Club Dogo King OF The Jungle

On the anniversary CD ‘Royal Ten’ King of the World shows itself an inspired and energetic band with all elf-penned material, written in the covid-stricken months. The band members were forced to stay at home and processed this together, as soon as they were allowed to again, into these new songs, which are drenched in urgency. The tracks on this CD go from modest, intense and personal to exuberant and powerful. The need to make music together is so strong that the songs pop out of your speakers. The material that Ruud, Govert, Stef and Marlon have written in this difficult period without shows belongs to the best that King of the World has produced in its 10-year existence.

A sequel of sorts to his earlier On the Beach, King of the Beach continues the laid-back mood of the earlier album but is (despite the goofy title) a more mature and unified work. It's one of his best albums and is a return to form after the film soundtrack La Passione and the more electronic sounds of The Road to Hell Part 2. Written primarily during a vacation in the Turks and Caicos Islands, it's replete with lots of beach and summer imagery in the titles ("King of the Beach," "All Summer Long," "Sandwriting," "Sail Away") as well as the lyrics, which were originally written as poems. A remix of "All Summer Long" was a big dance hit in Ibiza and other Mediterranean hot spots. A good album for a summer day, with a soulful mellowness flowing through the tracks.

King of the Highway is the first solo release from blues harp wailer Norton Buffalo and his band, the Knockouts, since the release of 1978's Desert Horizon. Norton Buffalo is an in-demand studio musician who has played on numerous sessions in all genres of music, highlighted by his involvement with blues slide guitarist Roy Rogers. The majority of King of the Highway is enjoyable (while occasionally predictable) straight-ahead modern blues mixed at times with an occasional hint of New Orleans zydeco rhythm courtesy of Buffalo's unamplificated harmonica. One of the main strengths of this 13 track Blind Pig date is the loose feeling brought by friends including Elvin Bishop, Steve Miller (Buffalo has been a member of his band for 25 years), and Merl Saunders, gathering together simply to jam.

A sequel of sorts to his earlier On the Beach, King of the Beach continues the laid-back mood of the earlier album but is (despite the goofy title) a more mature and unified work. It's one of his best albums and is a return to form after the film soundtrack La Passione and the more electronic sounds of The Road to Hell Part 2. Written primarily during a vacation in the Turks and Caicos Islands, it's replete with lots of beach and summer imagery in the titles ("King of the Beach," "All Summer Long," "Sandwriting," "Sail Away") as well as the lyrics, which were originally written as poems. A remix of "All Summer Long" was a big dance hit in Ibiza and other Mediterranean hot spots. A good album for a summer day, with a soulful mellowness flowing through the tracks.

A sequel of sorts to his earlier On the Beach, King of the Beach continues the laid-back mood of the earlier album but is (despite the goofy title) a more mature and unified work. It's one of his best albums and is a return to form after the film soundtrack La Passione and the more electronic sounds of The Road to Hell Part 2. Written primarily during a vacation in the Turks and Caicos Islands, it's replete with lots of beach and summer imagery in the titles ("King of the Beach," "All Summer Long," "Sandwriting," "Sail Away") as well as the lyrics, which were originally written as poems. A remix of "All Summer Long" was a big dance hit in Ibiza and other Mediterranean hot spots. A good album for a summer day, with a soulful mellowness flowing through the tracks.

Tampa Red - Dynamite! The Unsung King Of The Blues (2015) {2CD Set, Ace Records CDTOP2-1440 rec 1945-1953}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 388 Mb | MP3 @320 -> 335 Mb
Full Artwork @ 300 dpi (jpg) -> 57 Mb | 5% repair rar
© 1945-53, 2015 Ace Records / Sony Music | CDTOP2 1440
Blues / Slide Guitar Blues / Acoustic Chicago Blues / Early American Blues

Tampa Red's influential later recordings for RCA Victor (1945-53) have never been officially reissued on CD and rarely on LP, yet are a crucial element in the post-war blues canon. Many of his songs were covered by B. B. King, Muddy Waters and other top bluesmen. They feature the majestic piano of latter-day Elmore James sideman, Johnny Jones and include the harmonica of Big Walter 'Shakey' Horton and Sonny Boy Williamson II. There are four previously unissued tracks but none are available on authorised CD, not even on OOC releases.

"King of the Kill" is the 4th full-length studio album by Canadian thrash/heavy metal act Annihilator. The material on the album is a combination of thrash metal riffs and rhythms and traditional heavy metal elements such as anthemic hooks and hard rock/blues influenced riffs and guitar solos. The album also features a couple of more melodic oriented tracks with non-distorted guitars. The song structures are generally a bit formulaic vers/chorus based and while that works pretty well on the most memorable tracks, it doesn´t work as well on the least remarkable tracks. If the hooks aren´t strong enough a formulaic song structure can often feel a bit tedious. The overall quality of the material is decent enough though, and "King of the Kill" is an album which is relatively enjoyable while it plays…

Volume three is incidental music from a play called The King of the Jews. Recorded only twice, the second time by Polyansky… But it’s brilliant. This is atmospheric, at times quite engaging, and an excellent example of the art of incidental music—all the more impressive considering the scarcity of models, Russian or otherwise. The introduction is a very nicely crafted exercise in subtle variation of scale, rather than of theme. It is, like much of the work, introspective, often stately, and a little mournful—how could it not be given the subject matter? But the piece as a whole is punctuated with occasional outbursts of grandeur—The Trumpets of the Levites, Entr’acte to Act III, Scene 2 and the Syrian Dance are all dramatic and/or lively enough to engage even the most humorless listener.

“Antillius: The King of the Light” is a slab of pure Melodic Power Metal with Operatic/Epic/Tragic flavored accent and a strong propensity to be at the edge of the style, between ultra flamboyant and cheesy jubilation (of Steel), with an ambitious arsenal of elements set in the pure Germanic & Scandinavian Method and its spaghetti replica: KALEDON holds a special rank in the Italian underground scene and in this specific hierarchic Metallic aristocracy, they are respected as true pioneers or even survivors but mostly as guardians of the tradition, their admirable dedication is unquestionable.