Exile Love Mp3

The Rolling Stones - Get Yer Ya-Ya's Out! + Exile On Main St. [5CD+2DVD] {40th Anniversary Deluxe Edition}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.46 Gb | MP3 @320 -> 518 Mb
2DVD5 -> 3.21 Gb | All Regions | NTSC 4:3 | LinearPCM, 2 ch / Dolby AC3, 6 ch | ~ 60m | ISO Images
Subs (en, fr, ger, esp, port, it) | Full Artwork @ 300 dpi (png) -> 514 Mb | 5% repair rar
© 2009, 2010 ABKCO Records / Promotone B. V. / Polydor | ABKCO 02392 / 273 429-5
Rock / Blues Rock / Hard Rock

In November 1969, the Rolling Stones’ staged an epic two-night stand at New York’s Madison Square Garden that provided tunes for the band’s first official Stones-approved live album, Get Yer Ya-Ya’s Out! To celebrate the 40th anniversary of Ya-Ya’s!, ABKCO will release a remastered deluxe and super-deluxe edition of the live album, a three-disc/one-DVD box set complete with five unreleased songs from the MSG shows. Additionally, one disc in the set will be dedicated to the sets from the MSG shows’ two opening acts, B.B. King and Ike & Tina Turner.

ome artists are marked for their entire life due their works with famous bands or musicians. To start this review, Big Daddy here must remember my dear nephews and nieces about legendary names as THIN LIZZY and NOEL REDDING BAND. Both are extremely known and important and consolidated names from the 70s, and influenced a great range of musicians. Well, the two bands have one thing in common: the presence of ERIC BELL, an Irish guitarist and composer, who wrote hits as "The Rocker" for THIN LIZZY. He also played in the band of the Rock and Roll/Blues legend Bo Diddley as well for some time…

Vocalist Arooj Aftab, the first Pakistani to win a Grammy, wows audiences worldwide with her mesmerizing live shows; MacArthur genius and Grammy nominee Vijay Iyer is one of today’s most influential pianists; multi-instrumentalist Shahzad Ismaily’s sensitivity and technical acumen has made him a legend among musicians like the late Lou Reed for whom he was a session player. Together the three players merge to create a singular, gorgeous sound. Their new collaborative album Love In Exile asks you to step inside its sense of time, to stretch out alongside these delightful and unhurriedly unfolding songs. Profound impact is achieved with minimal instrumentation: Vijay Iyer on pianos and electronics, Shahzad Ismaily on bass and Moog synth, and Arooj Aftab’s exquisite Urdu vocals. Subtle musical interrelationships build into moments of deeply felt drama. Shimmering keyboard melodies and stirring vocals, earthy basslines, and hypnotic drones: together they create an album of stunning gravitas and beauty.

As a leader, saxophonist and composer Gary Thomas is wildly ambitious. Throughout the 1980s and into the '90s, Thomas experimented with everything from free jazz and funk to heavy metal and hip-hop. Exile's Gate is another such exercise. There are two distinct bands accompanying him here. One is made up of Thomas on tenor with drummer Jack DeJohnette and guitarist Paul Bollenback with organist Tim Murphy and bassist Ed Howard. The other features the latter two musicians, Marvin Sewell on guitar and drummer Terri Lyne Carrington. The first band plays Thomas' free-spirited and aggressive originals while the second plays standards for the most part. Only Thomas would think of putting the two approaches together on one record on alternate cuts.

Amankor / The Exile marks the long-awaited return of the iconic guardians of Tuareg music Tartit, whose hypnotic music speaks of the issues of a culture under attack. With heartfelt songs of nostalgia for their homeland, Tartit spread the message of love and peace whilst transporting the listener to the expanses of the Sahara.

Even before their debut album, Happiness, became one of the fastest-selling albums in the U.K. in 2010, Manchester duo Hurts already had a rabid online fan base, stoked by several arch, expertly art-directed videos that the group self-produced, which captured the eye while showcasing the band's mix of '80s synth pop melodicism, Krautrock angularity, and '90s Hi-NRG balladry. The videos expertly juxtaposed a Helmut Newton-esque black-and-white aesthetic with the group's musical love of dance-club dramatics, á la Depeche Mode, Erasure, and Pet Shop Boys, eventually attracting the attention of Euro-pop diva Kylie Minogue, who ended up singing on the track "Devotion."

Hurts - Exile (2013) {Major Label-Sony Music 88765433522}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 351 Mb | MP3 @320 -> 120 Mb
Full Artwork @ 300 dpi (jpg) -> 14 Mb | 5% repair rar
© 2013 Major Label / Sony Music | 88765433522
Pop / Synth Pop / New Wave

Even before their debut album, Happiness, became one of the fastest-selling albums in the U.K. in 2010, Manchester duo Hurts already had a rabid online fan base, stoked by several arch, expertly art-directed videos that the group self-produced, which captured the eye while showcasing the band's mix of '80s synth pop melodicism, Krautrock angularity, and '90s Hi-NRG balladry. The videos expertly juxtaposed a Helmut Newton-esque black-and-white aesthetic with the group's musical love of dance-club dramatics, á la Depeche Mode, Erasure, and Pet Shop Boys, eventually attracting the attention of Euro-pop diva Kylie Minogue, who ended up singing on the track "Devotion."

Van Morrison - It's Too Late To Stop Now - Volumes II-III-IV & DVD (2016) {3CD+DVD5 NTSC Legacy-Exile 88875134742}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.34 Gb | MP3 @320 -> 506 Mb
DVD5 -> 3.51 Gb | All Regions | NTSC 4:3 | LPCM, 2 ch | ~ 51 min | ISO Image
Full Artwork @ 600 dpi (jpg) -> 159 Mb | 5% repair rar
© 1974, 2016 Legacy / Exile Prod. / Sony Music | 88875134742
Rock / Blues / Blues Rock / Soul / Rhythm & Blues

When Van Morrison's double-length It's Too Late to Stop Now was released in 1974, it was an anomaly. Compiled from eight nights on his 1973 tour with his 11-piece Caledonia Soul Orchestra, it appeared months prior to Hard Nose the Highway. Contrary to standard industry practice of the time, its contents weren't doctored in the studio afterwards: There were no added overdubs or masked flubs. Some critics took issue with its sound – claiming the band, particularly the horns, were too thin – but there was no debate about the performances. It remains revered as one of the greatest concert recordings ever.