EU QUERO HOJE!

Fat Freddy's Drop é um dos grupos mais amados e respeitados da Nova Zelândia. Os talentosos músicos desse caldeirão de influências misturam dub, reggae roots, jazz, soul, funk e mais alguns elementos.
A banda é composta basicamente por 8 integrantes; Gordon, Joe Dukie, Dj Fitchie, Toby Laing, Scott Towers, Ho Pepa, Fulla Flash e Tehimana Kerr. Sendo que pode diminuir ou aumentar de tamanho dependendo da apresentação.
Falando em apresentações, a banda manda MUITO bem ao vivo, então junto com os dois discos oficiais da banda, que valem a pena serem bem ouvidos, to disponibilizando dois discos ao vivo!
Enjoy!



Deep. This word crops up constantly when you talk to various members of Fat Freddy’s Drop, the seven-strong New Zealand collective whose unique blend of Hi Tek Soul, Jazz and Reggae has been winning an ever increasing global fan base since the release of their debut album ‘Based on a True Story’ in 2005. Over the last three years, they’ve triumphed at the biggest and hippest festivals, from Glastonbury in the UK to the Big Day Out via Sonar In Spain and Le Printemps de Bourges in France, and become the first independent band to debut at number one in New Zealand, in May 2005. Their first album, deep with soulful cuts like the insidiously infectious “Cay’s Crays”, the chilled-out “Ray Ray”, the hypnotic “Wandering Eye” and the epic “Hope”, has gone on to sell 200,000 copies, and made them firm favourites with audiences all over Europe too, taking them around the world three times.

So you would have thought that, when it came to recording ‘The Big BW’, the follow-up, main-man, producer and beat-master Mu, born Chris Faiumu, aka DJ Fitchie, and his band-mates would have felt the pressure to live up to the praise heaped on ‘Based on a True Story’ — in the UK, The Observer called their debut “a slow-burn winner” while The Guardian chipped in with “transcendental”.

Not a bit of it. “There was no external pressure. There was pressure to try and come up with something that’s a natural progression and an improvement as well,” says Mu from The Drop, his home, studio and the group’s convenient base, a few steps away from the beach in Lyall Bay, a suburb of Wellington popular with surfers. “I’ve spec-ed up my studio but we didn’t go in with any preconceptions. It’s still jazz, soul and reggae with a bit of a modern take on it. We’re better songwriters, we’re moving away from the big long jams that are probably more of a live thing.”

This upbeat outlook also informs the group’s sound and is reflected in the sunny, reggae-infused “Pull The Catch”. According to Toby, “It was written a few years ago when we were travelling in the South Island, staying near Dallas’ hometown Rakautara. One morning, a few of the band dragged themselves out of bed and went out before dawn on a fishing boat with Dallas’ uncle. When they came back from the ocean they were singing this song. We had a studio set up in a little house at the beach and we recorded the demo that very day.”

The New Orleans-flavoured “The Nod” was also inspired by the Freddy’s convivial, communal lifestyle. ” “The Nod” is about a very specific subject: the parties that used to be held in a certain infamous flat in central Wellington about ten years ago,” says Toby. “It was a flat where various members of the band lived at various times. We would rehearse there occasionally. The humour in “The Nod” comes from that party vibe where it’s all about good times and ridiculous entertainment. The Jazz break is pure ridiculous entertainment.”

At the opposite end of the spectrum is the title track, “Big BW”, “a personal favourite” of Toby’s. “It’s more of a leditative piece.” Somewhere in the middle is the irresistibly soulful “Boon Digger”, with a yearning, plaintive vocal from Dallas and deep lyrics worthy of the late Curtis Mayfield. “It certainly has a flavour all of its own,” agrees the trumpeter. “The song compliments the others on ‘The Big BW’, but it’s unique.”

Also included on the album is “The Camel”, featuring British singer Alice Russell, which was inspired by the Freddy’s environment and the role the elements play in it. “It came about from Fitchie’s beat and an epic 20 minute guitar solo from Jetlag Johnson. We were working on the song at the beginning of winter. The day that Alice came to work with us, there was a storm raging outside. The waves were crashing over the wall into the backyard. I arrived at the studio and found Dallas and Alice working intensely in a small room with two heaters on full blast. There wasn’t much that I could add, so I sneaked away to the café. Later on, Hopepa and I added our Ethiopian horn arrangement,” recalls Toby.

Now the Freddy’s are ready to drop ‘The Big BW’ album and looking forward to touring the world again. “We’ve absorbed a few influences along the way — Berlin bashment, Portuguese top forty, Tooting Bhangra Beat, Montmartre TV shop Techno Hi-Life… enthuses the trumpet-player. Already sounds like the recipe for the Freddy’s next album.
bolachagratis



Fat Freddy's Drop - Based On True History (2005)
http://www.4shared.com/file/94211331/2c828f9f/Fat_Freddys_Drop_2005_-_Based_on_true_story_getafix.html?s=1

Fat Freddy's Drop - Live In Paris (2005)
http://www.divshare.com/download/1374307-8d9

Fat Freddy's Drop - Live At Matterhorn (2006)
http://www.megaupload.com/?d=ohcoz33g

Fat Freddy's Drop - Dr. Boondigga & The Big BW (2009)
http://rapidshare.com/files/261103643/2009_-__Fat_Freddys_Drop_Dr._Boondigga___The_Big_BW.rar

poor little cats

Som doido feito por pessoas loucas.
O lado sombrio, rocker e psicótico da dance music.
Após a morte de Charlie Cooper, o Telefon Tel Aviv vive e deve continuar, mesmo com metade de sua inspiração.



Charlie Cooper and Josh Eustis' second and third Telefon Tel Aviv albums are as different from one another as their first and second albums. Fahrenheit Fair Enough's fractured, melodic instrumentals morphed into crisp song form on Map of What Is Effortless, with vocalists and string arrangements helping to shape alternately jagged and sweeping productions into tense glitch/R&B torch songs. Following Map, Immolate Yourself — released on Ellen Allien's Bpitch Control label — increases the pensive energy and tension, with both conveyed through snapping beats, taut sequencer patterns, sheet upon sheet of textural elements, and vocals that come across as desperate and/or pained, even when barely audible beneath all the consuming sounds. These are chilling sounds from a dark place that, nonetheless, shelter the listener. Between the European and stateside physical releases of the album, Cooper passed away. Knowledge of that could only intensify the album's most passive spins.



Telefon Tel Aviv - Immolate Yourrelf (2009)
http://rapidshare.com/files/236904612/Immolate_Yourself.zip

now I feel like a salesman

David Bazan é um cantor e compositor folk com pitadas de blues e indie.
David era o cantor e a força de composição dentro da banda Pedro The Lion e também o cantor da banda Headphones.
Começou a trabalhar em sua carreira solo em 2006, e desde então nos presenteou com o EP Fewer Moving Parts, o DVD Bazan: Alone at the Microphone e disco lançado em 2009, Curse Ynur Branches.
O disco traz 10 canções, nela pode se sentir a densidade de sentimentos contidos em David Bazan. A voz mescla de conforto com desespero, sobriedade com desconcerto, causando no ouvinte algumas vezes o sentimento de perder o chão e se deixar levar. Esse disco ultrapassa barreiras sem sentido criadas por críticos que fazem questão de mencionar que David Bazan é filho de um pastor e que muitas músicas do Pedro The Lion abordam a contemplação. Esse disco foi um tapa na cara dessas pessoas, e eu senti, doeu.
Música bela, honesta e agnóstica.
Para todos.



David Bazan - Curse Your Branches (2009)
http://sharebee.com/bf7a99dc

me gusta oirte en la radio

Sol Lagarto é uma banda de rock catalão que apresentam um som de raiz cheio de força e atitude. A banda tem influencias claras de Rolling Stones e de outras bandas clássicas do rock, como Deep Purple e M-Clan.
Após vários anos vagando pelo underground, mudaram recentemente para a gravadora multinacional Warner Music e tiveram o ótimo disco, Mundo Circo, relançado com 4 novas músicas e dois clips. Esse disco foi nomeado Prorrogado.
Valeu padrinho pela indicação!
Atualmente banda está em estúdio gravando seu quarto disco e o processo de gravação pode ser conferido pelo blog http://diariodegrabacion.blogspot.com/
Sonzera!


Parece que no, pero M-Clan han tenido mucho más peso entre el público no rockero del que podía imaginarse en un principio. Y no lo digo porque mis conocidos o amigos tengan alguno de sus discos en sus casas compartiendo estante con La Oreja de Van Gogh o Shakira (que hay quien los tiene, cuidado); sino porque los murcianos, a oídos del gran público, han hecho propio un sonido que, no lo olvidemos, bebe de las raíces clásicas del Rock. ¿A qué se debe esta confusión a nivel masivo? Pues a la propia idiosincrasia del melómano nacional: si ya resulta difícil encontrar a un fan de Allman Brothers en un concierto de Danko Jones, imagínate la odisea que supone localizar a un fan del southern rock en un recital de los 40 Principales...

El caso es que, a pesar de la exploración musical que han llevado a cabo Sol Lagarto en 'Mundo Circo', los neófitos ven a los catalanes como a una banda muy influenciada por M-Clan. Y no hablo por hablar, me limito a exponer las opiniones de mis compañeros de oficina. Aunque parte de razón no les falta, seré franco. Sólo hay que prestar atención a temas como 'Palabras Invisibles', 'La Ciudad del Miedo', 'En la Radio' o 'Qué Más Da' -curiosamente, los cortes menos atractivos del disco- para darse cuenta que la labor de Tarque y compañía ha marcado sobremanera a los Lagartos a la hora de componer (aunque sea de forma inconsciente). De cualquier forma, el disco está gustando bastante en mi lugar de trabajo, y no han sido pocos los que, en los últimos días, me han solicitado que lo pinche una y otra vez (sí, amigos, tengo la suerte de poder poner música en la oficina).

Admito que las primeras escuchas de 'Mundo Circo' me dejaron bastante frío. No sé si es por el golpe de timón que le han dado a su sonido en algunos temas, pero a nivel general me pareció un disco poco rockero, mucho más orientado al pop. Reconozco que me equivoqué, o, como mínimo, ahora mismo no lo siento así. Ha habido un cambio de orientación, de eso no hay duda; no sabría definir exactamente en términos de qué, pero algo ha mutado en su propuesta. Un cambio que ya se intuía en su anterior 'Cálido', donde revisitaban temas de su repertorio, reformateándolos, explorando nuevos sonidos. Tal vez menos directos, con unos textos más intimistas, más influidos por corrientes ajenas al rock'n'roll,... Llámémosle madurez, redefinición de ideas, evolución, qué sé yo. El caso es que, una vez se vencen los prejuicios personales y se supera la dificultad que siempre entraña el enfrentarse a nuevas canciones, las piezas que reúne este 'Mundo Circo' me parecen de un nivel notable. Es más, algunos cortes en especial me parecen sobresalientes. Temas como la inicial 'El Circo', las accesibles -pero no por ello menos buenas- 'Vampiros' y 'Muñecas Rotas', las emotivas 'Sigo Aquí' y 'Hoy Puede Ser' (si nada se mueve en tu interior al oirlas es que estás muerto), o la bluesera -valga la redundancia- 'Ahí Vuela Un Blues' son para quitarse el sombrero. Aunque a mi gusto el cum laude corresponde a 'Desnuda Al Sol', uno de los temas del año, sin discusión posible. Chapeau, Lagartos.
http://nonstoprocknroll.blogspot.com/






Sol Lagarto - Mira Adelante (2004)
http://rapidshare.com/files/124744969/Sol_Lagarto_-_2004_-_Mira_Adelante.rar

Sol Lagarto - Mundo Circo (2006)
http://www.mediafire.com/download.php?km0tlyh2uom

Radiohead @ Jockey

Algum bom ser humano teve a manha de compilar centenas de clipes do YouTube e afins, sincronizar o áudio e lança um grandioso DVD ao vivo do show da banda em São Paulo.
Sério, deve ter dado MUITO trabalho!
Parabéns aos idealizadores do Projeto Rain Down.
mais informações e links para download via torrent em
http://rraurl.com/resenhas/6813Radiohead_-_Projeto_Rain_Down

let everything go, your memory, your expectations

Ouvir Melody Gardot é o tipo de coisa que te faz, por alguns minutos, esquecer que você está completamente duro. Dona de uma voz maravilhosa e versátil, Melody tem uma história que consegue ser linda e trágica ao mesmo tempo.
Quando tinha 19 anos, Lelody foi atingida por um Jeep Cherokee enquanto voltava para casa em sua bicicleta. O primeiro contato de Melody com a música veio aos 16 anos com o piano, e após o acidente, devido ao desconforto que ela sentia para tocar piano, veio o contato com a guitarra durante as sessões de musicoterapia.
Aos 27 anos, ela continua lutando contra as sequelas do acidente que a obriga a usar constantemente óculos escuros(hipersensibilidade a luz e ruídos),bengala para se apoiar e um dispositivo preso a cintura que estimula a produção de endorfina em seu organismo.
Suas canções parecem ser todas lapidadas como diamantes; pelo menos para mim, elas tem um efeito muito positivo de despertar admiração pela artista, que possui uma luz maravilhosa. E como diria minha ex, admiração é um dos sentimentos mais lindos que existe.

"Para ser sincera com você, estar no palco e tocando por 30, 40, 50 minutos é a experiência mais prazerosa que eu tenho. O motivo é que durante esses minutos, eu não sinto nenhum tipo de dor. Eu acredito que seja transcedental, e eu também acho que é como quando você está com dor de cabeça e alguém te dá um soca na barriga, aí então voce esqueça da sua cabeça"

Four years after a serious car accident, Melody Gardot used the experience as a springboard to musical success she might never have achieved otherwise.
The singer, now 23, was hit by an SUV while riding her bicycle. Her injuries were serious and left her unable to sit up for more than 10 minutes. She suffered short-term memory loss and acute sensitivity to light and sound.
Gardot had played the piano before the accident, and*a doctor suggested that she use music as a kind of recovery therapy. Since rhe couldn't sht comfortably at the piano, she picked up a guitar. Now, she's a professional musician, and her debut full-length album is called Worrisome Heart.
Scott Simon spoke with Gardot from the studios of WHYY in Philadelphia. She says that, prior to the accident, she was more interested in visual*art than music. But once she started music therapy, the focus of her music-making changed rapidly.

Worrisome Heart is filled with sultry, jazz-inflected ballads. Though she lacked training in jazz, Gardot says she picked up the idiom intuitively. She credits her backing musicians for buoying her along the way.

"My way of explaining things is in an art form," Gardot says. "So I'm like, you know, 'Go to the next frame.' And they're like, 'You mean the next bar?' I'm like, 'Yeah, the next bar.'"
Since the accident, Gardot has struggled with short-term memory loss, which forces her to write and record compositions before she forgets them. Furthermore, her heightened sensitivity to light and sound — which, despite hearing devices and sunglasses — makes performing somewhat difficult. But she says she still finds it enjoyable.

"To be honest with you, being on stage and performing is the 30, 40, 50 minutes of the most pleasurable experience that I have," Gardot says. "Because it's during that time that I don't really feel any pain. I think it's transcendental, and I also think it's kind of like when you have a headache, and someone punches you in the stomach, you forget all about your head."
She hasn't forgotten about her good fortune, though.
"I'm not one to wake up in the morning and forget that," Gardot says. "I forget a lot of things, but I don't forget that."
nprmusic

Melody Gardot - Baby I'm A Fool
Enviado por Melody-Gardot. - Busbar outros videos de Musica.

Melody Gardot - Some Lessons (2005)
http://sharebee.com/2590e797

Melody Gardot - Worrisome Heart (2006)
http://www.4shared.com/file/112145253/76535122/Melody_Gardot_-_Worrisome_Heart__2006_.html?s=1

Melody Gardot - My One And Only Thrill (2009)
http://lix.in/-482904

x3

Ah! O frescor do campo!
Del Rubio Triplets é um trio formado pelas trigêmeas Eadie Del Rubio, Elena Del Rubio e Milly Del Rubio; sendo que somente Milly permanece viva. O trio dos anos 80 trazia consigo um ar campestre e versões inusitadas e bem humoradas de clássicos da música.
Aconselho baixarem o Whip It ou o Anthology, pois nos dois tem a música Cachita, que é muito massa! Além de inúmeras outras que valem muito a pena serem ouvidas. Dizem que or últimos shows delas foi de graça ou a preços modestos. As três nunca se casaram e moraram juntas a grande parte dos seus dias.
Superior.



Three was the magic number for Elena, Eadie and Milly Boyd. For over 50 years, the identical triplets, dressed many times in matching hot pants and go-go boots, mined the archives of rock and pop history for classic hits and new favorites which were vamped and camped up for their legions of fans across the globe. "It's obvious that we were meant to serve God by being together. It reminds me of the blessed Trinity and the sense that each one is individual, the Father, the Son, and the Holy Ghost. But the three together is God. That's the same thing with us three. Each one is individual, and it's our individuality that makes the act what it is. But it's the three together that make the act. The three make the whole. We've sensed that ever since we were little kids, that the three make the whole", explained Eadie, about their togetherness both as a family unit and as the Del Rubio Triplets singing sensation, to Irene Lacher of the Los Angeles Times.

The Del Rubio Triplets, Eadie, Milly, and Elena Boyd were born in the Panama Canal Zone during the 1920s. Although their exact age remained a professional secret, it was known that Milly was born first. Elena followed Milly 15 minutes later, while Eadie was born 15 minutes after Elena. Eadie rel`ted the story bdhind why she, Elena, and Milly were born as triplets to Lacher, "Daddy always liked to buy two extra of everything. So when the nurse told Mama she had triplets, she said, 'That figures'."

The Del Rubio Triplets were reared and spent their childhood in both Washington DC and the Panama Canal Zone. At the age of 14, the Del Rubio Triplets visited Los Angeles for the first time with their parents. The reason for the trip was because their father was tired of hearing them talk incessantly about movie stars and he was under the assumption that the "field trip" might, for once and for all, put the silly Hollywood fantasy notion out of their heads.

Not only did their father's plan backfire--seeing the stars out and about in Beverly Hills only further stoked the fires of glamour and fame in the Del Rubio Triplets' minds--the trip started the transformation of the triplets from the Boyd sisters to the more upscale and classy Del Rubio Triplets.

Shortly after they left high school, the Del Rubio Triplets started to bleach their hair. They had remembered the "effect" blondes had on their father. Commenting on this to Lacher, Elena said, "Daddy brainwashed us with blond hair. He married a brunette, but I'm telling you he was insane over blond hair. He never told us anything about blondes being so wonderful. It was just us watching him put the brakes on to watch the blonde cross the street." Around this time they started performing as dancers, although as Milly told Steve Daugherty from People, "Even though we didn't have any talent, we knew we wanted to be in show business."

When they moved to Hollywood, the Del Rubio Triplets started to teach themselves how to sing in order to work the club circuit. On their semi-official website Milly commented, "We had no coach. We learned by listening to records of our favorite singers." They accompanied themselves on guitar as well--three identical Martin guitars that their father had bought for them when they first started out.

The word "rubio"--which means blond in Spanish--gave them the root of their stage name as Elena explained to Lacher, "Almost all the Latin people would meet us backstage and call us the rubias. And it sounded so pretty. So I said that would be a name for us." Eadie picked up the story; "We put the Del in front because Del Rubio is so much prettier than just Rubio. It's more musical."

For the Del Rubio Triplets the late 1950s and early 1960s were spent cruising the local lounge circuit as they honed their craft and as that started to wane they embarked on a self financed three year world tour during which they established themselves as "song stylists." It was their mother's stroke in 1965 that brought the Del Rubio Triplets back to America, or more specifically, the hospital where their mother was recovering. Eadie told Daugherty, "We sang to her in the hospital. . . . Mom's dying words were 'Don't let anybody persuade you to get out of this business'."

After their mother died, the Del Rubio Triplets went into seclusion and lived off of a small inheritance for five years before they decided to hit the road. The Del Rubio Triplets remembered the power of song when they sang to their mother in the hospital and they wanted to share a little of this joy with others. So they embarked on a tour of retirement homes and hospitals where they played for and entertained the residents, retirees and the sick.

In 1987, the Del Rubio Triplets finally made it to the big time when they were asked to perform at a party for members of Los Angeles's underground art scene and made appearances on such television programs as Pee Wee's Playhouse, Night Court, Golden Girls, Ellen, Full House, Married with Children, and MTV.

The following year the Del Rubio Triplets released their first album, 3 Gals, 3 Guitars, which featured covers of such classic and contemporary rock hits as the Doors' "Light My Fire," the Pointer Sister's "Neutron Dance," the Beatles' "Hey Jude," and the Bangles' "Walk Like an Egyptian."

Three years later the Del Rubio Triplets released Whip It. The 1991 release featured uniquely Del Rubio interpretations of the songs "Whip It" by Devo, the Rolling Stones' "Satisfaction," and "Wake up Little Suzy" by the Everly Brothers. While both of the Del Rubio Triplets' cover albums were released on the label Karma, their holiday songfest retrospective, Jingle Belles, was released on their own Del Rubio Records label in 1991.

None of the Del Rubio Triplets ever married because, as Eadie told Lacher, "God comes first.... my sisters come second.... Music comes third" and any potential love interest was a distant "fourth."
by Mary Alice Adams




Del Rubio Triplets - Three Gals Three Guitars (1988)
http://rapidshare.com/files/264076131/Del_Rubio_Triplets_-__3_Gals_3_Guitars.rar

Del Rubio Triplets - Whip It (1991)
http://rapidshare.com/files/257358830/delrubi.rar

Del Rubio Triplets - Anthology (2000)
http://rapidshare.com/files/264074523/Del_Rubio_Triplets_-_Anthology.rar