Category: Rock
Van Leer – I Hate Myself (For Loving You) (1987)
Band Van Leer
Info: I Hate Myself (For Loving You)
Style: Pop Rock
Years: 1987
Info: CBR 320 kbs
Info: 128,34 Mb
Info: Netherlands
Tracklist:
01 – I Hate Myself (For Loving You).
02 – My Inspiration.
03 – I Think Of You.
04 – Tempted.
05 – Too Good To Be True.
06 – Manchildren.
07 – Hollywood Blues.
08 – You Got Me.
09 – Sensitive Boy.
10 – All Because Of You.
11 – Shock Treatment.
Rip By: Kissmar
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COLDPLAY – PARADISE (2011) SINGLE
BandColdplay
Info: Paradise
Style: Alternative rock
Years: 2011
Info: mp3 CBR 320
Info: 10 mb
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Info: : UK
?????? ????? ? ?????? (??????) ??????? Mylo Xyloto.
Tracklist:
01.Paradise
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Stretch – Lifeblood (1977)
Band Stretch
Info: Lifeblood
Style: Blues Rock
Years: 1977
Info: CBR 320 kbs
Info: 113,86 Mb
Info: UK
Tracklist:
01 – End Up Crying.
02 – Knives In Their Backs.
03 – Rock ‘n’ Roll Hoochie-Coo.
04 – Right Or Wrong.
05 – Show Biz Blues.
06 – You Can’t Beat Your Brain For Entertainment.
07 – Jonah And The Whale.
08 – LInving On The Highway.
09 – Take You Down.
10 – Let’s Spend The Night Toghether.
Rip By: Dio
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John Mayall – Blues For The Lost Days (1997)
Band John Mayall
Info: Blues For The Lost Days
Style: Blues Rock
Years: 1997
Info: CBR 320 kbs
Info: 137,08 Mb
Info: UK
Tracklist:
01 – Dead City.
02 – Stone Cold Deal.
03 – All Those Heroes.
04 – Blues For The Lost Days.
05 – Trenches.
06 – One In A Million.
07 – How Can You Live Like That.
08 – Some Other Day.
09 – I Don’t Mind.
10 – It Ain’t Safe.
11 – Sen-Say-Shun.
12 – You Are For Real.
Rip By: Gym1974
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Seven Nations – Road Kill Volume 2 ?D (1998) Live
DOWNLOAD CELTIC ROCK TODAY 1 CD 2CD
Under their original name of Clan Na Gael, the Orlando-based Seven Nations (led by Kirk McLeod) solely played traditional Celtic tunes. But soon, after realizing that (1) no one could spell “Clan Na Gael” and (2) about seven other groups used the same moniker, the band decided on a name change. Wanting to evoke more than just the Scottish/Irish portion of their Celtic influences, they decided upon Seven Nations, which encompasses all of the Celtic territories of Scotland, Ireland, Brittany, Wales, Cornwall, Galicia, and the Isle of Man. This name change period also saw the addition of a drummer, amending their “Celtic” label to also include “Rock.”
Big Dog represents these changes’ fruition. Seven Nati
ons still play traditional tunes, but they also begin to play originals, principally by McLeod and “antipypr” Neil Anderson. Big Dog also sees the band setting themselves apart from their ilk by performing a cover of “Under the Milky Way,” a 1980s hit by The Church. The use of Anderson’s bagpipes in place of a rock guitar solo is an innovation that simply has to be heard to be fully appreciated.
Even with songwriting chores added to their repertory of skills, Seven Nations’ song talent still lies primarily in choice. Trad songs like “Blackleg Miner” and “Crooked Jack” are definitely among the highlights on an album with few. The main drawback of the album is its sound; tinny at worst, the production seems to show a band that lacks confidence, something that is present in spades on their live Road Kill releases. One could possibly assume that the studio atmosphere led to a stifling of the creative influence, because, despite its solid musicianship, Big Dog comes off as a rather stale affair.
It isn’t until the dual Road Kill releases that Seven Nations real
ly comes to life. A change of drummers may have been an ingredient in this rejuvenation, as the reluctant sticking of Nick Watson is replaced by the eager pounding of Ashton Geoghagan, who adds real rock power — as well as some impressive solos — to the undercarriage of the songs, something that was missing in their studio counterparts. Most importantly, though, there is a sense of fun on these two albums, with the stage banter and band laughter enhancing an already energetic pair of CDs. The songs benefit from being let loose from the studio confines and allowed to breathe free.
The live atmosphere, unfortunately, also allows a lot of what is wrong with Seven Nations’ w
ork to come to light. The level of pretense is sometimes overwhelming. Often it only shows up in little things — like McLeod counting off “one, two, three, four” in Spanish at the beginning of a song, the band wearing kilts onstage, or Anderson affecting an Irish accent. But then at other times — like Anderson’s moody narration that opens their live rendition of “Whiskey in the Jar” — it all but ruins the rest of the song. Piper Anderson’s chops seem very impressive on first listen, but after a few repeats, he appears to have a limited number of tricks up his sleeve. Anderson left the band shortly after the release of these two albums to work on solo projects.
With a continual change of bandmates (only bassist Struby has remained throughout each inception), Seven Nations has been akin to a Kirk McLeod solo project — in the same way that The Cure is very much Robert Smith’s band with other members for ease of production — so it was no surprise when McLeod announced the release of a solo album. The surprise was that it was going to contain only solo piano works with voice. Apparently, McLeod’s occasional solo piano interludes scattered throughout the Seven Nations oeuvre (e.g., “The Selling of Waternish” on Big Dog) had been fan favorites — although not mine.
And So Piano is very much a solo album. McLeod’s piano is accompanied by many layers of his own voice in harmony and chorus with himself. Not only is this announced boldly in the liner notes (“This CD contains only acoustic piano and vocals performed by Kirk McLeod.”), but it is also strategically placed just above the designation “Produced by Kirk McLeod.”
All but one of the songs on So Piano were also written by McLeod; he reinterprets previous band numbers (including an expanded “Waternish”), as well as adding new tracks. The final cut seems to affirm my opinion of Seven Nations as Cure-like, with a cover of that band’s single “Boys Don’t Cry.” The trouble with this song (as with the rest of the album) is that McLeod has a tendency towards heavy dramatics in his singing and playing. In a band setting, there was always an opportunity for balance with the other instruments, but here there is no such check system: the man is in complete control of everything happening in the studio, and he allows himself to let his dramatic trait run free, to the detriment of the listener.
Which made it all the more surprising that, of these four albums, I kept returning more and more to So Piano. It grew on me, as the phrase goes. This was probably due more to the kind of music than to anything else. One of the reasons for the success of this album musically over the band-oriented material is that McLeod’s flawless vocal pitch does not match up well with their grinding rock and roll music. It is much more suited to the melodic piano tunes here than to more boisterous guitar- and drums-based numbers. Even so, the CD still wears out its welcome after three or four tracks. The similarities between the songs become monotonous to someone who thrives on variety.
Seven Nations are a solid Celtic rock band, but there is very little that brings them above the realm of “recommendable”; I can think of several others that are better examples of the genre — and I don’t know that many. To their credit, their version of “Crooked Jack” worms its way into my brain quite often these days, but I do not yearn to hear them further. In fact, my one recommendation lies solely in the band’s clean-cut appearance of late: they are the Celtic rock band you can bring home to Mother.
CD1 01. Crooked Jack 02. Under The Milky Way 03. The Conundrum 04. No Reason 05. Whiskey In The Jar 06. Big Dog 07. The Pound A Week Rise 08. The Gravel Walk/Andy Renwick's Ferret/Our Day Will Come/Clumsy Lover 09. Scotland The Brave/Dixie
CD2 01. The High Level 02. Scream 03. God 04. Ye Jacobites By Name/The Rights Of Man 05. Lannigan's Ball 06. Bring Back The Sign!/The Un-Reel 07. Blackleg Miner/Mairi Anne MacInnes 08. Johnny Cope 09. Trip to Jerusalem 10. Campell's Farewell To Redcastle Kirk McLeod: vocals, guitars, keyboards, highland bagpipes Struby: bass guitar, vocals Ashton Geoghagan: drums, percussion Neil Anderson: highland and uillean bagpipes, Scottish smallpipes
Marianne Faithfull – North County Maid (1966)
Band Marianne Faithfull
Info: North County Maid
Style: Pop Rock
Years: 1966
Info: CBR 320 kbs
Info: 107,87 Mb
Info: UK
Tracklist:
01 – Green Are Your Eyes.
02 – Scarborough Fair.
03 – Cockleshells.
04 – The Last Thing On My Mind.
05 – The First Time Ever I Saw Your Face.
06 – Sally Free And Easy.
07 – Sunny Goodge Street.
08 – How Should I Your True Love Know.
09 – She Moved Thu’ The Fair.
10 – North Country Maid.
11 – Lullaby.
12 – Wild Mountain Thyme.
13 – The Most Of What Is Least.
14 – Come My Way #2.
15 – Mary Ann #2.
Rip By: ???-???????
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Backseat Sally – Backseat Sally (1983)
Band Backseat Sally
Info: Backseat Sally
Style: Rock
Years: 1983
Info: CBR 320 kbs
Info: 100,95 Mb
Info: Germany
Tracklist:
01 – Get In Line.
02 – Prove It.
03 – Trouble On The Line.
04 – It’s Not A Game.
05 – Nuthin’ From Love.
06 – Chemical Reaction.
07 – Pretending.
08 – Edge Of Love.
09 – All Over Your Face.
10 – Keep It A Secret.
Rip By: Lostryder & AORHeart
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Marianne Faithfull – Rich Kid Blues (1985)
Band Marianne Faithfull
Info: Rich Kid Blues
Style: Pop Rock
Years: 1985
Info: CBR 320 kbs
Info: 100,34 Mb
Info: UK
Tracklist:
01 – Rich Kid Blues.
02 – Long Black Veil.
03 – Sad Lisa.
04 – It’s All Over Now, Baby Blue.
05 – Southern Butterfly.
06 – Chords Of Fame.
07 – Visions Of Johanna.
08 – It Takes A Lot To Laugh, It Takes A Train To Cry.
09 – Beware Of Darkness.
10 – Corinne, Corinna.
11 – Mud Slide Slim.
12 – Crazy Lady Blues.
Rip By: ???-???????
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Marianne Faithfull – Marianne Faithfull (1965)
Band Marianne Faithfull
Info: Marianne Faithfull
Style: Rock
Years: 1965
Info: CBR 320 kbs
Info: 142,15 Mb
Info: UK
Tracklist:
01 – Come And Stay With Me.
02 – If I Never Get To Love You.
03 – Time Takes Time.
04 – He’ll Come Back To Me.
05 – Down Town.
06 – Plaisir D’amour.
07 – Can’t You Hear My Hearbeat.
08 – As Tears Go By.
09 – Paris Bells.
10 – They Never Will Leave You.
11 – What Have They Done To The Rain.
12 – In My Time Of Sorrow.
13 – What Have I Done Wrong.
14 – I’m A Loser.
15 – Morning Sun.
16 – Greensleeves.
17 – House Of The Rising Sun (Version 1).
18 – The Sha La La Song.
19 – Oh Look Around You.
20 – I’d Like To Dial Your Number.
Rip By: Dillingerr
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June & Jean Millington – Play Like A Girl (2011)
BandJune & Jean Millington
Info: Play Like A Girl
Style: Rock
Years: 2011
Info: CBR 320
Info: 94mb
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Info: :USA
In all truth, Play Like a Girl is the next Fanny LP long after the group’s demise. June and Jean Millington were founding members of that ensemble, and ye olde group has been under an interesting mis-retrospective of hype from some quarters, as is this disc, so let’s explore both the good and the bad of that. I’ve got the time, and you need a break from the standard all-encompassing “Hey, this is pretty damn good!” critiquing. And maybe I’ll be able to avoid the firestorm that erupted from the Rural Rhythms label when I critiqued Mike Scott’s latest in less than worshipful fashion…though, honestly, I loves me a good rhubarb regardless.
Play is indeed a solid rock and roll / mellow rock release from two women who have been in the biz since dinosaurs roamed the Earth, and their history, and our sanity, deserves a bit more grounded response than the likes of what Davids Fricke and Bowie are creating. Fricke is one of those “best critics money can buy” guys (which numbers Dave Marsh, Robert Christgau and others among its disreputable coterie) and, not long ago, in Rolling Stone if I ‘member correctly, he mega-hyped Rhino’s Hand-Made re-issue Fanny box set as on the order of the second coming of Bach or something similar (Fricke’s work is forgettable, so I purge my lobes whenever I accidentally read him, but you can probably find his tripe somewhere on the Web to verify my claim here). Fanny was gritty, sassy, accomplished, but far from inhabiting the Valhallic estate Fricke gushes about. I have all their LPs (but not that cool Rhino box with tons o’ goodies, dammit!) and was especially tickled when Patti Quatro, sister to Suzi, signed up for service at the far end of the combo’s career just as bro Michael was flop-diving from possible inclusion in the prog wunderkind to horrific disco embarrassment. Those were the days, hm?
If you were hip to Fanny back in the 60s, you know they were one of the first all-girl bands to be label-signed, accompanied sooner or later by Deadly Nightshade, Isis, and too few others frankly. This small “movement” eventually led into the bizarre over-the-top uber-feminist Olivia label, with which the Millingtons associated and which collapsed ingloriously, mostly due to truly wretched product, Cris Williamson one of the few exceptions (though more than one of her LPs was quite ignorable). Fanny deserved better reception than they got, but their sound was pretty much Chuck Berry based, solid, professional, entertaining (especially in the lyrics department) but by no means exceptional. Nonetheless, Bowie refers the group as “one of the finest fucking rock bands of their time”; thus, we see why he occasionally needs a little vacation in the local sanitarium. After their breakup, Nicki Barclay and June Millington both issued solo LPs. Neither went anywhere: as the saying goes, they shipped gold and returned platinum. Thus, the group and its members faded from sight and memory. The same thing happened with Terry Garthwaite and Toni Brown from the popular Joy of Cooking band.
With Play, the Fanny ensemble is reborn…minus the other two of course. At times, as in All the Children, the disc displays a strong flavor of Heart, though there’s also a good deal of the less thunderous side of Joan Jett and Lita Ford dispersed here, there, and everywhere, especially in the rhythms. The ladies are looking a good deal younger than their years and appear to have the same ol’ spirit while the music, while not quite as vital as in, say, Fanny’s Charity Ball, is still pretty vigorous. Jean and June always had better chops and more promise than, oh, Cindy Bullens and Alice Stuart, and the ghost of their past runs strongly through this outing. June still knows her way around a lead line and peppers quite a few in the repertoire.
So, yes, this is indeed Fanny, and if you were/are a fan of the group as I am, then you can’t miss it, but, no, they were by no means of status with the biggies of their heyday and still aren’t—just a good, solid, middle of the road, enjoyable rock and roll outfit.
(A review written for the Folk & Acoustic Music Exchange
by Mark S. Tucker)
Tracklist:
Play Like a Girl
I Love Your Hair
Let Love Linger
When You Bottom
Apocalypse Deferred
Calling Your Name (To the Stars)
Terrible Things
Fall on You
All the Children
One for Change
Endless Lies
Opportunity Knocks
by salmitch
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