What are you listening to at the moment? One Post Per hour

[victor meldrew]

Dr. Feelgood - Stupidity

http://www.youtube.com/watch?v=WqJHn...eature=related

http://www.youtube.com/watch?v=D7OCbeXy_5w

[andrito]

Features:
• 40th Anniversary CD plus DVD-A
• NTSC, Region 0
• Digi-pack in slipcase
• New sleeve notes by Robert Fripp and biographer Sid Smith
• Rare photos
• Archive material
Exclusive DVD-A Material:
• Full Album DVD-A
• MLP Lossless 5.1 24-bit/96kHz Surround Sound DVD-Audio
• MLP Lossless 2.0 24-bit/96kHz Stereo DVD-Audio
• DTS 5.1 24-bit/48kHz Digital Surround DVD-Audio & DVD Video
• LPCM 2.0 24-bit/48kHz Stereo DVD-Audio & DVD Video
• DVD-A is compatible with all DVD players & DVD Rom players
• DVD contains 3 performances filmed for BBC's Old Grey Whistle Test, plus over an hour's worth of high resolution audio extras including a rough mix of the album from May 1981 presented in the original proposed running order

Selections:
CD - Stereo Mix:
1. Elephant Talk
2. Frame by Frame
3. Matte Kudasai
4. Indiscipline
5. Thela Hun Ginjeet
6. The Sheltering Sky
7. Discipline

Bonus Tracks:
8. A selection of Adrian's vocal loops
9. The Sheltering Sky (Alternative mix - Steven Wilson)
10. Thela Hun Ginjeet (Alternative mix - Steven Wilson)

DVD - Audio Content:
Original Album remixed in MLP Lossless 5.1 Surround, DTS 5.1 Digital Surround
Original album mix (30th Anniversary Edition), 2011 Stereo album mix
Bonus tracks in MLP Lossless Stereo (24/96), PCM Stereo 2.0 (24/48)
Album rough mixes in PCM Stereo 2.0 (24/48)

Video Content (Audio mono)
1. Elephant Talk
2. Frame by Frame
3. Indiscipline

When I first ordered this CD, it was after seeing the music video to Elephant Talk on TV. Saw it once and have never seen it again. I had heart the other two of the 80's trilogy albums already. This would be the last (and in reverse order) to hear. I had Three of a Perfect Pair on tape, Beat on vinyl, and then Discipline on CD. The 89 Definitive Edition version. At first listening, I didn't like the album. I was surprised. I had thought, "What is Fripp doing?" I wasn't used to this sort of trancey style with repeated guitar figures and endless streams of 16th notes played by both Belew and Fripp. I, however, played it again. And again. And again! I found I started to listen to it more openly and noticed exactly what the guys were doing. I played this album an entire summer. The number of times I've played it I cannot count. This album is on my list of the top 10 best albums of the 80's. Gamalien influences from Bali, tribal drumming, New Wave all put into the pot, heated up and served. This album is at least in King Crimson's top 3. No question. The band had muscle, power, and was a monster on stage. Techinically brillant and sometimes frightening. Belew and Levin, newbies to King Crimson showing just how much they could contribute, Bruford working under duress (Fripp told him no riding on cymbals or hi-hat work at all, which caused much friction between the two) however, Bruford shows just how much he could do with limitation. And Fripp, leading the way in the background, with a constant bed of interplay of call and response between the guitars. If there is ONE King Crimson album a person should hear before death, it is this one. I'm rambling, but this DVD-Audio / CD is everything a fan could want in this album. Highly recommended.

***** - Five Stars

[krixxx]

http://www.youtube.com/watch?v=IgGi_Yll5wc

also on this CD, orchestral music from his opera Notre Dame:

the Intermezzo:
http://www.youtube.com/watch?v=0AcQXmaaYQU

[javierda]

Nightingale "The Breathing Shadow"

[kelio]

Nicolas Repac

Betty Loop

335 Time

[javierda]

Judas Priest "British Steel"

[Jason-X]

Rush ~ Signals (1982 Mercury Records) (Rock)

Cheers!
Jason-X

[arco35]

Savina Yannatou & Primavera En Salonico Songs Of An Other (ECM, CD, 2008)



When Primavera en Salonico slide into one of their hypnotic Mediterranean grooves, the tension slowly builds. Then Savina Yannatou, the band's singer, opens her lips and takes you into another dimension, a place where space, time, and geography are suspended, filling listeners with a soulful sound that's at once achingly spiritual and frighteningly earthy, a pure timeless cry beyond words. She has an impressive multi-octave range that can soar in a heartbeat from a girlish giggle to the ageless howl of a dying old woman, all sung with a clarity and lack of effort that's astonishing. The six musicians of Primavera en Salonico -- Kostas Vomvolos, qanun, accordion and musical director, Yannis Alexandris, oud, guitar, Kyriakos Gouventas, violin, viola, Harris Lambrakis, ney, Michalis Siganidis, bass, Kostas Theodorou, percussion, bass -- have varied backgrounds stretching from free jazz to folk. Vomvolos assembled the band to back Yannatou for a single tour in 1993, but after a few concerts it was obvious that something special was happening, and they've been playing together now for 15 years. There is a lot of improvisation in the music, and while folk music has always been fluid, the jazz background of the players allows them to follow the vocal flights of their lead singer no matter where inspiration takes her. "Sareri Hovin Nermen," an Armenian folk song, is full of loss and yearning; Yannatou's anguished vocal and Lambrakis' ney create an aura of unbelievable melancholy. Ney figures heavily in the arrangement of the Bulgarian folk song "Za Lioubih Maimo Tri Momi." It starts off at a sprightly tempo with qanun and oud playing entwined rhythmic lines, then dissonant ney and bowed bass come in disturbing the harmony with their unsettling racket before Yannatou's voice returns to smooth things out. "Dunie-Au," a traditional song from Kazakhstan, gets a minimal arrangement, just Yannatou's soulful vocal and sparse percussion, with occasional oud, guitar, and qunan notes in the background. When Yannatou sings "Albanian Lullabye" alone it is indeed soothing, then Lambrakis' ney swoops in sounding like a carrion crow or a harpy and Yannatou jumps into her high register, a mother crying out to protect her child from the unseen powers of the night. It's another chilling moment, then peace returns and Yannatou ends the song with a whispered a cappella vocal, the melody sounding similar to "Amazing Grace." It segues neatly into the Ashkenazi hymn "Omar Hashem Leyakoyv." Yannatou sings sweetly accompanied by sustained notes from accordion and violin. The album's one uptempo track, "Radile," opens with one of Yannatou's wordless improvisations, squealing out notes that sound like a combination of vocal chords and violin, then the band comes in and ney, percussion, bass, and violin set up a swirling dancing rhythm full of unexpected shifts of time and tempo. The set closes with the melancholy, violin drenched Italian love song, "Addio Amore," and two Greek tunes: "Peperouna," played with an Arabic lilt accented by pulsating bass and percussion and slowly devolving into a conversation between Yannatou's wordless exclamations and a flurry of clattering percussion, and "Ah, Marouli" where Yannatou's ululating vocal is supported by the ensemble playing a measured Arabic groove. Western critics often use the word "otherworldly" when describing the music of Primavera en Salonico and Yannatou's unpredictable singing, and it's an apt description. The band's Mediterranean based fusion of styles is truly hypnotic, one of the most unique world music sounds you'll hear anywhere. (AllMusic)

http://www.youtube.com/watch?v=KZz5pczjy30

http://www.youtube.com/watch?v=QPSlpQTQQmg

http://www.youtube.com/watch?v=iZy72b_1-4k

http://www.youtube.com/watch?v=8o_2L8ExsAU

http://www.youtube.com/watch?v=EkHxIa4ZeBs

http://www.youtube.com/watch?v=qiUYAGaDsj0

[arco35]

Prince 3121 (UMVD, CD, 2006)



Musicology was a self-conscious comeback, a record designed to return Prince to the spotlight and the charts, and it worked: even if it spawned no big hits, the 2004 LP became his first album to crack the Billboard Top Ten since 1995's The Gold Experience, get a fair amount of radio play, and get a bunch of positive press, along with a well-received tour. Prince no longer seemed like an eccentric consigned to the fringes: he seemed like a savvy pro, reclaiming a reputation and respect that he'd lost. That he did it with an album that sounded uncannily like a deliberate return to classic Prince as performed by the New Power Generation was almost beside the point: it was enough that he sounded engaged, and that he made a focused, purposeful album. Its quickly delivered 2006 follow-up, 3121, proves that Musicology was no fluke. Like its predecessor, 3121 is tight and concise, offering 12 songs in 53 minutes, and it's classically structured, emphasizing shifting moods and textures between songs. It is an album, not a collection of songs, and you could even call it old-fashioned, but it feels fresher than Musicology, as if Prince had listened to enough Neptunes productions to understand how they've absorbed his music. That acknowledgement doesn't come often -- it's evident in the sly, sexy grooves of "Black Sweat" and the squealing synths of "Lolita" -- but since it's paired with an emphasis on dance tunes and a retreat from the enjoyable but endless NPG-styled vamping that characterized a good portion of Musicology, 3121 winds up sounding lively, varied, and, at its best, exciting. And at the beginning of the album, 3121 is quite exciting, as Prince revives his high-pitched alter ego Camille on the title track and dives head first into the electro-funk of "Lolita" and "Black Sweat," songs that recall such mid-period masterpieces as "Kiss" or "Sign 'O' the Times" without being rewrites. Nevertheless, the fact that the freshest sounding music here still has a direct line back to records Prince made 20 years prior is a good indication that the album, like Prince himself in the wake of hip-hop, is a little bit conservative, emphasizing funk of both the James Brown and George Clinton varieties, late-night slow jams, classic dance, and soul, instead of wrestling with modern music. While that may disappoint some listeners who yearn for the return of the trailblazing Prince of the '80s, when he reinvented himself with each record, it's hardly surprising that a 47-year-old musician is spending more time refining his palette than expanding it. What is a surprise is that Prince is in top form as both a writer and record-maker; perhaps the one-man-band nature of its recording doesn't mean the album is as gritty or raw as his reliably thrilling live performances, but 3121 crackles with excitement, filled with different sounds and styles. Best of all, this is filled with songs that hold their own as individual tunes, yet gel into a cohesive record that is thankfully devoid of an overarching concept, a problem that plagued his albums after Diamonds and Pearls. 3121 does fall short from being perfect -- there may be no bad songs, but the momentum slows ever so slightly on the second half -- yet it's something more valuable than being a one-off classic: it's proof that Prince has indeed returned as a vital, serious recording artist on his own terms. Maybe he's no longer breaking new ground, but his eccentricities are now an attribute, not a curse, which goes a long way in making his trademark blend of funk, pop, soul, and rock sound nearly as dazzling as it did at his popular and creative peak in the '80s. (AllMusic)

http://www.youtube.com/watch?v=e0umnlTXEE4

http://www.youtube.com/watch?v=7Kx-Pt8CKTo

http://www.youtube.com/watch?v=YRdsJr4rkhk

http://www.youtube.com/watch?v=3rzbq1Fel6o

[Jason-X]

Freddie Redd ~ Shades of Redd (1960 Blue Note Records) (Instrumental Jazz)

Cheers!
Jason