The Yes Men

Men I Trust is proud to bring you their highly anticipated new album titled Oncle Jazz. After a year of extensive touring around the globe, Men I trust are now ready to share Oncle Jazz with Their Fans. 23 warm and intricately crafted tracks Featuring the Singles "Tailwhip", "Norton commander", "Seven" and more. "We took our time to craft it with love and we're very proud of how it came together. This album was mixed quietly so it sounds warmer and more natural. Be sure to turn the volume up!" - Men I Trust

In another of those two-fers that are going to tangle discographies for some time to come, this bears the title of a Don Patterson album, The Boss Men, and includes all of the material from that LP. However, this CD, though it's also called The Boss Men, is billed to both Sonny Stitt and Don Patterson, and combines the original Patterson The Boss Men LP with another album cut in 1965, Night Crawler, that was billed to Sonny Stitt, although it featured the exact same lineup (Stitt on alto sax, Patterson on organ, Billy James on drums) as The Boss Men. Not only that, the CD adds two cuts from a Patterson 1964 LP, Patterson's People, also featuring the Stitt-Patterson-James trio. As for the original The Boss Men, it's a respectable straight-ahead jazz-with-organ session…

Lionel Hampton & The Golden Men Of Jazz - Live at the Blue Note (1991) {Telarc CD-83308}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 322 Mb | MP3 @320 -> 139 Mb
Full Artwork @ 300 dpi (png) -> 19 Mb | 5% repair rar
© 1991 Telarc | CD-83308
Jazz / Mainstream Jazz / Swing / Vibes

For a 1991 gig at the Blue Note in New York, vibraphonist Lionel Hampton headed a nonet full of classic veterans that were termed "the Golden Men of Jazz": trumpeters Clark Terry and Harry "Sweets" Edison, tenors James Moody and Buddy Tate, trombonist Al Grey, pianist Hank Jones, bassist Milt Hinton and drummer Grady Tate. Even with its many loose moments, these great players came up with some notable moments, including James Moody's humorous vocalizing on "Moody's Mood for Love" and particularly fine playing by Terry and Grey; Tate and Edison do show their age a bit, but are welcome participants in what must have been an occasion for celebration.

Men at Work are an Australian rock band who achieved international success in the 1980s. They are the only Australian artists to have a simultaneous #1 album and #1 single in the United States (Business as Usual and "Down Under" respectively). They achieved the same distinction of a simultaneous #1 album and #1 single in the United Kingdom. The group won the 1983 Grammy Award for Best New Artist and sold over 30 million albums worldwide. The band's sound is distinguished by its use of woodwind and brass instruments.

Coming on the heels of some rather mediocre efforts, The Sixteen Men of Tain is startlingly superb. Holdsworth has stripped away the distracting banks of keyboards and allowed his soaring, gliding guitar to shine through in a way it hasn't since the 1980s. Even the Synthaxe, Holdsworth's signature guitar synthesizer, sounds organic and immediate, not to mention far less prevalent than on previous albums. Dave Carpenter's acoustic bass is a radical departure (check out his solo on the title track), as are Walt Fowler's two guest appearances on trumpet. "The Drums Were Yellow," a burning guitar/drum duet tribute to the late Tony Williams, is also a first. Gary Novak's drumming is appropriately complex and riveting on this and six other tracks.

Moon Men's 4th full album! Once again, these brave Space Pirates report back with new and wonderful stories of intergalactic travel and adventures!
The Moon Men are (clockwise on the front cover): Major Dom Fook (Dave Newhouse) on keyboards and woodwinds, Sgt. Cthulhu Moone (Jerry King) on bass and guitar, Eschaton Crater (Bret Hart) on guitar, harmonica, and electronics, and Billzilla (Bill Jungwirth) on drums and percussion. Of the album’s ten tracks, a full five of the source tracks were composed by Hart, two by Newhouse, two by King, and one by Jungwirth, but ultimately the source tracks are passed around and each member adds their own ideas to them, and thus they become group composed and arranged…

What the Dead Men Say finds Trivium firing on all cylinders. Bent's double-kick drum attack and blastbeats have been fully integrated into the band's punishing amalgam of deathcore, prog metal, thrash, melodic death metal, and more. As evidenced by the pre-release tracks "IX" and "Scattering the Ashes," in a Spawn trailer for Mortal Kombat 11, Trivium revisited various sonic eras in their history while moving their music ever forward. The former cut is an instrumental that builds in grandiose intensity for two minutes then bleeds into the crushing title track. As furious as anything on TSATS, it also employs the mind-melting technical prowess Shogun boasted. "Catastrophist" commences as nearly radio-friendly with a hooky chorus before it shifts gears halfway through to become a meld of roaring vocals, twin guitar leads, and spiraling death metal riffs fueled by Bent's triple-time drumming…