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Public Enemy - Apocalypse 91
HIP HOP | FLAC | CUE | LOG | PNG | 421MB | 52:00
Def Jam 1991
Цитата:| Coming down after the twin high-water marks of It Takes a Nation of Millions and Fear of a Black Planet, Public Enemy shifted strategy a bit for their fourth album, Apocalypse 91...The Enemy Strikes Black. By and large, they abandon the rich, dense musicality of Planet, shifting toward a sleek, relentless, aggressive attack -- Yo! Bum Rush the Show by way of the lessons learned from Millions. This is surely a partial reaction to their status as the Great Black Hope of rock & roll; they had been embraced by a white audience almost in greater numbers than black, leading toward rap-rock crossovers epitomized by this album's leaden, pointless remake of "Bring the Noise" as a duet with thrash metallurgists Anthrax. It also signals the biggest change here -- the transition of the Bomb Squad to executive-producer status, leaving a great majority of the production to their disciples, the Imperial Grand Ministers of Funk. This isn't a great change, since the Public Enemy sound has firmly been established, giving the new producers a template to work with, but it is a notable change, one that results in a record with a similar sound but a different feel: a harder, angrier, determined sound, one that takes its cues from the furious anger surging through Chuck D's sociopolitical screeds. And this is surely PE's most political effort, surpassing Millions through the use of focused, targeted anger, a tactic evident on Planet. Yet it was buried there, due to the seductiveness of the music. Here, everything is on the surface, with the bluntness of the music hammering home the message. Arriving after two records where the words and music were equally labyrinthine, folding back on each other in dizzying, intoxicating ways, it is a bit of a letdown to have Apocalypse be so direct, but there is no denying that the end result is still thrilling and satisfying, and remains one of the great records of the golden age of hip-hop. ~ Stephen Thomas Erlewine, All Music Guide |
TRACKLISTING:
01. Lost at Birth
02. Rebirth
03. Nighttrain
04. Can’t Truss It
05. I Don’t Wanna Be Called Yo Niga
06. How to Kill a Radio Consultant
07. By the Time I Get to Arizona
08. Move!
09. 1 Million Bottlebags
10. More News at 11
11. Shut Em Down
12. A Letter to the New York Post
13. Get the Fuck Outta Dodge
14. Bring tha Noize
MEGA.CO
DEPOSITFILES
pw: lisalisa
Добавлено:
Joe Jackson - The Duke
JAZZ+POP | FLAC | CUE | LOG | PNG | 374MB | 47:43
Razor & Tie 2012
Цитата:| Joe Jackson is a sophisticate, and that's his blessing and his curse. Early on in his career, Jackson made it obvious he wanted to be more than just another clever pop songwriter in a skinny tie, and his ambition to experiment with other sounds and textures led to fine and adventurous albums like Night and Day and Big World. Unfortunately, it also resulted in botched orchestral experiments like Will Power and Night Music, and though he's shown a knack for swing-era jazz in his soundtrack work (particularly on his score for Francis Ford Coppola's Tucker: The Man And His Dream), his compulsion to prove he's more than some guy with good hooks truly gets the better of him on 2012's The Duke. The Duke finds Jackson experimenting with the music of Duke Ellington, reinterpreting a number of his compositions in styles that stray far from the original arrangements. In his liner notes, Jackson says "The only thing I tried to avoid was imitating or competing with the master," and while that's admirable as philosophy, his "everything including the kitchen sink" approach to rethinking these great songs doesn't work so well in execution. In an arrangement dominated by electric guitarist Steve Vai, "Isfahan" sounds like a demonstration of some gizmo being sold at Guitar Center, while "It Don't Mean a Thing (If It Ain't Got That Swing)" wrestles with both swing and electronics with no clear victor, and the clunky sounding synthesizers Jackson adds to several numbers make the album sound as if it was recorded in the dire days of the '80s, not a nostalgic effect that favors Ellington's melodies. Jackson has brought some fine musicians to collaborate with him, and Christian McBride's bass, Ahmir "?uestlove" Thompson's drumming, and Regina Carter's violin are in fine fettle throughout, while Sussan Deyhim's Farsi translation of "Caravan" is a cleverly exotic touch, and Sharon Jones nails "I Ain't Got Nothin' But the Blues" with guts and panache. But most of the time, Jackson's new arrangements of Ellington's compositions don't serve the songs so much as they betray the arrogance of a musician who wants to show us how he can bring this music into the present day while ignoring many of the qualities that made it timeless. Duke Ellington was a man with remarkable creative ambitions who also understood the virtues of simplicity; Joe Jackson clearly follows his hero in the former category, but the latter lesson has been lost on him, judging from The Duke. ~ Mark Deming, All Music Guide |
Joe Jackson - Piano
Christian McBride - Bass
Regina Carter - Violin
Ahmir Thompson - Drums
Steve Vai - Guitar
Iggy Pop - Vocals
Papa Jo Jones - Vocals
Sharon Jones - Vocals
Tony Aiello - Piccolo
Dame Bryson - Sousaphone
Captain Kirk Douglas - Guitar
Vinnie Zummo - Guitar, Harmonica
Sue Hadjopoulos - Bongos, Congas
Stefan Kruger - Drums, Percussion
TRACKLISTING:
01. Isfahan
02. Caravan
03. I’m Beginning to See the Light / Taking the ‘A’ Train / Cotton Tail
04. Mood Indigo
05. Rockin in Rhythm
06. I Ain’t Got Nothin but the Blues / Do Nothin Til You Hear From
07. I Got It Bad
08. Perdido / Satin Doll
09. The Mooche / Black and Tan Fantasy
10. It Don’t Mean a Thing
DEPOSITFILES
FILEFACTORY
pw: lisalisa |
