14 lipanj, 2008

J.J. Cale - La Femme De Mon Pote (1984)


J.J. CALE La Femme De Mon Pote (1972 French 10-track LP featuring music from the soundtrack to the film, great picture sleeve with scenes from the film on the back. The sleeve shows some light shelfwear & some discolouration but the vinyl is flawless.

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J.J. Cale - Number 8 (1983)


Twelve years and eight albums into his recording career, Cale's approach has changed little, and here is another collection of groove tunes that act as platforms for the artist's intricate guitar playing. He is sometimes accompanied by a female vocalist, co-writer Christine Lakeland.

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J.J. Cale – Grasshopper (1982)


J.J. Cale drifts toward a more pop approach on this album, starting with the lead-off track, "City Girls," which could almost but not quite be a hit single. The usual blues and country shuffle approach is in effect, but Audie Ashworth's production is unusually sharp, the playing has more bite than usual, and Cale, whose vocals are for the most part up in the mix, sounds more engaged. It's not clear, however, that this is an improvement over his usual laidback approach, and, in any case, it shouldn't be over-emphasized -- this is still a J.J. Cale album, with its cantering tempos and single-note guitar runs. It's just that, when you have a style as defined as Cale's, little movements in style loom larger.

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J.J. Cale – Shades (1981)


"Shades" is classic and fresh Cale. J.J. usually supplies consistently good music, but with "Shades" we are given a Cale album with added excuberance. There are the characteristic low, breathy, mellow grooves of songs like "Deep Dark Dungeon" and "Pack My Jack", full of Cale's nonchalant wisdom. Then we have the sweet tones of love songs like "Wish I Had Not Said That", reminiscent of the tenderness of "Magnolia". There is the dry, natural humour of "Mama Don't", and the positive punch of "Carry On". To top it all off there is the instrumental, "Cloudy Day", which needs no lyrical assistance for its evocation of melancholy. The musicianship on "Shades" is superb, and the quality of the production is good. The music has a natural and relaxed feel to it, and includes a variety of styles, from country-rock to cool jazz-blues. Excellent album. Very pleasing to the palate!

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J.J. Cale - Live At The Catalyst Santa Cruz, CA (1981)


March 7, 1981.

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J.J. Cale – 5 (1979)


As Cale's influence on others expanded, he just continued to turn out the occasional album of bluesy, minor-key tunes. This one was even sparer than usual, with the artist handling bass as well as guitar on many tracks. Listened to today, it sounds so much like a Dire Straits album, it's scary. (Mark Knopfler & Co. had appeared in 1978, seven years after Cale.)

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J.J. Cale – Troubadour (1976)


Producer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale's albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you'll want to have them all. This one is notable for introducing "Cocaine," which Eric Clapton covered on his Slowhand album a year later.

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J.J. Cale – Okie (1974)


Cale moves toward country and gospel on some songs here, but since those are two of his primary influences, the movement is slight. And longtime producer Audie Ashworth attempts to place more emphasis on Cale's vocals on some songs by double-tracking them and pushing them up in the mix. But much of this is still low-key and bluesy in what was becoming Cale's patented style.

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J.J. Cale – Really (1972)


Cale's guitar work manages to be both understated and intense here. The same is true of his seemingly offhand singing, which finds him drawling lines like "You get your gun, I'll get mine" with disarming casualness. But he has trouble coming up with original material as strong as that on his debut, and for some, his approach will be too casual; there are many times, when the band is percolating along and Cale is muttering into the microphone, that the music seems to be all background and no foreground. You may find yourself waiting for a payoff that never comes.

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J.J. Cale – Naturally (1971)


J.J. Cale's debut album, Naturally, was recorded after Eric Clapton made "After Midnight" a huge success. Instead of following Slowhand's cue and constructing a slick blues-rock album, Cale recruited a number of his Oklahoma friends and made a laid-back country-rock record that firmly established his distinctive, relaxed style. Cale included a new version of "After Midnight" on the album, but the true meat of the record lay in songs like "Crazy Mama," which became a hit single, and "Call Me the Breeze," which Lynyrd Skynyrd later covered. On these songs and many others on Naturally, Cale effortlessly captured a lazy, rolling boogie that contradicted all the commercial styles of boogie, blues, and country-rock at the time. Where his contemporaries concentrated on solos, Cale worked the song and its rhythm, and the result was a pleasant, engaging album that was in no danger of raising anybody's temperature.

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J.J. Cale biography


Notorious for his laid-back, rootsy style, J.J. Cale is best known for writing "After Midnight" and "Cocaine," songs that Eric Clapton later made into hits. But Cale's influence wasn't only through songwriting -- his distinctly loping sense of rhythm and shuffling boogie became the blueprint for the adult-oriented roots rock of Clapton and Mark Knopfler, among others. Cale's refusal to vary the sound of his music over the course of his career caused some critics to label him as a one-trick pony, but he managed to build a dedicated cult following with his sporadically released recordings.

Born in Oklahoma City but raised in Tulsa, OK, Cale played in a variety of rock & roll bands and Western swing groups as a teenager, including one outfit that also featured Leon Russell. In 1959, at the age of 21, he moved to Nashville, where he was hired by the Grand Ole Opry's touring company. After a few years, he returned to Tulsa, where he reunited with Russell and began playing local clubs. In 1964, Cale and Russell moved to Los Angeles with another local Oklahoma musician, Carl Radle.

Shortly after he arrived in Los Angeles, Cale began playing with Delaney and Bonnie. He only played with the duo for a brief time, beginning a solo career in 1965. That year, he cut the first version of "After Midnight," which would become his most famous song. Around 1966, Cale formed the Leathercoated Minds with songwriter Roger Tillison. The group released a psychedelic album called A Trip Down Sunset Strip the same year.

Deciding that he wouldn't be able to forge a career in Los Angeles, Cale returned to Tulsa in 1967. Upon his return, he set about playing local clubs. Within a year, he had recorded a set of demos. Radle obtained a copy of the demos and forwarded it to Denny Cordell, who was founding a record label called Shelter with Leon Russell. Shelter signed Cale in 1969. The following year, Eric Clapton recorded "After Midnight," taking it to the American Top 20 and thereby providing Cale with needed exposure and royalties. In December 1971, CaleNaturally, on Shelter Records; the album featured the Top 40 hit "Crazy Mama," as well as a re-recorded version of "After Midnight," which nearly reached the Top 40, and "Call Me the Breeze," which Lynyrd Skynyrd later covered. Cale followed Naturally with Really, which featured the minor hit "Lies," later that same year. released his debut album,

Following the release of Really, J.J. Cale adopted a slow work schedule, releasing an album every other year or so. Okie, his third album, appeared in 1974. Two years later, he released Troubadour, which yielded "Hey Baby," his last minor hit, as well as the original version of "Cocaine," a song that Clapton would later cover. By this point, Cale had settled into a comfortable career as a cult artist and he rarely made any attempt to break into the mainstream. One more album on Shelter Records, 5, appeared in 1979 and then he switched labels, signing with MCA in 1981. MCA only released one album (1981's Shades) and CaleGrasshopper. moved to Mercury Records the following year, releasing

In 1983, Cale released his eighth album, 8. The album became his first not to chart. Following its release, Cale left Mercury and entered a long period of seclusion, reappearing in late 1990 with Travel Log, which was released on the British independent label Silvertone; the album appeared in America the following year. 10 was released in 1992. The album failed to chart, but it re-established his power as a cult artist. He moved to the major label Virgin in 1994, releasing Close to You the same year. It was followed by Guitar Man in 1996. Cale returned to recording in 2003, releasing To Tulsa and Back in 2004 on the Sanctuary label and The Road to Escondido, a collaborative effort with Clapton, in 2006 on Reprise.

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13 lipanj, 2008

Aynsley Lister - Upside Down (2007)


Aynsley Lister has certainly not let the grass grow under his feet! It might be three years since his last studio release 'ALL OR NOTHING' (RUF 1082) but in the intervening time he has released a Live DVD (RUF 3005) and CD (RUF 1100) and for all of 2006 he made up one third of Ruf Records' acclaimed 'Blues Caravan' project. This took him along with stable mates Ian Parker and Erja Lyytinen to the deep south of America where the trio collaborated on the album 'PILGRIMAGE' (RUF 1112). To support it's release they embarked on a tour across mainland Europe and appeared at top USA festivals. Every aspect and quality that his fans have now come to expect is there, from the raunchy guitar, the melodic voice to the infectious songs written about what we can all relate to. However, to simply pronounce this release another worthwhile effort would be an injustice indeed: Lister has matured and honed his talent and on this release taken his first step into production. The result is his strongest, boldest and most compelling album yet.

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Aynsley Lister, Erja Lyytinen & Ian Parker – Pilgrimage (2006)


What happens if you take three young European artists (two Brits and a Finnish girl), all musically rooted in the Blues, yet untraditional in their approach, on a journey of discovery to the American South - in short, a Blues pilgrimage? This release is the answer. Ruf's original plan was to include New Orleans in the recording locations but one week before the sessions were due to start, hurricane Katrina flooded the studio. In the event nine tracks were recorded over four days in the old-fashioned yet atmospheric Delta Recording Studio in Clarksdale, Mississippi, and a further four tracks over three days in the far more sophisticated Ardent Studios in Memphis, Tennessee. All but one of the tracks are originals written by one or other of the three featured stars.

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Aynsley Lister, Erja Lyytinen & Ian Parker - Bluescaravan - New Generation (2006)


The idea: the three young and talented Blues artists Aynsley Lister, Ian Parker (both from Great Britain) and Erja Lyytinen (from Finland) hit the road together in Europe and the USACologne for WDR Rockpalast. You can see and feel the fun they had! Aynsley, Erja and Ian enter the stage together and open the show with three acoustic songs. The sets of the individual artists follow, each lasting about thirty minutes, and then they finish together with a grand finale... with the annual Ruf Records BluesCaravan label tour. "The New Generation" is their theme for performing in clubs and on festivals, and that's exactly what the three artists stand for. They play songs they have created during their pilgrimage to the roots of the Blues in the American South (CD: "Pilgrimage: From Mississippi To Memphis", RUF 1112). In front of an excited audience, this DVD was recorded during the opening concert of the Blues Caravan in

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Aynsley Lister - Everything I Need (2006)


Finally available in the States in 2006, this was U.K. blues-rock guitarist Aynsley Lister's second European album, released in his homeland back in 2001. No reasons are given as to the five-year delay, but since this style of music doesn't change substantially from one year to the next, it doesn't sound dated. On the contrary, the production by Jesse Davey is clean, crisp and full, bringing presence to Lister's guitar playing and smooth, likeable vocals. There's no getting around the Stevie Ray Vaughan influences and Lister even interprets Hendrix's "Little Wing" as did the Texas legend. His solo version is impressive, though, and adds a personal touch that resonates with emotion. Lister works well in the acoustic format too, especially on the untitled closing hidden track and a stunning cover of Tony Joe White's "As the Crow Flies." The rest of the album is comprised of originals, all of which feature his boyish vocals and solid, if not terribly distinctive tunes. There are solos on almost every track, but Lister keeps them compact and concise, a rarity for young guitar slingers in his field. Some tunes such as "In the Beginning" and the Steve Miller- styled "I Believe" show a tendency for pop/rock with hooks crafted with radio play in mind. "Quiet Boy," the album's only instrumental, gives Lister room to strut his rugged string bending stuff on a fast shuffle. "Need Her So Bad" is a pleasant but ultimately clichéd slow blues that seems slightly out of place on a disc that generally aims for a more mainstream approach.

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Aynsley Lister - Live Harmonie Bonn 23-03-2004


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Aynsley Lister - Live ! (2004)


For those who enjoyed Aynsley Lister as he appears with BluesCaravan on the DVD BluesCaravan: The New Generation, recorded on December 7, 2005, this performance from a year before allows the guitar phenom to stretch inside the power trio unit to better display his prowess. Recorded at Harmonie in Bonn, Germany during the Rockpalast Crossroads Festival on March 23, 2004, the 84-minute concert features 13 songs all played with wild abandon. Lister begins the show with solo slide electric guitar and he's quite proficient putting a poppy spin on "Aeroplane Blues" while still showing his grasp of the blues format. Director Peter Sommer does an excellent job of keeping up with the singer by giving tons of quick cuts which make for exciting viewing. The edits not only bring the energy level up, they give a clear indication of the guitarist's talent by providing overviews and side shots, but still managing to focus on his hands when the performer dives into a variety of compelling riffs. He follows that epic with six-and-a-half minutes of an acoustic "As the Crow Flies," taming things for a brief moment. The band then joins Lister and they blast into a set of high energy music which straddles the fence between low-key Cream without the boom while bordering on Pat Travers' brand of blues-rock, though with a bit more of an edge. "Snake" has Sarah Jones pounding away at the drums, though a bit more Ginger Baker is, perhaps, in order to put it over the top. A semi-ballad, "Angel 'O' Mine" -- from Lister's self-titled 1999 CD -- has lots of tension and cuts through as the best track. Very inviting, it will call you back for repeated spins. The cover of "Take Me to the River" has a "theme from "Peter Gunn" style" push that leans more towards Al Green doing rock than the Talking Heads. It also keeps this trio from being labeled pure blues. There's so much potential here, and when Aynsley Lister is a journeyman like so many before him, there's no doubt that potential will be realized. For now, this is a solid representation of a talented man with a better understanding than most of the sounds coming out of his amp. Rembert Stiewe has intriguing questions lined up for the singer/guitarist during the close to 18 minutes of interview footage and it is worth your time. There's also a three-minute clip of the band called "backstage film" which has the group arriving for soundcheck, riding go-carts, all to an instrumental ditty from Lister on acoustic guitar. Drummer Alex Thomas (who appeared on 2003's All or Nothing and 2007's Upside Down albums) makes a cameo in the film clip, but he's not on any of the performances on the DVD. One of the bonus features includes a five-and-a-half minute lo-fi rendition of Deep Purple's first hit, "Hush," an energetic version of the Joe South tune played in semi-Dickies up-tempo fashion from some place called The Flowerpot Derby in May of 2004. The trio sound more like the Lemonheads here than a blues band, drummer Sarah Jones and bassist James Townsend giving Blue Cheer's rhythm section a run for its money. [There's also a companion DVD of the same material on Ruf Music available separately.]

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http://rapidshare.com/files/121975886/2004_-_Live____320k_.part1.rar.html

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Aynsley Lister - All Or Nothing (2003)


After nearly three years since his last full band album, 'All Or Nothing' has been long in the coming so you would be forgiven for wondering what this new album sounds like. Lister's last release on Ruf was an all out stripped down solo acoustic album full of Blues classics – a contrast if any to the power blues-rock of his previous album 'Everything I Need'. So what next you might ask? Three years is a long time and a lot can happen – for better or for worse. In this case its most definitely for the better. Although Lister's blues roots are still evident in his playing, it's his song writing that has progressed. Not content to just stay at one level, this album positively pushes the boundaries on every level. "I wanted an album that represented where I am at right now. My musical tastes have diversified a lot over the last couple of years which is probably reflected in my writing." Produced by Greg Haver (Manic Street Preachers, Catatonia etc.), this album is proof that Lister is continually progressing and pushing himself to the limits both in performance and song writing and exemplifies better than any album yet that Lister is his own man with his career laid right in front of him. The opening track 'Say Goodbye' kicks in hard with a solid drum groove before the guitars and bass join in to leave you in no doubt you're gonna like this album. 'Nothin` At All' is pure radio friendly with a great melody and shows Lister's vocals off very well indeed as well as the great production from Greg Haver. 'Balls Of Steel' does sound quite familiar though... "I've always loved AC/DC and like the simplicity of their songs so I thought I'd do one in that style. There's no hiding the fact of where I got the inspiration for that song!" So Lister tips his hat to Angus – well if any, this would be the track that leads on from his last album. Haver's production takes a front seat again on 'What U Got 4 Me' where Lister shows he is not shy to move away from the Blues altogether before dispensing with the band for just one track where he is playing and singing solo a beautifully melodic song called 'Without Wings'. The one and only cover on the album of Hendrix's 'Crosstown Traffic' sounds as though it was recorded live in the studio (maybe it was) and is a perfect album-closer showcasing just Lister, James Townend on bass and Alex Thomas on drums going at it full tilt – if you have never experienced Lister live and then hear this, you'll be booking tickets for his next show before the album stops spinning in your CD player! 'All Or Nothing' is definitely a very guitar driven album but don't be fooled into thinking this is all guitar and nothing else. Lister's choice of musicians is first class and they all do the job brilliantly to compliment both each other and the songs played. Lister's vocals are again stronger and more mature and carry the songs over better than ever with his guitar playing easily being the best yet to make it onto record. So where next? Where can Lister go from here? Well, indeed anywhere he wants to – this is the perfect crossover album from a young man with the whole world in front of him.

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Aynsley Lister - Supakev 'N' Pilchards (2002)


Loading Aynsley Lister's brand new 'Supakev n Pilchards' album into your CD player and pressing 'PLAY' might give you a little shock. No drums, no bass and no distortion? - This is Aynsley as raw and stripped down as you've ever heard. Recorded Live back in July 2001, this is a showcase of a young man storming through a bunch of blues classics and originals with just a guitar, a stomp box and a mike. So, is Lister going back to his roots or is this just another side of him we haven't seen yet? Although firmly established throughout Europe for the electrifying shows with his band, Aynsley's solo gigs have only been a select few throughout England at venues chosen for their intimate atmosphere rather than size. So you'd be forgiven for not knowing solo stuff! A world apart from the supercharged power of his band, 'Supakev n Pilchards' is proof enough (if it were needed) that Lister can cut it just as well solo as he can with a band. His playing throughout is outstanding, his vocals passionate – check out the guitar on Witherspoon's 'Tougher than Tough' or John Lee Hooker's 'Mad Man Blues'. The self-penned 'Aeroplane Blues' has Lister riffing away on slide with a cheeky vocal and shows just what can be done without a backing band in sight. Although this is just Aynsley on his own, you could be very easily fooled into thinking there is more than one guitar on many songs – his technique of playing a bass groove while simultaneously playing lead over the top really is mind blowing. So what about that title and the elaborate caricature that make up the colourful digipak cover? "I wanted to keep the whole thing fun and light hearted – I didn't want to call it 'Aynsley's Live Solo Blues Album' – that's the obvious thing to do! Too many people take music too seriously and Blues is always looked upon as 'doom and gloom' music. I had fun making the album and I wanted to reflect that in the packaging, hence the ridiculous title!" So there you have it, one album of blistering blues played in front of a capacity audience by a young man in love with his music.

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Aynsley Lister - Aynsley Lister (1999)


I first heard Aynsley Lister on a Ruf sampler CD and really liked his cut. Then I saw that he does a regular blues column in the British guitar mag, "Guitarist" (comes with CD). Liking both, I decided to take a chance on his only CD (that I could find, that is). It is pricely, but just had a gut feel about him. I was NOT disappointed! Crunchy guitar riffs, good leads, good song writing....vocals fine, but not gritty, smokey. I also like the sound of Walter Trout, Coco Montoya, Scott Holt, Gary Moore's blues. If you're in the same place, then you might like Aynsley.

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The Aynsley Lister Band - Pay Attention (1997)


The following year he did another album "Pay Attention" including some fantastic live tracks.

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The Aynsley Lister Band - Messin' With The Kid (1996)


The Aynsley Lister Band's debut album. It features a variety of songs in both electric and acoustic blues styles. With realising his talent for singing Aynsley and his band, made the progression to recording an album, which was "Messin' with the Kid". This was released on his own label, in 1996 with his own superb version of "Voodoo Chile".

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Aynsley Lister biography


Aynsley picked up the guitar at 8 and played his first gig at 13. One year later on a family trip to San Francisco, he was jamming at ‘Lou’s Bar’ on Pier 49. Brought up on his father’s record collection, he had learned to play by ear and would sit for hours in his bedroom playing along to old 45s of Freddie King, John Mayall and Eric Clapton. He spent the next few years honing his craft and would play with anyone, anywhere.

By the time he was 18, he had worked his way through various bands and decided to form his own. The band recorded two albums, but it was the second of these two that started things happening. Aynsley had begun writing and it was the three original numbers of this album that attracted the attention of Ruf Records’ head honcho Thomas Ruf. In the summer of 1998, they signed a deal. Armed with an album worth of original songs and a handful of cover’s, Aynsley went into the studio with Producer Jim Gaines and set to work of his first major album. It would prove to be the start of a long and fruitful career taking him over the next few years all over Europe ,and working with some of the top names on the circuit.

Aynsley has never been an artist to reheat the music of yesteryear. Influenced from an early age by the 60’s RnB era, Lister takes these key elements and mixes them with a more current and melodic lyrical approach.

He is one of very few artists playing rocking blues with a modern edge -tangible, heartfelt, soul searching and full of fine songwriting; played with passion and vitality. His hard hitting rhythms and guitar work are reminiscent of a young Clapton.

Since signing to Ruf Records, Lister has recorded four solo studio albums, and two live albums – one solo acoustic and one along with a live DVD for Germanys ROCKPALAST TV show. He has sold over 75,000 records and now headlines many of the major festivals throughout Europe where he has played alongside blues legends such as Buddy Guy, John Mayall, and Robert Cray aswell as big name pop artists such as Bryan Adams and Fun Lovin’ Criminals. His recorded work has seen him working with Producers Jim Gaines (Santana, SRV) and Greg Haver (Manic Street Preachers, Catatonia)

In more recent times 2006 saw Lister recording in Clarksdale, Mississippi and Memphis Tennessee where he worked again with Jim Gaines on the Ruf Records collaboration ‘Pilgrimage’. With Gaines producing Lister debut for the label in 1999, it was almost 7 years to the month that they had previously worked together. In September of that year his album ‘Everything I Need’ was released stateside in preparation for this years debut tour.

UPSIDE DOWN is Lister’s fourth studio album and his first to contain all originals. Every aspect and quality that his fans have now come to expect is there, from the raunchy guitar, the melodic voice to the infectious songs but to simply pronounce this release another worthwhile effort would be an injustice indeed: The result is his strongest, boldest and most compelling album to date that could quite easily crossover into the mainstream.

In reality his career is just getting started – he has the ability to reach such a wide-ranging audience from teenagers to folks who grew up in a time when real artists mattered. Right now Aynsley Lister has everything he needs to turn the world upside down…

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10 lipanj, 2008

Santana - All That I Am (2005)


The third time around is not a charm for Carlos Santana, who delivers his third straight star-studded, middle-of-the-road pop album in a row with 2005's All That I Am. Like 2002's Shaman, this follows the blueprint that producer/record mogul Clive Davis laid down on 1999's Supernatural, which means that apart from a cut or two, Santana functions as a supporting musician to a parade of guest stars singing pop songs on his own album. On Supernatural this worked not just because it was a relatively fresh concept that revitalized Santana, but because the guest stars were well chosen and the material was sharp, commercial, and memorable. Shaman was more uneven but it did have one great single in "The Game of Love," a song penned by professional songwriters and sung by Michelle Branch — it didn't sound much like Santana, but it did make for excellent listening on adult contemporary radio. Here, Santana and Davis try to make lightning strike again, having Branch sing the "Game of Love" soundalike "I'm Feeling You," which she also had a hand in writing. It's not bad, but it sounds like a third-generation photocopy, which is the problem with All That I Am in general: all the ideas and sounds are familiar, but not executed nearly as well as they were the first two times around. The stars don't shine as bright — the biggest names here are Mary J. Blige, Big Boi, Aerosmith's Steven Tyler, and the ubiquitous and obsequious will.i.am from the Black Eyed Peas, all artists who never seem to turn down a chance to provide a cameo — and the production is clean and safe, while the songs are professional, predictable, and pedestrian. Since none of the songs are bad and since the guest spots are neither embarrassing nor flashy, All That I Am never offends, but it never entertains, either: it simply exists. Sure, Santana has some nice playing scattered throughout the album — his signature, rich, super-saturated tone is certainly the most commanding, memorable thing here — but he never sounds engaged with the songs, he sounds simply like he's running wild over bright, sunny changes. Even with these nice moments, All That I Am, like Supernatural and Shaman before it, is a deliberate pop album, which means Santana is in the background on his own record — but the crucial difference with this album is that, unlike its two predecessors, it's not a good pop album, it's a bland, friendly affair that disappears into the ether the moment it's finishing playing.

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http://rapidshare.com/files/121480799/2005_-_All_That_I_Am.part1.rar.html

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Santana - Ceremony, Remixes & Rarities (2003)


If you remember the early days of Santana — the guitarist and the band — then you may have mixed feelings about some of Carlos' renaissance work, especially a disc like this. Santana at Woodstock, Abraxas, "Black Magic Woman" — maybe not a world away, but certainly a full career away. With his latter-day work, the Mexican-born axeman has gone more for the pop shots and employed a revolving-door policy of guest-star lead singers. And yes, the charts have smiled on him. This album is a decent clue as to why, but whether the gifted guitarist really needed to put out a set of remixes and "rarities" is open to debate. The material here derives from the sessions that yielded Santana's deuce of comeback discs, 1999's mega-platinum Supernatural and 2000's multi-platinum Shaman. From the former, "Smooth" and "Maria Maria" have been remixed and "Primavera" re-recorded, with vocals by new-generation salsa star Jerry Rivera. From the latter, "Foo Foo" scored a remix, while a new version of "Why Don't You and I" finds Alex Band of the Calling taking over the singing role originally filled by Nickelback's Chad Kroeger. The Shaman album cut "Victory Is Won" has also been tacked on. The new material includes the breezy — but overly long — acoustic number "Manana"; the vivacious, brass-garnished "Truth Don Die"; the album-worthy romance dance of "Let Me Love You Tonight"; the ethereal "Curación (Sunlight on Water)"; and the vocal/guitar weave of the spicy "Come to My World." There's nothing wrong with the quality here, per se, but whether it really adds anything to the Santana legacy is highly questionable. For example, the multi-chart hit "Smooth," served up here as a dance remix, is totally a take-it-or-leave-it affair. Whether or not one is of the mind that this album is a little superfluous — even exploitative — there's always that mystical guitar work: filling here, leading there, masterful and captivating. It's the signature instrument of Latin rock. That alone is always worth the price of admission.

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http://rapidshare.com/files/121482383/2003_-_Ceremony_-_Remixes___Rarities.part1.rar.html

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Santana - The San Mateo Sessions 1969 (2002)


The lineup for this release is the same as the first 3 Santana releases on Columbia, and these are indeed demo studio sessions recorded in 1969. By far what we have here are mostly instrumental jams of a young band trying out their chops (only two songs have lyrics). They are neither as polished or powerful as they would soon become, but you can see the style and potential here. So if you are into 1960's San Francisco-Style Acid Rock Jams, this is a great album.

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http://rapidshare.com/files/121469417/2002_-_The_San_Mateo_Sessions_1969.part1.rar.html

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http://rapidshare.com/files/121469419/2002_-_The_San_Mateo_Sessions_1969.part2.rar.html

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http://rapidshare.com/files/121469377/2002_-_The_San_Mateo_Sessions_1969.part3.rar.html

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Santana - San Francisco Mission District Live 69 (2001)


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http://rapidshare.com/files/121467284/2001_-_San_Francisco_Mission_District_Live_69.part1.rar.html

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Carlos Santana - Divine Light (2001)


The music Carlos Santana released in 1973 and 1974, while heavily informed by his devotion to guru Sri Chimnoy, was hardly the lightweight worship fodder of some other religious rockers. In fact, only Santana's gorgeous, fluid guitar work marked it as rock at all; with the likes of John McLaughlin, Alice Coltrane, and a wide array of percussion and string players on board, the Santana/McLaughlin Love Devotion Surrender and Santana/Coltrane Illuminations had more in common with the rich, eclectic sound paintings that Miles Davis was then presiding over. Producer-musician Bill Laswell, having remixed and "reconstructed" Miles and Bob Marley tapes, now sequences much of the two LPs into this ear-opening suite. One of those records that seems designed to sound great at any time of day or night, Divine Light's thread moves through a gorgeously orchestral opener with hints of Indian music ("Angel of Air") to two John Coltrane compositions (a hypnotic translation of "A Love Supreme," a hushed "Naima"), a lengthy "Angel of Sunlight" with fervid solos by Santana, saxophonist Jules Broussard, and electric pianist Tom Coster, and the prayerful "Bliss: The Eternal Now" and "Meditation." With Santana's fame greater than ever thanks to Supernatural, the thought that Divine Light will reach some of those new ears is a happy one.

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http://rapidshare.com/files/121467878/2001_-_Divine_Light.part1.rar.html

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Santana - High Profile (2000)


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http://rapidshare.com/files/121463971/2000_-_High_Profile.part1.rar.html

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Santana – Supernatural (1999)


Santana was still a respected rock veteran in 1999, but it had been years since he had a hit, even if he continued to fare well on the concert circuits. Clive Davis, the man who had signed Santana to Columbia in 1968, offered him the opportunity to set up shop at his label, Arista. In the tradition of comebacks and label debuts by veteran artists in the '90s, Supernatural, Santana's first effort for Arista, is designed as a star-studded event. At first listen, there doesn't seem to be a track that doesn't have a guest star, which brings up the primary problem with the album — despite several interesting or excellent moments, it never develops a consistent voice that holds the album together. The fault doesn't lay with the guest stars or even with Santana, who continues to turn in fine performances. There's just a general directionless feeling to the record, enhanced by several songs that seem like excuses for jams, which, truth be told, isn't all that foreign on latter-day Santana records. Then again, the grooves often play better than the ploys for radio play, but that's not always the case, since Lauryn Hill's "Do You Like the Way" and the Dust Brothers-produced, Eagle-Eye Cherry-sung "Wishing It Was" are as captivating as the Eric Clapton duet, "The Calling." But that just confirms that Supernatural just doesn't have much of a direction, flipping between traditional Santana numbers and polished contemporary collaborations, with both extremes being equally likely to hit or miss. That doesn't quite constitute a triumph, but the peak moments of Supernatural are some of Santana's best music of the '90s, which does make it a successful comeback.

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http://rapidshare.com/files/121441079/1999_-_Supernatural.part1.rar.html

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Santana - The Best Of Santana (1998)


The Best of Santana is a 16-track collection that greatly expands the scope of Santana's previous hits compilation, Greatest Hits. Drawing from the band's entire 30-year career, the disc contains such familiar items as "Evil Ways," "Jingo," "Black Magic Woman/Gypsy Queen," and "Oye Como Va," but it also has a number of longtime favorites of the band and fans. Furthermore, all the songs have been subjected to Super Bit remastering, resulting in the best sound ever. For some casual fans, Greatest Hits remains definitive, since it's a portrait of the band at its peak, but listeners wanting a career-spanning single-disc compilation will find that The Best of Santana suits their needs.

Download-Link (Part 1):

http://rapidshare.com/files/121440992/1998_-_The_Best_Of_Santana.part1.rar.html

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Santana - Jam Live (1998)


Santana perform their Latin rock sound live on this CD featuring 'Jingo' and 'Evil Ways'.

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http://rapidshare.com/files/121438135/1998_-_Jam_Live.part1.rar.html

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Santana - The Ultimate Collection (1997)


An enormous collection of classic Santana, The Ultimate Collection is a good introduction to this important artist. Containing two CDs of his work as well as a third bonus live CD, this album is a very complete and interesting collection of his '60s and '70s tracks. Fans may not need this, but it makes a good first step into his catalog for those who might be curious. Do not let this title confuse you. This is not the three CD Holland import released a couple of years ago. This is a UK CD with slighly different reshuffled tracks on only two CD's. The cover is similar to the US Best of Santana (only in blue) right down to the liner notes, family tree, and album sources for the songs. 1997 Columbia retrospective with 38 digitally remastered classics from the '60s through the 90s on two CDs & a live disc featuring exclusive versions of seven gems, including 'Black Magic Woman/ Gypsy Queen', 'She's Not There', 'Samba Pa Ti', 'Jingo' and 'Soul Sacrifice' (from 'Woodstock'). 45 tracks total. Hits include 'Evil Ways', 'Winning', 'She's Not There', 'Black Magic Woman', 'Stormy', 'No One To DependOn', 'Oye Como Va', 'Well All Right', 'Europa' & 'Hold On'.

Download-Link (Part 1):

http://rapidshare.com/files/121440857/1997_-_The_Ultimate_Collection.part1.rar.html

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http://rapidshare.com/files/121440999/1997_-_The_Ultimate_Collection.part2.rar.html

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http://rapidshare.com/files/121441130/1997_-_The_Ultimate_Collection.part3.rar.html

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http://rapidshare.com/files/121441132/1997_-_The_Ultimate_Collection.part4.rar.html

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09 lipanj, 2008

Santana - Live At The Fillmore 1968 (1997)


Two-CD package drawn from performances at the Fillmore West in December 1968, with an early lineup including Bob Livingston on drums and Marcus Malone on congas (both of whom would be gone by the time the group recorded their official debut in 1969). The band sound only a bit more tentative here than they would in their Woodstock-era incarnation, running through several of the highlights of their first album ("Jingo," "Persuasion," "Soul Sacrifice," and "Treat"). More interesting to collectors will be the five songs that have not previously appeared on any Santana recording, including covers of songs by jazzmen Chico Hamilton and Willie Bobo and a half-hour original jam that concludes the set, "Freeway." The sound is excellent and the arrangements a bit more improv-oriented than what ended up on the early studio records. Its appeal isn't solely limited to committed fans; on its own terms it's a fine release, highlighted by some burning organ-guitar interplay in particular. Live at the Fillmore 1968.

Download-Link (Part 1):

http://rapidshare.com/files/121286076/1997_-_Live_At_The_Fillmore_1968.part1.rar.html

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http://rapidshare.com/files/121286126/1997_-_Live_At_The_Fillmore_1968.part2.rar.html

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Santana Brothers - Santana Brothers (1994)


This is a trio album featuring Carlos Santana, his brother Jorge, and his nephew, Carlos Hernandez.

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http://rapidshare.com/files/121284493/1994_-_Santana_Brothers.part1.rar.html

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Santana - Sacred Fire (Live In South America) (1993)


For its third live album, Santana introduced a new bass player, Myron Dove, and added guitarist Jorge Santana (Carlos Santana's brother), and singer Vorriece Cooper to bring the band up to nine members. Adopting the mantle of Bob Marley, the band played "Esperando," which borrowed Marley's characteristic audience chant. Much of the album, however, is given over to repeating Santana's earliest hits — "No One to Depend On," "Black Magic Woman," "Soul Sacrifice," — which should please the band's new record label (it's always good to have versions of the hits in your catalog), but which make the album inessential for fans. Sacred Fire spent one week at Number 181 in the charts, the worst performance ever for a Santana album.

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http://rapidshare.com/files/121269665/1993_-_Sacred_Fire_-_Santana_Live_In_South_America.part1.rar.html

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Carlos Santana - As Year Go By (1991)


This album contains some tracks that are re-recorded.

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http://rapidshare.com/files/121269368/1991_-_As_Year_Go_By.part1.rar.html

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Santana - Spirits Dancing In The Flesh (1990)


Following a 20th anniversary reunion tour in 1989 to promote Viva Santana!, Carlos Santana reorganized the band as a sextet and recorded Spirits Dancing in the Flesh, Santana's 15th and final studio album for Columbia Records. It was an unusually eclectic collection, featuring songs by Curtis Mayfield ("Gypsy Woman"), the Isley Brothers ("Who's That Lady"), and Babatunde Olatunji ("Jin-Go-Lo-Ba"). For all those influences, it was more of a straightforward, guitar-heavy rock album than usual. Coming more than three years after Santana's last new album, Freedom, it sold to the band's core audience only, reaching number 85.

Download-Link (Part 1):

http://rapidshare.com/files/121264112/1990_-_Spirits_Dancing_In_The_Flesh.part1.rar.html

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Santana - Viva Santana! (1988)


Released in 1988, Viva Santana! is a generous 30-track overview of Santana's first 20 years of recording. Appropriately, it concentrates on the band's glory years of the late '60s and early '70s, when both Carlos Santana and his supporting musicians were on fire. There are several unreleased cuts, including live tracks included for hardcore fans, but Viva Santana! is most useful as a thorough overview for curious listeners.

Download-Link (Part 1):

http://rapidshare.com/files/121268860/1988_-_Viva_Santana_.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/121269433/1988_-_Viva_Santana_.part2.rar.html

Download-Link (Part 3):

http://rapidshare.com/files/121269209/1988_-_Viva_Santana_.part3.rar.html

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