So80's (So Eighties) is a triple-disc set of classic new wave and '80s hits selected by the German DJs Blank & Jones. The pair offer a non-stop mix of hits on the first disc while the other two discs round up original extended 12" mixes of the hits. Those looking for a thumping nonstop party will prefer the former, while those that grew up hunting down 12"s in record stores will prefer the latter pair of discs.

Freddy Cannon was a true believer, a rocker to the bone. Freddy Cannon made rock & roll records; great noisy rock & roll records and all of them were infused with a gigantic drum beat that was an automatic invitation to shake it on down anyplace there was a spot to dance.

While Whitney Balliett coined the phrase "sound of surprise" to describe jazz, it also pretty well sums up the entire career of Lee Konitz, whose fluid, dynamic alto has been a constant source of inspiration, distinction, and clarity. This effort teams him with such empathetic instrumental foils as Ted Brown John Abercrombie Marc Johnson and Joey Baron, who are superb rhythmic navigators, plotting interesting paths for Konitz with metered maps of their own drafting.

His fifth Taxim release is something special indeed. These exclusive recordings from the man's private archives document some of his stage encounters with true guitar legends. Not a festival for sound aficionados because of the spontaneous nature of the recordings, but the sheer musical quality justifies their release anyhow……

Although lacking the hilarious slice-of-life studio banter that makes its companion album Bummer Road so priceless, this is certainly a collection of terrific Chicago blues tracks as only Sonny Boy Williamson could do it. Like the Tennessee harmonica player with whom he shared a stage name, this Sonny Boy's music comes from the country blues tradition, fair and square. The way he plays harmonica is straight out of the country, with only a slight trace of the kind of microphone and amplifier distortion that the slightly younger Little Walter would exploit. Even the way these two harmonica men solo is quite different. Williamson can and does give individual notes detailed attention, creating a sound that could make a listener think the instrument responsible must be the size of a car, not something small enough to be tucked into a shirt pocket. But he often does it in such a rhythmically supportive way that instead of a chorus of harmonica soloing with band background, the result sounds more like a coordinated ensemble statement…..

Monte Montgomery tears it up on the fretboard and the mic, and he's brought a strong rhythm section just for reinforcement. His guitar playing describes a true wealth of sounds–just picture a slap-bass player on an acoustic steel string with a penchant for Stevie Ray Vaughn, and you'll be in the ballpark. At the same time, his blazing fingerstyle, precise, percussive accompaniment, and exceedingly creative use of harmonics are only part of his truly unique guitar style. And Montgomery's outstanding technique does not prevent him from delivering a clear, melodic solo that dances through the changes.The folk-tinged songwriting is well developed, and this man's got stuff to say about life and love. In fact, Montgomery is an impressive, versatile vocalist in his own right……

Given the title, "I'm in Love," one would naturally expect ballads. The best cuts are "Love and Kisses," the title cut and "I Can't Complain" with Freddie Jackson.

Slade - The Amazing Kamikaze Syndrome (1983) {Salvo Remaster 2007}
EAC rip (secure mode) | FLAC+CUE+LOG -> 505 Mb | MP3 @320 -> 158 Mb
Full Artwork @ 300 dpi (jpg) -> 24 Mb
© 2007 Salvo / Union Square | SALVOCD009
Rock / Glam Rock / Hard Rock

Slade’s mighty 1983 album was their biggest US success. Newly remastered and featuring six bonus tracks, highlights include the massive hits My Oh My and Run Runaway and the 8 1/2 minute epic Ready To Explode .Following Slade's legendary performance at the 1980 Reading Festival, the group's career was back on solid ground in terms of media interest, sold-out shows and a major label deal with RCA.

Feist returns with her highly anticipated new album, Metals. It's the follow-up to her 2007 breakout The Reminder. Recorded in Big Sur, California, Feist co-produced the album with longtime collaborators Chilly Gonzales and Mocky, as well as newcomer Valgeir Sigurðsson (Bjork, Bonnie "Prince" Billy). Like The Reminder, this album is astoundingly intimate, yet often exuberant; rife with transcendent and unforgettable pop gems. The album is being teased with 12 unique vignettes, each hinting at a different element of this stunningly beautiful, sublime record.

VA - Rare On Air Vol. 2 - Live Sessions From KCRW's Morning Becomes Eclectic
FLAC, EAC, LOG & CUE | Artwork | Size: 379 MB
Cat#: Mammoth MR0107-2 | Country/Year: US 1995
Genre: Indie Rock, Singer / Songwriter | Hoster: Filesonic/Uploaded

Morning Becomes Eclectic (MBE) is a three-hour adult album alternative radio program first aired in 1977 and broadcast live every weekday from KCRW in Santa Monica, California. The show's name is a play on the Eugene O'Neill trilogy of plays, Mourning Becomes Electra.

Few chamber music groups have as proud a history as the Smetana Quartet, or a history that evokes as much nationalistic passion. Founded during the Nazi occupation of Czechoslovakia, the group's very existence was an anomaly during an era when any manifestation of Czech nationalism was outlawed. They survived into the post-Nazi era, and went on to an acclaimed international performing career, making some of the finest chamber music recordings of the 1950s and 1960s…

Paul Doornbusch (b. 1959) creates extraordinary and unusual sounds for instruments, computers, and electronics. ...The four vocalists [in Strepidus Somnus (1996)] perform with earpieces, upon which each hears and reproduces a track of precomposed vocal material, ranging from coital gasps to whispering in an algorithmically-fractured English, reminiscent of the teasing impenetrability of James Joyce’s Finnegans Wake. ... Here the emphasis is ...on the creation of a nightmarish sonic landscape whose inhabitants leer and convulse like Bosch’s demons.

Brooklyn Rider have built a programme around Debussy's iconic String Quartet, embedded rather than leading off, that is both self-referential and rich with history. The result is chamber music simultaneously on a very large scale and an alien sub-atomic landscape, which explores texture and space with scientific determination and a steady artistic temperament.