & The Cosmic Tones Research Trio - Awakenings (00:02:51)
072. Paul Cornish Feat. Jeff Parker - Palindrome (00:05:23)
073. Wolfgang Muthspiel, Scott Colley & Brian Blade - Roll (00:02:30)
074. David Murray Quartet - Bald Ego (00:07:01)
075. Nitai Hershkovits, Rejoicer & Cinema Royal - Cinema Royal (00:04:00)
076. Greg Foat, Jihad Darwish & Moses Boyd - Skipping Tones (00:04:28)
077. Chris Cheek Feat. Bill Frisell, Tony Scherr & Rudy Royston - Smoke Rings (00:04:30)
078. Nels Cline - The 23 (00:05:15)
079. Christian McBride & Samara Joy - Old Folks (00:04:19)
080. Fred Hersch, Joey Baron & Drew Gress - The Surrounding Green (00:05:41)
081. Knats - Tortuga (For Me Mam) (00:06:15)
082. Louis Sclavis Feat. Benjamin Moussay, Sarah Murcia, Olivier Laisney & Christophe Lavergne - Phoolan Devi (00:04:48)
083. Noah Fürbringer, Moses Yoofee Vester, Roman Klobe & Moses Yoofee Trio - BOND (00:03:41)
084. Nate Smith, Lionel Loueke & Michael League - MAGIC DANCE (00:03:36)
085. Tom Skinner - Kaleidoscopic Visions (00:03:47)
086. Emil Brandqvist Trio - A Visit to Reality (00:04:25)
087. Gerald Clayton - Cinnamon Sugar (00:04:15)
088. Paolo Fresu - The Windmills of Your Mind (00:03:38)
089. Trio of Bloom Feat. Nels Cline, Marcus Gilmore & Craig Taborn - Queen King (00:08:58)
090. Metropole Orkest, Jules Buckley & Snarky Puppy - Waves Upon Waves (00:07:40)
091. Phi-Psonics - New Pyramid (00:06:02)
092. Till Brönner - Estate (00:05:31)
093. Peace Flag Ensemble - The Past Is What Changes The Most (00:03:45)
094. Johnathan Blake - My Life Matters (00:06:23)
095. The Getdown, Laurent Coulondre, Arnaud Dolmen & Grégory Privat - Amber's Ballad (00:04:03)
096. Sultan Stevenson - El Roi (00:04:09)
097. The Circling Sun - Constellation (00:07:31)
098. Vijay Iyer & Wadada Leo Smith - Floating River Requiem (for Patrice Lumumba) (00:06:29)
099. Josh Johnson, Carlos Nino & Nate Mercereau - Openness (00:03:19)
100. Ben Lamar Gay - for Breezy (00:03:13)

...( Info )...

Artist: Bad Boys Blue
Album: Hits Collection 98
Genre: EuroDisco, Pop
Country of release: Bulgaria
Year of release: 1998
Publisher (label): DZU
Country: Germany
Audio codec: FLAC (*.flac)
Rip type: tracks+.cue
Audio bitrate: lossless
Duration: 1:11:48
Source (releaser): Y.


...( TrackList )...

01. You're A Woman (Rap Remix) '98 [0:03:21.48]
02. L.O.V.E. In My Car '98 [0:04:16.59]
03. From Heaven to Heartaches [0:03:34.02]
04. Don't Walk Away, Suzanne [0:03:49.18]
05. Lady in Black [0:03:25.62]
06. Come Back And Stay '98 [0:04:08.25]
07. I Wanna Hear Your Hearbeat '98 [0:03:53.22]
08. Pretty Young Girl [0:03:36.33]
09. A World Without You (Michelle) [0:03:39.34]
10. Gimme, Gimme Your Lovin' (Little Lady) [0:03:03.45]
11. Kisses And Tears (My One And Only) [0:03:04.30]
12. Lovers in the Sand [0:04:04.73]
13. Hungry for Love [0:04:15.63]
14. Kiss YouAll Over, Baby [0:04:15.07]
15. Hot Girls-Bad Boys [0:03:45.73]
16. Bang! Bang! Bang! [0:03:21.15]
17. Hold You In My Arms [0:03:56.34]
18. Little Girl [0:04:00.03]
19. One Night In Heaven [0:04:24.25]

...( Info )...

Artist: Baccara
Title: Yes Sir I Can Boogie
Year: 1999
Genre: Pop
Style: Disco
Publisher (label): L.T.
Country: Europe
Duration: 01:05:51
Format/Codec: FLAC (tracks) + Artwwork
Audio bitrate: Lossless [16-bit/44100Hz]



...( TrackList )...

01. Yes Sir I Can Boogie (00:04:46)
02. Copacobana (00:03:26)
03. The Devil Sent You To Loredo (00:04:08)
04. Ay Ay Sailor (00:03:51)
05. For You (00:03:50)
06. Sorry I'm A Lady (00:03:34)
07. Don't Play Me A Symphony (00:04:26)
08. I Do, I Do (00:03:29)
09. Parlez-Vous Français (00:04:30)
10. My Kisses Need A Cavalier (00:04:02)
11. When I Get Lonely (00:03:57)
12. Body Talk (00:04:56)
13. Darling (00:05:35)
14. Love You Till I Die (00:04:22)
15. Torero (00:03:28)
16. Gracias A La Vida (00:03:31)

...( Info )...

Artist: Lindsey Stirling
Title: Warmer In The Winter
Year: 2018
Genre: Pop, Classical
Style: Holiday
Publisher (label): Concord Records
Country: US
Duration: 01:01:02
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Bit Depth: 24 Bit/44.1 kHz


...( TrackList )...

01. Dance Of The Sugar Plum Fairy (00:02:39)
02. You're A Mean One, Mr. Grinch (00:02:48)
03. Christmas C'mon (00:03:50)
04. Carol Of The Bells (00:02:48)
05. Angels We Have Heard On High (00:04:22)
06. I Saw Three Ships (00:02:36)
07. Let It Snow (00:02:54)
08. Warmer In The Winter (00:02:55)
09. What Child Is This (00:03:19)
10. All I Want For Christmas (00:04:05)
11. Time To Fall In Love (00:02:56)
12. Jingle Bell Rock (00:03:49)
13. Silent Night (00:03:55)
14. I Wonder As I Wander (00:04:27)
15. We Three Gentlemen (00:02:59)
16. Santa Baby (00:03:23)
17. Main Title From Home Alone (Somewhere In My Memory) (00:04:00)
18. Hallelujah (00:03:17)

..::INFO::..

Arrested Denial to punkowy zespół ze Hamburga, działający od 2009 roku. Grają melodyjny streetpunk z wyraźnymi wpływami ska i reggae, a ich brzmienie bywa porównywane do takich kapel jak Rancid czy Swingin' Utters. Teksty - śpiewane po niemiecku i angielsku - poruszają tematy społeczne, polityczne i osobiste, z wyraźnym antyfaszystowskim i antyrasistowskim przekazem. Zespół zadebiutował EP-ką „Church On Friday” (2010), a później wydał m.in. albumy „Our Best Record So Far” (2013), „Frei.Tal” (2017) oraz „Nirgendwo angekommen” (2025). Arrested Denial są aktywni koncertowo - grali w całej Europie oraz w Azji - i są dobrze rozpoznawalni na zaangażowanej, europejskiej scenie punkowej.

Title: Nirgendwo Angekommen

Artist: Arrested Denial

Country: Niemcy

Year: 2025

Genre: SkaPunk

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01. Alles wie es war
02. Fur ein paar Stunden
03. Auf all den Lärm
04. Am falschen Ort
05. Hamburg
06. Nirgendwo angekommen
07. Mauern
08. Offbeat Antifa
09. So wenig Zeit
10. Nichts zu bereden
11. Nirgendwo. Angekommen.

..::INFO::..

Debiutancki album studyjny amerykańskiego zespołu grającego ska.

Title: Take Two

Artist: The Bishops

Country: USA

Year: 2025

Genre: Ska

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01. Burst Your Bubble
02. Disturbed
03. Electric Avenue
04. Sweet Jo
05. PCH
06. Black and Tan
07. No More Human Error
08. Skamone Biles
09. So Glad
10. Must Catch a Train
11. Keep It Cool
12. Too Big To Fail