I Feel You is a thrilling collaboration that blends Alpert and Hall's vocal and instrumental gifts to perfection. The songs cover several reinterpreted classics spanning four decades. Recorded in Los Angeles, it is the duo's first studio album in almost ten years. The songs selected by Alpert and Hall include such classics as Van Morrison's "Moondance" and Peggy Lee's "Fever" as well as two Beatles tunes "Here Comes The Sun" and "Blackbird." All the songs on I Feel You are filled with unique and innovative arrangements along with skilled improvisations which breathe fresh life into them. Also on the album is a reinvented version of the Tijuana Brass hit, "What Now My Love."

Currently signed to Razorback Recordings they offer a nice dirty piece of old school death metal with a little bit of doom here and there for good measure. Admittedly the drums sound like shit but there's plenty of riffs and gore and zombies to make up for that. Enjoy.

Like a desperate voice of the lone northern lands, bearing the feeling of the early Burzum’s masterpieces and the visionary transcendence of Svarti Loghin’s debut album, the cold season strikes back like caress of a cold knife. Featuring in fact a Svarti Loghin members Srodek is a lonely spirit, detached from the compromises of modernity, flowing like an echoing dissimulation, a melancholic and depressive chant to draw the human shell to the final chapter. For fans of Lifelover & Shining.

"I am The Blues" is a tribute to the great blues innovator, Muddy Waters. Most of the musicians featured on this album played with Waters at some point in his career.

The last – and definitely the best – Shotgun Messiah release, Violent New Breed is a little-known industrial metal gem. After making a name for themselves as a pop-tinged hair metal band with a talent for crafting hook-laden yet somewhat derivative music, bassist/vocalist Tim Skold and guitarist Harry Cody entered the studio sans drummer to create a follow-up to their minor breakthrough, Second Coming (which featured the rock radio hit "Heartbreak Blvd."), and created a record that sounded absolutely nothing like their earlier work – or really anything that had been released up to that time.

Gil Scott Heron and His Amnesia Express - Tales Of Gil Scott Heron (1990) [2CD] {East Side Digital}
EAC rip (secure mode) | FLAC+CUE+LOG -> 702 Mb | MP3 @320 -> 274 Mb
Full Artwork @ 300 dpi (jpg) -> 13 Mb | 5% repair rar
© 1990 East Side Digital / Peak Top / Castle | ESDCD 021/2
Jazz / Fusion / Jazz Funk / Spoken Word

In 1990, a retrospective double album was released entitled 'Tales Of Gil Scott-Heron And His Amnesia Express'. Gil Scott Heron: Tales Of Gil is a good concert of Jazz influenced blues music, and is well worth grabbing for die-hard fans (although be aware that it does not contain The Revolution Will Not Be Televised). Others may wish to be wary approaching this disc, given its bluesy nature (there is little resembling rap here).

This 1998 CD reissues tenor-saxophonist Benny Golson's excellent Free album of 1962 plus seven of the ten selections from his Take A Number From 1 To 10 project of 1960. Although one wishes that both sets could have been reissued in full (the CD is just 62 minutes long), it is a joy to have Free available again. Golson's last album as a leader in which he plays in his Don Byas/Lucky Thompson style (he would soon become a fulltime arranger and, by the time he led his next playing date in 1977, Golson's sound was quite a bit different) finds him in top form.

Nick Cave has always seemed misplaced, of another era. An Australian whose ‘60s-retro skinny suits and 19th century face have lived all over Europe, Cave looks and sings like an old soul. His macabre rock ballads of murder and sorrow might be sung by an Edgar Allen Poe narrator stuck in a Flannery O’Connor story. Where his contemporaries have plowed the ruts left by the Beatles and the Stones, Cave has always been more interested in the American blues and country/folk traditions of John Lee Hooker and Johnny Cash: religion, sorrow, murder, insanity, alcohol, lust, and depression. I’ve often wondered what kind of personality the author of such lyrics as “this is a weeping song/ a song in which to weep” (“The Weeping Song”) exudes in day-to-day life.