2 Many DJ's - 2002 - As Heard On Radio Soulwax, Pt. 2

Soulwax members Stephen and David Dewaele inaugurated the alias 2 Many DJ's for a series of radio-show mix sessions, few (if any) of which were recorded live; with the magic of computer processing, the pair spent hours constructing pinpoint mixes with editing software, deconstructing pop music of the '60, '70s, and '80s with multiple layers of familiar songs. And as unlikely as it appeared they'd ever be able to issue a proper album, 2 Many DJ's debuted a full-length mix with 2002's As Heard on Radio Soulwax, Pt. 2, a feat of licensing endurance and computer-aided mixing with few parallels at this early date in the history of mash-ups. (It's available only as an import, fully licensed and bonded for the notorious Benelux countries alone.) An hour-long mix with nary a pause for breath, the disc balances late-period electro-techno with some of the most hilarious one-over-another collisions of previously unimagined duets in history. When the vocal on a pitched-up "I'm Waiting for the Man" finally drops out, it's difficult not to be a little shocked once you realize that midway the beat morphed into "Dance to the Music," and Lou Reed's hip whine is replaced by an a cappella version of "Oh Sheila." Sexual frustration (the Stooges' "No Fun") competes with sexual release (Salt-N-Pepa's "Push It"), the wistful one-shot "I Wish" by Skee-Lo sounds a bit more extroverted when pasted over the Breeders' "Cannonball," and "Independent Woman, Pt. 1" by Destiny's Child gradually gives way to "Independent Woman, Pt. 0" -- that is, Dolly Parton's "9 to 5." There's as many incredible rare grooves on this record as there are familiar shots, a sure tribute to 2 Many DJ's as combination collectors/mixers/taste-makers than anything else. Most of the ideas here really aren't new -- just talk to Grandmaster Flash or Kool Herc about borrowing any records at hand to keep a crowd moving -- but 2 Many DJ's have acres of talent and great ideas about constructing a mix record.

1 Peter Gunn Theme/Where's Your Head At [Head-A-Pella] Mancini 2:49
2 Fuck the Pain Away Peaches 1:38
3 I'm Waiting for the Man Reed 0:57
4 J'Aime Regarder Les Mecs/Dance to the Music/Oh Sheila [Acapella] 0:57
5 I Wanna Be Your Dog Alexander, Asheton, Asheton, Pop 1:44
6 Disko Kings 1:28
7 The "O" Melody/Silverscreen-Shower Scene 2:56
8 No Fun/Push It 2:31
9 Joe le Taxi/Crush on You [Acapella] Langolff, Roda Gil 2:28
10 Funkacise/Motocross Madness/French Kiss 3:03
11 Serious Trouble Mukai, Zongamin 1:39
12 Androgyny [Thee Glitz Mix] Erikson, Manson, Marker, Vig 1:16
13 Disc Jockey's Delight, Vol. 2/Kaw-Liga [Prairie Mix] 2:30
14 Shake Your Body 2:11
15 Into the Stars [Firebird Remix] 0:58
16 Concepts/99 Luftballons 1:37
17 Independent Women, Pt. 1 /Dreadlock Holiday [Acapella] 3:30
18 9 to 5/Eple Parton 2:29
19 Death Disco 0:43
20 Keine Melodien Jeans Team 1:46
21 I Wish /My Gigolo/Cannonball [Acapella] 3:30
22 Human Fly 1:33
23 Danger! High Voltage 1:42
24 Don't Bring Me Down 1:57
25 Hand to Phone Equation, Kuperus 1:40
26 La Rock 01 Vitalic 2:37
27 I Was Made for Loving You Child, Ponica, Stanley 1:59
28 The Beach/Sandwiches [Acapella] 2:12
29 I Sit on Acid [Soulwax Remix] 2:56
30 Start Button 1:58

¡Aquí!

Drive Like Jehu - 1994 - Yank Crime

The band's second and, unfortunately, final album, Yank Crime is as worthy and awesome as its predecessor, losing not a jot in the change from independent to major label status. Including some longer, more complex tunes this time around, Drive Like Jehu is otherwise essentially unchanged, fusing brawling, crisp rhythms and high volume intensity with technical complexity, feeling like a mad science experiment gone completely out of control. Aside from the guest backing vocals on the frazzled angst explosion "Luau!" by fellow San Diego music fiend Rob Crow, it's again all down to the band's four members, with drummer Trombino providing the strong, take-no-prisoners mix. Perhaps even more than the debut, Yank Crime solidified Drive Like Jehu's reputation as kings of emo. While use of that term rapidly degenerated to apply to sappy miserableness by the decade's end, here the quartet capture its original sense, wired, frenetic, screaming passion, as first semi-created by the likes of Rites of Spring. Whether making it short and sweet, as the surprisingly gentle instrumental "New Intro" demonstrates in three minutes, or taking time, like the nearly ten-minute conclusion "Sinews," the band wastes not a note. Froberg's sense of intense, almost accusatory delivery is astonishingly dramatic throughout, whether in full cry or with a touch of restraint, as on the rhythmic chorus of "Do You Compute." His guitar partnership with Reis is still in full cry, creating honestly epic zoned and screaming feedback roars and waves -- the aforementioned "Do You Compute" is one fine example, as is "Luau!," which builds to a awe-inspiring, eternally ascending rise. While a recording of the band's incendiary live shows would be the best way to remember the quartet, Yank Crime is a thoroughly excellent if unexpected way to bow out, artistic rock that actually, honestly, and totally rocks.

1 Here Come the Rome Plows Drive Like Jehu 5:44
2 Do You Compute Drive Like Jehu 7:12
3 Golden Brown Drive Like Jehu 3:14
4 Luau Drive Like Jehu 9:27
5 Super Inison Drive Like Jehu 7:24
6 New Intro Drive Like Jehu 3:32
7 New Math Drive Like Jehu 4:06
8 Human Interest Drive Like Jehu 3:24
9 Sinews Drive Like Jehu 9:12

¡Aquí!

Los Abuelos De La Nada - 1983 - Vasos y Besos

Vasos y Besos es el segundo disco de la agrupación argentina Los Abuelos de la Nada. Con este material llega la consagración definitiva de la banda, principalmente por su segundo single Mil Horas Y Canciones como No Se Desesperen, Sintonía Americana, Así es el Calor y Chalamán que les brindan una difusión constante.
Las composiciones de Miguel Abuelo toman un lugar de privilegio en el álbum. Grandes poesías como Yo Soy Tu Bandera y Espía de Dios son muestras de ello. Además incluye una canción que formaba parte de los primeros demos de Los Abuelos, Mundos in Mundos. Con todos estos ingredientes, Los Abuelos de la Nada lograron un álbum exitoso que captó al público joven, los acercó al público masivo con las composiciones de Calamaro, sin perder la calidad que caracterizó siempre a la banda y en especial a la obra de Miguel Abuelo.
Luego de la presentación del álbum en Velez Sarfield, Daniel Melingo abandona la formación para dedicarse a su banda Los Twist, que estaba en pleno crecimiento con su primer disco La Dicha en Movimiento. Su lugar es ocupado por Alfredo Desiata.

No se desesperen
Así es el calor
Yo soy tu bandera
Sintonía americana
Espía de Dios
Cucarachón de tribunal
Vamos al ruedo
Mil horas
Hermana Teresa
Chalaman
Mundos in-mundos

¡Aquí!

Hammill, Peter - 1996 - Tides

All tracks recorded during The Lanzarote Music Festival, December 1989

1 My Room 7:16
2 Too Many Yesterdays 4:38
3 Just Good Friends 10:07
4 Mirror Images 10:32
5 Time To Burn 11:23
6 Untitled 8:54
7 Stranger 6:14
8 Where The Actors Go 5:16

¡Aquí!

Vibracathedral Orchestra - 1999 - Mothing

Private release available at concerts and mail-order. Comes in a handpainted sleeve.
First issue from the Bradley-Campbell-Flower axis. Includes the full 23 minute version of "Falling Free You & Me" from the 10-inch.


1 The Beauty Of Refined Rusticity
2 High Reach Driver
3 Souls Of Centrifuge
4 Fave Welfare
5 Transvestite Electrics
6 Falling Free You & Me

¡Aquí!

VA - Metal/Hard Rock Covers, Vol. 219

01 - Styx - Find The Cost Of Freedom (Crosby, Stills, Nash & Young)
02 - Lorihen - Slave To The Grind (Skid Row)
03 - Fozzy - Live Wire (Motley Crue)
04 - Savatage - Day After Day (Badfinger)
05 - Ascension Of The Watchers - Sounds Of Silence (Simon & Garfunkel)
06 - Six Feet Under - Shoot To Thrill (AcDc)
07 - Plan 4 - Tv Crimes (Black Sabbath)
08 - Freedom Call - Hiroshima (Wishful Thinking)
09 - Deja Vu - United Forces (S.O.D.)
10 - Fate Keeper - Theatre Of Pain (Blind Guardian)

¡Aquí!

Anti-Flag - 1998 - Their System Doesn't Work For You

2000's Their System Doesn't Work for You resurrects the nine tracks from 1998's limited-edition EP, North America Sucks, and adds ten previously-unreleased, later-vintage tracks for good measure. The songs from the EP are prime Anti-Flag, political punk that never loses its sense of humor even when making its most important points. "Indie Sux, Hardline Sux, Emo Sux, You Suck!" decries the Balkanization of the D.I.Y. scene in the '90s to the album's catchiest chorus, while the title track and "Anti-Violent" take aim at the usual suspects. Unfortunately, with only a couple of exceptions, the later tracks sound like half-baked filler; indeed, the beyond-lo-fi sound suggests that they might be rough demos not originally intended to be heard outside the band, a supposition backed up by the lazy, sluggish performances, and meandering song structures. There are a few promising tracks among the dross, particularly "Betty Sue Is Dead," which makes incredibly effective use of an old-school punk-reggae middle section in the style of the Ruts, but overall, the second half of Their System Doesn't Work for You doesn't work for anybody.

1 I Can't Stand Being With You 2:05
2 Their System Doesn't Work for You 2:31
3 We've Got His Gun 2:25
4 Born to Die 2:05
5 The Truth 2:40
6 You'll Scream Tonight 5:15
7 Indie Sux, Hardline Sux, EmoSux, You Suck! 2:05
8 Anti-Violent 3:05
9 20 Years of Hell 2:32
10 I'm Having a Good Day 2:41
11 I Don't Want to Be Like You 3:30
12 Too Late 2:50
13 I Don't Need Anybody 3:49
14 Betty Sue Is Dead 3:14
15 If Not for You 3:16
16 Meet Your Master 3:57
17 We Won't Take No 2:34
18 Save Me 3:00
19 I'm Feeling Slightly Violent 3:29

¡Aquí!

Abuelos De La Nada - 1982 - Los Abuelos De La Nada

No te enamores nunca de aquel marinero bengalí
Sin gamulán
Como debo andar
En la cama o en el suelo
Ir a más
Tristeza de la ciudad
Creo que es un sueño más
Levantando temperatura
Guindilla ardiente
Te vas rica
Se me olvidó que te olvidé

¡Aquí!

Hammill, Peter - 1998 - This

Even if the gang of the pH quartet are supporting Peter, he wanted this album to be a very much personal matter (at least he said so).

But, as usual, it is the more band oriented songs that I will prefer. "Unrehearsed" has the indefinite Graaf feeling I like so much. Mighty Jackson is as great as ever and Stuart's violin is just remarkable. When you would combine these elements with a passionate vocal part, you just have to acknowledge that this song is outstanding.

Same perspective for "Since the Kids" which is another highlight from "This". More tranquil but same passion. These moments are pure joy. During his long and (too) prolific career, Peter has dotted his albums with such wonderful songs.

I wasn't really enthusiast about Peter's output in the nineties and "This" might well be his best work since "Roaring Forties" or "Out Of Water". The delicacy of "Nightman" or "Fallen" is so moving. Hammill at his best. Like he should have always been. Stuart being a very good add-on of course.

Some less inspired songs here and there ("Stupid", "Always Is next") bring the listener back on earth again. The long and closing epic is more on the experimental and atmospheric side.

About this song, Peter said: "This was entirely improvised as far as music is concerned. I began playing one morning in a completely open - if somewhat anxiously reflective and somber - frame of mind. Just I'm making music, in a free sense. I played my parts...my performance...in one continuous pass, adjusting the various sound sources I was using as I went.

Again, a process of editing brought the piece into (admittedly long) shape. By this time the vocal line, theme and lyrics were well under way. David and Stuart's contributions were made under strict rules: they were allowed only two passes each. The first was without having heard the music at all; the only reference points I gave them were It's 14 minutes long and it's Antarctic. I remain really happy with this piece".

My feeling is probably more mixed, but "This" remains a good album in the man's discography. Three stars.

1 Frozen In Place [Fragment] Hammill 0:47
2 Unrehearsed Hammill 7:01
3 Stupid Hammill 4:26
4 Since the Kids Hammill 5:57
5 Nightman Hammill 6:16
6 Fallen (The City of Night) Hammill 5:36
7 Unready [Fragment] Hammill 0:42
8 Always Is Next Hammill 3:58
9 Unsteady [Fragment] Hammill 1:02
10 The Light Continent Hammill 14:00

¡Aquí!

Richard, Little - 1957 - Here's Little Richard

Little Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal "Tutti Frutti" in the fall of 1955, but everything else he'd done -- and much of what others had recorded -- faded into insignificance when Richard wailed "A wop bop a loo mop a lomp bomp bomp" and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard -- his boogie-woogie piano stylings weren't all that different from what Fats Domino has been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove. But what set Richard apart was his willingness to ramp up the tempos and turn the outrage meter up to ten; "Tutti Frutti," "Rip It Up" and "Jenny Jenny" still sound outrageous a half-century after they were waxed, and it's difficult but intriguing to imagine how people must have reacted to Little Richard at a time when African-American performers were expected to be polite and the notion of a gay man venturing out of the closet simply didn't exist (Richard's songs were thoroughly heterosexual on the surface, but the nudge and wink of "Tutti Frutti" and "Baby" is faint but visible, and his bop threads, mile-high process and eye makeup clearly categorized him as someone "different"). These 12 tunes may not represent the alpha and omega of Little Richard's best music, but every song is a classic and unlike many of his peers, time has refused to render this first album quaint -- Richard's grainy scream remains one of the great sounds in rock & roll history, and the thunder of his piano and the frantic wail of the band is still the glorious call of a Friday night with pay in the pocket and trouble in mind. Brilliant stuff.

1 Tutti Frutti LaBostrie, Little Richard, Lubin
2 True Fine Mama Little Richard, Penniman
3 Can't Believe You Wanna Leave Price
4 Ready Teddy Blackwell, Marascalco
5 Baby Little Richard
6 Slippin' and Slidin' Bocage, Collins, Little Richard…
7 Long Tall Sally Blackwell, Johnson, Little Richard…
8 Miss Ann Johnson, Little Richard
9 Oh Why? Scott
10 Rip It Up Blackwell, Marascalco
11 Jenny, Jenny Johnson, Little Richard
12 She's Got It Little Richard, Marascalco

¡Aquí!

VA - 2002 - Hellfire: A Tribute To Tool

In the jazz world, tribute albums are inescapable. Every week, jazz artists are recording tributes to Duke Ellington, Miles Davis, Antonio Carlos Jobim, Cole Porter, or someone else they admire. But in rock, they aren't as plentiful -- for every Bob Dylan, Doors, or Rolling Stones tribute that gets recorded, there are a lot more Ellington or George Gershwin tributes coming from the jazz world. One of rock's more tribute-minded labels is Cleopatra, which has paid homage to countless rockers. As a rule, Cleopatra's tribute albums are interesting -- and this 2002 release (which finds 12 different artists providing Tool covers) is no exception. Even if A Tribute to Tool is mildly uneven; it has more ups than downs and offers a lot of intriguing takes on the headbangers' songs. The best covers are the ones that bring something new or different to a familiar song; operating on that premise, the artists on this CD acknowledge Tool on their own terms instead of slavishly emulating the band. While Tool's forte is alternative metal, A Tribute to Tool is full of industrial, darkwave, and goth rock interpretations of its songs. Not everything on the CD works, but most of the time, A Tribute to Tool hits its mark. Mists of Avalon successfully gives "Prison Sex" a goth makeover, while an industrial outlook works well for Translation Collapse on "Reflection," Beauty on "Disgustipated," and Razed in Black on "Part of Me." One of the best tracks is the Electric Hellfire Club's "Opiate" makeover; Hellfire's campy, over-the-top sense of fun is quite a contrast to Tool's artsy leanings. Do those with only a casual interest in Tool need to hear 12 Tool covers? Probably not. But Tool's hardcore fans will find this CD meaningful if they also have an appetite for industrial, darkwave, and goth rock.

1 Disgustipated Beauty 3:31
2 Reflection Fuchigami, Translation Collapse 4:44
3 Stinkfist Hyena 4:59
4 Part of Me Razed In Black 3:38
5 Intolerance Style 4:34
6 Die Eier von Satan Haujobb 4:49
7 4 Rosetta Stone 4:59
8 Ænema Collapse Into Reason 5:00
9 Hush Pistel 3:47
10 Opiate Electric Hellfire Club 4:38
11 Prison Sex Mists Of Avalon 4:38
12 Sober Butler, Enemies 4:43

¡Aquí!

Turner, Tina - 1984 - Private Dancer

In 1984, a 45-year-old Tina Turner made one of the most amazing comebacks in the history of American popular music. A few years earlier, it was hard to imagine the veteran soul/rock belter reinventing herself and returning to the top of the pop charts, but she did exactly that with the outstanding Private Dancer. And Turner did so without sacrificing her musical integrity. To be sure, this pop/rock/R&B pearl is decidedly slicker than such raw, earthy, hard-edged Ike & Tina classics as "Proud Mary," "Sexy Ida," and "I Wanna Take You Higher." But she still has a tough, throaty, passionate delivery that serves her beautifully on everything from the melancholy, reggae-influenced "What's Love Got to Do With It" to the gutsy "Better Be Good to Me" to heartfelt remakes of the Beatles' "Help," Al Green's "Let's Stay Together," and David Bowie's "1984." A reflection on the emptiness of a stripper's life, the dusky title song is as poignant as it is depressing. Without question, this was Turner's finest hour as a solo artist.

1 I Might Have Been Queen Hine, Obstoj, West-Oram 4:10
2 What's Love Got to Do with It Britten, Lyle 3:49
3 Show Some Respect Britten, Shifrin 3:18
4 I Can't Stand the Rain Bryant, Miller, Peebles 3:41
5 Private Dancer Knopfler 7:11
6 Let's Stay Together Green, Jackson, Mitchell 5:16
7 Better Be Good to Me Chapman, Chinn, Knight 5:10
8 Steel Claw Brady 3:48
9 Help! Lennon, McCartney 4:30
10 1984 Bowie 3:09

¡Aquí!

Abuelo, Miguel - 1984 - Buen Día, Día

Unico disco solista editado en Argentina por Miguel Abuelo en 1984 en paralelo a la grabación del disco de Los Abuelos De La Nada "Himno De Mi Corazón".

De las diez canciones que componen el disco hay 2 temas que fueron grabados en 1978 en París Francia en el 'Manderly Studio' por el ingeniero Denis Coutard, ellas son: la reversión de "La Balsa" y "Va Silvestre Bajo El Sol".
De las ocho restantes que se grabaron en 1984 se destaca una reversión de su clásico "Mariposas De Madera".

Su anterior trabajo solista de 1973 "Miguel Abuelo et Nada" sólo fue editado en Francia y Bélgica dos años después de haberse grabado, es decir en 1975, bajo el sello de su productor francés Moshe Naim quien actualmente tiene los derechos de ése disco. Luego de la muerte de Miguel, se intentó en los años 90's hacer una publicación en argentina del disco de 1973, la cual no se concretó debido a los elevadísimos derechos que pretendía cobrar el Sr Naim por ceder los masters.

01. La Balsa
02. Pica Mi Caballo
03. La Mujer Barbuda
04. Americano Soy Del Sur
05. Apúrate Josefina
06. Verilí
07. Días De Kuberito Díaz
08. Va Silvestre Bajo El Sol
09. Mariposas De Madera
10. Buen Día, Día

¡Aquí!

Hammill, Pater - 1997 - The Union Chapel Concert

A one-time event stemming from an offer to percussionist Guy Evans to do anything he wanted at the Union Chapel in London. An idea to collaborate with Peter Hammill on a variety of semi- improvisational material partly built on samples of Hammill's music soon expanded to incorporate more traditional performance ideas as well as connections to Evans' own colleagues in the Echo City troupe. By the time the planning stage was over, Hammill and Evans had decided to bring in members of Echo City, regular Hammill collaborator Stuart Gordon, drummer Manny Elias, and, to cap things off, longtime Van Der Graaf members Hugh Banton (who had retired to a life of organ-building) and David Jackson, who not only turned up with sax and flute in hand, but with his Soundbeam rig as well.

The resulting live album, spread over two discs, is an impressive document. It is certainly Evans' show all the way, with some of the best drumming Evans has ever captured on record, though Hammill gives a good account of himself -- as Evans says in his sleeve notes, Hammill instantly took up the gauntlet that Evans threw down. As a result, the album includes some of Hammill's best live playing, including a ferocious reading of "Accidents." For some, though, the highlight will most likely be the rousing, 15-minute performance of "Lemmings," which amounts to a Van Der Graaf Generator reunion. There is, however, far more to recommend this two-CD set. By far one of the most powerful Hammill showings to date.

Disc 1
1 Introduction
2 Fireworks
3 A Forest of Pronouns
4 Anatol's Proposal
5 After the Show
6 Roger and Out
7 Accidents
8 Four Kinds of Rice/Hello/Resolution
9 Women of Ireland
10 Ship of Fools

Disc 2
1 Hamburg Station
2 Seven Wonders
3 Adagio for Strings
4 Red Shift
5 Lemmings
6 Outroduction
7 Traintime

¡Aquí!

New Year - 2001 - Newness Ends

When the Kadane brothers -- Matt and Bubba -- disbanded Bedhead, it was at the height of that band's creativity and excellence. Wherever they went, well-deserved critical acclaim seemed to follow, and for good reason: Their music was intricate, touching, and emotional to a degree few bands ever reach. Bedhead's final album, Transaction de Novo was particularly affecting. The New Year is led (and all its songs are written) by the Kadane brothers, who were apparently less taking a break from each other than from the project they had created. The New Year's debut album, Newness Ends, comes after the band had played only a handful of shows, and while it has obvious similarities to Bedhead, the reason for the name change is also apparent. The most blatant difference is the tempos on Newness Ends. Whereas Bedhead records rarely made it past a crawl, these new songs take a similar songwriting approach and hit the gas a bit. The first track, "Half a Day," announces the difference with a bouncing rhythm, something heretofore not seen by the Kadanes. The true test of Newness Ends' greatness, though, is whether it would stand on its own as a debut album by a group of unknowns, without having to live up -- or down -- to die-hard fans' expectations. Clearly it does, blending the brilliant writing and playing of these two slow rock pioneers' past an present. It's a step sideways into amazing, only partially discovered territory.

1 Half a Day Kadane, Kadane 3:56
2 Reconstruction Kadane, Kadane 3:21
3 Gasoline Kadane, Kadane 3:34
4 Great Expectations Kadane, Kadane 2:40
5 Simple Life Kadane, Kadane 3:29
6 One Plus One Minus One Equals One Kadane, Kadane 4:23
7 Alter Ego Kadane, Kadane 2:44
8 The Block That Doesn't Exist Kadane, Kadane 2:38
9 Carne Levare Kadane, Kadane 2:37
10 Newness Ends Kadane, Kadane 3:19

¡Aquí!

VA - 2004 - Flowers Made Of Snow

1-1 Coph Nia – The Oath
Performer – Aldenon Satorial 4:19
1-2 Protagonist, The – The Sick Rose
Vocals – Jonathan Grieve 4:54
1-3 In Slaughter Natives – The Vulture
Performer – J. Havukainen* 4:55
1-4 Olen'k – Season Of Tears 3:25
1-5 All My Faith Lost ... – Sleep Now
Performer – Frederico*, Viola* 4:03
1-6 Last Hour, The – Into Empty Depth
Performer – Roberto Del Vecchio 4:01
1-7 Apatheia – Safehouse
Performer – L. Andersson* 3:24
1-8 Ataraxia – Incabala 3:31
1-9 Ordo Rosarius Equilibrio – Yesterday Brings But A Serpent Of Ash 5:01
1-10 Hesperos* – The Warm Whisper Of The Wind
Performer – Alessandra Santovito 4:08
1-11 Sibelian – The Sin Eater
Performer – Stephen Svanholm
Lyrics By – Bob Reeves 8:51
1-12 Sanctum – Lie Low
Performer – Håkan Paulsson, Jan Carleklev, Ulrika Carlsson* 4:27
2-1 Desiderii Marginis – Where I End And You Begin 4:48
2-2 raison d'être – Mouldering The Forlorn II
Performer – Peter Andersson 6:44
2-3 Atrium Carceri – Impaled Butterfly
Performer – Simon Heath 5:00
2-4 Mz.412 – In Hoc Signe Vinces
Performer – Drakhon, Nordvargr*, Ulvtharm* 6:53
2-5 Brighter Death Now – While You Sleep
Performer – Roger Karmanik 4:42
2-6 IRM – My Mother
Photography [Booklet] – H. Sternudd 6:28
2-7 Deutsch Nepal – Of Parasites And Disguises
Performer – Lina Baby Doll 7:11
2-8 Nacht – Death Posture
Performer – Tania Stene 3:55
2-9 Beyond Sensory Experience – The Trade 4:11
2-10 Sephiroth – Therasia
Performer – Ulf Söderberg 7:21
2-11 Skin Area – Choose Art... Not Life 6:01

¡Aquí!

Womack, Bobby - 1999 - Soul Brother

1 What Is This? Womack 2:36
2 I'm a Midnight Mover Pickett, Womack 2:04
3 If You Want My Love, Put Something Down on It Womack, Womack 3:43
4 Don't Look Back Robinson, White 2:49
5 How I Miss You Baby Carter, Womack 3:18
6 I'm Gonna Forget About You Cooke 2:28
7 I Can Understand It Womack 4:06
8 You're Welcome, Stop on By Thomas, Womack 3:45
9 I'm Through Trying to Prove My Love to You Womack 3:50
10 I Don't Wanna Be Hurt by Ya Love Again Womack 3:24
11 Check It Out Womack 3:51
12 So Many Sides of You Ford, Womack 3:46
13 Where There's a Will There'sa Way Ford, Womack 3:04
14 Across 110th Street Johnson, Womack 3:52
15 Just My Imagination Womack 5:08
16 If You Think You're Lonely Now Griffin, Moten, Womack 5:30

¡Aquí!

Abuelo, Miguel - 1974 - Et Nada

Una banda formada por todos exiliados latinoamericanos. Miguel en voz y guitarra rítmica; Dani Sbarra en guitarra eléctrica y coros; Daniel Rodriguez en batería, Carlos Beyris en violoncello; Pinfo Garrigo en bajo; y Juan Dalera en quenas. Una superbanda para Moshe Naim, el productor, quien en su pensamiento se imaginaba en pocos años "lleno de dinero". Nada de eso pasó, nada.

"Miguel Abuelo et nada" nunca ha sido editado en Argentina. Mientras las cintas master se encuentran en una casa de París junto a su dueño, pasan los años y los amantes del poeta siguen sin poder tener un original de ese disco. En Francia hubo una edición en CD, que hoy en día es inconseguible.

El disco frances de Miguel "Miguel Abuelo et Nada" es un Lp muy al estilo Jethro Tull , por tratar de encasillarla, y contiene una version de casi 9 minutos de Pipo La Serpiente (Estoy aqui parado, sentado o acostado), entre otras perlas.

"Miguel Abuelo fue el mejor artista del rock que hubo en el mundo. Nunca habrá otro como él" afirma Moshe Naim, editor del trabajo, desde su casa de París
Hay quien considera este trabajo injustamente olvidado como lo mejor de Miguel. Si no es asi, le pega cerca .

1 - Tirando piedras al río (Abuelo)
2 - El largo día de vivir (Abuelo)
3 - Estoy aquí parado, sentado y acostado (Abuelo-Lernoud)
4 - El muelle (Abuelo)
5 - Señor carnicero (Sbarra)
6 - Recala sabido forastero (Sbarra)
7 - Octavo sendero (Sbarra)

¡Aquí!

Hammill, Peter - 1997 - Sonix

1 Emmene-Moi Bare Theme
2 A Walk in the Dark
3 In the Polish House
4 Dark Matter
5 Hospital Silence
6 Four to the Floor
7 Exercise for Louis
8 Labyrinthine Dreams
9 Emmene-Moi Full Theme

¡Aquí!

Dokken - 1999 - Erase The Slate

George Lynch departed the Dokken reunion following 1997's Shadowlife, handing the reins over to ex-Winger guitarist Reb Beach. Beach has more than enough chops to fill Lynch's shoes, and although he brings his own musical personality to the riffs and solos, the songs' melodies are still recognizably Dokken. Unfortunately, those melodies are typical of post-reunion Dokken more often than not, with the band seemingly struggling to come up with the big chorus hook and just not quite getting there (a problem, come to think of it, that sometimes plagued the band in their heyday as well). Although Beach acquits himself well, the songwriting ultimately sinks the record; besides, at this stage of the game, it's difficult to believe Don Dokken when he sings "I must confess, I'm the maddest hatter of them all." Erase the Slate is workmanlike retro-'80s hard rock at its best, and thoroughly unmemorable at its worst.

1 Erase the Slate Dokken 3:47
2 Change the World Dokken 4:35
3 Maddest Hatter Dokken 4:38
4 Drown Dokken 4:53
5 Shattered Dokken 4:40
6 One Nilsson 3:10
7 Who Believes Dokken 4:23
8 Voice of the Soul Dokken 4:12
9 Crazy Mary Goes Round Dokken 3:00
10 Haunted Lullabye Dokken 4:47
11 In Your Honor Dokken 4:31
12 [Untitled] Dokken 1:16

¡Aquí!

VA - 2000 - Stoned Immaculate: The Music Of The Doors

Essentially Elektra Records' tribute to a band that originally helped put them on the map, Stoned Immaculate: The Music of the Doors was assembled by producer Ralph Sall, with a heavy concentration on mainstream-oriented alternative rock. While some tracks are the straight-up covers typical of tribute albums, die-hard Doors fans have greater reasons to pay attention. The surviving band members appear on several tracks -- sometimes as a backing unit, sometimes as individual guest collaborators -- with frequently vital-sounding results. Echoing the Fatboy Slim "Bird of Prey" single (coincidence that this was released around the same time?), producer Sall also incorporates sampled Morrison vocals, usually over atmospheric, electronic-tinged backing tracks; this tactic also produces beyond-the-grave Morrison duets with John Lee Hooker and William S. Burroughs. However -- perhaps logically -- it's the band performances that have the most life to them, especially those involving the Stone Temple Pilots and Ian Astbury. Even though Stoned Immaculate occasionally suffers from typical tribute-album unevenness, it's overall a fitting testament to the Doors' legacy.

1 Break on Through (To the Other Side) Stone Temple Pilots 3:47
2 Riders on the Storm Creed 6:18
3 Light My Fire Train 3:43
4 Peace Frog Smash Mouth 3:02
5 L.A. Woman Days of the New 3:47
6 Love Me Two Times Aerosmith 3:20
7 Under Waterfall Doors 3:12
8 Wild Child Cult 3:22
9 Roadhouse Rap Morrison 1:03
10 Rock House Blues Hooker, Morrison 5:34
11 Is Everybody In? Burroughs 2:43
12 Hello I Love You Oleander 2:36
13 Touch Me Astbury, Cult 4:38
14 Children of Night Cervenka, Farrell 3:02
15 Love Her Madly Diddley 4:54
16 The Cosmic Movie Doors 3:03
17 The End Days Of The New 16:04

¡Aquí!

Scott-Heron, Gil - 1974 - Winter in America

Gil Scott-Heron was at his most righteous and provocative on this album. The title cut was a moving, angry summation of the social injustices Scott-Heron felt had led the nation to a particularly dangerous period, while "The Bottle" was a great treatise on the dangers of alcohol abuse. He also offered his thoughts on Nixon's legacy with "The H2O Gate Blues," a classic oral narrative. Brian Jackson's capable keyboard, acoustic piano and arranging talents helped make this a first-rate release, one of several the duo issued during the 1970s.

1 Peace Go With You, Brother (As-Salaam-Alaikum) Jackson, Scott-Heron 5:27
2 Rivers of My Fathers Jackson, Scott-Heron 8:19
3 A Very Precious Time Jackson, Scott-Heron 5:17
4 Back Home Jackson, Scott-Heron 2:51
5 The Bottle Scott-Heron 5:14
6 Song for Bobby Smith Scott-Heron 4:38
7 Your Daddy Loves You Scott-Heron 3:25
8 H2O Gate Blues Scott-Heron 8:08
9 Peace Go With You, Brother (As-Salaam-Alaikum) Jackson, Scott-Heron 1:10
10 Winter in America Scott-Heron 8:23
11 Song for Bobby Smith Scott-Heron 4:46
12 Your Daddy Loves You Scott-Heron 4:25
13 The Bottle/Guan Guanco Scott-Heron 11:56

¡Aquí!

Abuela Coca - 2010 - Vos

La pared
Veo Veo
Voy a Buscar en Mi
Tanto Tiempo
Respeto
Ozono
Oxígeno
Y a la Abuela También
Paso a Paso
Brillar
Ya Está Siendo
Vos

¡Aquí!

Hammill, Peter - 1997 - Everyone You Hold

Everyone You Hold is one of Peter Hammill's better latter-day albums. Although he hasn't changed his style much to speak of, the washes of keyboards, expansive tempos, clattering percusssion and loud, processed guitars are filtered through better compositions this time around, resulting in his most focused and engaging album in years.

1 Everyone You Hold Hammill 5:59
2 Personality Hammill, Hammill, Heusen 6:04
3 Nothing Comes Hammill 3:56
4 From the Safe House Hammill 6:13
5 Phophorescence Cosentino, Hammill 5:12
6 Falling Open Hammill 6:14
7 Bubble Hammill 6:30
8 Can Do Hammill 6:49
9 Tenderness Hammill 4:51

¡Aquí!

No Doubt - 2000 - Return Of Saturn

Return of Saturn is an almost defiantly mature record about two things: Stefani's exploration of a troubled romance and her own romantic ideals, plus a serious attempt by the group to not only keep new wave alive, but to make that adolescent music relevant to an older audience. It's a high concept, but Return of Saturn is filled with satisfying contradictions. It's melodic, but deceptively complex; it can seem frothy, but it's never frivolous. No Doubt's desire to expand the emotional template of new wave is the perfect match for Stefani's themes -- she may be writing about love, but she's not writing adolescent love songs. Fragments of her teenaged romantic fantasies remain, but she's writing as a woman in her late 20s. She's tired of being another "ex-girlfriend" -- she wants to fall in love, get married, and have a family. It's a subject that's surprisingly uncommon in pop music, which would alone make Return of Saturn an interesting album. What makes it a successful one is that the band delivers an aural equivalent of Stefani's lyrical themes. They also begin with their adolescent musical ideals, adding depth and detail to their pop-ska foundation. They balance their non-ironic love of new wave with contemporary production and a sensibility borrowed from classic rock: that albums are greater than the sum of their parts. Surprisingly, they pull it off -- it's a far stronger record than Tragic Kingdom, even if the catchiest numbers don't have the same swagger and punch as their previous hit singles. So be it. With Return of Saturn, No Doubt have made a terrific, layered record that exceeds any expectations set by Tragic Kingdom. Not only have they found their voice, they know what to do with it.

1 Ex-Girlfriend Dumont, Kanal, Stefani 3:32
2 Simple Kind of Life Stefani 4:16
3 Bathwater Dumont, Kanal, Stefani 4:02
4 Six Feet Under Kanal, Stefani 2:28
5 Magic's in the Makeup 4:21
6 Artificial Sweetener Dumont, Kanal, Stefani 3:54
7 Marry Me Kanal, Stefani 4:38
8 New Dumont, Stefani 4:26
9 Too Late Dumont, Kanal, Stefani 4:16
10 Comforting Lie Dumont, Kanal, Stefani 2:52
11 Suspension Without Suspense Stefani 4:10
12 Staring Problem Kanal, Stefani, Stefani 2:43
13 Home Now Dumont, Kanal, Stefani 4:34
14 Dark Blue Dumont, Kanal, Stefani 10:30

¡Aquí!

VA - 2003 - Miaoussers Xmasterpiece

A community that has existed since the creation of rooms on soulseek, Miaoussers are proud to present their 2003 Xmas (and debut) compilation: Xmasterpiece. This 9-track ep demonstrates the christmas spirit with sounds of electro, hip-hop, jazz, and some heavy shit too.

01 - kabuki-funk_-_holy_night_acid_night
02 - maw_-_tree_of_bass
03 - debmaster_-_la_jungle_belle
04 - antoine_-_mon_vilain_sapin
05 - canamail_-_douce_nuit
06 - magikillah_as_bbb_feat_cinema_-_vive-le-vent-dhi-ver
07 - cinema_-_los_peces_spanish_xmas_song
08 - mystiks_feat_lacroixrousselibre_-_labus_de_noel_debmasters_mix
09 - ninkasi_feat_lacroixrousselibre_-_santa_claus_trip_maws_mix

¡Aquí!

Griffith, Nanci - 1986 - The Last Of The True Believers

This is Nanci Griffith's fourth and final release on Rounder Records' folk subsidiary, Philo. At the time Griffith relocated to Nashville, TN, her decidedly Texan sense of musicality had already begun developing subtle hues of Appalachia as well as the cosmopolitan country that would inform her mid- to late-'80s stint on MCA. However, it is the overwhelming strength and conviction in the singer/songwriter's original material on The Last of the True Believers that remain indelibly impressed upon enthusiasts and critics alike. As such, Griffith has retained a copious sampling from the disc in her subsequent live performance repertoire. Griffith's crystalline vocals are well matched to the warm, earthy acoustic instrumentation on the intimate "More Than a Whisper" and "The Wing and the Wheel." At times, the delicate interplay creates a mutual envelopment of the human vocal instrument with that of the stringed nature -- most notably on the heartfelt "Love at the Five and Dime." By way of contrast, Griffith defies her somewhat introverted image on the tongue-in-cheek (no pun!) love song "Looking for the Time (Workin' Girl)" and the effervescent waltz "Love's Found a Shoulder." Lying nestled between are spry melodies such as "Banks of the Pontchartrain," featuring some nice picking from Béla Fleck (banjo), and "Goin' Gone," which perfectly captures some of Lloyd Green's finest pedal steel work on the disc. Griffith's pure and otherwise unaffected performance style would continue to carry through her subsequent efforts, most notably Lone Star State of Mind (1987), which in many ways is a companion, rather than simply the follow-up, to The Last of the True Believers.

1 The Last of the True Believers Griffith 2:47
2 Love at the Five and Dime Griffith 4:33
3 St. Olav's Gate Russell 3:03
4 More Than a Whisper Griffith 3:42
5 Banks of the Pontchartrain Griffith 3:39
6 Looking for the Time (Workin' Girl) Griffith 2:43
7 Goin' Gone Alger, Dale, Koller 4:19
8 One of These Days Griffith, Reed 2:54
9 Love's Found a Shoulder Griffith 2:19
10 Fly by Night Griffith 2:36
11 The Wing and the Wheel Griffith 2:41

¡Aquí!

Hammill, Peter - 1996 - X My Heart

Longtime fans of Peter Hammill know that his recorded output is very unpredictable. He's released some of the finest albums in thinking-man's rock (1973's Chameleon in the Shadow of the Night, 1986's And Close as This, etc.), as well as a few that were directionless and/or self-indulgent (1983's Loops & Reels, 1988's In a Foreign Town, etc.). In the early '90s, Hammill fans' patience was tested by a string of ineffective albums (Roaring Forties and others), and they feared that Hammill would never return to the quality of his past triumphs. So they must have been relieved when Hammill released one of his best and most consistent albums ever, X My Heart, in 1996. It features one of his most beautiful ballads, "Earthbound," which features heartfelt vocals and a gorgeous string accompaniment. "Narcissus (Bar & Grill)" will delight fans with its classic Hammill style, while "A Better Time" shows that he's one of the more underrated vocalists in rock music today. Definitely one of his finest, and a good place to start for newcomers to the unpredictable and challenging world of Peter Hammill.

1 A Better Time [Acapella] Hammill 5:14
2 Amnesiac Hammill 5:36
3 Ram Origami Hammill 5:28
4 A Forest of Pronouns Hammill 5:18
5 Earthbound Hammill 5:23
6 Narcissus (Bar & Grill) Hammill 6:45
7 Material Possession Hammill 6:09
8 Come Clean Hammill 5:02
9 A Better Time Hammill 5:33

¡Aquí!

Yatha Sidra - 1974 - A Meditation Mass

Yatha Sidhra's only record, the aptly titled A Meditation Mass, is a strange mystical experience stretched over four parts that segue almost seamlessly into one another, though the Spalax CD has a slight break between tracks two and three, where the original record changed sides. (The earlier Laser Edge reissue ran the tracks without the break.) Though the record was released in the early '70s, it has that late-'60s acid-haze, hippie ambience without coming off clichéd or dated. It starts off with watery noises and a wind hum, until eventually a flanged acoustic guitar riff gently floats into the mix, very dreamy and hypnotic over the whir of electronics. The piece slowly ebbs and flows as other instruments are pulled into the strange cosmic drift of sounds: washes of cymbals, vaguely ethnic percussions, a flute, vibes, and other sounds, even some group chanting with electronically treated voices, while the guitar weaves steadily to keep it together as it slowly builds up. On the second and third part the band veers into far more free-form improvisation, from jazzy sections with an upbeat swing to electric guitar over a trance-like rhythm to a bizarre drum and flute duel to intense freakouts before once again becoming calm and relaxed. Part four winds the album up where it began, with the acoustic guitar riff and tribal percussion and spacy electronics and flute building up to more chanting -- there is no beginning or end. One might compare Yatha Sidhra with other Krautrock bands like Ash Ra Tempel, Popul Vuh, or Limbus 3, but Yatha Sidhra's striking originality is like nothing else.

1 A Meditation Mass, Pt. 1 Fichter, Fichter 17:43
2 A Meditation Mass, Pt. 2 Fichter, Fichter 2:59
3 A Meditation Mass, Pt. 3 Fichter, Fichter 11:59
4 A Meditation Mass, Pt. 4 Fichter, Fichter 7:16

¡Aquí!

VA - 2008 - Metal / Hard Rock Covers, Vol. 213

01 - Exawatt - Odissea Veneziana (RondΓ² Veneziana)
02 - Overkill - Cornucopia (Black Sabbath)
03 - Monster Magnet - 2000 Lightyears From Home (The Rolling Stones)
04 - Christian Ice - Whenever Wherever (Shakira)
05 - Ministry - Radar Love (Golden Earring)
06 - Into The Arena - Highway Star (Deep Purple)
07 - Threshold - Supermassive Black Hole (Muse)
08 - Sadist - Relax (Frankie Goes To Hollywood)
09 - Black Rose - Because The Night (Patti Smith)
10 - Profane Omen - Slave To The Grind (Skid Row)

¡Aquí!

Crematory - 1995 - Illusions

Illusions is Crematory's third studio album, distributed through Massacre Records.

Reflexionen - 1:54
Faces - 5:35
Tears of Time - 5:00
My Way - 5:02
Lost in Myself - 4:46
An Other...? - 5:20
The Atmosphere - 3:29
The Beginning of the End - 4:39
Sweet Solitude - 4:53
Dreams of Dancing - 5:30
...Just Dreaming - 4:41
Visions - 3:55

¡Aquí!

Abuela Coca - 2006 - El Cuarto De la Abuela

El empleado del mes
Mala herencia
A eso voy
El artesano
Nada es como me lo imaginaba
El alquimista
El pez por la boca muerde
Se duerme otra vez
San Felipe & Santiago
Curo mis heridas
El penitente
Derrocha
Angel de la guarda
De allá

¡Aquí!

Hammill, Peter - 1994 - There Goes The Daylight

"There goes the Daylight" offers 72 minutes of a live concert at The Grand, London, on April 29th, 1993. Peter Hammill, singing and playing the guitar, staffed an unconventional rock band ("The Noise") for this evening with his exquisite fellow musicians Stuart Gordon (violin, guitar), Manny Elias (drums) and Nic Potter (bass). No keyboards, no saxes here. The concert was recorded by David Lord, mixed and produced by Peter Hammill in an excellent way.

The 12 songs are taken from Peter Hammill's solo albums "Over" (1976), "Sitting Targets" (1981), "In a Foreign Town" (1988), "Fireships" (1991), "The Noise" (1992) and the Van der Graaf album "The Quiet Zone, the Pleasure Dome" (1977).

The concert must have been rehearsed well, the musicians play with enthusiasm, but still sound very relaxed. All concert long "The Noise" act as a band and there's no focus an any of the musicians on the stage.

The intonation of the songs mainly reminds to the sound of "The Quiet Zone" or "Vital" (1978) and so is not every Peter Hammill's fan's taste. But there are two tracks here for which it is worth owning the album.

The first of these songs is "Sign". The Noise play a stunning version of this tune from "Sitting Targets" (1981), also published by Peter Hammill and the K Group on "The Margin" (1985). Stuart Gordon uses his violin here as a rythm guitar and produces a funky rythm section together with drums and bass. It's most interesting to compare the three released versions. The interpretations are totally different on the basis of the same song.

The other track is "Lost and Found" from "Over". One of my all time favourites. Peter Hammill plays a marvellous guitar on this live version. I could listen forever to the heavenly swinging chords at the beginning of the song. The guitar solo at the second part of the song is as breathtaking as on the studio version.

The booklet shows five pictures with most expressive portraits of the band and it's members.

A most rewarding album for Peter Hammill listeners, no must for others.

1 Sci-Finance (Revisited) Hammill 5:21
2 The Habit of the Broken Heart Hammill 6:34
3 Sign Hammill 7:58
4 I Will Find You Hammill 5:22
5 Lost and Found Hammill 7:58
6 Planet Coventry Hammill 6:25
7 Empress's Clothes Hammill 5:05
8 Cat's Eye/Yellow Fever (Running) Hammill, Smith 6:10
9 Primo on the Parapet Hammill 12:17
10 Central Hotel Hammill 5:33

¡Aquí!

Xaal - 1991 - En Chemin

Xaal's first album was quite a revelation for the prog scene in the early 90s. The mixture of Crimson trend, jazz-rock and regular melodic symph prog that the band developed across this album's repertoire felt really amazing, regarding that it was really mature for a debut and for such young musicians. Also, you will find lots of energy in the trio's performances and a clever use of complexity in the arrangements: at times, that complexity is enhanced by the use of some RIO-inspired tricks, like dark ambiences and subtle dissonant textures. "En Chemin" is really great, from beginning to end. The opener 'L'enfant' is related to the KC-meets-Camel aura that Shylock recreated and mastered some time ago. 'Ballade' goes to the fresher vibes of funky-jazz, with the added intervention of a duet of sax and trumpet that helps the basic trio to fulfill properly the joyful demands of the basic jam. 'Hkunk's Garden' retakes the path of track 1, only including some exotic flavors in the main theme; just to keep the logic working, I guess, the title track, track no. 4, displays a predominant jazzy colorfulness just like track 2 did, but this time, including some disturbing adornments in the interlude that may remind the listener of some sort of accessible RIO. 'Talisman' is driven softly and tastefully through the trend of fusion, portraying a patently modern sound, like some sort of Tribal Tech without a background of digital synths. After a mysterious and subtly dense guitar-synth intro, 'Le Vieux Chasseur de Papillons' follows a similar path to that of the title track: the energetic climax that is built up before the closing reprise of the intro theme shows how powerful this trio was. 'Ascension' finds the band exploring seriously and deeply their taste for accessible RIO: the darkness of the motifs and counterpoints is elegantly achieved, although perhaps a little more strength could have been used here. But strength is what is not missing at all in the 11-minute 'Byblos', which installs a "Red"-era KC vibe on a solid jazz-rock basis during the first part. Then comes a languid interlude based on aleatory guitar and synth layers, from which the dissonant fire of the second part emerges in a majestic way. This time, the use of guests on brass instruments serves as a vehicle for RIO mannerisms, helping to build up a climax. This is the richest number in the album. The frenzy of the 1-minute 'Finale' sounds like a funny impersonation of the release of inner demons: a surprising, joyful way to end a great album.

1 The Child [L'Enfant] Xaal 6:25
2 The Walk [Ballade] Xaal 5:32
3 Hhunk's Garden [le Jardin] Xaal 3:58
4 On the Way [En Chemin] Xaal 6:37
5 Talisman Xaal 5:14
6 The Old Butterfly Hunter [le Vieux Chasseur de Papillons] Xaal 7:40
7 Ascension Xaal 6:38
8 Byblos Xaal 11:09
9 Final Xaal 0:52

¡Aquí!

VA - 2004 - World Psychedelic Classics 3: Love's A Real Thing - The Funky Fuzzy Sounds Of West Africa

A1 Orchestre Poly-Rythmo De Cotonou Dahomey* – Minsato Le, Mi Dayihome
Written-By – Eskill Lohento 3:16
A2 Super Eagles – Love's A Real Thing
Producer – E.K. Royce
Written-By – Badou Jobe, Papa Touray 2:57
A3 Moussa Doumbia – Keleya
Producer – Albert Loudes, Catherine Loudes
Written-By – Moussa Doumbia 6:41
B1 Sorry Bamba – Porry
Executive Producer – Songhoi Records
Written-By – Sorry Bamba 8:16
B2 No.1 De No.1* – Guajira Van
Written-By – Maguette N'Diaye 5:11
C1 William Onyeabor – Better Change Your Mind
Written-By, Producer – William Onyeabor 8:21
C2 Ofo & The Black Company – Allah Wakbarr
Producer – Dave Bennett
Written-By – Larry Ifediorama 3:29
D1 Bunzu Sounds* – Zinabu
Written-By, Producer – Faisal Helwani 3:19
D2 Tunji Oyelana & The Benders – Ifa
Producer – Odion Iruoje
Written-By – Tunji Oyelana 4:59
D3 Orchestre Regional De Kayes* – Sanjina
Written-By – Orchestre Regional De Kayes* 6:00

¡Aquí!

Abuela Coca - 2000 - El Ritmo del Barrio

El ritmo del barrio
Walking
H20
Santa soledad
Templo
Para ver las estrellas
007
Nega
Quién lo diría
Ta'salao
Cable (mira dentro tuyo)
Cría cuervos

¡Aquí!

Hammill, Peter - 1994 - Roaring Forties

From the cutting edge of "Sharply Unclear," athrough the insistent, throbbing "Talk Turkey," across the gentle instrumental bridges and into "A Headlong Stretch" (a twenty-minute, seven-part tempestuous journey through life) and all the way to the peaceful, gently-beautiful "Your Tall Ship," this album is an example of Hammill's musical, poetical and inspirational best.

1 Sharply Unclear Hammill
2 The Gift of Fire Hammill
3 The Gift of Fire (Talk Turkey)
4 You Can't Want What You Always Get
5 A Headlong Stretch
6 Your Tall Ship Hammill

¡Aquí!

A - 2002 - Hi-Fi Serious

Great pop-punk records are actually a fairly rare creature in the overall picture of alternative rock. Despite the high volume of releases, whole years go by without a significant or exciting album being made in the genre. That is why the blissfully sweet Hi-Fi Serious is such a wonderful surprise. Whereas in the past A always showed potential, on this record they took that step forward that so many of their contemporaries are afraid to take. And what a step forward it is; gorgeous hooks, excellent production, and anthemic choruses that border on hair metal at times all add up to an irresistible sound that should appeal to any fan of the genre. By cutting away the snotty Green Day worship that makes so many of these groups obnoxiously coy, the group can explore other genres without any concern over sounding too ironic or goofy. They have definitely moved in a more commercial direction on this record, adding elements like synthesizers and heavily processed backup vocals that might damage their credibility, but make their music just that much better. The booty-shaking title track may be the best pop song the group has ever crafted, moving from the tense and driving verses to a swaggering chorus with such ease that it's a wonder they never displayed this sort of songwriting talent before. The fantastic "Nothing" feels like it could burst apart at any moment, but instead it holds together with a chorus that burns its way into your brain and refuses to leave. "Took It Away" feels like it's breaking apart toward the middle, then it makes a dramatic turn into a breezy Southern California section that brings the song to the next level. "Starbucks" is almost too catchy to be likable, but they manage to turn the song into a cutesy-but-endearing pop nugget by the end. And "The Distance" is either a pleasantly unique punk-pop anthem or the best hair metal song written since Poison's "Ride the Wind," and that is really the only way to describe it. Any fan of this genre who isn't afraid of a little experimentation should find themselves highly rewarded by giving this a shot. In a genre that is hideously oversaturated, it is a genuine relief to hear albums like this. It reminds the listener of how good this genre has the potential to be when in the hands of musicians that aren't afraid to be poppy first and punk second.

1 Nothing A , Perry 3:42
2 Something's Going On A , Perry 2:58
3 6 O'Clock on a Tube Stop A , Perry 3:14
4 Going Down A , Perry 4:09
5 Took It Away A , Perry 3:29
6 Starbucks A , Perry 3:18
7 The Springs A , Perry 4:28
8 Shut Yer Face A , Perry 3:43
9 Pacific Ocean Blue A , Perry 3:27
10 The Distance A , Perry 3:37
11 W.D.Y.C.A.I. A , Perry 3:27
12 Hi-Fi Serious A , Perry 5:55
13 Champions of Endings A , Perry 7:17
14 Nothing [CD-ROM Video] A , Perry 9:56

¡Aquí!

VA - 2010 - The Metal Forge, Vol. 2: A Tribute To AC/DC

1. Steel Panther - Whole Lotta Rosie 4:02
2. Mutiny Within - Highway to Hell 3:12
3. Skindred - Back in Black 4:38
4. My Ruin - Have a Drink on Me 4:15
5. Wolf - Dirty Deeds Done Dirt Cheap 4:12
6. 4 Wheel Drive - Rock and Roll Ain't 3:27
7. The More I See - A Touch Too Much 4:11
8. Jettblack - Let Me Put My Love Into You 4:06
9. 77 - Bad Boy Boogie 4:41
10. Thunderhorse - Rise Demon Rise (Bonus Track) 3:48
11. Pay No Respect - Game Over (Bonus Track) 2:50
12. Godsized - Head Heavy (Bonus Track) 4:42
13. The Mercy House - Greed (Bonus Track) 5:22
14. Merrick - Ten Times (Bonus Track) 4:42
15. Disarm Goliath - Raining Steel (Bonus Track) 3:42

¡Aquí!

Exodus - 2004 - Tempo Of The Damned

Given up for dead over a decade earlier, the mighty Exodus -- the original kings of thrash metal -- made an unexpected but long-rumored return in 2004 with the release of their sixth studio album, Tempo of the Damned. But what had been intended as a long-awaited reunion of their seminal Bonded by Blood lineup was tragically thwarted with the sudden death of vocalist Paul Baloff in early 2002. Fittingly, Baloff was duly supplanted by none other than Steve "Zetro" Souza, the man who'd replaced him in the first place and who had gone on to sing on every Exodus album thereafter, including their mid-period thrash classic Fabulous Disaster. Of course the fact that Souza was clearly the better and more reliable vocalist (albeit not as fun a character as Baloff) should not be overlooked, and with the welcome involvement of long-gone founding drummer Tom Hunting, Tempo of the Damned still serves as quite the family reunion. It also doesn't disappoint musically, picking up the pieces right where the band's star-crossed career had fallen apart 11 years earlier with the underrated Force of Habit, and turning in a performance that is, at once, vintage Exodus and mindful of modern recording standards as well. All of the old, much loved Exodus hallmarks are here: lyrics filled with biting, sarcastic social commentary; no-fuss, jagged thrash metal; and unparalleled technical precision.

As has always been the case, it's the dazzling six-string tag team of Rick Hunolt and Gary Holt (quite simply the tightest rhythm guitar duo in the history of thrash -- Slayer included) that truly drives the Exodus bullet train over lightning runs like "Scar Spangled Banner" and the wonderfully retro-named "Impaler." Their solos are as musical as the riffing is not, and, as heard on excellent examples like "Shroud of Urine" and "Forward March," always typified by inventiveness without excess pyrotechnics. About the only deviation from the band's tried and true formula of old comes in the shape of Souza's more varied vocal styles, including a less whiny, wholly uncharacteristic full-throated death roar for the standout "War Is My Shepherd." Tempo of the Damned's second half isn't quite as memorable, the likes of "Sealed with a Fist" and "Throwing Down" suffering from the same sort of aimless riffage that had mired disappointing earlier efforts like Pleasures of the Flesh and Impact Is Imminent, but "Culling the Herd" manages to buck this trend with plenty of fireworks, and the title track still moshes with a vengeance. Taken as a whole, Tempo of the Damned successfully resurrects Exodus as the potent and formidable thrash machine of old. The fact that they are well aware of their strengths, and content to stick with them to the end, is what makes this such a welcome release for the band's loyal followers, as well as younger fans looking to understand what got heavy metal where it is today.

1 Scar Spangled Banner Holt, Public Domain 6:41
2 War Is My Shepherd Holt, Souza 4:27
3 Blacklist Holt 6:16
4 Shroud of Urine Holt 4:51
5 Forward March Holt, Souza 7:38
6 Culling the Herd Holt 6:07
7 Sealed With a Fist Holt 3:35
8 Throwing Down Holt, Miller 5:01
9 Impaler Baloff, Hammett, Holt, Hunting 5:24
10 Tempo of the Damned Holt 4:21

¡Aquí!

Abuela Coca - 1998 - Despues Te Explico...

01. Que pasa
02. Afoxe
03. Sexy Girl
04. Roberto
05. Toda menina Baiana
06. Chicos ricos
07. San Pedro
08. Himno de mi corazón
09. Pulgoso
10. Asesinos son
11. Che bo!
12. Coco claro
13. La ley

¡Aquí!

Hammill, Peter - 1993 - Offensichtlich Goldfisch

An excellent idea (if, perhaps, a somewhat self-indulgent one): 12 of Peter Hammill's finest recent songs, rendered into the German language that his more stentorian vocals seemed to be striving for, even in English. Titled for Out of Water's "Evidently Goldfish," the album is dominated by material from the early '90s: cuts from Fireships and The Noise account for more than half the album, while the remainder is culled from 1988's In a Foreign Town and 1986's And Close As This. But Offensichtlich Goldfisch is no simple retread of already familiar material. Although little more than the vocals were re-recorded from the original master tapes, the musical textures change immensely in their new setting, regardless of whether or not one understands German. Familiar imagery is skewed, expected emphasis is delayed or dismissed altogether, and Offensichtlich Goldfisch unexpectedly emerges as one of the most surprising albums that Hammill has put his name to in a long time.

1 Offensichtlich Goldfisch 5:02
2 Dich Zu Finden 4:46
3 Die Kälte Killt Den Kuss 4:12
4 Favorit 5:06
5 Kaufhaus Europa 5:11
6 Der Lärm 6:13
7 Oase 5:44
8 Die Prominenz Küsst Sich 4:34
9 Die Tinte Verlischt 4:23
10 Auto [Wieder im Wagen] 4:02
11 Gaia 5:38
12 Schlaft Nun 4:39

¡Aquí!

Dead Kennedys - 1982 - Demo Tape

¡Aquí!

VA - 2002 - Magic Bus Tracks

From June until August of 2002, artists from Warp Records traveled across Europe, presenting to the world their latest musical and multimedia creations. The tour saw the artists collaborating and causing general havoc from the confines of a huge, state-of-the-art silver bus. Magic Bus Tracks is the limited-edition album commemorating the Ken Kesey meets Magical Mystery Tour-inspired festivities. Seemingly invigorated by the spirit of camaraderie, the participants are at the top of their respective games on the tracks compiled here. Luke Vibert's gloriously bouncy "Countdown" is a smartly arranged miasma of sonic textures. Richard Devine's "Mov Macros 7" is a thunderstorm of dark tones. "Simple" sounds like Mira Calix tossed Curve samples into a 30th century blender. Plaid's "Quickemit" is more of the gorgeous, complex techno for which the duo is known. Chris Clark's furious "Spinning Spines" assembles maddening slices of classic industrial noir in creating an atmosphere of dread and sweaty tension. A funny, spooky video for Plaid's "Itsu" sees director Pleix blending computer graphics and live-action video into a cautionary tale about corporate greed, office worker lust, and pet pigs. Magic Bus Tracks shows the reciprocal dedication and trust between Warp and its roster of artists.

1 Astrobotnia – Untitled 3:48
2 Luke Vibert – Countdown Written-By, Producer – Luke Vibert 4:40
3 Hecker – Hyperbolic Cosine Yea II Written-By, Producer – F. Hecker* 1:59
4 Richard Devine – Mov Macros 7 Written-By, Producer – Richard Devine 7:19
5 REQ – Soulplot Written-By, Producer – REQ 4:39
6 Mira Calix – Simple Written-By, Producer – Chantal Passamonte 3:50
7 Plaid – Quickemit Written-By, Producer – Plaid 5:27
8 Phoenecia – Sunset Condor Written-By, Producer – J.Kay*, R. Del Castillo* 4:55
9 Russell Haswell – 03:01:21 2002 Schirn Kunsthalle Frankfurt 3:01
10 Chris Clark – Spinning Spines (Aldi Edit) Written-By, Producer – Chris Clark 4:18

¡Aquí!

Puente, Tito - 1957 - Dance Manía

Dance Mania, Tito Puente's best-known and best-selling album, came ten years into his career, but at a time (1957) when the craze for mambo and Latin music was beginning to crest. (Another landmark LP, Pérez Prado's Havana 3 A.M., had been released the previous year, and Prado's "Cherry Pink and Apple Blossom White" had hit number one in 1955.) Recorded as part of a just-signed exclusive contract with RCA and appearing in vibrant sound as part of the label's Living Stereo series, Dance Mania exploded with a series of tight arrangements, propulsive playing, and the features of new additions in vocalist Santos Colón and conguero Ray Barretto (who helped, in part, make up for the recent loss of Willie Bobo and Mongo Santamaria to Cal Tjader's group). Puente didn't dilute his sound for Dance Mania -- unlike the many commercial crossover LPs that were released by both established groups and ad hoc studio collectives -- but his hard mambos here were performed at tempos that encouraged dancing by more staid LP-buyers, slightly slower than the high paces of his Tico sides or Palladium shows. Brassy and swinging, yes, and certainly as precise as a great Latin band could get, but not as torrid as Spanish Harlem dancers would be accustomed to. Most were Puente originals, spanning mambo and cha-cha and guaguanco, and Dance Mania built the foundation for great Latin LPs to come.

1 El Cayuco Puente 2:33
2 Complicación Aguabella 3:18
3 3-D Mambo Santos 2:23
4 Llego Mijan Puente 3:10
5 Cuando Te Vea Puente 4:10
6 Hong Kong Mambo Puente 3:42
7 Mambo Gozón Puente 2:44
8 Mi Chiquita Quiere Bembe Puente 3:55
9 Varsity Drag [Mambo] Brown, DeSylva, Henderson 2:48
10 Estoy Siempre Junto a Ti Delgado 3:10
11 Agua Limpia Todo Aguabella 2:55
12 Saca Tu Mujer Puente 3:02

¡Aquí!

Abuela Coca - 1996 - La Abuela Coca

Abuela Coca, grupo musical uruguayo de rock latino iniciado en 1992 por Alfredo Gianotti, el "Chole", (voz y guitarra) junto a los músicos Cacho Rodríguez (percusión), Javier Bonga (saxo) y Omar Santiago (bajo). Se caracteriza por un estilo musical que fusiona rock, reggae, rap y ritmos afro-latinos, entre otros.

1- Cotorra
2- Noche
3- Lo que falta
4- Sumcom II
5- Salvador
6- Soulca
7- Resbalón
8- Te digo baby
9- Sin palabras
10-Vagos
11-Nega

¡Aquí!

Hammill, Peter - 1993 - The Noise

Loud, powerful and energetic music, balanced by poetical and clever lyrics. "The Entertainer" is an immediate success while "The Noise" is a prime example of Hammill's style of rhythmic and arrhythmic rock. A stab-in-the-back for the materialistic '90s society is cleverly disguised in the almost-pop "Great European Department Store," and the Finale -- the slowly building, haunting "Primo on the Parapet" -- reminds us to remember the past. Another unforgettable collection from Mr. Hammill.

1 A Kick to Kill the Kiss Hammill 4:11
2 Like a Shot, the Entertainer 5:12
3 The Noise Hammill 6:12
4 Celebrity Kissing 4:33
5 Where the Mouth Is 5:33
6 The Great European Department Store 4:58
7 Planet Coventry Hammill 4:01
8 Primo on the Parapet Hammill 8:35

¡Aquí!