2009. november 28., szombat

Steve Guyger - Radio Blues

Download

01. Lookie Here 4:03
02. You're So Fine 4:08
03. Cool In The Evening 5:34
04. Little Rita 2:29
05. Blues Won't Let Me Be 4:05
06. School Is Over 3:30
07. Afghan Rumble 2:20
08. I'm Shakin' 4:06
09. Oh Red 4:28
10. I Can See By Your Eyes 4:39
11. Won't You Come On Out Tonight 3:35
12. Hey Little Baby 4:17
13. Let Me Hang Around 3:30
14. The Honeydripper 2:13


Steve Guyger is a Philly-based harp player & singer. If you like the way guys played harp in the
50s & 60s, you’ll love Guyger’s work. His harp work is incredibly deep & soulful, and the difficulty of what he does will sneak up on you. Steve is also blessed with a burnished voice that he uses with great skill to help push the emotions of his songs across to the listener. Folks, Steve Guyger is the real deal. You’re not going to get a lot of flash & bombast with Guyger’s harp playing. What you are going to get is deep, emotional, heartfelt playing that is at the same time technically difficult. Oh, did I forget to mention that his harp tone is HUGE? It’s like the Grand Canyon, baby!
Steve played harmonica with blues legend Jimmie Rogers for approximately 15 years, beginning around 1980. Jimmie came up with Little Walter and the other Chicago legends, so if he taps you to play harp in his band it is an enormous stamp of approval.
Guyger is considered a harp-players harp player, and for proof of that I give you a quote from Rick Estrin (front man for Little Charlie & The Nightcats), taken from the liner notes of “Radio
Blues”: “I used to ask Jerry (Portnoy) if he ever ran across any harp players who I wasn’t aware of and who I should be hip to (circa 1974.) The only two names he mentioned were Kim Wilson and Steve Guyger. Well, he was right on then and it’s still true today.”

Larry Garner - Here Today Gone Tomorrow

Download

01. Bull Rider 5:28
02. Heavy Pieces 4:00
03. Here Today Gone Tomorrow 5:10
04. For You Mr. King 5:09
05. The Last Coke 6:25
06. Raised In The Country 4:52
07. Show Me That You Love Me 5:37
08. Someplace For Evil 5:08
09. Keep Singing The Blues 9:38
10. Champagne And Reefer 5:04
11. Funk It Up 5:42

Gerald Albright - Sax For Stax


Download

01 - gerald albright - theme from the men
02 - gerald albright - knock on wood
03 - gerald albright - never can say goodbye
04 - gerald albright - memphis passion
05 - gerald albright - respect yourself
06 - gerald albright - i stand accused
07 - gerald albright - cheaper to keep her
08 - gerald albright - walkin down beale street
09 - gerald albright - what you see is what you get
10 - gerald albright - whos making love
11 - gerald albright - w.c. handy hop

Count Basie And Dizzy Gillespie - The Gifted Ones



Download

1 Back To The Land 7:25
2 Constantinople 8:32
3 You Got It 5:22
4 St. James Infirmary 6:58
5 Follow The Leader 6:27
6 Ow! 6:15

Bluesbone - Mean Old Dog


Download

01. Bouncin' Man 03:46
02. I Can't Do All That 04:07
03. The Grill Is Gone 04:13
04. Rich Man's Wife 03:54
05. Mean Old Dog 03:35
06. No Hard Feelings 05:44
07. You Got Me Moanin' 02:26
08. If I Was A King 03:40
09. I've Done You Wrong 03:37
10. Running Shoe 02:03
11. I Ain't Good For You 03:26
12. Leave Me Alone 03:38

The blues trio from Pori was founded in the beginning of 2001. The band has built it's reputation by playing amazing and entertaining live shows as well as it's the original approach to mixing blues with influences from other styles of modern music. The youthful energy and professional grade playing has made Bluesbone one of the toughest blues acts on the west coast of Finland. During a Bluesbone live show you can hear a lot of original material along with covers from such artists as Freddie King, Albert Collins, Peter Green, Robben Ford, etc.

B.B. King - One Kind Favor


Download

01 See That My Grave Is Kept Clean 4:49
02 I Get So Weary 4:17
03 Get These Blues Off Me 4:30
04 How Many More Years 3:10
05 Waiting For Your Call 6:02
06 My Love Is Down 5:25
07 The World Gone Wrong 4:24
08 Blues Before Sunrise 4:21
09 Midnight Blues 3:49
10 Backwater Blues 7:36
11 Sitting On Top Of The World 3:41
12 Tomorrow Night 5:00

B.B. King - Got My Mojo Working


Download

01 I Need Your Love 02:23
02 Ghetto Woman 05:16
03 Sweet Sixteen 07:02
04 Everybody Lies A Little 03:45
05 Got My Mojo Working 04:37
06 Midnight Believer 04:59
07 Paying The Cost To Be The Boss 02:35
08 Confessing The Blues 04:57
09 Walkin' In The Sun 03:52
10 When It All Comes Down (I'll Still Be Around) 04:12

Alberta Adams - Detroit Is My Home


Download

01 Keep on Keepin' On 3:20
02 Tired of Being Alone 4:53
03 Hello Little Boy 3:08
04 I'm So Worried 5:53
05 Detroit is my Home 3:05
06 Dr. Blues 4:28
07 Always Home 4:08
08 Wet Clothes 3:33
09 Struttin My Stuff 3:39
10 Long Gone 3:48
11 I'm On the Move - Every Day 4:31
12 Hopin' It Will Be Alright - Just A Little Bit 7:38

2009. november 25., szerda

Csik Gusztav és Egyuttese LP ( 1977 ) Digital transferred, noise cleaning and mixed, at Audio Design Studio home sound recording studio



Download_DATA

01 - Ritmusváltások
02 - Papirsárkány
03 - Álmodozás
04 - Cameleon
05 - Babaszerenád

Personel:

Csík Gusztáv: Fender zongora, Roland Szintetizátor
Fogarasi János: Orgona
Berkes Galázs: Bőgő, Basszus gitár
Jávory Vilmos: Dob

Hungarian Radio Recording, Made in Hungary ( P ) 1977


Csík Gusztáv a magyar jazz kiemelkedő képviselője, 1945-ben Egerben született. Zenei tanulmányait a miskolci kanzervatóriumban folytatta. A jazzéletben 1962-ben tűnt fel, a magyar jazz ‚;Dália korszak” néven ismert periódusában már mint kitűnő zongoristát ismerték. Ugyanebben az időben mutatkozott be első együttesével is, és ettől kezdve saját zenekarával szerepel. A magyar jazzélet legjelentősebb alkatáműhelyében, a Rádiá stúdiáiban végzett eredményes munkájáért, kompozícióiért többször is nyert kitüntető címeket (p1. „A legjobb szólista” díj 1972-ben). Rendszeresen szerepelt az NSZKban, Svájcban, a skandináv országokban, Csehszlovákiában, Jugoszláviában. Kam pozícióinak sajátsága a rock talajra ültetett melodikus improvizációi. Ezt az egyéni Csík-hangzást kapjuk vissza a jelen lemezről ís. Csík Gusztáv ezúttal három, ugyancsak jelentős muzsikust választott együttesébe: Fogarasi János mint a hmmond organa színeinek, regisztereinek virtuóza tette ismertté nevét az utóbbi tizenöt évben. Berkes Balázs, a Rádió együttesének, a Stúdió-nek állandó basszus-játékosa adja elő Csík kampozícióinak olykor rendkívüli ritmus-igényű basszusgitár ill. bőgő szólamát. Jávory Vilmos, dobos immár két esztendeje nélkülözhetetlen megvalósítója Csík rockos kampozíciói ritmusának, de saját tehetségét, temperomentumát is kifejezésre tudja juttatni rövid, átgondolt, bonyolult szólóiban.

Vámosi János - Megáll az idő LP 1960 Digital transferred, noise cleaning and mixed, at Audio Design Studio home sound recording studio 2003





Download

01 - Megáll az ido
02 - Budapesti csillagok
03 - Nekünk találkozni kellett
04 - Csini baba
05 - Minden asszony életében
06 - Szigorú tanító
07 - Jázmin virág
08 - Mért sirnál kicsi rózsabimbó
09 - Kicsit szomorkás a hangulatom
10 - Valami fáj
11 - Összecsendül két pohár
12 - Három aranyásó
13 - Hol van az a nyár
14 - A szívemet ma este összeszidtam
15 - Baracknyílás idején
16 - Ma este nem gondoltam rád


Vámosi János - Megáll az idő című lemeze 1960-ban jelent meg a hanglemez boltokban először. A most hallható lemez 1970-ben került hozzám, viszonylag még használható állapotban. 2000-ben került digitális feldolgozásra, és restaurálálsra. Ezt az albumot a Hungaroton is kiadta, valamikor, de sajnos mint minden esetben a régi felvételek minőségén semmit sem vátoztattak. Igy aztán maradva a saját anyag mellet, végül az eredeti 60-as bakelit került átjátszásra / így mégis érdekesebb volt az egész /

2009. november 24., kedd

Hungaria - Koncert A Marson


Download

01 - koncert a marson
02 - márvány
03 - mese
04 - belváros
05 - a babonás lány
06 - a régi filmek mozija
07 - hej, rolli, rolli
08 - szivárvány
09 - elol ül a masiniszta
10 - szegény fuzfa
11 - és én csak énekelek
12 - végállomás

Hungaria - Best Of

Download

01. Rock and roll party I.
02. Micsoda buli
03. Dzsungel rock
04. Casino twist
05. Csókkirály
06. Isztambul
07. Hotel Menthol
08. Szexbomba rumba
09. Ciao, Marina
10. Multimilliomos Jazz-dobos
11. Várni rád egy éjen át
12. Randi Andi
13. Limbó hintó
14. Csavard fel a szonyeget
15. Volt és lesz
16. Duci Juci
17. Cha-cha-cha
18. Körömlakk baby
19. Angyali szerelem
20. Séró báró
21. Rumba ABC
22. Légy ma éjjel a társam
23. C'est la vie

Közremuködok: Fenyo Miklós - billentyus hangszerek, gitár, ének, vokál(1-23)
Barta Tamás, Csomós Péter, Sipos Péter - gitár, vokál (14)
Tóth József - dob (14)
Fekete Gyula - szaxofon, gitár, harmónika, ének, vokál (1-13, 16,17,20,21)
Kékes Zoltán - gitár, vokál (1-13, 16, 17, 20, 21)
Novai Gábor - basszusgitár, ének, vokál (1-13, 16, 17, 20, 21)
Penczi Mária (Dolly) - ének, vokál (1-13. 16. 17. 20. 21)
Jeszenszky Béla (Flipper Öcsi) - gitár, ének, vokál (17, 20,21)
Zsoldos "Dedy" Gábor - dob, ének, vokál (17, 20, 21)
Borsos Petra, Csordás Ilona - vokál (18-)
Horváth Árpád (Stolverk Frici) - basszusgitár (18-)
Jáki Attila - gitár (18-)
Weszely János (Szóda Vaszil) - dob, vokál (18-)
CHIPS, CHERRY AND THE CHAPS (15, 19, 22, 23)
Chips - ének, vokál
Cherry - ének, vokál
Butch Rudow - gitár
Billy Bob Howell - dob, ütohangszerek
Barney Weinberger - zongora
Herbie H. Heart - szaxofon
Rockin' Jonny Dee - basszusgitár
Valamint a Ci-Ci novérek és a Parki Jampi Party (15, 19, 22, 23)

Hungaria - Beatles Laz (1978)


Download

01 - Ez minden, amit adhatok
02 - Want to hold your hand
03 - Több, mint 15 éve
04 - A hard day's night
05 - Magányos éjjel
06 - Csak 16 éven felülieknek!
07 - A day in the life / Because
08 - Tudod -e miért?
09 - She loves you / I should have known better / Please, mr. Postman / Help!
11 - Rock and roll verseny
12 - Visszatér a múlt / Rákóczi út 80. / A négy hódító / Levél barátomnak / Visszatér a múlt (reprise)

Hungaria - Arena (1982)


Download


01 - rock and roll katlan
02 - pala-pala-palatinusz
03 - hidrogén bulvár
04 - buzogány árpád
05 - levelek a falon
06 - végzetes futballista
07 - hula-hoop szemle
08 - randevu szerviz
09 - a tranzisztor kor hajnalán
10 - sztriptiz bugi
11 - flipper
12 - portugál utcabál
13 - repul-onap
14 - twist troli
15 - aréna

Hungaria - Rock And Roll Party - HU 1980

1967-ben alakult budapesti együttes. 1968-ban a "Nem bújok én többé már a subába" c. dallal nyertek a "Ki Mit Tud"-on. Az eredeti felállásban Fenyő Miklós (ének), Csomós Péter (gitár), Klein László (basszusgitár), Tóth József (dob), Láng Péter (szaxofon) és Matlakovszky Miklós (gitár) szerepelt. 1969-ben Barta Tamás (gitár), és Sípos Péter (basszusgitár) játszott Klein, Matlakovszky és Láng helyén. 1971-ben Barta a Locomotív Gt.-be, Csomós és Sípos a Juventus-ba igazolt. Fenyő visszahívta Klein Lászlót. Fekete Gyula (szaxofon, ének) és Fekete Gábor (dob), valamint Szűcs Antal Gábor társaságában ujjáalakította a zenekart. Rövidesen Fekete Gábor és Szűcs a Skorpióba igazolt. 1972-ben Kékes, és Szikora, valamint a visszaérkezett Sipos lett a zenekar új erőssége. Először hard- rock stílusban játszottak, majd a beat felvételeket adtak elő. 1980-ban Sípos ismét távozott, de visszatért Fekete, illetve Novai (ex-Generál), Dolly (ének) - aki Fenyő Miklós iskolatársa volt - segítségével ismét próbálkoztak, sikerrel. 1981-ben "Limbó-hintó" c. daluk táncdalfesztivál nyertes lett. A nosztalgiahullám eltűnésével azonban sikerük csökkent, így Szikora kilépett és megalakította az R-Go-t. Fenyő azonnal leigazolta Flipper Öcsi-t (ének), és Zsoldos "Deddy" Gábort-t (dob). 1983 nyarán a csapat feloszlott, Fenyő kivételével a többiek létrehozták a Dolly Roll-t. 1995-ben a legendás együttes ismét összeállt és emlékkoncertet adtak.



Download

01. Rock And Roll Party 1
02. Dzsungel Rock
03. Micsoda Buli
04. Neonparade
05. Gyere Gyere Juli
06. Weep No More
07. Love U Till I Die
08. Boss Guitar
09. Csokkiraly
10. Eszelos Szerelem
11. Casino Twist
12. Meghalok Hogy Ha Ram Nezel
13. Jailhouse Rock
14. Man We Had A Party
15. Keep On Knockin
16. Greet Balls Of Fire
17. Diana
18. Rock And Roll Party 2

Hungaria - Hotel Menthol - HU 1981



Download

01. Hotel Menthol
02. Isztambul
03. Vizparti Twist Party
04. Kori-Roki
05. Hulla Hully Gully
06. Randi Andi
07. Duci Juci
08. Taxi Szaxi
09. Teddy Bar
10. Ciao Marina
11. Ma Mar A Twist-Tel Senki Nem Viccel
12. Baby Doll
13. Varni Rad Egy Ejen At
14. Bibap Lulu

The Allman Brothers Band-The Fillmore Concerts



Attention!

The musical substance continuous a living person dared concert uptake.
The accurate playing time beside the numbers can be found.


Download


CD 1

01 - Statesboro Blues 4:17
02 - Trouble No More 3:46
03 - Don't Keep Me Wonderin' 3:38
04 - In Memory Of Elizabet Reed 13:10
05 - One Way Out 5:15
06 - Done Somebody Wrong 4:17
07 - Stormy Monday 10:39
08 - You Don't Love Me 19:24

CD 2

01 - Hot 'Lanta 5:32
02 - Whipping Post 22:44
03 - Mountain Jam 33:58
04 - Drunken Hearted Boy 7:34

The Allman Brothers Band


The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 30 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era.

For the first half of the 1970s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries. The band's mix of blues, country, jazz, and even classical influences, and their powerful, extended on-stage jamming altered the standards of concert performance -- other groups were known for their on-stage jamming, but when the Allman Brothers stretched a song out for 30 or 40 minutes, at their best they were exciting, never self-indulgent. They gave it all a distinctly Southern voice and, in the process, opened the way for a wave of '70s rock acts from south of the Mason-Dixon Line, including the Marshall Tucker... Read More

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 30 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era.

For the first half of the 1970s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries. The band's mix of blues, country, jazz, and even classical influences, and their powerful, extended on-stage jamming altered the standards of concert performance -- other groups were known for their on-stage jamming, but when the Allman Brothers stretched a song out for 30 or 40 minutes, at their best they were exciting, never self-indulgent. They gave it all a distinctly Southern voice and, in the process, opened the way for a wave of '70s rock acts from south of the Mason-Dixon Line, including the Marshall Tucker Band, Lynyrd Skynyrd, and Blackfoot, whose music, at least initially, celebrated their roots. And for a time, almost single-handedly, they also made Capricorn Records into a major independent label.

The group was founded in 1969 by Duane Allman (b. Nov. 20, 1946-d. Oct. 29, 1971) on guitar; Gregg Allman (b. Dec. 8, 1947) on vocals and organ; Forrest Richard ("Dickey") Betts (b. Dec. 12, 1943) on guitar; Berry Oakley (b. Apr. 4, 1948-d. Nov. 12, 1972) on bass; and Claude Hudson ("Butch") Trucks (b. May 11, 1947) and Jaimoe (Johnny Lee Johnson) Johanson (b. July 8, 1944) on drums. Duane and Gregg Allman loved soul and R&B, although they listened to their share of rock & roll, especially as it sounded coming out of England in the mid-'60s. Their first group was a local Daytona Beach garage band called the Escorts, who sounded a lot like the early Beatles and Rolling Stones; they later became the Allman Joys and plunged into Cream-style British blues, and then the Hour Glass, a more soul-oriented outfit. The group landed a contract with Liberty Records with help from the Nitty Gritty Dirt Band, but the company wasted the opportunity on a pair of over-produced albums that failed to capture the Hour Glass' sound. The group split up after Liberty rejected a proposed third LP steeped in blues and R&B.

Duane Allman began working as a session guitarist at Fame Studios in Muscle Shoals, AL, and it was there, appearing on records by Wilson Pickett, Aretha Franklin, John Hammond, and King Curtis, among others, that he made his reputation. In 1969, at the coaxing of ex-Otis Redding manager Phil Walden, Allman gave up session work and began putting together a new band -- Jaimoe came aboard, and then Allman's longtime friend Butch Trucks and another Allman friend, Berry Oakley, joined, along with Dickey Betts, with whom Oakley was playing in a group called Second Coming. A marathon jam session ensued, at the end of which Allman had his band, except for a singer -- that came later, when his brother Gregg agreed to join. They were duly signed to Walden's new Capricorn label.

The band didn't record their first album until after they'd worked their sound out on the road, playing heavily around Florida and Georgia. The self-titled debut album was a solid blues-rock album and one of the better showcases for guitar pyrotechnics in a year with more than its share, amid albums by Cream, Blind Faith, the Jeff Beck Group, and Led Zeppelin. It didn't sell 50,000 copies on its initial release, but The Allman Brothers Band impressed everyone who heard it and nearly everyone who reviewed it. Coming out at the end of the 1960s, it could have passed for a follow-up to the kind of blues-rock coming out of England from acts like Cream, except that it had a sharper edge -- the Allmans were American and Southern, and their understanding of blues (not to mention elements of jazz, mostly courtesy of Jaimoe) was as natural as breathing. The album also introduced one of the band's most popular concert numbers, "Whipping Post."

Their debut album attracted good reviews and a cult following with its mix of assured dual lead guitars by Duane Allman and Dickey Betts, soulful singing by Gregg Allman, and a rhythm section that was nearly as busy as the lead instruments, between Oakley's rock-hard bass and the dual drumming of Trucks and Johanson. Their second album, 1970's Idlewild South, recorded at Capricorn's studios in Macon, GA, was produced by Tom Dowd, who had previously recorded Cream. This was a magical combination -- Dowd was completely attuned to the group's sound and goals, and Idlewild South broadened that sound, adding a softer acoustic texture to their music and introducing Betts as a composer (including the original studio version of "In Memory of Elizabeth Reed," an instrumental tribute to Miles Davis that would become a highlight of their shows, in many different forms, for the next 30 years). It also had a Gregg Allman number, "Midnight Rider," which became one of the band's more widely covered originals and the composer's signature tune.

By this time, the band's concerts were becoming legendary for the extraordinarily complex yet coherent interplay between the two guitarists and Gregg Allman's keyboards, sometimes in jams of 40 minutes or more to a single song without wasting a note. And unlike the art rock bands of the era, they weren't interested in impressing anyone with how they played scales, how many different tunings they knew, or which classical riffs they could quote. Rather, the Allmans incorporated the techniques and structures of jazz and classical into their playing. In March of 1971, the band played a series of shows at the Fillmore East that were recorded for posterity and subsequently transformed into their third album, At Fillmore East. This double LP, issued in July of 1971, became an instant classic, rivaling the previous blues-rock touchstone cut at the Fillmore, Cream's Wheels of Fire. Duane Allman and his band were suddenly the new heroes to millions of mostly older teenage fans. Although it never cracked the Top Ten, At Fillmore East was certified as a gold record on October 15, 1971.

Duane Allman was killed in a motorcycle accident 14 days later. The band had been midway through work on its next album, Eat a Peach, which they completed as a five-piece, with Dickey Betts playing all of the lead and slide guitar parts. Their second double album in a row became another instant classic, and their first album to reach the Top Ten, peaking at number five.

Despite having completed Eat a Peach, the group was intact in name only. Rather than try to replace Duane Allman as a guitarist, they contrived to add a second solo instrument in the form of a piano, played by Chuck Leavell. The group had already begun work on a long-delayed follow-up to Eat a Peach, when Oakley was killed in a motorcycle accident only a few blocks from Allman's accident site.

Lamar Williams (b. Jan. 15, 1949-d. Jan. 25, 1983) was recruited on bass, and the new lineup continued the group's concert activities, as well as eventually finishing the band's next album, Brothers and Sisters. which was released on August 1, 1973. During the extended gap in releases following Eat a Peach, Atco reissued The Allman Brothers Band and Idlewild South together as the double LP Beginnings, which charted higher than either individual release.

Brothers and Sisters marked the beginning of a new era. The album had a more easygoing and freewheeling sound, less bluesy and more country-ish. This was partly a result of Capricorn losing the services of Tom Dowd, who had produced their three previous albums. Additionally, Dickey Betts' full emergence as a songwriter and singer as well as the group's only guitarist, playing all of the lead and slide parts, altered the balance of the group's sound, pushing forth his distinct interest in country-rock. Betts also became the reluctant de facto leader of the band during this period, not from a desire for control as much as because he was the only one with the comparative stability and creative input to take on the responsibility.

The record occupied the number one spot for six weeks, spurred by the number two single "Ramblin' Man," and became their most well-known album. It was an odd reversal of the usual order of success for a rock band -- usually, it was the release of an album that drew the crowds to concerts, but in this case, the months of touring the band had done paved the way for the album. The fact that it kept getting pushed back only heightened the fans' interest.

Ironically, Brothers and Sisters was a less challenging record than the group's earlier releases, with a relatively laid-back sound, relaxed compared to the groundbreaking work on the group's previous four albums. But all of this hardly mattered; based on the reputation they'd established with their first four albums, and the crowd-pleasing nature of "Ramblin' Man" and the Dickey Betts-composed instrumental "Jessica," the group was playing larger halls and bigger crowds than ever.

An entire range of Southern rock acts had started to make serious inroads into the charts in the wake of the Allman Brothers. Labels such as MCA and even Island Records began looking for this same audience, signing acts like Lynyrd Skynyrd and Blackfoot, respectively, among others. For the first time since the mid-'50s, the heyday of the rockabilly era, a major part of the country was listening to rock & roll with a distinctly Southern twang.

The band began showing cracks in 1974, as Gregg Allman and Dickey Betts both began solo careers, recording albums separately from the group. Allman married Cher (twice), an event that set him up in a Hollywood-based lifestyle that created a schism with the rest of the band. They might have survived all of this, but for the increasing strain of the members' other personal habits -- drugs and alcohol had always been a significant part of the lives of each of the members, except perhaps for Jaimoe, but as the strain and exhaustion of touring continued, coupled with the need to produce new music, these indulgences began to get out of control, and Betts' leadership of the group created a further strain for him.

The band's difficulties were showcased by their next album, the highly uneven Win, Lose or Draw, which lacked the intensity and sharpness of their prior work. The whole band wasn't present for some of the album, and Gregg Allman's involvement with Cher, coupled with his serious drug problems, prevented him from participating with the rest of the group -- his vocals were added separately, on the other side of the country.

The band finally came apart in 1976 when Allman found himself in the midst of a federal drug case against a supplier and agreed to testify against a friend and band employee. Leavell, Johanson, and Williams split to form Sea Level, which became a moderately successful band, cutting four albums for Capricorn over the next four years, while Betts pursued a solo career. All of them vowed never to work with Gregg Allman again.

Amid this split, Capricorn Records, reaching ever deeper into its vaults for anything that could generate income, issued two collections, a double-LP live collection called Wipe the Windows, Check the Oil, Dollar Gas, showcasing the Brothers and Sisters-era band at various concerts, and a double-LP best-of package, And the Road Goes On Forever. Wipe the Windows was a modest seller, appearing as it did when the group's sales had already fallen off, and it was compared unfavorably with the legendary work on At Fillmore East. The studio compilation passed with barely a ripple, however, because most fans already had the stuff on the original albums.

They were all back together by 1978, however, and over the next four years the group issued a somewhat uneven series of albums. Enlightened Rogues (1979) somewhat redeemed their reputations -- produced by Tom Dowd, who had always managed to get the very best work out of the group, it had more energy than any record they'd issued in at least six years. It also restored the two-guitar lineup, courtesy of Dan Toler (from Dickey Betts' solo band), who was brought in when Chuck Leavell (along with Lamar Williams) refused to return to the Allmans. By that time, however, the Allmans were fighting against time and musical trends. Disco, punk, and power pop had pretty much stolen a march on the arena acts epitomized by the Allmans; whatever interest they attracted was a matter of nostalgia for their earlier releases. The group was in danger of becoming arena rock's third big oldies act (after the Moody Blues and Paul McCartney's Wings).

Additionally, their business affairs were in a shambles, owing to the bankruptcy of Capricorn Records in late 1979. When the fallout from the Capricorn collapse settled, PolyGram Records, the company's biggest creditor, took over the label's library, and the Allman Brothers were cut loose from their contract.

Their signing to Arista enabled the group to resume recording. What they released, however, was safe, unambitious, routinely commercial pop/rock, closer in spirit to the Doobie Brothers than their own classic work, and a shadow of that work, without any of the invention and daring upon which they'd built their reputations. The group's fortunes hit a further downturn when Jaimoe was fired, breaking up one of the best rhythm sections in rock. For most of the 1980s, the group was on hiatus, while the individual members sorted out their personal and professional situations. During those years, only Dickey Betts seemed to be in a position to do much with his music, and most of that wasn't selling.

In 1989, the band was reactivated again, partly owing to PolyGram's decision to issue the four-CD box set retrospective Dreams. That set, coupled with the reissue of their entire Capricorn catalog on compact disc in the years leading up to the box's release, reminded millions of older listeners of the band's greatness, and introduced the group to millions of people too young to have been around for Watkins Glen, much less the Fillmore shows.

They reunited and also restored the band's original double-lead-guitar configuration, adding Warren Haynes on lead guitar alongside Dickey Betts, with Allen Woody playing bass; Chuck Leavell was gone, however, having agreed to join the Rolling Stones on tour as their resident keyboard player, and Lamar Williams had succumbed to cancer in 1983.

The new lineup reinvigorated the band, which signed with Epic Records and surprised everyone with their first release, Seven Turns. Issued in 1990, it got some of the best reviews and healthiest sales they'd had in more than a decade. Their subsequent studio albums failed to attract as much enthusiasm, and their two live albums, An Evening With the Allman Brothers Band and 2nd Set, released in 1992 and 1995, respectively, were steady but not massive sellers. Much of this isn't the fault of the material so much as a natural result of the passage of time, which has left the Allmans competing with two decades' worth of successors and rivals.

The group has stayed together since 1989, overcoming continuing health and drug problems, which have occasionally battered their efforts at new music. They remain a top concert attraction 25-plus years after their last historically important album, easily drawing more than 20,000 fans at a time to outdoor venues, or booking 2,000-seat theaters for three weeks at a time. Their back catalog, especially the first five albums, remain consistent sellers on compact disc and recently returned to the reconstituted Capricorn label (still a home for Southern rockers, including the latter-day Lynyrd Skynyrd, as well as reissues of Elmore James and other classic bluesmen), under a 1997 licensing agreement that has resulted in their third round of digital remastering.

Apart from their Arista releases, the Allman Brothers Band has remained remarkably consistent, altering their music only gradually over 30 years. They sound more country than they did in their early days, and they're a bit more varied in the vocal department, but they have still been soaring at their concerts and on most of their records over the last ten-plus years. ~ Bruce Eder, All Music Guide

2009. november 21., szombat

Romantic Saxophone Quintet - Dinner Music

Download

01. Killing Me Softly
02. I'll Be There
03. Let's Stay Together
04. I'll Make Love to You
05. For Your Love
06. The First Time Ever I Saw Your Face
07. How Deep is Your Love?
08. Endless Love
09. Right Here Waiting
10. Cherish
11. Lady in Red
12. You Are So Beautiful

The Leslie Drayton Orchestra - Turning A Corner


Download

01 Turning A Corner
02 Making Ends Meet
03 Mellow Flight
04 Comin' Outta Left Field
05 Rush-Hour Traffic
06 Le Boulevard St. Germain
07 Fos-Alarm
08 Pent-Up Emotions

Tiny and his Hawaiian Bubbles - Hawaiian Luau Party Digital noise cleaning and mixed, at Audio Design Studio 2009.



Download_DATA

01 - Hukilau
02 - Beyond The Reef
03 - Koni Au
04 - Hawaiian Wedding Song
05 - Hano Hano
06 - Ebb Tide
07 - My Little Grass Shack
08 - Little Brown Gal
09 - Sweet Leilani
10 - Pearly Shells
11 - Tiny Bubbles
12 - Beautiful Kahana
13 - On The Beach At Waikiki
14 - Kauohi
15 - Mapuana-Aloha Medley

2009. november 20., péntek

Malando & His Orchestra - The Best of Tango


01 Malando & His Orchestra - Noche De Primavera
02 Malando & His Orchestra - Isabel
03 Stanley Black & His Orchestra - Amargura
04 Malando & His Orchestra - Pedrita
05 Malando & His Orchestra - Nunca Jamos
06 Stanley Black & His Orchestra - Mama, Yo Quiero Un Novi
07 Malando & His Orchestra - Repetido.mp3
08 Stanley Black & His Orchestra - Tango Notturno
09 Malando & His Orchestra - Por Que Te Vas
10 Malando & His Orchestra - Michael
11 Stanley Black & His Orchestra - Nightfall
12 Malando & His Orchestra - Noche D'estrellas
13 Malando & His Orchestra - Come Te Quiero
14 Stanley Black & His Orchestra - Adios Muchachos
15 Malando & His Orchestra - Luz De Luna
16 Stanley Black & His Orchestra - Dark Eyes
17 Malando & His Orchestra - A Don Antonio
18 Malando & His Orchestra - Rodriguez Pena.
19 Stanley Black & His Orchestra - La Rosita
20 Malando & His Orchestra - Verano Porteno

Jeff Healey - Songs From The Road

Download

01. I Think I Love You Too Much
02. I'm Ready
03. Stop Breaking Down
04. Angel Eyes
05. Come Together
06. Hoochie Coochie Man
07. White Room
08. While My Guitar Gently Weeps
09. Whipping Post
10. Teach Your Children Well
11. Santa, Bring My Baby Back (To Me)

Jeff Healey's Songs From The Road

When guitarist Jeff Healey passed away in March 2008, he left behind Mess of Blues, a posthumously-released album that was a love letter to his fans and to blues music. The album garnered the late talent a well-deserved truckload of awards, and served as a fitting testament to his enormous skills as a blues guitarist. It left his fans around the world wanting just a little bit more, though, a desire fulfilled by Songs From The Road.

Assembled by bassist Alec Fraser - Healey's musical foil for his blues and his jazz projects alike for over a decade - Songs From The Road offers up eleven inspired and energetic performances of vintage pop, rock, and blues music taken from three different concerts. The bulk of the set, five songs, are from Healey's August 2006 appearance at the notable Notodden Blues Festival in Norway. Four songs were taken from a May 2007 show in London, while a pair are courtesy of Jeff Healey's Roadhouse club in Toronto, circa November 2007.

Jeff Healey's Songs From The Road

The opening track on Healey's Songs From The Road, the Mark Knopfler guitar showcase "I Think I Love You Too Much" is a perfect example of the guitarist's fluid and highly flexible six-string skills. Taken from the London 2007 performance, as his road-tested band lays down a bit of a funky groove, Healey slathers on wave after wave of taut, pointed, emotional solos that hit the listener in the heart as well as the ears. His deep-register vocals evincing no little soul, Healey steals the rug out from beneath Knopfler's original version and makes the song entirely his own.

Blues-rock guitarist Jeff Healey
Blues-rock guitarist Jeff Healey
Photo courtesy Ruf Records

And that, of course, is the story of Songs From The Road. Given his immense talents and sharp ear for arrangement, put Healey on stage and he'll steal anybody's song for himself and, in most instances, perform it better than whoever he borrowed the tune from. Songs From The Road doesn't include a single original Jeff Healey song and yet, after hearing him pour out his heart and soul on John Hiatt's "Angel Eyes" (an important early hit for Healey), you'd swear that he wrote the song in the first place.

The Familiar and the Unexpected

Healey delivers both the familiar and the unexpected on the performances documented by Songs From The Road. For every popish song like the beautiful aforementioned "Angel Eyes," which benefits from Healey's balanced and wistful fretwork, there is a raucous romp through a blues standard, such as the band's well-timed demolishing of Willie Dixon's Chicago blues standard "I'm Ready."

Healey dips into the deep well of the Beatles catalog twice, the first being an incredible cover of the band's "Come Together." Although Dan Noordermeer's vocals fall short of the Fab Four's, the band capture the song's dark funk while Healey slaps on a fresh coat of blues guitar with a couple of short, sharp solos. George Harrison's "While My Guitar Gently Weeps" retains the original's melancholy vibe while adding a layer of soul-blues to the song. The Notodden audience is into both familiar covers, singing along on the choruses.

A Blues-Rock Dynamo

The crossroads where blues music and rock & roll collide is where Healey has always excelled, however, and several of the more houserockin' tunes on Songs From The Road revel in his role as a veritable blues-rock dynamo. Cream's classic "White Room," sung here by bassist Fraser, in nearly spot-on with the original, the vocals cleverly mimicking Jack Bruce's, while Healey's guitar embroiders upon Clapton's original musical blueprint.

The Allman Brothers' favorite "Whipping Post" literally explodes off the disc, sung here by keyboardist Dave Murphy with a strained, pained pulse. Murphy's keyboard riffs lead the band into a steady rhythm, but it is Healey's pyrotechnics that steal the show. Amidst the drumbeats and the key-pounding, Healey's guitar hits your ears like an epiphany.

Fellow Canadian guitarist and blues fan Randy Bachman (Bachman-Turner Overdrive, The Guess Who), drops by the Toronto performance to guest on a blistering rendition of the Willie Dixon-penned Muddy Waters' classic "Hoochie Coochie Man." The credits don't list it, but it sure sounds like somebody's blastin' a mean harp line behind Healey's ruff-n-ready vocals. This version is stretched into an energetic and electrifying blues jam, fueled by Healey and Bachman's swaggering fretwork.

The Reverend's Bottom Line

Given the very nature of Songs From The Road, with eleven cuts taken from three different performances, one might accuse producer and band member Alec Fraser of cherry-picking Healey's performances for the album. That may be so, but the truth is that Healey was just so damn talented, and felt so much at home on stage, that Fraser's dilemma probably wasn't finding enough great performances to include on the album, but rather which great songs to exclude.

I don't know for certain if there's much left in the Jeff Healey vault that will result in future album releases or not. If the cupboard has, indeed, been cleaned out, then Songs From The Road will stand as a fitting swansong for the guitarist, an illustration of Healey's love of music and performing. Healey seldom disappointed, and neither will Songs From The Road. (Ruf Records, released September 8, 2009)

Fats Domino - Discography




Antoine Dominique "Fats" Domino (born February 26, 1928) is an American R&B and rock and roll pianist and singer-songwriter.

Album List

Fats Domino-44 Great Performances-2cd
Fats Domino-8 Oclock Rock
Fats Domino-All By Myself
Fats Domino-Here Stands Fats Domino And This Is Fats
Fats Domino-Sentimental Journey-2cd
Fats Domino-The Best Of
Fats Domino-The Chronological
Fats Domino-The Fabulous Mr.d and fats domino swings
Fats Domino-White Collection-2cd

Downloadlinks

http://rapidshare.com/files/309776192/Fats_Domino_-_Discography.part1.rar

http://rapidshare.com/files/309776213/Fats_Domino_-_Discography.part2.rar

http://rapidshare.com/files/309776150/Fats_Domino_-_Discography.part3.rar

http://rapidshare.com/files/309776079/Fats_Domino_-_Discography.part4.rar

http://rapidshare.com/files/309776164/Fats_Domino_-_Discography.part5.rar

http://rapidshare.com/files/309776219/Fats_Domino_-_Discography.part6.rar

http://rapidshare.com/files/309776279/Fats_Domino_-_Discography.part7.rar

http://rapidshare.com/files/309775370/Fats_Domino_-_Discography.part8.rar


Biography

Antoine was born and raised in New Orleans, Louisiana.

[edit] Imperial Records era (1949–1962)

Domino first attracted national attention with "The Fat Man" in 1949 on Imperial Records. This song is an early rock and roll record, featuring a rolling piano and Domino doing "wah-wah" vocalizing over a fat back beat. It sold over a million copies and is widely regarded as the first rock and roll record to do so.

Fats Domino then released a series of hit songs with producer and co-writer Dave Bartholomew, saxophonists Herbert Hardesty and Alvin "Red" Tyler and drummer Earl Palmer. Other notable and long-standing musicians in Domino's band were saxophonists Reggie Houston, Lee Allen, and Fred Kemp, who was also Domino's trusted bandleader. Domino finally crossed into the pop mainstream with "Ain't That a Shame" (1955), which hit the Top Ten, though Pat Boone characteristically hit #1 with a milder cover of the song that received wider radio airplay in a racially-segregated era. Domino would eventually release 37 Top 40 singles, "Whole Lotta Loving" and "Blue Monday" among them.

Domino's first album, Carry on Rockin', was released under the Imperial imprint, #9009, in November 1955 and subsequently reissued as Rock and Rollin' with Fats Domino in 1956.[1] Combining a number of his hits along with some tracks which had not yet been released as singles,[1] the album went on under its alternate title to reach #17 on the "Pop Albums" chart.[2]

His 1956 up-tempo version of the 1940 Vincent Rose, Al Lewis & Larry Stock song, "Blueberry Hill" reached #2 in the Top 40, was #1 on the R&B charts for 11 weeks, and was his biggest hit. "Blueberry Hill" sold more than 5 million copies worldwide in 1956-57. The song had earlier been recorded by Gene Autry, and Louis Armstrong among many others. He had further hit singles between 1956 and 1959, including "When My Dreamboat Comes Home" (Pop #14), "I'm Walkin'" (Pop #4), "Valley of Tears" (Pop #8), "It's You I Love" (Pop #6), "Whole Lotta Loving" (Pop #6), "I Want to Walk You Home" (Pop #8), and "Be My Guest" (Pop #8).

Fats appeared in two films released in 1956: Shake, Rattle & Rock![3] and The Girl Can't Help It.[4] On December 18, 1957, Domino's hit "The Big Beat" was featured on Dick Clark's American Bandstand.

Domino continued to have a steady series of hits for Imperial through early 1962, including "Walkin' to New Orleans" (1960) (Pop #6) co-written by Bobby Charles and "My Girl Josephine" (Pop #14) from the same year. After Imperial Records was sold to outside interests in early 1963, Domino left the label: "I stuck with them until they sold out", he claimed in 1979. In all, Domino recorded over 60 singles for the label, placing 40 songs in the top 10 on the R&B charts, and scoring 11 top 10 singles on the pop charts. Twenty-two of Domino's Imperial singles were double-sided hits.

[edit] Post-Imperial recording career (1963–1970s)

Domino moved to ABC-Paramount Records in 1963. The label dictated that he would record in Nashville rather than New Orleans. He was assigned a new producer (Felton Jarvis) and a new arranger (Bill Justis); Domino's long-term collaboration with producer/arranger/frequent co-writer Dave Bartholomew, who oversaw virtually all of his Imperial hits, was seemingly at an end.

Jarvis and Justis changed the Domino sound somewhat, notably by adding the backing of a countrypolitan-style vocal chorus to most of his new recordings. Perhaps as a result of this tinkering with an established formula, Domino's chart career was drastically curtailed. He released 11 singles for ABC-Paramount, but only had one top 40 entry with "Red Sails In The Sunset" (1963). By the end of 1964 the British Invasion had changed the tastes of the record-buying public, and Domino's chart run was over.

Despite the lack of chart success, Domino continued to record steadily until about 1970, leaving ABC-Paramount in mid-1965 and recording for a variety of other labels (Mercury, Bartholomew's small Broadmoor label reuniting with Dave Bartholomew along the way, and Reprise). He also continued as a popular live act for several decades.

[edit] Later career (1980s–2005)

In the 1980s, Domino decided he would no longer leave New Orleans, having a comfortable income from royalties and a dislike for touring, and claiming he could not get any food that he liked any place else. His induction into the Rock and Roll Hall of Fame and an invitation to perform at the White House failed to persuade Domino to make an exception to this policy.

Fats Domino was persuaded to perform out of town periodically for Dianna Chenevert, agent, founder and president of New Orleans based Omni Attractions, during the 1980s and early 1990s. Most of these engagements were in and around New Orleans, but also included a concert in Texas at West End Market Place in downtown Dallas on October 24, 1986.

On October 12, 1983 USA Today reported that Domino was included in Chenevert's "Southern Stars" promotional poster for the agency (along with historically preserving childhood photographs of other famous living musicians from New Orleans and Louisiana on it).[5] Fats provided a photograph of his first recording session, which was the only one he had left from his childhood. Domino autographed these posters, whose recipients included USA Today's Gannett president Al Newharth, and Peter Morton founder of the Hard Rock Cafe. Times-Picayune columnist Betty Guillaud noted on September 30, 1987 that Domino also provided Chenevert with an autographed pair of his shoes[6] (and signed a black grand piano lid) for the Hard Rock location in New Orleans.

Domino lived in a mansion in a predominantly working-class Lower Ninth Ward neighborhood, where he was a familiar sight in his bright pink Cadillac automobile. He makes yearly appearances at the New Orleans Jazz and Heritage Festival and other local events. Domino was awarded the Grammy Lifetime Achievement Award in 1987. In 2004, Rolling Stone ranked him #25 on their list of the "100 Greatest Artists of All Time."[7]

[edit] Domino and Hurricane Katrina

Graffiti on Domino's home from the time he was rumored dead
Fats Domino's office, June 2007

When Hurricane Katrina was approaching New Orleans in August 2005, Dianna Chenevert encouraged Fats to evacuate, but he chose to stay at home with his family, partly because of his wife's poor health. Unfortunately his house was in an area that was heavily flooded. Chenevert e-mailed writers at the Times Picayune newspaper and the Coast Guard with the Dominos' location.

Someone thought Fats was dead, and spray-painted a message on his home, "RIP Fats. You will be missed", which was shown in news photos. On September 1, Domino's agent, Al Embry, announced that he had not heard from the musician since before the hurricane had struck.

Later that day, CNN reported that Domino was rescued by a Coast Guard helicopter. Embry confirmed that Domino and his family had been rescued. The Domino family was then taken to a Baton Rouge shelter, after which they were picked up by JaMarcus Russell, the starting quarterback of the Louisiana State University football team, and Fats' granddaughter's boyfriend. He let the Dominos stay in his apartment. The Washington Post reported that on September 2, they had left Russell's apartment after sleeping three nights on the couch. "We've lost everything", Domino said, according to the Post.[8]

By January 2006, work to gut and repair Domino's home and office had begun. For the meantime, the Domino family is residing in Harvey, Louisiana.

Chenevert replaced the Southern Stars poster Fats Domino lost in Katrina and President George W. Bush also made a personal visit and replaced the medal that President Bill Clinton had previously awarded Fats.

[edit] Post-Katrina activity

President George W. Bush shakes the hand of Fats Domino, wearing a National Medal of Arts, after the President presented it on August 29, 2006, at the musician's home in the Lower 9th Ward of New Orleans. The medal was a replacement medal for the one—originally awarded by President Bill Clinton—that was lost in the flood waters of Hurricane Katrina.

Domino was the first artist to be announced as scheduled to perform at the 2006 Jazz & Heritage Festival. However, he was too ill to perform when scheduled and was only able to offer the audience an on-stage greeting. Domino also released an album Alive and Kickin' in early 2006 to benefit the Tipitina's Foundation, which supports indigent local musicians. The title song was recorded after Katrina, but most of the cuts were from unreleased sessions in the 1990s.

On January 12, 2007, Domino was honored with OffBeat magazine's Lifetime Achievement Award at the annual Best of the Beat Awards held at House of Blues in New Orleans. New Orleans Mayor Ray Nagin declared the day "Fats Domino Day in New Orleans" and presented Fats Domino with a signed declaration. OffBeat publisher Jan Ramsey and WWL-TV's Eric Paulsen presented Fats Domino with the Lifetime Achievement Award. An all-star musical tribute followed with an introduction by the legendary producer Cosimo Matassa. The Lil' Band O' Gold rhythm section, Warren Storm, Kenny Bill Stinson, David Egan and C.C. Adcock, not only anchored the band, but each contributed lead vocals, swamp pop legend Warren Storm leading off with "Let the Four Winds Blow" and "The Prisoner Song", which he proudly introduced by saying, "Fats Domino recorded this in 1958.. and so did I." The horn section included Lil' Band O' Gold's Dickie Landry, the Iguanas' Derek Huston, and long-time Domino horn men Roger Lewis, Elliot "Stackman" Callier and Herb Hardesty. They were joined by Jon Cleary (who also played guitar in the rhythm section), Al "Carnival Time" Johnson, Irma Thomas, George Porter, Jr. (who, naturally, came up with a funky arrangement for "You Keep On Knocking"), Art Neville, Dr. John and Allen Toussaint, who wrote and debuted a song in tribute of Domino for the occasion. Though Domino didn't perform, those near him recall him playing air piano and singing along to his own songs.

Fats Domino returned to stage on May 19, 2007, at Tipitina's at New Orleans, performing to a full house. A foundation has been formed and a show is being planned for Domino and the restoration of his home, where he intends to return someday. "I like it down there" he said in a February, 2006 CBS News interview.[9]

In September 2007, Domino was inducted into the Louisiana Music Hall of Fame. He has also been inducted into the Delta Music Museum Hall of Fame in Ferriday. In December 2007, Fats Domino was inducted into the Hit Parade Hall of Fame.

In May 2009, Domino made an unexpected appearance for The Domino Effect, a namesake concert aimed at raising funds to help rebuild schools and playgrounds damaged by Hurricane Katrina.

[edit] Influence

He was acknowledged as an important influence on the music of the 1960s and 1970s by some of the top artists of that era. Paul McCartney reportedly wrote the Beatles song "Lady Madonna" in an emulation of Domino's style, combining it with a nod to Humphrey Lyttelton's 1956 hit "Bad Penny Blues", a record which Joe Meek had engineered.[citation needed] Domino did manage to return to the "Hot 100" charts one final time in 1968—with his own recording of "Lady Madonna". That recording, as well as covers of two other Beatles songs, appeared on his Reprise LP Fats Is Back, produced by Richard Perry and recorded by a band which included New Orleans piano player James Booker; Domino played piano only on one track, "I'm Ready".[10][11] Both John Lennon and Paul McCartney later recorded Fats Domino songs. Domino's rhythm, accentuating the offbeat as in the song "Be My Guest", was an influence on ska music.[12]