The Earl Slick Band

David Bowie - David Live (1974) + Stage (1978) [2x2CD] {2005 EMI Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.25 Gb | MP3 @320 -> 450 Mb
Full Artwork @ 300 dpi (jpg) -> 71 Mb | 5% repair rar
© 2005 EMI / Jones/Tintoretto | 7243 874307 2 3 / 094631125126
Rock / Pop / Experimental Rock

When David Bowie recorded what became DAVID LIVE at Philadelphia's Tower Theatre in July 1974, he had fully made the leap from Ziggy Stardust and landed feet-first into the shoes of the Thin White Duke. Despite announcing his retirement from live performance the year before, Bowie seemed no worse for wear fronting a ten-piece directed by future LETHAL WEAPON composer Michael Kamen and featuring new guitarist Earl Slick and horn player David Sanborn. This 2-CD set finds the chameleonic performer mixing in Ziggy-era classics such as "Rock 'N' Roll Suicide" with material from DIAMOND DOGS ("Rebel Rebel," "1984"), ALADDIN SANE ("Cracked Actor") and HUNKY DORY ("Changes"). The fullness of the horn section and the style of his back-up band give this set a soulful tilt powered by Slick's ballsy playing. This, along with a cover of the Stax nugget "Knock On Wood," pointed at Bowie's immersion in a Philly soul direction that emerged full-fledged on YOUNG AMERICANS.

David Bowie - David Live (1974) [2CD] {2005 EMI Remaster}
EAC rip (secure mode) | FLAC+CUE+LOG -> 665 Mb | MP3 @320 -> 230 Mb
Full Artwork @ 300 dpi (jpg) -> 20 Mb
© 2005 EMI / Jones/Tintoretto | 7243 874307 2 3
Rock / Pop / Experimental Rock

When David Bowie recorded what became DAVID LIVE at Philadelphia's Tower Theatre in July 1974, he had fully made the leap from Ziggy Stardust and landed feet-first into the shoes of the Thin White Duke. Despite announcing his retirement from live performance the year before, Bowie seemed no worse for wear fronting a ten-piece directed by future LETHAL WEAPON composer Michael Kamen and featuring new guitarist Earl Slick and horn player David Sanborn. This 2-CD set finds the chameleonic performer mixing in Ziggy-era classics such as "Rock 'N' Roll Suicide" with material from DIAMOND DOGS ("Rebel Rebel," "1984"), ALADDIN SANE ("Cracked Actor") and HUNKY DORY ("Changes"). The fullness of the horn section and the style of his back-up band give this set a soulful tilt powered by Slick's ballsy playing. This, along with a cover of the Stax nugget "Knock On Wood," pointed at Bowie's immersion in a Philly soul direction that emerged full-fledged on YOUNG AMERICANS.

"That'll Flat… Git It!" is one of the best compilations of the 1950's rockabilly. Each volume contains nearly 30 songs, mostly rockabilly classics and unknown great artists. In spite the tracks were remastered, you can hear some noise, especially in the end of the tracks. This is because many songs were taken from original vinyl singles.

The key group of the early-'80s rockabilly revival, the Stray Cats scored several big hits on both sides of the Atlantic thanks to a striking visual style tailor-made for the early days of MTV, as well as genuine musical chops that evoked the best players of rockabilly's original heyday. the Stray Cats were formed by guitarist/vocalist Brian Setzer in the Long Island town of Massapequa, NY, in 1979. At first, Setzer played rockabilly covers in a band called the Tom Cats with his brother

Little Caesar seemed to have everything going for them. Signed to powerhouse Geffen Records at the height of the late-'80s hair metal craze; armed with a solid, Bob Rock-produced hard rock debut; and with wunderkind producer John Kalodner (the man responsible for Aerosmith's miraculous rebirth) guiding their career, the Los Angeles-based quintet was poised to ride the dependable, normally smooth-running Geffen production line on the fast-track to stardom. But there was one small problem: Little Caesar weren't the most handsome bunch. Ugly? These guys were scary even by heavy metal standards. Grimy-haired, covered in tattoos, and looking like a gang of Hell's Angels, the band was never given a chance by the MTV generation; and before they knew it, their albums had stiffed, their record company had abandoned them, and the public had all but forgotten they existed. …