Police Live In Concert

Simply put, James Brown is rightfully the definition of soul. He's been adorned with many a lofty title or nickname over the decades-"The Godfather Of Soul", "Soul Brother Number One", the Hardest Working Man in Show Business", Mr. Dynamite", all may seem extreme, but when it comes to JB they are well deserved. Few, if any, African-American musicians have been so influential in popular music. It has been said that no performer puts on a more exciting, athletic stage show than James, with Brown a whirling dervish, sweat soaked and executing incredible dance moves.

Mingus In Greenwich Village may not win him admirers or offer much insight about his music, but the documentary offers a powerful look into the soul of the legendary bassist. Then again, it may come as little shock to those familiar with his autobiography "Beneath The Underdog," where he plays loose with facts and seems to focus more on his torturous relationships with women than his music. The 58-minute black-and-white film, shot mostly by a University of New York student, centers on the evening wait in November of 1966, interspersed with a few performances and clips of events related to Mingus' comments.

While the Norwegian jazz scene has been pursuing its own course for decades, the period of 1996-1997 represented a significant watershed, a milestone where an entirely new kind of music emerged, linked to jazz but distanced considerably—some might say completely, but they'd be mistaken—from its roots in the American tradition. Three seminal and groundbreaking albums were released within a year of each other: trumpeter Nils Petter Molvær's Khmer (ECM, 1997); noise improv group Supersilent's 1- 3 (Rune Grammofon, 1997); and, beating the others by a year, keyboardist Bugge Wesseltoft's aptly titled New Conception of Jazz (Jazzland, 1996). All three explored the integration of electronics, disparate cultural references, programming, turntables and—especially in the case of Supersilent, the most avant-garde of the three— noise, to create aural landscapes that were innovative, otherworldly and refreshingly new.

Rush - 12 Album Collection (1974-1987) {2009 SHM-CD Japan Mini LP Remaster WPCR-13472~13483}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 3.26 Gb
Full Artwork @ 600 dpi (png) -> 1.45 Gb | 5% repair rar
© 1974-87, 2009 Atlantic / Anthem / Warner | WPCR-13472~13483
Rock / Prog Rock / Hard Rock

The opening chords of "Finding My Way" signal the beginning of a song, album, and career that would have a permanent place in rock history. The debut album from the Canadian progressive metal outfit features drummer John Rutsey who, although a talented drummer, would quit after this album to be replaced by Neal Peart. Peart contributed to the band's songwriting progression and use of time changes.