Madam

Wayne Hussey - Songs Of Candlelight And Razor Blades (2014) [2CD] {Eyes Wide Shut Recordings}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 766 Mb | MP3 @320 -> 334 Mb
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© 2014 Eyes Wide Shut Recordings | EWSR 019
Rock / Alternative Rock

This album is absolutely stunning. Hussey's song writing has matured over the years so that now I find I prefer this and the last Mission album more than the original stuff I grew up with and loved. (Maybe I get old to and mature). If you are looking for something dark, romantic and chilled then this is perfect. I've long felt Wayne is one of the greatest but most overlooked songwriters of his (or any) generation. His best lyrical work stands up with the greats and this album has plenty of examples. Forget your preconceptions about what you think you might know about him and give this a listen. Truly a great album and it's get better every time you listen to it. Hopefully more will come from Mr Hussey as a solo performer.

French chanson trio, singing the songs of 1930s and 40s Paris in their original language, and playing in the style of Django Reinhardt and jazz manouche. Music from the greats - Piaf, Gainbourg, Ulmer, Montand and Trenet, and fiery gypsy melodies. La Mauvaise Réputation - based in Melbourne, Australia - are the premier exponents of Hot Swing and Chanson in the region. They perform the songs of Piaf, Ulmer, Gainsbourg and the like, in the style of legendary gypsy guitarist Django Reinhardt, and all sung in their original French. Singer and rhythm guitarist Paul Gillet sings the songs of 1930s Paris like they were his own, offering timeless interpretations of tunes often scarred by time, but in his hands, rendered with something of their original flair. Solo guitarist Jon Delaney plays…

Malcolm McLaren - Fans (1984) {Charisma-Virgin 787361}
EAC rip (secure mode) | FLAC+CUE+LOG -> 188 Mb | MP3 @320 -> 71 Mb
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© 1984 Charisma / Virgin | 787361 / MMD CD 2
Modern Classical / Synth Pop / Avant-Garde / Experimental / Hip Hop

A cynical exploitation of some classical tunes, or a prescient mixing of hip-hop with opera, of low and high culture? One never knows with McLaren. Not that the classics had never mixed with pop before (see "Whiter Shade of Pale," "Stranger in Paradise"), but McLaren was determined to bring the stories of opera kicking and screaming into the pop realm as well. On the single, the beautiful "Madam Butterfly," the formula works transcendently. McLaren plays Colonel Pinkerton and leaves the aria alone backed by hip-hop percussion, and the result is a seamless whole. The rest of the album, unfortunately, exists to pad out the single, and the various arias (from Carmen and Turandot) seemed dropped on top of what are some embarrassing funk R&B grooves. Only "Lauretta" (from Puccini's opera Gianni Schicchi) gets close to a successful second try.