wizzy
Music is our (Supernatural) friend!
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Πρόσεξε μην πάθουν αγκύλωση τα δάκτυλά σου από την πολλή δακτυλογράφηση.
Most visitors online was 2716 , on 5 Dec 2023
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Μερικές μουσικές προτάσεις για ακρόαση
- Thread starter Fedra
- Ημερομηνία δημιουργίας
Mr Spock
demokratischer - sektor
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- τριπλό LP στην αρχή , και διάφορες αργότερα επανεκδόσεις από την τελευταία συναυλία τους στο in San Francisco,και κινηματογραφημένη από τον by Martin Scorsese
- υλικό αναφοράς , αλά ας τα πεί ο ειδικός . . .
The Band: The Last Waltz 40th
Rhino RR 273925 (2 CDs). 1978/2016. Robbie Robertson, prod.; Ron Fraboni, John Simon, co-prods.; Terry Becker, Tim Kramer, Elliot Mazer, Wayne Neuendorf, Ed Anderson, Neil Brody, engs. ADD? TT: 2:09:11
Performance *****
Sonics ****
To clear the air, if not the sinuses, let's dispose right now of the traveling-booger-matte controversy. If Robbie Robertson and the late Levon Helm are to be believed, in The Last Waltz, Neil Young performed "Helpless" with a very suspicious chunk of something hanging out of one nostril. When Young and his management became aware of the problem, the offending object had to be excised from the film stock using a matte laboriously inserted into every frame. At least, that's how the juiciest legend from one of rock's most legendary performances is usually told.
It's no secret that on Thanksgiving 1976, the final performance of the Band, titled The Last Waltz and held at Winterland, in San Francisco, and filmed by Martin Scorsese for what may be the finest rock documentary of all, was a party for crowd and performers alike. The audience of 5000 was served a traditional Thanksgiving dinner (with a special menu for vegetarians), and before the Band took the stage, the Berkeley Promenade Orchestra played music for ballroom dancing. A number of poets, including Lawrence Ferlinghetti and Freewheelin' Frank, gave readings before the show, which began around 9pm. After the Band played a greatest-hits set of 12 original songs, including "Up on Cripple Creek" and "The Shape I'm In," a parade of guests came out to play a song or two with the group. A pair of jam sessions followed, and after the Band's final encore, "Don't Do It," the entire event closed at 2:15am. As can be clearly seen in the film, a good time was had by all. The interviews in the film are mostly nonsense, many of them marred by the interviewer and interviewee both being in altered states. Nor does it take a trained eye to sense that something is joyously amiss with Van Morrison's high kicks in his spirited run-through of "Caravan."
To celebrate the 40th anniversary of the releases of film and album, Rhino Records has, as is the current wont with reissues, rereleased both in a number of different configurations. Happily, this lowly two-CD set ($16.99) is the only one that contains the new remastering of the sound, which accentuates the midrange frequencies and perhaps lessens the bass response just a touch. It also seems a tad louder than previous editions. The Last Waltz was originally released on three LPs, and the original master tapes—or whatever were used for the album as we now know it—have since then been remastered twice, by Warner Bros. (2003) and Mobile Fidelity Sound Lab (2014). Rhino's other 40th-anniversary editions are boxed sets of four CDs and one Blu-ray ($64.95), six LPs ($119.98)—and the inevitable four-CD, two-BR Collector's Edition ($259.98), limited to 2500 copies and containing a replica of Scorsese's 300-page shooting script "bound in red faux-leather." As of this writing, the plans for MP3 and high-resolution downloads had yet to be announced.
For those new to its many charms, The Last Waltz is a fabulous experience in terms of both images and sound. One gander at the guest list tells the story: Besides Young and Morrison, it includes Muddy Waters, Dr. John, Eric Clapton, Ronnie Wood, Neil Diamond, Bobby Charles, Ringo Starr, Paul Butterfield, Ronnie Hawkins, Joni Mitchell, Emmylou Harris, the Staples—and, of course, Bob Dylan, whom the eponymous foursome backed on and off from 1965 practically until they broke up following The Last Waltz. Recordings made by the Band and Dylan in 1967, and released as The Basement Tapes in 1975 (and in a Complete edition in 2014), still stand as one of Dylan's finest albums, and one of the seminal documents of Americana music.
As wonderful as the 117-minute film is (a cogent argument can be made that it's actually too long), the film and the music are not without controversy—some believe that just listening to the recordings is a far superior experience to watching and listening to the film. Both film and recordings can clearly stand alone without the other.
Then there's the Robertson factor. Over the years, through the autobiographies of the Band members and statements made by all, one gets the feeling if not fact that The Last Waltz was primarily driven by a bromance between Robertson and Scorsese. Robertson, who produced the album, went on to help score a number of Scorsese films, including Raging Bull and The King of Comedy. There have been claims, by Helm and other members of the Band (all of whom but Robertson and Hudson are now deceased) that no one but Robertson ever saw any money from the film, which was a success. The overload of shots of Robertson in the film—he's got a hundred close-ups—added to pervasive accusations by other Band members, particularly Helm, that Robertson unfairly took credit for too many of the group's original compositions, give weight to the widespread belief that it was Robertson whose actions forced the Band to disband following The Last Waltz.
Other weirdnesses to be savored by longtime fans include the incongruous appearance, in light-blue polyester suit and Aviator shades, by Neil Diamond—who, to say the least, had never been part of the Band's zeitgeist. It was later revealed that, at the time, Robertson happened to be producing Diamond's album Beautiful Noise. The appearance in the film of performances with Emmylou Harris ("Evangeline") and the Staples ("The Weight"), previously filmed on a soundstage, are jarring additions, particularly considering that the Band's Winterland performance of "The Weight," the tune they're best known for, doesn't appear in the film. (It can now be heard on the four-CD set, the six-LP set, and the Collector's Edition.)
The eternal model for all rock docs, The Last Waltz, with its combination of Scorsese—a brash, exuberant, hugely talented director of feature films, with a rare talent for using and, in this instance, capturing music in film—and a celebratory, high-energy concert in which everyone gave exceptional, eulogic performances, has only gained power in the 40 years since its release. These new sets add welcome new dimensions to its incredible legacy.—Robert Baird
Read more at https://www.stereophile.com/content/recording-february-2017-last-waltz-40th#ZIhKxHEHOJ37o7ly.99
- υλικό αναφοράς , αλά ας τα πεί ο ειδικός . . .
The Band: The Last Waltz 40th
Rhino RR 273925 (2 CDs). 1978/2016. Robbie Robertson, prod.; Ron Fraboni, John Simon, co-prods.; Terry Becker, Tim Kramer, Elliot Mazer, Wayne Neuendorf, Ed Anderson, Neil Brody, engs. ADD? TT: 2:09:11
Performance *****
Sonics ****
To clear the air, if not the sinuses, let's dispose right now of the traveling-booger-matte controversy. If Robbie Robertson and the late Levon Helm are to be believed, in The Last Waltz, Neil Young performed "Helpless" with a very suspicious chunk of something hanging out of one nostril. When Young and his management became aware of the problem, the offending object had to be excised from the film stock using a matte laboriously inserted into every frame. At least, that's how the juiciest legend from one of rock's most legendary performances is usually told.
It's no secret that on Thanksgiving 1976, the final performance of the Band, titled The Last Waltz and held at Winterland, in San Francisco, and filmed by Martin Scorsese for what may be the finest rock documentary of all, was a party for crowd and performers alike. The audience of 5000 was served a traditional Thanksgiving dinner (with a special menu for vegetarians), and before the Band took the stage, the Berkeley Promenade Orchestra played music for ballroom dancing. A number of poets, including Lawrence Ferlinghetti and Freewheelin' Frank, gave readings before the show, which began around 9pm. After the Band played a greatest-hits set of 12 original songs, including "Up on Cripple Creek" and "The Shape I'm In," a parade of guests came out to play a song or two with the group. A pair of jam sessions followed, and after the Band's final encore, "Don't Do It," the entire event closed at 2:15am. As can be clearly seen in the film, a good time was had by all. The interviews in the film are mostly nonsense, many of them marred by the interviewer and interviewee both being in altered states. Nor does it take a trained eye to sense that something is joyously amiss with Van Morrison's high kicks in his spirited run-through of "Caravan."
To celebrate the 40th anniversary of the releases of film and album, Rhino Records has, as is the current wont with reissues, rereleased both in a number of different configurations. Happily, this lowly two-CD set ($16.99) is the only one that contains the new remastering of the sound, which accentuates the midrange frequencies and perhaps lessens the bass response just a touch. It also seems a tad louder than previous editions. The Last Waltz was originally released on three LPs, and the original master tapes—or whatever were used for the album as we now know it—have since then been remastered twice, by Warner Bros. (2003) and Mobile Fidelity Sound Lab (2014). Rhino's other 40th-anniversary editions are boxed sets of four CDs and one Blu-ray ($64.95), six LPs ($119.98)—and the inevitable four-CD, two-BR Collector's Edition ($259.98), limited to 2500 copies and containing a replica of Scorsese's 300-page shooting script "bound in red faux-leather." As of this writing, the plans for MP3 and high-resolution downloads had yet to be announced.
For those new to its many charms, The Last Waltz is a fabulous experience in terms of both images and sound. One gander at the guest list tells the story: Besides Young and Morrison, it includes Muddy Waters, Dr. John, Eric Clapton, Ronnie Wood, Neil Diamond, Bobby Charles, Ringo Starr, Paul Butterfield, Ronnie Hawkins, Joni Mitchell, Emmylou Harris, the Staples—and, of course, Bob Dylan, whom the eponymous foursome backed on and off from 1965 practically until they broke up following The Last Waltz. Recordings made by the Band and Dylan in 1967, and released as The Basement Tapes in 1975 (and in a Complete edition in 2014), still stand as one of Dylan's finest albums, and one of the seminal documents of Americana music.
As wonderful as the 117-minute film is (a cogent argument can be made that it's actually too long), the film and the music are not without controversy—some believe that just listening to the recordings is a far superior experience to watching and listening to the film. Both film and recordings can clearly stand alone without the other.
Then there's the Robertson factor. Over the years, through the autobiographies of the Band members and statements made by all, one gets the feeling if not fact that The Last Waltz was primarily driven by a bromance between Robertson and Scorsese. Robertson, who produced the album, went on to help score a number of Scorsese films, including Raging Bull and The King of Comedy. There have been claims, by Helm and other members of the Band (all of whom but Robertson and Hudson are now deceased) that no one but Robertson ever saw any money from the film, which was a success. The overload of shots of Robertson in the film—he's got a hundred close-ups—added to pervasive accusations by other Band members, particularly Helm, that Robertson unfairly took credit for too many of the group's original compositions, give weight to the widespread belief that it was Robertson whose actions forced the Band to disband following The Last Waltz.
Other weirdnesses to be savored by longtime fans include the incongruous appearance, in light-blue polyester suit and Aviator shades, by Neil Diamond—who, to say the least, had never been part of the Band's zeitgeist. It was later revealed that, at the time, Robertson happened to be producing Diamond's album Beautiful Noise. The appearance in the film of performances with Emmylou Harris ("Evangeline") and the Staples ("The Weight"), previously filmed on a soundstage, are jarring additions, particularly considering that the Band's Winterland performance of "The Weight," the tune they're best known for, doesn't appear in the film. (It can now be heard on the four-CD set, the six-LP set, and the Collector's Edition.)
The eternal model for all rock docs, The Last Waltz, with its combination of Scorsese—a brash, exuberant, hugely talented director of feature films, with a rare talent for using and, in this instance, capturing music in film—and a celebratory, high-energy concert in which everyone gave exceptional, eulogic performances, has only gained power in the 40 years since its release. These new sets add welcome new dimensions to its incredible legacy.—Robert Baird
Read more at https://www.stereophile.com/content/recording-february-2017-last-waltz-40th#ZIhKxHEHOJ37o7ly.99
Z
Zdimis
Guest
Πως να το πεις ,jazz το λες αλλά ειναι πειραγμένη περιεργα ολη η ατμοσφαιρα.Αριστη παραγωγη επισης.
www.youtube.com/watch?v=ZTK-thBLBWA
www.youtube.com/watch?v=ZTK-thBLBWA
tyler durden
Μη ριβγιούερ
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- 2.728
Οι γεροντάρες του Manchester σε καινούριο δίσκο που από τα πρώτα δειγματα φαίνεται πέρα για πέρα RIDE.
Ride – Weather Diaries
1. Lannoy Point 05:57
2. Charm Assault 04:12
3. All I Want 03:57
4. Home Is A Feeling 03:19
5. Weather Diaries 06:59
6. Rocket Silver Symphony 05:24
7. Lateral Alice 02:55
8. Cali 06:29
9. Integration Tape 02:26
10. Impermanence 04:23
11. White Sands 06:08
Ride – Weather Diaries
1. Lannoy Point 05:57
2. Charm Assault 04:12
3. All I Want 03:57
4. Home Is A Feeling 03:19
5. Weather Diaries 06:59
6. Rocket Silver Symphony 05:24
7. Lateral Alice 02:55
8. Cali 06:29
9. Integration Tape 02:26
10. Impermanence 04:23
11. White Sands 06:08
Mr Spock
demokratischer - sektor
- Μηνύματα
- 18.458
- Reaction score
- 50.623
racklist
1–Gewandhausorchester Leipzig Im Abendrot (Excerpt)
2–Powermad Slaughterhouse
3–Angelo Badalamenti Cool Cat Walk
4–Nicolas Cage Love Me
5–Them (3) Baby Please Don't Go
6–Koko Taylor Up In Flames
7–Chris Isaak Wicked Game
8–Gene Vincent & His Blue Caps Be-Bop A Lula
9–Glen Gray & The Casa Loma Orchestra Smoke Rings
10–Rubber City Perdita
11–Chris Isaak Blue Spanish Sky
12–Angelo Badalamenti Dark Spanish Symphony (Edited String Version)
13–Angelo Badalamenti Dark Spanish Symphony (50's Version)
14–Angelo Badalamenti Dark Lolita
15–Nicolas Cage Love Me Tende
- πολύ ωραίο soundtrack και στο βινύλιο τουλάχιστον δίσκος τεστ ( άψογη εγγραφή και παραγωγή ) . . . ας δούμε όμως γιατί
πλευρά : 1
- 1 , ορχηστρικό πομπώδες φυσικά όργανα μας ετοιμάζει για το επερχόμενο σκοτάδι
- 2α , ακούγονται βήματα από αριστερά προς τα δεξιά , βαριές πόρτες κλείνουν industriall ατμόσφαιρα και τεστ βάθους
- 2β , σκάει ένα μανιασμένο metal , γρήγορες αλλά κοφτερές μποτιές . . . κόλαση
- 3 , mid tempo cool jazz σε στύλ henry manchini αλλά εδώ από τον Angelo . . . βαθύ ακουστικό μπάσο που προσπαθεί να ξεμοντάρει τις καμπίνες των ηχείων μας . . . καμία σχέση με το αμέσως προηγούμενο ηλεκτρικό μπάσο
- 4 , φωνάρα του Nicolas σε στύλ Elvis
- 5 , τρέχουμε τώρα ! . . . που βρέθηκε άραγε τέτοια καλή κόπια ενός τραγουδιού ; που απ΄όπου και αν το έχω , ακούγεται άσχημα . . . πρώιμη γκαραζοπαραγωγή
- 6 , έρεβος . . . σκοτεινή - μπαρουτοκαπνισμένη - παθιάρα φωνή , γαρνιρισμένη με classic club blues , με πολά βουρτσάκια
- 7 , το γνωστό σε όλους μας χιτ , εδώ το ομορφόπαιδο τα δίνει όλα μαζί με λίγο φαλτσέτο στό κουπλέ . . . ωραίο φωνητικό τεστ
πλευρά : 2
- 8 , τραλαλί τραλαλό . . . μουρντάρικη σερνάμενη ροκαμπιλιά από έναν από τους βιρτουόζους του είδους ( αχ Λούλλλα )
- 9 , αργή swing μπαλάντα σε στύλ Duke Ellington αν και ακούγεται καλά , κρατάει τον φτωχό χαμηλά ήχο της εποχής του γραμμοφώνου . . . θα μετατρέψει ακόμα και τα πάνελ σε κόρνες
- 10 , πιανιστικό μλουζο-βαλσάκι , τεστ echo στο πιάνο το οποίο είναι υπέρ του δέοντος καθαρό
- 11 , πάει το πολύ φαλτσέτο , εδώ έχουμε βαριά - ψιθυριστή - αντρική φωνή , σαν χάδι όμως , συνεπικουρούμενη από ακουστική κιθάρα . . . οι δακτυλισμοί στίς χορδές είναι μπροστά και κάπου πίσω μία μοναχική τρομπέτα αλλά M. Davis
- 12 , έρεβος - οδυρμός και πάθος . . . εδώ ''τα χρειάζομαι''
- 13 , έξοδος , η λύτρωση του προηγούμενου κομματιού 50΄s Version όπως ορθώς το ονόμασε ο καλιτέχνης
- 14 , εδώ ο μαέστρος Bdalamenti μας θυμίζει της ημέρες του twin peaks
- 15 , και για το τέλος , ο παιδαράς με το snake leather jacket , σε ακόμα ένα κλασικό του Βασιλιά
- καλή ακρόαση . . . 8,5+/10
wizzy
Music is our (Supernatural) friend!
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Είχα καιρό να προτείνω κάτι. Τελευταία, "έπεσα" πάνω σε στον καλλιτέχνη με το ψευδώνυμο Perturbator και το πιο πρόσφατο του album το "New Model".
Dark (πολύ dark όμως) electronic, με πρωταγωνιστές synthesizers και samples με ελάχιστα φωνητικά (εάν θυμάμαι καλά, μόνο σε ένα κομμάτι ακούγεται φωνή). Συστήνεται η μοναχική ακρόαση με τα φώτα κλειστά.
Perturbator - New Model
Dark (πολύ dark όμως) electronic, με πρωταγωνιστές synthesizers και samples με ελάχιστα φωνητικά (εάν θυμάμαι καλά, μόνο σε ένα κομμάτι ακούγεται φωνή). Συστήνεται η μοναχική ακρόαση με τα φώτα κλειστά.
Perturbator - New Model
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- Μηνύματα
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- Reaction score
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- Μηνύματα
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Γιάννη εκπληκτικός (παλι) ο Max Richter.
Δεν τον ήξερα τον δίσκο ειναι φετινός.
Ευχαριστώ για την πρόταση.
Z
Zdimis
Guest
Ενας ωραιος τυπος Σαλλονικιος αν δεν κανω λαθος με συνθεσεις ενδιαφερουσες και σιγουρα μεράκι και ψυχη.Παραγωγη πολυ ικανοποιιτικη.....
www.youtube.com/watch?v=mSJwptL1rHg
www.youtube.com/watch?v=mSJwptL1rHg
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Και γω καπου τον ειχα διαβασει τον νεο δισκο, ειναι περιεργος, παντρευει πολλα στυλ μαζι.
Μ αρεσε και μενα, χαρα μου!
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Μετά απο ψάξιμο, ανακάλυψα πως ειναι συλλογή αποσπασμάτων απο παλαιότερα soundtracks.
Ούτε αυτα τα ήξερα, οπότε βρήκα δουλεια, θα τα ακούσω όλα!
- Μηνύματα
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ελα ρε, οντως κι ελεγα, καποια κομματια μου ακουγονται πολυ γνωριμα!
ετσι εξηγειται λοιπον !
Vakis2000
Κλιψ κλαψ
- Μηνύματα
- 7.048
- Reaction score
- 8.069
Αχ αυτή η δεκαετία των seventies, στην καρδιά μου , πάντα!
Lion - You've Got A Woman (Abel Edit) [Netherlands, 1975]
Lion - You've Got A Woman (Abel Edit) [Netherlands, 1975]
Mr Spock
demokratischer - sektor
- Μηνύματα
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Don't fear the ripper...
. . . Along with the usual mix of sound-effect records featuring creaking doors and unhinged laughter, there are the mix records intended for Halloween parties. Of course it could be argued all Halloween records are party records? Most of these tangentially related rock compilations contain the usual suspects like Warren Zevon's "Werewolves of London," Edgar Winter's "Frankenstein," and that eternal and overplayed anthem of Halloween, Bobby "Boris" Pickett and the Crypt-Kicker's, "Monster Mash." . . .
. . . the word "Halloween" has inspired its own raft of tunes by 1980s/'90s rock bands like The Dream Syndicate, Mudhoney, Dead Kennedys, and Sonic Youth . . .
Sonic Youth - Halloween
. . . από τα πλέον νοσηρά ever . . .
https://www.stereophile.com/content/dont-fear-reaper
. . . Along with the usual mix of sound-effect records featuring creaking doors and unhinged laughter, there are the mix records intended for Halloween parties. Of course it could be argued all Halloween records are party records? Most of these tangentially related rock compilations contain the usual suspects like Warren Zevon's "Werewolves of London," Edgar Winter's "Frankenstein," and that eternal and overplayed anthem of Halloween, Bobby "Boris" Pickett and the Crypt-Kicker's, "Monster Mash." . . .
. . . the word "Halloween" has inspired its own raft of tunes by 1980s/'90s rock bands like The Dream Syndicate, Mudhoney, Dead Kennedys, and Sonic Youth . . .
Sonic Youth - Halloween
. . . από τα πλέον νοσηρά ever . . .
https://www.stereophile.com/content/dont-fear-reaper
Last edited by a moderator:
Mr Spock
demokratischer - sektor
- Μηνύματα
- 18.458
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Blue Note Review Is a Biannual Limited Edition Luxury Box Set Subscription Series
Michael Fremer | Nov 13, 2017
Just going to reproduce much of the press release this time:
Blue Note Records introduces Blue Note Review: Volume One - Peace, Love & Fishing, the inaugural edition of a stunning new biannual, limited edition, luxury boxset subscription series that encapsulates the storied past and auspicious future of the legendary jazz label . . .
. . . “The digital transformation of the music business has made great strides in terms of convenience, but we’ve lost so much along the way,” explains Blue Note President Don Was, who conceived of the Blue Note Review and serves as it’s Publisher. “For so many of us, Blue Note has always represented a particular sensibility and a culture of cool . . .
Read more at https://www.analogplanet.com/conten...x-set-subscription-series#yJ4cJmt6wZWa2oiF.99
Michael Fremer | Nov 13, 2017
Just going to reproduce much of the press release this time:
Blue Note Records introduces Blue Note Review: Volume One - Peace, Love & Fishing, the inaugural edition of a stunning new biannual, limited edition, luxury boxset subscription series that encapsulates the storied past and auspicious future of the legendary jazz label . . .
. . . “The digital transformation of the music business has made great strides in terms of convenience, but we’ve lost so much along the way,” explains Blue Note President Don Was, who conceived of the Blue Note Review and serves as it’s Publisher. “For so many of us, Blue Note has always represented a particular sensibility and a culture of cool . . .
Read more at https://www.analogplanet.com/conten...x-set-subscription-series#yJ4cJmt6wZWa2oiF.99
- Μηνύματα
- 32
- Reaction score
- 10
Από Spotify είναι πολύ καλύτερα. Στο youtube ακούγεται μέτρια.
- Μηνύματα
- 7
- Reaction score
- 6
...η οποία έβγαλε και δισκάρα μέσα στο 2017.
Με αγάπη από το Βέλγιο:
Με αγάπη από το Βέλγιο:
hawkwind78
"Επαγγελματίας"
- Μηνύματα
- 2.978
- Reaction score
- 2.914
Eric Clapton - Crossroads
Καλησπερα σε ολους
Αν και εχω χιλιαδες mp3 ενα original album ή συλλογη ειναι παντα πειρασμος και θελξη για αγορα. Αυτα τα Χριστουγεννα αγορασα απο το amazon την συλλογη Crossroads του Eric Clapton σε CD (βγαινει και σε LP). Πολυ καλη παραγωγη με πληροφοριακο υλικο και φωτογραφιες και η πιο αυθεντικη καταγραφη της μεχρι τα 80s μουσικης παρακαταθηκης του.
Στοιχεια στο παρακατω συνδεσμο.
https://en.m.wikipedia.org/wiki/Crossroads_(Eric_Clapton_album)
Προτεινεται με θερμη για οσους δεν γνωριζουν την πορεια του Eric Clapton μεχρι και τα 80s και θελουν να παρουν την απολυτη γευση και ιδιαιτερα τους πιο νεους.
"For your love" Mr Clapton.
Καλησπερα σε ολους
Αν και εχω χιλιαδες mp3 ενα original album ή συλλογη ειναι παντα πειρασμος και θελξη για αγορα. Αυτα τα Χριστουγεννα αγορασα απο το amazon την συλλογη Crossroads του Eric Clapton σε CD (βγαινει και σε LP). Πολυ καλη παραγωγη με πληροφοριακο υλικο και φωτογραφιες και η πιο αυθεντικη καταγραφη της μεχρι τα 80s μουσικης παρακαταθηκης του.
Στοιχεια στο παρακατω συνδεσμο.
https://en.m.wikipedia.org/wiki/Crossroads_(Eric_Clapton_album)
Προτεινεται με θερμη για οσους δεν γνωριζουν την πορεια του Eric Clapton μεχρι και τα 80s και θελουν να παρουν την απολυτη γευση και ιδιαιτερα τους πιο νεους.
"For your love" Mr Clapton.
Mr Spock
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The Bloodied Sword
- ο αρχηγός των ultravox μαζί με έναν έτερο u-v και τον Maxwell Langdown , ηχογραφούν αυτό το παράξενο έργο από τα 80s μέχρι και το 1983 οπότε και κυκλοφόρησε
- πρόκειται για ένα μυστικιστικό αμάλγαμα ηλεκτρονικής - θρησκευτικής & άβανγκαρντ μουσικής . . . μέσα σε πολύ καλές και προσεγμένες ενορχηστρώσεις , πρωταγωνιστούν ο Θεός ο Διάβολος & ο Άνθρωπος . . .
- υπάρχουν στοιχεία από το Φάουστ του Γκαίτε , Αποκάλυψη του Ιωάννη , αλλά και δικά τους σκέτς ( αφού ουσιαστικά πρόκειται για κάτι σαν θεατρικό έργο )
- η μουσική στα πλαίσια των ultravox εποχής Lament , αλλά τα φωνητικά και ηλεκτρονικά εφέ είναι αγρίως πειραγμένα . . . στο δικάναλο δημιουργούν μία εικόνα κάποιες φορές αεικίνητη ως προς το πλάτος , αλλά και βάθος
- αναγκαστικά κατατάσσεται στην πειραματική σκηνή , αν και τελικώς κρίνεται βατό ως άκουσμα
- εδώ ένα μικρό δείγμα . . .
Midge Ure, Chris Cross & Maxwell Langdown - The Bloodied Sword - Track 6 - Oceana's Theme
. . . αν και το one with man είναι μακράν το καλύτερο δείγμα ( όχι τραγούδι . . . ο δίσκος είναι concept , με αρχή μέση και τέλος , ως εκ τούτου ακούγεται ολόκληρος )
- καλή ακρόαση
ΥΓ : - σας άρεσε , αλλά μόλις τελείωνε το tales of mystery and imagination των Alan Parsons Project ,δεν ξέρατε με τι να συνεχίσετε ; . . . τώρα γνωρίζετε
- ο αρχηγός των ultravox μαζί με έναν έτερο u-v και τον Maxwell Langdown , ηχογραφούν αυτό το παράξενο έργο από τα 80s μέχρι και το 1983 οπότε και κυκλοφόρησε
- πρόκειται για ένα μυστικιστικό αμάλγαμα ηλεκτρονικής - θρησκευτικής & άβανγκαρντ μουσικής . . . μέσα σε πολύ καλές και προσεγμένες ενορχηστρώσεις , πρωταγωνιστούν ο Θεός ο Διάβολος & ο Άνθρωπος . . .
- υπάρχουν στοιχεία από το Φάουστ του Γκαίτε , Αποκάλυψη του Ιωάννη , αλλά και δικά τους σκέτς ( αφού ουσιαστικά πρόκειται για κάτι σαν θεατρικό έργο )
- η μουσική στα πλαίσια των ultravox εποχής Lament , αλλά τα φωνητικά και ηλεκτρονικά εφέ είναι αγρίως πειραγμένα . . . στο δικάναλο δημιουργούν μία εικόνα κάποιες φορές αεικίνητη ως προς το πλάτος , αλλά και βάθος
- αναγκαστικά κατατάσσεται στην πειραματική σκηνή , αν και τελικώς κρίνεται βατό ως άκουσμα
- εδώ ένα μικρό δείγμα . . .
Midge Ure, Chris Cross & Maxwell Langdown - The Bloodied Sword - Track 6 - Oceana's Theme
. . . αν και το one with man είναι μακράν το καλύτερο δείγμα ( όχι τραγούδι . . . ο δίσκος είναι concept , με αρχή μέση και τέλος , ως εκ τούτου ακούγεται ολόκληρος )
- καλή ακρόαση
ΥΓ : - σας άρεσε , αλλά μόλις τελείωνε το tales of mystery and imagination των Alan Parsons Project ,δεν ξέρατε με τι να συνεχίσετε ; . . . τώρα γνωρίζετε
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