...( Info )...
Eye Of Fate - Awakening
Genre: Progressive Metal
Country of Artist (Band): Costa Rica
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 37:46

...( TrackList )...
01. Chapter 0 - Tears In The Veil
02. Chapter I - From The Depths
03. Chapter II - Crisis Of Faith
04. Chapter III - Thought Confluence
05. Chapter IV - Unseen Enemy
06. Chapter V - The Night Falls
07. Chapter VI - The Eye Of Fate Pt. 1: Awakening
08. Chapter VII - The Eye Of Fate Pt. 2: Reasoning

...( Info )...
Genre: Black/Death Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 32:27

...( TrackList )...
1. Intro
2. Heralds of Termination
3. Serpenitence
4. Projections of War
5. Sanguinarium
6. Effigial Ruin
7. Fleshrider
8. Meteoric Blood Emmurement
9. Cremating History

...( Info )...
Genre: Melodic Death Metal
Country of Artist (Band): Austria
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 29:24

...( TrackList )...
01. Savaged By Blood
02. Whispers Unfold
03. Feral Souls
04. A Darkness That Calls My Name
05. Crimson Hallows
06. Bonedale
07. Frozen Tears Of Solitude

...( Info )...
Genre: Thrash/Heavy Metal
Country of Artist (Band): Bulgaria
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 40:38

...( TrackList )...
01. I Am The One
02. Born To Roam
03. My Own Eyes
04. Back To Hell
05. The Flames of Destruction
06. Dark Days
07. Invader
08. Laughing Shall I Die
09. Better Than You All
10. We Will Rise
11. Wrong Way

...( Info )...
Genre: Atmospheric Black/Death Metal
Country of Artist (Band): USA
Year of Release: 2019-2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps

...( TrackList )...
2019 - Ethereal
2021 - Souls of the Suffering
2024 - Echoes of the Past
2025 - Fear of the Unknown

...( Info )...
Genre: Crossover Thrash Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 29:55

...( TrackList )...
01. Bloodylip
02. Pagan High Places
03. Empty Streets Of God
04. Broken Hands Of Bloody Angels
05. Something Out Of Nothing
06. Bitter Spirit
07. No Vaccine
08. Past Let Go
09. Leave Me In The Dark
10. One Eye Open
11. Blue Against You
12. Roses And Poetry
13. Let Love Die

...( Info )...
Genre: Black/Death Metal
Country of Artist (Band): Denmark
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 42:17

...( TrackList )...
01. Skoven
02. Mosen
03. Havet

...( Info )...
Genre: Slam/Brutal Death Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: tracks
Audio Bitrate: 320 kbps
Duration: 33:47

...( TrackList )...
01. Intro
02. Victims Left Crushed, Begging For Their Lives
03. Hacksaw Hysterectomy
04. Passed Out Drunk In A Puddle Of Piss And Vomit
05. Prolonged Suicide
06. Nervous System Upheaval
07. Pablo's Interlude
08. Where There's A Hole, There's A Way...
09. Butthole Entanglement
10. Nekrotation
11. Placenta Playground
12. Robotic Cerebrum Extraction
13. C.t.s.i.o.a.i

..::INFO::..

---------------------------------------------------------------------
Mark Knopfler - More BBC Sessions
---------------------------------------------------------------------

Artist...............: Mark Knopfler
Album................: More BBC Sessions
Genre................: Rock, Blues, Folk
Source...............: CD
Year.................: 2019
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 53 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Golden Eggs

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

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

1. Mark Knopfler - Dixie Flyer [03:57]
2. Mark Knopfler - Roll with Punches [03:36]
3. Mark Knopfler - You Better Move On [03:56]
4. Mark Knopfler - Blue Monday [01:28]
5. Mark Knopfler - Bad News from Home [02:51]
6. Mark Knopfler - Love [03:36]
7. Mark Knopfler - Big River [06:03]
8. Mark Knopfler - Eastbound Train (attempt) [00:24]
9. Mark Knopfler - What It Is [04:26]
10. Mark Knopfler - Blues Stay Away From Me [03:47]
11. Mark Knopfler - Dallas Rag (traditional) [02:51]
12. Mark Knopfler - I'll See You in My Dreams [04:46]
13. Mark Knopfler - The Next Time I'm In Town [03:31]
14. Mark Knopfler - Traffic announcement with MK playing backing music[02:42]
15. Mark Knopfler - Local Hero [03:33]
16. Mark Knopfler - Song for Sonny Liston [05:03]
17. Mark Knopfler - Brothers in Arms [04:59]
18. Mark Knopfler - Postcards from Paraguay [04:41]
19. Mark Knopfler - So Far Away [04:45]
20. Mark Knopfler - Get Lucky [03:45]
21. Mark Knopfler - Good on You Son [04:14]

Playing Time.........: 01:19:04
Total Size...........: 424,18 MB

1-5 In session with Randy Newman, BBC Concert Hall, 3rd december 1988
6-8 In session with Jimmy Nail, Simon Mayo show BBC Radio 1, 10th november 1995
9 Michael Parkinson Show BBC 1 Tv, 22nd november 2000
10-13 Chris Barber Jazz Diaries, BBC Radio 2, studios Maida Vale, 5th february 2001
14 Johnnie Walker Radio Show, BBC Radio 2, 18th november 2002
15-17 Ken Bruce Show, BBC Radio 2, Live at the Abbey Road Studios, 12nd october 2004
18-19 The Music Club, Simon Mayo Show, BBC Radio 2, studios Maida Vale, 5th october 2007
20 Five Live, Simon Mayo Show, BBC 5, 13rd november 2009
21 Loose Ends, BBC Radio 4, 17th november 2018

..::INFO::..

---------------------------------------------------------------------
Mark Knopfler - BBC Sessions
---------------------------------------------------------------------

Artist...............: Mark Knopfler
Album................: BBC Sessions
Genre................: Rock, Folk
Source...............: CD
Year.................: 2019
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 56 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Golden Eggs

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

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

1. Mark Knopfler - Baloney Again [03:26]
2. Mark Knopfler - Marbletown [03:35]
3. Mark Knopfler - Song For Sonny Liston (Acoustic) [04:11]
4. Mark Knopfler - Everybody Pays [05:40]
5. Mark Knopfler - Boom Like That [04:41]
6. Mark Knopfler - Let It All Go (Acoustic) [04:53]
7. Mark Knopfler - Secondary Waltz [03:37]
8. Mark Knopfler - Donegans Gone [02:43]
9. Mark Knopfler - Rudiger [05:47]
10. Mark Knopfler - True Love Will Never Fade [04:38]
11. Mark Knopfler - The Fizzy And The Still [04:04]
12. Mark Knopfler - Let It All Go (Electric) [05:21]
13. Mark Knopfler - Our Shangri-La [07:21]
14. Mark Knopfler - Romeo And Juliet [03:31]
15. Mark Knopfler - Good On You Son [04:15]
16. Mark Knopfler - The Boxer [04:07]
17. Mark Knopfler - Waterbound [04:09]
18. Mark Knopfler - Local Hero [03:33]

Playing Time.........: 01:19:40
Total Size...........: 449,52 MB

1. Johnnie Walker show, BBC Radio 2, London, UK, 6th September 2000
2. Johnnie Walker show, BBC Radio 2, London, UK, 18th September 2000
3. Johnnie Walker show, BBC Radio 2, London, UK, 27th September 2004
4-5. Ken Bruce show, Abbey Road Studios, London, UK, 12th October 2004
6-7. Johnnie Walker show, BBC Radio 2, London, UK, 16th September 2007
8-13. The Music Club - Simon Mayo show, BBC Radio 2, Maida Vale studios, London, UK, 5th October 2007
14-16. Ken Bruce show, Piano Room, BBC building, London, UK, 29th October 2018
17. Jools Holland show, BBC building, London, UK, 19th November 2018
18. Loose Ends, BBC building, London, UK, 17th November 2018

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


..::OPIS::..

Bitwa trwa. Wszędzie unosi się zapach śmierci i prochu armatniego. Żołnierze i konie giną dziesiątkami. Pole bitwy zalewa krew i wnętrzności. Wszystko kręci się wokół krwi, potu, strachu i odbierania życia, ale coś może mieć znaczenie: jak daleko ktoś posunąłby się, by ratować poległych?

„ Obliterated Life” to opowieść o życiu Dominique-Jean Larrey (1766-1842), wynalazcy karetki pogotowia i specjalisty od medycyny wojennej, który 'amputował' żołnierzy tuż za linią frontu, otwierał klatki piersiowe, wyciągał kule z wnętrzności i zszywał jelita pośród stęchłego zapachu trwającej posocznicy.
To właśnie to, co nasza kompania braci gore oferuje muzycznie na nowym dziele!



Battle rages on. The smell of death and canon powder is everywhere. Soldiers and horses are killed by dozens alike. Blood and innards flood the battlefield. It’s all about gore, sweat, fear and taking life’s or having yours taken by the enemy but something can make a difference: how far would someone go to save the fallen?

After the origins of pathology with the story of Vesalius with 2020’s “Sicknesses Obsessions”, Putrid Offal’s second full-length in 30 years, “Obliterated Life”, explores the life of Dominique-Jean Larrey (1766-1842) who invented the ambulance and practiced war medicine amputating soldiers right behind the frontline, opening rib cages, extirpating bullets from entrails and suturing bowels within the rancid smell of ongoing septicemia and that’s exactly what our band of brothers in gore offers musically with this new effort!

Violence? You bet? But again, there’s far more that meats the dead eye with these sick pathologists: stellar musicianship, relentless grooves, face-melting bursts of raging blasts, gurgling growls and demented screams, served as a platter of splatter with an ample and massive production and mastering.

“Obliterated Life” is definitely the band’s absolute masterpiece of rotted flesh offering not only a total grinding virulence but sliced by neck breaking grooves and odd time signatures. A curveball of scholar pathologicism!

Wouldn’t you think you became God if you’d decide of who dies and who lives to die on the battlefield? That’s how sick Dominique-Jean Larrey became. That’s how twisted “Obliterated Life” is. You’re definitely not ready for that but who cares?

Let There Be Rot !



..::TRACK-LIST::..

1. The Sweet Fragrance
2. Boning Hall
3. Life Consumed
4. Meat Stall
5. Entrails Emancipation
6. Privilege Of Pain
7. Darkness Awaits
8. Sanguis In Oris
9. Mass Murder
10. Agony Prevails
11. Messy Flesh
12. Ribcage Blues
13. The Black Veil
14. Theatrum Anatomicum (Bonus)



..::OBSADA::..

Vocals - Franck Peiffer
Bass, Backing Vocals - Fred Houriez
Drums - Laye Les Sludgy Pessy
Guitar - Phil Reinhalter




https://www.youtube.com/watch?v=yq95lahoBJ4


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

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


..::OPIS::..

Bitwa trwa. Wszędzie unosi się zapach śmierci i prochu armatniego. Żołnierze i konie giną dziesiątkami. Pole bitwy zalewa krew i wnętrzności. Wszystko kręci się wokół krwi, potu, strachu i odbierania życia, ale coś może mieć znaczenie: jak daleko ktoś posunąłby się, by ratować poległych?

„ Obliterated Life” to opowieść o życiu Dominique-Jean Larrey (1766-1842), wynalazcy karetki pogotowia i specjalisty od medycyny wojennej, który 'amputował' żołnierzy tuż za linią frontu, otwierał klatki piersiowe, wyciągał kule z wnętrzności i zszywał jelita pośród stęchłego zapachu trwającej posocznicy.
To właśnie to, co nasza kompania braci gore oferuje muzycznie na nowym dziele!



Battle rages on. The smell of death and canon powder is everywhere. Soldiers and horses are killed by dozens alike. Blood and innards flood the battlefield. It’s all about gore, sweat, fear and taking life’s or having yours taken by the enemy but something can make a difference: how far would someone go to save the fallen?

After the origins of pathology with the story of Vesalius with 2020’s “Sicknesses Obsessions”, Putrid Offal’s second full-length in 30 years, “Obliterated Life”, explores the life of Dominique-Jean Larrey (1766-1842) who invented the ambulance and practiced war medicine amputating soldiers right behind the frontline, opening rib cages, extirpating bullets from entrails and suturing bowels within the rancid smell of ongoing septicemia and that’s exactly what our band of brothers in gore offers musically with this new effort!

Violence? You bet? But again, there’s far more that meats the dead eye with these sick pathologists: stellar musicianship, relentless grooves, face-melting bursts of raging blasts, gurgling growls and demented screams, served as a platter of splatter with an ample and massive production and mastering.

“Obliterated Life” is definitely the band’s absolute masterpiece of rotted flesh offering not only a total grinding virulence but sliced by neck breaking grooves and odd time signatures. A curveball of scholar pathologicism!

Wouldn’t you think you became God if you’d decide of who dies and who lives to die on the battlefield? That’s how sick Dominique-Jean Larrey became. That’s how twisted “Obliterated Life” is. You’re definitely not ready for that but who cares?

Let There Be Rot !



..::TRACK-LIST::..

1. The Sweet Fragrance
2. Boning Hall
3. Life Consumed
4. Meat Stall
5. Entrails Emancipation
6. Privilege Of Pain
7. Darkness Awaits
8. Sanguis In Oris
9. Mass Murder
10. Agony Prevails
11. Messy Flesh
12. Ribcage Blues
13. The Black Veil
14. Theatrum Anatomicum (Bonus)



..::OBSADA::..

Vocals - Franck Peiffer
Bass, Backing Vocals - Fred Houriez
Drums - Laye Les Sludgy Pessy
Guitar - Phil Reinhalter




https://www.youtube.com/watch?v=yq95lahoBJ4


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

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


..::OPIS::..

Album „Testimonios” grupy KRANIUM, wydany w 1999 roku, to potężne dzieło z nurtu folk metalu, które łączy ciężar gatunku z wpływami muzyki andyjskiej.
Płyta zawiera utwory takie jak „Manos Cruzadas” i „Guerreros”, które wyróżniają się mroczną atmosferą oraz fuzją tradycyjnych instrumentów z metalem. KRANIUM udaje się uchwycić głęboką melancholię i ducha walki w każdym utworze, co czyni ten album pozycją obowiązkową dla fanów folk metalu szukających oryginalności i autentyczności.



When I got this CD, there was a flyer with it on which was possible to read that the style of Kranium was "doom folk heavy metal". I was curious and when I put the disc in my CD-player, the surprise: probably this label is, indeed, the best definition for Kranium's well-crafted music.

With this album, Kranium was able to blend influences of heavy metal from the 70's (Black Sabbath with Ozzy) with doom metal from the 90's (My Dying Bride) and even add elements of Peruvian folk music. The result is impressing. We have here some vigorous metal, that is heavy and extremely well played (every musician in the line up is an expert in his instrument). And it's very original.

The vocals have a big variety, from growls to melodic clean-tones. And the clean vocals have different styles (aggressive, soft, hypnotic, etc.). Maybe for the ones who are only used to listening to bands that sing in Germanic languages, Daniel Roncagliolo's Spanish vocals might sound strange at the first time one listens to them. But that's something that happens only at the beginning, because later the listener even feels like singing along with him (yes, there are some sing-along-like songs here). There is another interesting facts about the lyrics: some songs are sung in Inka language (but we have translations to Spanish in the booklet). The guitar sound is perfect for the kind of music Kranium plays, as it is solid and heavy, but still clear enough to allow the listener to feel all the details of the riffs and solos (the guitar solos are magnificent, by the way - very melodic and technical). The quality of the recording is perfect, it's important to mention. The bass and the drums are heavy, solid and creative too. The keyboards are discreet, pleasant and very well-placed in the songs and their melodies and tones have a clear influence from the 70's. But what really calls the attention in this album are the typical instruments from Peru. I mean the flutes and all the others with unique Spanish names (that I don't even know how they are). These exotic instruments add a great atmosphere to the songs and are very well placed too.

Songs like "No Te Tortures", "El Obraje", "Guerreros" and the epic piece "Dos Sonrisas, Una Lágrima" are 100% flawless, pure genius. "Markawasi" is another highlight of the album, a magical instrumental track, pretty much progressive rock influenced. If you have the opportunity of buying this, do it. Kranium is one of the best South American acts ever.

Soturnus



..::TRACK-LIST::..

1. Intro: Yana Raymi 01:41
2. Manos Cruzadas 07:31
3. No Te Tortures 06:42
4. El Obraje 09:09
5. Guerreros 04:03
6. Reencarnación 03:20
7. Envuelto En El Silencio 05:47
8. Testimonios 05:26
9. Markawasi 06:31
10. Dos Sonrisas, Una Lágrima 09:50



..::OBSADA::..

Eloy Arturo - Guitars (lead), Guitars (rhythm), Guitars (acoustic), Rainstick, Wind instruments, Stones
Mito Espíritu - Guitars (lead), Guitars (rhythm), Guitars (acoustic), Zampoña, Quena, Charango, Vocals (track 1)
Georgy Espíritu (R.I.P. 2012) - Keyboards, Synthesizers, Rainstick, Zampoña
Daniel Roncagliolo - Vocals
Javier Álvarez Gil - Bass, Vocals (track 1), Vocals (additional) (track 4), Quena, Charango, Zampoña, Kartals, Tabla
Fernando Sanchez - Drums



https://www.youtube.com/watch?v=qcTiS1S41iA


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

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


..::OPIS::..

Album „Testimonios” grupy KRANIUM, wydany w 1999 roku, to potężne dzieło z nurtu folk metalu, które łączy ciężar gatunku z wpływami muzyki andyjskiej.
Płyta zawiera utwory takie jak „Manos Cruzadas” i „Guerreros”, które wyróżniają się mroczną atmosferą oraz fuzją tradycyjnych instrumentów z metalem. KRANIUM udaje się uchwycić głęboką melancholię i ducha walki w każdym utworze, co czyni ten album pozycją obowiązkową dla fanów folk metalu szukających oryginalności i autentyczności.



When I got this CD, there was a flyer with it on which was possible to read that the style of Kranium was "doom folk heavy metal". I was curious and when I put the disc in my CD-player, the surprise: probably this label is, indeed, the best definition for Kranium's well-crafted music.

With this album, Kranium was able to blend influences of heavy metal from the 70's (Black Sabbath with Ozzy) with doom metal from the 90's (My Dying Bride) and even add elements of Peruvian folk music. The result is impressing. We have here some vigorous metal, that is heavy and extremely well played (every musician in the line up is an expert in his instrument). And it's very original.

The vocals have a big variety, from growls to melodic clean-tones. And the clean vocals have different styles (aggressive, soft, hypnotic, etc.). Maybe for the ones who are only used to listening to bands that sing in Germanic languages, Daniel Roncagliolo's Spanish vocals might sound strange at the first time one listens to them. But that's something that happens only at the beginning, because later the listener even feels like singing along with him (yes, there are some sing-along-like songs here). There is another interesting facts about the lyrics: some songs are sung in Inka language (but we have translations to Spanish in the booklet). The guitar sound is perfect for the kind of music Kranium plays, as it is solid and heavy, but still clear enough to allow the listener to feel all the details of the riffs and solos (the guitar solos are magnificent, by the way - very melodic and technical). The quality of the recording is perfect, it's important to mention. The bass and the drums are heavy, solid and creative too. The keyboards are discreet, pleasant and very well-placed in the songs and their melodies and tones have a clear influence from the 70's. But what really calls the attention in this album are the typical instruments from Peru. I mean the flutes and all the others with unique Spanish names (that I don't even know how they are). These exotic instruments add a great atmosphere to the songs and are very well placed too.

Songs like "No Te Tortures", "El Obraje", "Guerreros" and the epic piece "Dos Sonrisas, Una Lágrima" are 100% flawless, pure genius. "Markawasi" is another highlight of the album, a magical instrumental track, pretty much progressive rock influenced. If you have the opportunity of buying this, do it. Kranium is one of the best South American acts ever.

Soturnus



..::TRACK-LIST::..

1. Intro: Yana Raymi 01:41
2. Manos Cruzadas 07:31
3. No Te Tortures 06:42
4. El Obraje 09:09
5. Guerreros 04:03
6. Reencarnación 03:20
7. Envuelto En El Silencio 05:47
8. Testimonios 05:26
9. Markawasi 06:31
10. Dos Sonrisas, Una Lágrima 09:50



..::OBSADA::..

Eloy Arturo - Guitars (lead), Guitars (rhythm), Guitars (acoustic), Rainstick, Wind instruments, Stones
Mito Espíritu - Guitars (lead), Guitars (rhythm), Guitars (acoustic), Zampoña, Quena, Charango, Vocals (track 1)
Georgy Espíritu (R.I.P. 2012) - Keyboards, Synthesizers, Rainstick, Zampoña
Daniel Roncagliolo - Vocals
Javier Álvarez Gil - Bass, Vocals (track 1), Vocals (additional) (track 4), Quena, Charango, Zampoña, Kartals, Tabla
Fernando Sanchez - Drums



https://www.youtube.com/watch?v=qcTiS1S41iA


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

..::INFO::..

---------------------------------------------------------------------
Mark Knopfler - The Golden Heart Live Antique 1996 - (3 CD)
---------------------------------------------------------------------

Artist...............: Mark Knopfler
Album................: The Golden Heart Live Antique 1996
Genre................: Rock
Source...............: CD
Year.................: 2016
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 59-63 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: PROJECT ZIP - Unofficial Release

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

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

1. Mark Knopfler - Interview [00:58]
2. Mark Knopfler - Intro [03:19]
3. Mark Knopfler - Darling Pretty [04:46]
4. Mark Knopfler - Walk Of Life [04:47]
5. Mark Knopfler - Imelda [06:27]
6. Mark Knopfler - The Bug [05:46]
7. Mark Knopfler - Rudiger [06:40]
8. Mark Knopfler - Je Suis Desole [05:59]
9. Mark Knopfler - Calling Elvis [11:09]
10. Mark Knopfler - I'm The Fool [05:28]
11. Mark Knopfler - Last Exit To Brooklyn [02:17]
12. Mark Knopfler - Romeo And Juliet [07:49]

Playing Time.........: 01:05:31
Total Size...........: 430,11 MB

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

1. Mark Knopfler - Sultans Of Swing [17:03]
2. Mark Knopfler - Done With Bonaparte [05:25]
3. Mark Knopfler - Father And Son [00:55]
4. Mark Knopfler - Golden Heart [04:59]
5. Mark Knopfler - Water Of Love [05:32]
6. Mark Knopfler - Cannibals [07:33]
7. Mark Knopfler - Telegraph Road [15:29]
8. Mark Knopfler - Brothers In Arms [08:56]
9. Mark Knopfler - Money For Nothing [06:52]

Playing Time.........: 01:12:48
Total Size...........: 456,69 MB

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

1. Mark Knopfler - A Night In Summer Long Ago [05:44]
2. Mark Knopfler - The Long Highway [04:11]
3. Mark Knopfler - Going Home [04:59]
4. Mark Knopfler - Interview [01:06]
5. Mark Knopfler - Darling Pretty* [04:53]
6. Mark Knopfler - Walk Of Life* [05:08]
7. Mark Knopfler - Imelda* [05:53]

Playing Time.........: 31:56
Total Size...........: 199,00 MB


Recorded live in Vaison-la-Romaine at "Théâtre Antique", August 3, 1996.
*Recorded live in Vaison-la-Romaine at "Théâtre Antique", August 2, 1996.

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


..::OPIS::..

Antykosmiczny, antysystemowy, antyżyciowy.

Grindcoreowe kompozycje zespolone z black metalową furią i przekazem tekstowym. Międzynarodowy skład muzyków proponuje swoją własną wizję muzyki - muzyki brutalnej, agresywnej i podpartej własnym manifestem. Krążek 'Waters Of Dissolution' zawiera 10 ultraszybkich kompozycji, naładowanych nuklearną energią i atmosferą wszechobecnego zniszczenia.


'We are against any form of oppression, since we see it as a manifestation of the power of the Demiurge.'



..::TRACK-LIST::..

1. Intro 00:51
2. Archaic memoirs 01:36
3. War strings 01:47
4. Black Waters 02:10
5. Interlude I - Domination 00:48
6. Twisted Gnosis 02:26
7. Black and red sand 02:36
8. Waters of dissolution 01:47
9. Interlude II - Submission 01:18
10. Enlightment 02:52
11. Break and shatter 02:23




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



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

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


..::OPIS::..

Antykosmiczny, antysystemowy, antyżyciowy.

Grindcoreowe kompozycje zespolone z black metalową furią i przekazem tekstowym. Międzynarodowy skład muzyków proponuje swoją własną wizję muzyki - muzyki brutalnej, agresywnej i podpartej własnym manifestem. Krążek 'Waters Of Dissolution' zawiera 10 ultraszybkich kompozycji, naładowanych nuklearną energią i atmosferą wszechobecnego zniszczenia.


'We are against any form of oppression, since we see it as a manifestation of the power of the Demiurge.'



..::TRACK-LIST::..

1. Intro 00:51
2. Archaic memoirs 01:36
3. War strings 01:47
4. Black Waters 02:10
5. Interlude I - Domination 00:48
6. Twisted Gnosis 02:26
7. Black and red sand 02:36
8. Waters of dissolution 01:47
9. Interlude II - Submission 01:18
10. Enlightment 02:52
11. Break and shatter 02:23




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



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

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


..::OPIS::..

This album is dedicated to Bill Tolley, 1974 - 2017


Chwytliwy, destrukcyjny i niezwykle rytmiczny.
Solidny i dopracowany krążek, uderzających z siłą ciężarówki Mack utworów, które pieszczą zarazem subtelnością boksera wagi ciężkiej.

FA

Lately, I've been on a brutal death metal streak. Even more precisely: I've been listening to a lot of Internal Bleeding. I feel that this band took everything I loved about NYDM and made it their trademark sound. In a way, they are everything 80% of deathcore bands fail to be: an incredibly moshable "beatdown-take on brutal death metal" (if I may say so). I would also say that they are everything most slam death metal bands fail to be.

"Corrupting Influence" is, like their previous effort "Imperium", peak Internal Bleeding. Mentioning beatdown was intentional: the abundance of breakdowns, beatdown mosh-parts and slam on this record really reminds me of bands like 25 Ta Life or Bulldoze and makes me confident when I say that the line between both genres isn't always as defined as one may think. The key difference being, here, the vocals. Compared to "Imperium" whose vocals were more hardcore-inclined, they seem to be back to something more akin to their acclaimed "Voracious Contempt" — only this time deeper and "modernised".

This is where Internal Bleeding set themselves apart from the typical slam death metal band: their vocals are more traditional and more intelligible.

The riffing is satisfying from start to finish, although I would have possibly enjoyed a slightly heavier tone to make it more sublime (but it's merely a detail). More than often, it aligns itself with the drums and is very rythm-oriented, which is common in this particular brand of brutal death metal. The most memorable moments are the slightly melodic ending of "Corrupting Influence" or the Dying Fetus-like moments in "Final Justice" and the solo in this same song. The best song of the album, though, is for me "Surrounded from the Inside"... this is perfectly groovy from start to finish, and the song ends with one of the heaviest beatdowns I ever heard, heavy enough to put to shame many bands that pretend to specialise in mosh-parts.

The album length is slightly above 35 minutes, which is perfect for a brutal death metal album. I wouldn't have minded one more song in the vein of "Surrounded from the Inside" and "Final Justice", though; this is how good this album is — because I rarely like them to be too long. Or in an alternate reality, in the spirit of Dying Fetus covering hardcore bands, I would have loved to hear this configuration of Internal Bleeding cover a hardcore band (ideally 25 Ta Life or Bulldoze).

I'm rating it 90 out of 100. The 10 points are mostly because of the guitar tone that could have been better... and because that artwork is quite ugly. The music is so good that this album deserves a better cover!

OverMario



..::TRACK-LIST::..

1. Compelled to Consume 04:01
2. Corrupting Influence 04:27
3. Fatal Dependency 03:29
4. Focus 03:00
5. Surrounded from the Inside 04:29
6. Unreality 04:44
7. Litany of Insincerity (Vocals [End Section]-Frank Rini) 03:42
8. Final Justice (Backing Vocals-Jason Netherton) 04:06
9. The Supreme Sacrifice 04:25



..::OBSADA::..

Vocals - Joe Marchese
Guitar - Chris McCarthy
Guitar, Cover, Design [Package] - Chris Pervelis
Drums - Kyle Eddy
Bass - Shaun Kennedy




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



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

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


..::OPIS::..

This album is dedicated to Bill Tolley, 1974 - 2017


Chwytliwy, destrukcyjny i niezwykle rytmiczny.
Solidny i dopracowany krążek, uderzających z siłą ciężarówki Mack utworów, które pieszczą zarazem subtelnością boksera wagi ciężkiej.

FA

Lately, I've been on a brutal death metal streak. Even more precisely: I've been listening to a lot of Internal Bleeding. I feel that this band took everything I loved about NYDM and made it their trademark sound. In a way, they are everything 80% of deathcore bands fail to be: an incredibly moshable "beatdown-take on brutal death metal" (if I may say so). I would also say that they are everything most slam death metal bands fail to be.

"Corrupting Influence" is, like their previous effort "Imperium", peak Internal Bleeding. Mentioning beatdown was intentional: the abundance of breakdowns, beatdown mosh-parts and slam on this record really reminds me of bands like 25 Ta Life or Bulldoze and makes me confident when I say that the line between both genres isn't always as defined as one may think. The key difference being, here, the vocals. Compared to "Imperium" whose vocals were more hardcore-inclined, they seem to be back to something more akin to their acclaimed "Voracious Contempt" — only this time deeper and "modernised".

This is where Internal Bleeding set themselves apart from the typical slam death metal band: their vocals are more traditional and more intelligible.

The riffing is satisfying from start to finish, although I would have possibly enjoyed a slightly heavier tone to make it more sublime (but it's merely a detail). More than often, it aligns itself with the drums and is very rythm-oriented, which is common in this particular brand of brutal death metal. The most memorable moments are the slightly melodic ending of "Corrupting Influence" or the Dying Fetus-like moments in "Final Justice" and the solo in this same song. The best song of the album, though, is for me "Surrounded from the Inside"... this is perfectly groovy from start to finish, and the song ends with one of the heaviest beatdowns I ever heard, heavy enough to put to shame many bands that pretend to specialise in mosh-parts.

The album length is slightly above 35 minutes, which is perfect for a brutal death metal album. I wouldn't have minded one more song in the vein of "Surrounded from the Inside" and "Final Justice", though; this is how good this album is — because I rarely like them to be too long. Or in an alternate reality, in the spirit of Dying Fetus covering hardcore bands, I would have loved to hear this configuration of Internal Bleeding cover a hardcore band (ideally 25 Ta Life or Bulldoze).

I'm rating it 90 out of 100. The 10 points are mostly because of the guitar tone that could have been better... and because that artwork is quite ugly. The music is so good that this album deserves a better cover!

OverMario



..::TRACK-LIST::..

1. Compelled to Consume 04:01
2. Corrupting Influence 04:27
3. Fatal Dependency 03:29
4. Focus 03:00
5. Surrounded from the Inside 04:29
6. Unreality 04:44
7. Litany of Insincerity (Vocals [End Section]-Frank Rini) 03:42
8. Final Justice (Backing Vocals-Jason Netherton) 04:06
9. The Supreme Sacrifice 04:25



..::OBSADA::..

Vocals - Joe Marchese
Guitar - Chris McCarthy
Guitar, Cover, Design [Package] - Chris Pervelis
Drums - Kyle Eddy
Bass - Shaun Kennedy




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



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

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


..::OPIS::..

Świetna sekcja rytmiczna. Kapitalny wokal. Krótko mówiąc, jest to fantastyczny album!!!


The Rods' final pre-hiatus album is an overlooked masterpiece of traditional heavy metal. It's hard-rockin' metal at its finest folks, and features some of the best musical work in the bands history. Recruited to the lead vocalist position is ex-Horizon and Picture singer Shmoulik Avigal, who's clear and soaring voice adds a perfect amount of power and emotion to the album's sound. Heavier than Thou starts with a dramatic minute-and-a-half intro that showcases vocal harmonies and keyboards, and then it's into "Make Me a Believer", a forceful melodic track that opens the album very well. "Angels Never Run", my favorite track on the album, has an excellent hook and chorus. There are bruising, atmospheric slower numbers on the record, like "Crossfire" and "Fool For Your Love", which sound just breathtaking due to Avigal's solid carol.

I really enjoy the humorous intros/outros to certain numbers, like after the song "Chains of Love", where we hear what sounds like the band members cracking up at something. There's also the interesting movie/television sample before "She's Trouble", and the forty-four second closer "The Music Man", which is a cool freestyle harmonica tune. The album delivers superb riff work by David 'Rock' Feinstein (especially in the song "Chains of Love"), and the always-impressive rollicking drum sound of Carl Candey, who by this time in '86 had become increasingly well-known for his producing work. His drum execution is one of the prime factors in The Rods' unique yet straightforward hard rock approach.

The only thing I don't exactly care for on the album is the Led Zeppelin cover of "Communication Breakdown". It's not a bad cover by any means, but I'd rather hear a band like The Rods select a less generic choice, like their Supremes cover of "You Keep Me Hanging On" from their '82 LP Wild Dogs. That song was so moving and emotional, and worked flawlessly with the excellent musicianship of Feinstein & Co. Overall, I would recommend this album to anyone interested in any kind of heavy music. This is The Rods' finest moment, and is a tailor-made example of what this style of metal represents.

Kaptain Kill



..::TRACK-LIST::..

1. Heavier Than Thou 1:56
2. Make Me A Believer 4:08
3. Angels Never Run 3:29
4. Crossfire 5:07
5. I'm Gonna Rock 3:14
6. She's Trouble 4:40
7. Born To Rock 3:44
8. Chains Of Love 4:10
9. Communication Breakdown (Led Zeppelin cover) 3:19
10. Fool For Your Love 3:46
11. Cold Sweat And Blood 3:28
12. The Music Man 0:50

Bonus Tracks:
13. Life On The Edge (Outtake) 4:55
14. Communication Breakdown/Whole Lotta Led (Live) 12:15
15. Evil Woman/Rabid Thunder/Drum Solo (Live) 9:32
16. Witch's Brew (Live) 5:35


Bonus Tracks information:
"Angels Never Run" must have been written significantly earlier, because it is included in a live set from 1981, that was released with the live box set Metal Will Never Die - Official Bootleg Box Set 1981-2010 in 2022.
"Born To Rock" and "Cold Sweat And Blood" were firstly released as live tracks on the live album Live in 1983.
"The Music Man" is an instrumental. More exactly, it's a harmonica solo of Al Falso and a completely different song than "Music Man" on the album Rock Hard.
"Life On The Edge" is an outtake of the Heavier Than Thou sessions and the only song Garry Bordonaro has ever written for The Rods. It was earlier included on the High Vaultage and Rock Candy CD re-releases of Let Them Eat Metal.
The live track "Communication Breakdown/Whole Lotta Led" was earlier included on the High Vaultage and Rock Candy CD re-releases of In The Raw. It's called "Whole Lotta Led" on these releases. The cover medley consists of the Led Zeppelin songs "Heartbreaker", "Living Loving Maid (She's Just A Woman)", "Communication Breakdown" and "The Lemon Song".
The live track "Evil Woman/Rabid Thunder/Drum Solo" was also earlier included on the High Vaultage and Rock Candy CD re-releases of Let Them Eat Metal. It's called "Evil Woman/Popeye's Drum Solo" on these releases.



..::OBSADA::..

Guitar, Vocals - David 'Rock' Feinstein
Lead Vocals - Shmoulik Avigal
Bass - Craig Gruber
Drums, Guitar, Keyboards - Carl Canedy




https://www.youtube.com/watch?v=ku-bi9jZTWg


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

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


..::OPIS::..

Świetna sekcja rytmiczna. Kapitalny wokal. Krótko mówiąc, jest to fantastyczny album!!!


The Rods' final pre-hiatus album is an overlooked masterpiece of traditional heavy metal. It's hard-rockin' metal at its finest folks, and features some of the best musical work in the bands history. Recruited to the lead vocalist position is ex-Horizon and Picture singer Shmoulik Avigal, who's clear and soaring voice adds a perfect amount of power and emotion to the album's sound. Heavier than Thou starts with a dramatic minute-and-a-half intro that showcases vocal harmonies and keyboards, and then it's into "Make Me a Believer", a forceful melodic track that opens the album very well. "Angels Never Run", my favorite track on the album, has an excellent hook and chorus. There are bruising, atmospheric slower numbers on the record, like "Crossfire" and "Fool For Your Love", which sound just breathtaking due to Avigal's solid carol.

I really enjoy the humorous intros/outros to certain numbers, like after the song "Chains of Love", where we hear what sounds like the band members cracking up at something. There's also the interesting movie/television sample before "She's Trouble", and the forty-four second closer "The Music Man", which is a cool freestyle harmonica tune. The album delivers superb riff work by David 'Rock' Feinstein (especially in the song "Chains of Love"), and the always-impressive rollicking drum sound of Carl Candey, who by this time in '86 had become increasingly well-known for his producing work. His drum execution is one of the prime factors in The Rods' unique yet straightforward hard rock approach.

The only thing I don't exactly care for on the album is the Led Zeppelin cover of "Communication Breakdown". It's not a bad cover by any means, but I'd rather hear a band like The Rods select a less generic choice, like their Supremes cover of "You Keep Me Hanging On" from their '82 LP Wild Dogs. That song was so moving and emotional, and worked flawlessly with the excellent musicianship of Feinstein & Co. Overall, I would recommend this album to anyone interested in any kind of heavy music. This is The Rods' finest moment, and is a tailor-made example of what this style of metal represents.

Kaptain Kill



..::TRACK-LIST::..

1. Heavier Than Thou 1:56
2. Make Me A Believer 4:08
3. Angels Never Run 3:29
4. Crossfire 5:07
5. I'm Gonna Rock 3:14
6. She's Trouble 4:40
7. Born To Rock 3:44
8. Chains Of Love 4:10
9. Communication Breakdown (Led Zeppelin cover) 3:19
10. Fool For Your Love 3:46
11. Cold Sweat And Blood 3:28
12. The Music Man 0:50

Bonus Tracks:
13. Life On The Edge (Outtake) 4:55
14. Communication Breakdown/Whole Lotta Led (Live) 12:15
15. Evil Woman/Rabid Thunder/Drum Solo (Live) 9:32
16. Witch's Brew (Live) 5:35


Bonus Tracks information:
"Angels Never Run" must have been written significantly earlier, because it is included in a live set from 1981, that was released with the live box set Metal Will Never Die - Official Bootleg Box Set 1981-2010 in 2022.
"Born To Rock" and "Cold Sweat And Blood" were firstly released as live tracks on the live album Live in 1983.
"The Music Man" is an instrumental. More exactly, it's a harmonica solo of Al Falso and a completely different song than "Music Man" on the album Rock Hard.
"Life On The Edge" is an outtake of the Heavier Than Thou sessions and the only song Garry Bordonaro has ever written for The Rods. It was earlier included on the High Vaultage and Rock Candy CD re-releases of Let Them Eat Metal.
The live track "Communication Breakdown/Whole Lotta Led" was earlier included on the High Vaultage and Rock Candy CD re-releases of In The Raw. It's called "Whole Lotta Led" on these releases. The cover medley consists of the Led Zeppelin songs "Heartbreaker", "Living Loving Maid (She's Just A Woman)", "Communication Breakdown" and "The Lemon Song".
The live track "Evil Woman/Rabid Thunder/Drum Solo" was also earlier included on the High Vaultage and Rock Candy CD re-releases of Let Them Eat Metal. It's called "Evil Woman/Popeye's Drum Solo" on these releases.



..::OBSADA::..

Guitar, Vocals - David 'Rock' Feinstein
Lead Vocals - Shmoulik Avigal
Bass - Craig Gruber
Drums, Guitar, Keyboards - Carl Canedy




https://www.youtube.com/watch?v=ku-bi9jZTWg


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

..::INFO::..

---------------------------------------------------------------------
Eagles - Hotel California - (2 CD)
(40th Anniversary Expanded Edition)
---------------------------------------------------------------------

Artist...............: Eagles
Album................: Hotel California
Genre................: Classic Rock
Source...............: WEB
Year.................: 2017
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 60 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Digital Media

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

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

1. Eagles - Hotel California (Remastered) [06:31]
2. Eagles - New Kid In Town (Remastered) [05:04]
3. Eagles - Life In The Fast Lane (Remastered) [04:46]
4. Eagles - Wasted Time (Remastered) [04:56]
5. Eagles - Wasted Time (Reprise) [Remastered] [01:23]
6. Eagles - Victim Of Love (Remastered) [04:10]
7. Eagles - Pretty Maids All In A Row (Remastered) [03:59]
8. Eagles - Try And Love Again (Remastered) [05:11]
9. Eagles - The Last Resort (Remastered) [07:24]

Playing Time.........: 43:26
Total Size...........: 266,00 MB

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

1. Eagles - Take It Easy (Live at The Los Angeles Forum, 10/20-22/76)[04:46]
2. Eagles - Take It To The Limit (Live at The Los Angeles Forum, 10/20-22/76)[05:18]
3. Eagles - New Kid In Town (Live at The Los Angeles Forum, 10/20-22/76)[04:52]
4. Eagles - James Dean (Live at The Los Angeles Forum, 10/20-22/76)[03:49]
5. Eagles - Good Day In Hell (Live at The Los Angeles Forum, 10/20-22/76)[05:28]
6. Eagles - Witchy Woman (Live at The Los Angeles Forum, 10/20-22/76)[04:20]
7. Eagles - Funk #49 (Live at The Los Angeles Forum, 10/20-22/76)[04:03]
8. Eagles - One of These Nights (Live at The Los Angeles Forum, 10/20-22/76)[03:52]
9. Eagles - Hotel California (Live at The Los Angeles Forum, 10/20-22/76)[06:49]
10. Eagles - Already Gone (Live at The Los Angeles Forum, 10/20-22/76)[05:13]

Playing Time.........: 48:35
Total Size...........: 315,40 MB

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


..::OPIS::..

Po In Concert (2002), Live in the USA (2003) i New Light - Live in Concert to już czwarte koncertowe wydawnictwo Karnataki z materiałem wizyjnym. Secrets of Angels - Live in Concert został zarejestrowany 25 czerwca 2016 roku w londyńskiej O2 Academy Islington w ramach serii koncertów promujących ich ostatni album Secrets Of Angels. I tu ciekawa informacja dla polskich fanów, bowiem następny po tym występie koncert grupy odbył się w… Polsce. Formacja zagrała u nas w Toruniu w ramach X Festiwalu Rocka Progresywnego i był to pierwszy oraz jak dotąd jedyny koncert zespołu w naszym kraju.

Na Secrets Of Angels - Live in Concert widzimy skład, który już nie istnieje (ciągłe roszady w tym zakresie to cecha charakterystyczna Walijczyków). W zespole nie ma już Carloenrico Pinny, Çagriego Tozluoglu, Jimmy’ego Pallagrosi oraz – co najistotniejsze – wokalistki Hayley Griffiths, która jest niewątpliwie ozdobą tego wydawnictwa.

Jego tytuł nie jest przypadkowy. Muzycy w całości prezentują album i nie ukrywam, że sprawia mi to ogromną satysfakcję. Bo uważam Secrets Of Angels za najlepszą płytą w dyskografii formacji, z najciekawszymi, najbardziej przejmującymi kompozycjami. I one na koncercie bronią się fantastycznie. Fairytale Lies jest dla mnie ich najpiękniejszym utworem, ale też świetnie wypadają Poison Ivy, Because of You, Forbidden Dreams czy tytułowy, epicki Secrets of Angels. Setlistę uzupełnia wybór nagrań z wcześniejszych płyt w tym najstarszy Dreamer z The Storm oraz wielowątkowy i rozbudowany Serpent and The Sea z The Gathering Light.

Uwagę przykuwa przede wszystkim Hayley Griffiths – rudowłosa wokalistka, ujmująca nie tylko sporymi możliwościami głosowymi i interpretacyjnymi, strojami (zmienia je trzykrotnie), ale też powabnym, bądź kiedy trzeba, energetycznym tańcem.

Produkcja jest tu raczej standardowa, kilka kamer, bez jakichś wyjątkowych ujęć. Ot, tradycyjna rejestracja wydarzenia w niewielkim klubie, na niedużej scenie, bez scenograficznych fajerwerków. Widać, że popracowano nad materiałem audio i gdzie trzeba pododawano trochę ścieżek (np. dodatkowe harmonie wokalne). W dwóch skromnych bonusach dostajemy galerię zdjęć oraz kilkuminutowy filmik Access All Areas, w którym towarzyszymy zespołowi na zapleczu przed koncertem oraz podczas spotkań z fanami już po wydarzeniu. Przyjemna rzecz.

Mariusz Danielak



..::TRACK-LIST::..

Filmed at The O2 Academy Islington London 25 June 2016

1. Road To Cairo
2. Poison Ivy
3. Talk To Me
4. Fairytale Lies
5. Moment In Time
6. Forsaken
7. Twist Of Fate
8. The Serpent And The Sea
9. Because Of You
10. Dreamer
11. Forbidden Dreams
12. Borderline
13. Secrets Of Angels
14. Feels Like Home
15. Kashmir



..::OBSADA::..

Hayley Griffiths - lead vocals
Carloenrico Pinna - lead, rhythm & acoustic guitars, vocals
Çagri Tozluoglu - keyboards, programming
Ian Jones - bass, bass pedals, keyboards, programming, vocals
Jimmy Pallagrosi - drums & percussion




https://www.youtube.com/watch?v=4_hFei6pQ8I



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

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


..::OPIS::..

Pierwotnie wydany (i tam również nagrany) wyłącznie w RPA, świetny, progresywny album z 1974 roku i zarazem solowy debiut pochodzącego z Wielkiej Brytanii klawiszowca, po latach znanego m.in. z płyt Camel, Cockney Rebel, Kate Bush (pierwsze trzy) i Budgie. Wydany niegdyś przez Vertigo (i wart obecnie ok. 200 euro) album zawierał połączenie stylistyki Refugee, Morgan i wczesnego Wakemana. Trzy długie kompozycje oparte na przeróżnych brzmieniach klawiszy (oczywiście z sekcją rytmiczną) i na szczęście bez nudnawych dłużyzn. To jest art-rock z najwyższej półki! Po przyjeździe do Wielkiej Brytanii Mackay grał m.in. na płytach takich wykonawców, jak Baker Gurvitz Army, Colosseum ll, Cockney Rebel, Kate Bush, Camel, Budgie oraz Alan Parsons Project.

JL


Robiąc porządki w zapomnianej szafce natknąłem się na ten właśnie album. Przegrałem go sobie od kolegi, który kilka lat temu pożyczył mi kompakt. Miałem ten album już wcześniej na winylu, jednak na stronie drugiej widnieje rysa, przez którą komfort słuchania dalece odbiega od stanu satysfakcji. Przegrywany CDek pozostał co mnie bardzo cieszy. Raz, że mogę tej płyty wysłuchać w całości, dwa, kompakt zawiera dodatkowy utwór o którym tu tylko wspomnę na sam koniec. Jedziemy…
Dunkan urodził się w Leeds w Anglii, jednak jako młody chłopak przeprowadził się wraz z rodzicami do Johannesburga w RPA. Tam zainteresował się instrumentami klawiszowymi, a efekt jego pracy możemy wysłuchać właśnie na tym albumie. To znakomite progresywne granie w którym jako żywo możemy doszukać się odniesień do takich tuzów jak Keith Emerson, Rick Wakeman czy Patrick Moraz.
W nagraniu tej płyty udział wzięło jedynie trzech facetów. Oczywiście Duncan, jego brat Gordon, który zagrał tu na fortepianach i skrzypcach oraz perkusista Mike Gray. Na albumie znalazły się trzy pozycje.

Stronę pierwszą otwiera utwór zatytułowany Morpheus. To w tym utworze usłyszymy większość partii śpiewanych na całym tym albumie. Przyznam szczerze, że głos Duncana nie porywa jakoś szczególnie, jednak tragedii nie ma i można przymknąć oko na pewne niedociągnięcia. Od pierwszych sekund atakują nas organy Hammonda, syntezatory i fantastyczny fortepian. Całość wyśmienicie napędza perkusja. No i chwilę później pojawia się rzeczony głos Duncana. Jak pisałem nie razi, nie fałszuje jednak nie do końca mi odpowiada. Cały utwór to świetne melodie i odniesienia do wielu stylów muzycznych. Usłyszymy tu zarówno dźwięki bluesowe, jazzowe czy w końcu rockowe. Wszystko to połączone jest z ogromnym smakiem i wyczuciem. Co jeszcze? Ciekawe zmiany tempa (w większej części utwór jednak galopuje) i wiele pomysłów. Jak wspomniałem na początku cały urok tego utworu to Hammondy kapitalnie współpracujące z fortepianem. Mocny, trwający ponad jedenaście minut początek płyty.
Na stronie pierwszej czarnego wydania znalazł się jeszcze jeden utwór. 12 Tone Nostalgia bo taki nosi on tytuł w rzeczy samej rozpoczyna się nostalgicznie. To kompozycja w całości instrumentalna. Na początek świetne organy i ponownie fortepian wprowadzające element zadumy i skupienia. Słychać tu wyraźnie echa Bacha i ELP. W dalszej części w całości dominuje Mackay i jego Hammond oraz syntezatorowe wariacje. Plus oczywiście znakomita perkusja. Gdzieś na chwilkę pojawiają się skrzypce drugiego z braci Mackay. Świetne symfoniczne zakończenie.

Stronę drugą wypełnia w całości trwający niemal dwadzieścia minut gigant zatytułowany Song For Witches. Utwór rozpoczynają odgłosy burzy. Walą pioruny, leje deszcz i mocno wieje. Wchodzą klawisze. Dość złowrogi syntezatorowy początek przechodzi w organową psychodeliczną część. Ta, kilka minut później utwór przeradza się i mamy kapitalny jazzowy fragment (brawa w szczególności dla fortepianu, ale i Mike Gray radzi sobie doskonale). Po nim wracamy do symfonicznego brzmienia i Hammonda na czele. Tu Mackay znakomicie dozuje słuchaczowi napięcie, zmienia tempo od wolnego do wręcz szaleńczych galopów. Fantastyczne są te wszystkie przejścia, pomysły i wirtuozeria. W okolicach dwunastej minuty ponownie do głosu dochodzi fortepian, który też niezwykle czaruje. Następnie organy kościelne, powiew gotyku i wreszcie jak w utworze pierwszym śpiew Duncana. Ostatnie minuty to już pokaz kunsztu w grze na instrumentach klawiszowych. Jako wisienka na torcie wspaniała solówka na perkusji.
Kompaktowe wznowienie zawiera dodatkowy utwór (The Opening). Ten pochodzi z roku 1990 i pasuje do reszty płyty jak pięść do nosa. Nie, nie jest zły, ale wyraźnie słychać z jakiego okresu pochodzi i nowoczesność brzmienia nijak nie pasuje do oryginalnego materiału. Po co to wydawca zrobił? Pewnie dla zachęty.

Reasumując. Chimera to naprawdę bardzo dobry album. Szkoda jedynie, że nieco zapomniany. Jak pisałem na samym wstępie słychać tu wiele odniesień muzycznych do takich zespołów jak ELP, Refugee, The Nice czy niemieckiego Triumvirat. Miłośnicy organowej czy nawet idąc dalej, klawiszowej odmiany rocka progresywnego znajdą tu dla siebie całą masę kapitalnych partii, melodii i dźwięków.
Na sam koniec dodam jeszcze tylko, że Mackay po Chimerze nadal tworzył i nagrywał. Przeniósł się z powrotem do Anglii i tam współpracował między innymi z grupą Camel, Alan Parsons Project czy Kate Bush.

SzyMon


The long time forgotten keyboardist DUNCAN MCKAY has at last been added to Prog Archives database by the Symphonic Team, so it's time to review his 1974 release "Chimera", an impressive work with great music but sadly almost unknown, due to the hard competition of the early 70's.
The album presents us an impressive display of keyboards of all kinds, piano, Hammond B3 organ, Denon electric piano, clavichord, ARP synthesizer ,etc, all taken to the maximum of their possibilities by MACKAY who does a very competent work. But that's not all, DUNCAN has a pretty decent voice and is supported by his brother Gordon, who adds some piano and violin, plus Mike Gray in the drums...Yes, it's true, no guitar or bass.

"Chimera" is opened with the strange "Morpheus", contrary to what the name may imply, the song has nothing dreamy or oneiric, as a fact is a frenetic song with multiple and radical changes of style, that go from pristine Symphonic with clear Rick Wakeman references to hard and excessive in the mood of Keith Emerson with a touch of Jürgen Fritz from TRIUMVIRAT.

The vocals are good enough and the drums are outstanding, a solid track from start to end, maybe a bit bombastic but strong and interesting

The second track "12 Tone Nostalgia" starts dramatic and sober, with a dramatic edge, and even when MACKAY explores all the possibilities of the keyboards, that heavy and almost Psychedelic atmosphere provided by the Hammond Organ adds emotion and sentiment.

The instrumental breaks marks a change; from being sober and nostalgic, the song changes into bombastic and unpredictable, MACKAY includes everything, from Bach inspired music to ELP oriented passages, and incredibly "REFUGEE" sounds (something hard to believe because both albums were released in 1974). Maybe people will say it's pompous and self indulgent....But that's the reason why I love it, at the end...Isn't that what we seek for in Prog Rock?

The original release ends with the 19:15 minutes epic "Song for Witches", a really strange song that begins with a clear Psychedelic inheritance, MACKAY and band jam with the instruments as if they were in the late 60's, and suddenly, when less expected they move into a frenetic Jazz section, with a slight MAHAVISHNU influence, but this doesn't last too long, MACKLAY as usual returns to the complex fantasia of sounds and influences that go from Classical, Baroque and Gothic to something that could had been released by THE NICE...The guys is absolutely versatile and this deserves credit.

My copy of "Chimera" is closed by a 1990 released bonus track contradictorily named "The Opening", even when it's obvious that MACKAY'S skills have improved even more, the sound is radically different, more modern and with a strong mainstream component in the vein of late ALAN PARSONS PROJECT, but we are here to talk about the original release, and even when the song is entertaining, sounds completely out of place in a 1974 release, and for that reason doesn't alter my opinion about the original album.

I believe "Chimera" is a forgotten gem that deserves no less than 4 stars, so except for people who dislike pompous music, it's highly recommended.

Ivan Melgar M



..::TRACK-LIST::..

1. Morpheus 11:15
2. Twelve Tone Nostalgia 8:09
3. Song For Witches 19:35



..::OBSADA::..

Vocals, Piano, Electric Piano, Synthesizer, Organ [Hammond B3], Clavichord, Bass [Pedal] - Duncan Mackay
Violin, Electric Piano, Piano - Gordon Mackay
Drums, Backing Vocals - Mike Gray




https://www.youtube.com/watch?v=UXRA3UozSYo



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

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


..::OPIS::..

Pierwotnie wydany (i tam również nagrany) wyłącznie w RPA, świetny, progresywny album z 1974 roku i zarazem solowy debiut pochodzącego z Wielkiej Brytanii klawiszowca, po latach znanego m.in. z płyt Camel, Cockney Rebel, Kate Bush (pierwsze trzy) i Budgie. Wydany niegdyś przez Vertigo (i wart obecnie ok. 200 euro) album zawierał połączenie stylistyki Refugee, Morgan i wczesnego Wakemana. Trzy długie kompozycje oparte na przeróżnych brzmieniach klawiszy (oczywiście z sekcją rytmiczną) i na szczęście bez nudnawych dłużyzn. To jest art-rock z najwyższej półki! Po przyjeździe do Wielkiej Brytanii Mackay grał m.in. na płytach takich wykonawców, jak Baker Gurvitz Army, Colosseum ll, Cockney Rebel, Kate Bush, Camel, Budgie oraz Alan Parsons Project.

JL


Robiąc porządki w zapomnianej szafce natknąłem się na ten właśnie album. Przegrałem go sobie od kolegi, który kilka lat temu pożyczył mi kompakt. Miałem ten album już wcześniej na winylu, jednak na stronie drugiej widnieje rysa, przez którą komfort słuchania dalece odbiega od stanu satysfakcji. Przegrywany CDek pozostał co mnie bardzo cieszy. Raz, że mogę tej płyty wysłuchać w całości, dwa, kompakt zawiera dodatkowy utwór o którym tu tylko wspomnę na sam koniec. Jedziemy…
Dunkan urodził się w Leeds w Anglii, jednak jako młody chłopak przeprowadził się wraz z rodzicami do Johannesburga w RPA. Tam zainteresował się instrumentami klawiszowymi, a efekt jego pracy możemy wysłuchać właśnie na tym albumie. To znakomite progresywne granie w którym jako żywo możemy doszukać się odniesień do takich tuzów jak Keith Emerson, Rick Wakeman czy Patrick Moraz.
W nagraniu tej płyty udział wzięło jedynie trzech facetów. Oczywiście Duncan, jego brat Gordon, który zagrał tu na fortepianach i skrzypcach oraz perkusista Mike Gray. Na albumie znalazły się trzy pozycje.

Stronę pierwszą otwiera utwór zatytułowany Morpheus. To w tym utworze usłyszymy większość partii śpiewanych na całym tym albumie. Przyznam szczerze, że głos Duncana nie porywa jakoś szczególnie, jednak tragedii nie ma i można przymknąć oko na pewne niedociągnięcia. Od pierwszych sekund atakują nas organy Hammonda, syntezatory i fantastyczny fortepian. Całość wyśmienicie napędza perkusja. No i chwilę później pojawia się rzeczony głos Duncana. Jak pisałem nie razi, nie fałszuje jednak nie do końca mi odpowiada. Cały utwór to świetne melodie i odniesienia do wielu stylów muzycznych. Usłyszymy tu zarówno dźwięki bluesowe, jazzowe czy w końcu rockowe. Wszystko to połączone jest z ogromnym smakiem i wyczuciem. Co jeszcze? Ciekawe zmiany tempa (w większej części utwór jednak galopuje) i wiele pomysłów. Jak wspomniałem na początku cały urok tego utworu to Hammondy kapitalnie współpracujące z fortepianem. Mocny, trwający ponad jedenaście minut początek płyty.
Na stronie pierwszej czarnego wydania znalazł się jeszcze jeden utwór. 12 Tone Nostalgia bo taki nosi on tytuł w rzeczy samej rozpoczyna się nostalgicznie. To kompozycja w całości instrumentalna. Na początek świetne organy i ponownie fortepian wprowadzające element zadumy i skupienia. Słychać tu wyraźnie echa Bacha i ELP. W dalszej części w całości dominuje Mackay i jego Hammond oraz syntezatorowe wariacje. Plus oczywiście znakomita perkusja. Gdzieś na chwilkę pojawiają się skrzypce drugiego z braci Mackay. Świetne symfoniczne zakończenie.

Stronę drugą wypełnia w całości trwający niemal dwadzieścia minut gigant zatytułowany Song For Witches. Utwór rozpoczynają odgłosy burzy. Walą pioruny, leje deszcz i mocno wieje. Wchodzą klawisze. Dość złowrogi syntezatorowy początek przechodzi w organową psychodeliczną część. Ta, kilka minut później utwór przeradza się i mamy kapitalny jazzowy fragment (brawa w szczególności dla fortepianu, ale i Mike Gray radzi sobie doskonale). Po nim wracamy do symfonicznego brzmienia i Hammonda na czele. Tu Mackay znakomicie dozuje słuchaczowi napięcie, zmienia tempo od wolnego do wręcz szaleńczych galopów. Fantastyczne są te wszystkie przejścia, pomysły i wirtuozeria. W okolicach dwunastej minuty ponownie do głosu dochodzi fortepian, który też niezwykle czaruje. Następnie organy kościelne, powiew gotyku i wreszcie jak w utworze pierwszym śpiew Duncana. Ostatnie minuty to już pokaz kunsztu w grze na instrumentach klawiszowych. Jako wisienka na torcie wspaniała solówka na perkusji.
Kompaktowe wznowienie zawiera dodatkowy utwór (The Opening). Ten pochodzi z roku 1990 i pasuje do reszty płyty jak pięść do nosa. Nie, nie jest zły, ale wyraźnie słychać z jakiego okresu pochodzi i nowoczesność brzmienia nijak nie pasuje do oryginalnego materiału. Po co to wydawca zrobił? Pewnie dla zachęty.

Reasumując. Chimera to naprawdę bardzo dobry album. Szkoda jedynie, że nieco zapomniany. Jak pisałem na samym wstępie słychać tu wiele odniesień muzycznych do takich zespołów jak ELP, Refugee, The Nice czy niemieckiego Triumvirat. Miłośnicy organowej czy nawet idąc dalej, klawiszowej odmiany rocka progresywnego znajdą tu dla siebie całą masę kapitalnych partii, melodii i dźwięków.
Na sam koniec dodam jeszcze tylko, że Mackay po Chimerze nadal tworzył i nagrywał. Przeniósł się z powrotem do Anglii i tam współpracował między innymi z grupą Camel, Alan Parsons Project czy Kate Bush.

SzyMon


The long time forgotten keyboardist DUNCAN MCKAY has at last been added to Prog Archives database by the Symphonic Team, so it's time to review his 1974 release "Chimera", an impressive work with great music but sadly almost unknown, due to the hard competition of the early 70's.
The album presents us an impressive display of keyboards of all kinds, piano, Hammond B3 organ, Denon electric piano, clavichord, ARP synthesizer ,etc, all taken to the maximum of their possibilities by MACKAY who does a very competent work. But that's not all, DUNCAN has a pretty decent voice and is supported by his brother Gordon, who adds some piano and violin, plus Mike Gray in the drums...Yes, it's true, no guitar or bass.

"Chimera" is opened with the strange "Morpheus", contrary to what the name may imply, the song has nothing dreamy or oneiric, as a fact is a frenetic song with multiple and radical changes of style, that go from pristine Symphonic with clear Rick Wakeman references to hard and excessive in the mood of Keith Emerson with a touch of Jürgen Fritz from TRIUMVIRAT.

The vocals are good enough and the drums are outstanding, a solid track from start to end, maybe a bit bombastic but strong and interesting

The second track "12 Tone Nostalgia" starts dramatic and sober, with a dramatic edge, and even when MACKAY explores all the possibilities of the keyboards, that heavy and almost Psychedelic atmosphere provided by the Hammond Organ adds emotion and sentiment.

The instrumental breaks marks a change; from being sober and nostalgic, the song changes into bombastic and unpredictable, MACKAY includes everything, from Bach inspired music to ELP oriented passages, and incredibly "REFUGEE" sounds (something hard to believe because both albums were released in 1974). Maybe people will say it's pompous and self indulgent....But that's the reason why I love it, at the end...Isn't that what we seek for in Prog Rock?

The original release ends with the 19:15 minutes epic "Song for Witches", a really strange song that begins with a clear Psychedelic inheritance, MACKAY and band jam with the instruments as if they were in the late 60's, and suddenly, when less expected they move into a frenetic Jazz section, with a slight MAHAVISHNU influence, but this doesn't last too long, MACKLAY as usual returns to the complex fantasia of sounds and influences that go from Classical, Baroque and Gothic to something that could had been released by THE NICE...The guys is absolutely versatile and this deserves credit.

My copy of "Chimera" is closed by a 1990 released bonus track contradictorily named "The Opening", even when it's obvious that MACKAY'S skills have improved even more, the sound is radically different, more modern and with a strong mainstream component in the vein of late ALAN PARSONS PROJECT, but we are here to talk about the original release, and even when the song is entertaining, sounds completely out of place in a 1974 release, and for that reason doesn't alter my opinion about the original album.

I believe "Chimera" is a forgotten gem that deserves no less than 4 stars, so except for people who dislike pompous music, it's highly recommended.

Ivan Melgar M



..::TRACK-LIST::..

1. Morpheus 11:15
2. Twelve Tone Nostalgia 8:09
3. Song For Witches 19:35



..::OBSADA::..

Vocals, Piano, Electric Piano, Synthesizer, Organ [Hammond B3], Clavichord, Bass [Pedal] - Duncan Mackay
Violin, Electric Piano, Piano - Gordon Mackay
Drums, Backing Vocals - Mike Gray




https://www.youtube.com/watch?v=UXRA3UozSYo



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

..::INFO::..

---------------------------------------------------------------------
Gary Glitter - Gary Glitter's Gangshow
(The Gang, The Band, The Leader)
---------------------------------------------------------------------

Artist...............: Gary Glitter
Album................: Gary Glitter's Gangshow
Genre................: Rock, Glam
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: 67 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Castle Communications

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

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

1. Gary Glitter - Rock'n'Roll Part II [02:30]
2. Gary Glitter - I Didn't Know I Loved You ('Til I Saw You Rock'n'Roll)[03:46]
3. Gary Glitter - When I'm On I'm On [04:56]
4. Gary Glitter - Do You Wanna Touch Me ? (Oh yeah) [03:47]
5. Gary Glitter - Alright With The Boys [03:08]
6. Gary Glitter - Hello, Hello I'm Back Again [04:24]
7. Gary Glitter - Shake It Up [03:44]
8. Gary Glitter - Always Yours [05:56]
9. Gary Glitter - Frontier Of Style (F.O.S.) [04:36]
10. Gary Glitter - The Only Way To Survive [06:06]
11. Gary Glitter - Rock'n'Roll Part I, Good Rockin' Tonight, Baby Let's Play House, Be Bop A Lula[14:11]
12. Gary Glitter - Another Rock 'N' Roll Christmas Scotland the Brave[05:22]
13. Gary Glitter - I Love You Love Me Love [05:19]
14. Gary Glitter - I'm the Leader of The Gang (I Am) [05:26]

Playing Time.........: 01:13:19
Total Size...........: 488,82 MB

..::INFO::..

---------------------------------------------------------------------
Various Artists - Twang! - A Tribute To Hank Marvin & The Shadows
---------------------------------------------------------------------

Artist...............: Various Artists
Album................: Twang !
Genre................: Instrumental Rock
Source...............: CD
Year.................: 1996
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 58 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Ark 21

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

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

1. Ritchie Blackmore - Apache [03:14]
2. Brian May - FBI [03:13]
3. Tony Iommi - Wonderful Land [04:43]
4. Steve Stevens - The Savage [05:05]
5. Hank Marvin - The Rise & Fall Of Flingel Bunt [04:17]
6. Peter Green & Splinter Group - Midnight [02:42]
7. Neil Young & Randy Bachman - Spring Is Nearly Here [04:32]
8. Mark Knopfler - Atlantis [03:09]
9. Peter Frampton - The Frightened City [04:08]
10. Keith Urban - Dance On [02:54]
11. Andy Summers - Stingray [03:50]
12. Bela Fleck & The Flecktones - The Stranger [03:47]

Playing Time.........: 45:38
Total Size...........: 269,29 MB

...( Info )...

Artist...............: The Verve
Album................: Live in Wigan 1998
Genre................: Rock
Year.................: 1998
Version..............: Flac Audio

...( TrackList )...

001. The Verve - This Is Music (live)
002. The Verve - Space and Time (live)
003. The Verve - Catching the Butterfly (live)
004. The Verve - Sonnet (live)
005. The Verve - The Rolling People (live)
006. The Verve - Neon Wilderness (live)
007. The Verve - Weeping Willow (live)
008. The Verve - The Drugs Don't Work (live)
009. The Verve - Lucky Man (live)
010. The Verve - Life's an Ocean (live)
011. The Verve - Velvet Morning (live)
012. The Verve - Bittersweet Symphony (live)
013. The Verve - One Day (live)
014. The Verve - History (live)
015. The Verve - Come On (live)

...( Info )...


Artist...............: The Verve
Album................: Brixton Academy 1998 (live)
Genre................: Rock
Year.................: 1998
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. The Verve - New Decade (live)
002. The Verve - Catching Butterfiles (live)
003. The Verve - Sonnet (live)
004. The Verve - Drugs Don't Work (live)
005. The Verve - Rolling People (live)
006. The Verve - History (live)
007. The Verve - Life's An Ocean (live)
008. The Verve - Bittersweet Symphony (live)
009. The Verve - Stormy Clouds (live)
010. The Verve - Space & Time (live)
011. The Verve - On Your Own (live)
012. The Verve - Lucky Man (live)
013. The Verve - Come On (live)

...( Info )...

Artist: Kajagoogoo And Limahl
Album: The Very Best Of Kajagoogoo And Limahl
Genre: Synthpop
Media: CD
Country of release: EU
Year of release: 2003
Publisher (label): EMI Gold
Country of artist (band): UK
Audio codec: FLAC (*.flac)
Rip type: tracks+.cue
Audio bitrate: lossless
Duration: 01:15:03
Source (releaser): thoms01


...( TrackList )...

01 - Kajagoogoo - Too Shy
02 - Kajagoogoo - Ooh To Be Ah
03 - Kajagoogoo - Hang On Now
04 - Kajagoogoo - Big Apple
05 - Kajagoogoo - The Lion's Mouth
06 - Kajagoogoo - Turn Your Back On Me
07 - Kajagoogoo - Shouldn't Do That
08 - Kajagoogoo - Charm Of A Gun
09 - Limahl - Only For Love
10 - Limahl - Never Ending Story
11 - Limahl - I Was A Fool
12 - Limahl - Inside To Outside
13 - Kajagoogoo - Monochromatic
14 - Kajagoogoo - Take Another View
15 - Limahl - Your Love
16 - Limahl - Shock
17 - Limahl - Love In Your Eyes
18 - Limahl - Too Much Trouble
19 - Limahl - Tar Beach