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Spirit - The Twelve Dreams of Dr. Sardonicus [MFSL MFCD 800]
Rock | Lossless WavPack | 1970 | Covers | Log&Cue | EAC | RS & MU | 280MB

Spirit was formed with the intention to combine jazz, rock, classical, and folk with a mystical orientation. Led by the family duo of Hendrix-inspired guitarist Randy California and his uncle, jazz drummer Ed Cassidy (whose shaved head--some 20 years ahead of its time--was the band's visual focus), Spirit had a few idiosyncratic hits such as "I Got A Line On You." The band didn't reach its prime until Twelve Dreams, after which they promptly broke up. A loosely constructed sci-fi concept album, it contains the band's biggest hit, the ecological "Nature's Way" (complete with booming kettle drums), the surreal rock of "Animal Zoo," and the orchestral psychedelia of "Life Has Just Begun." Bristling with ideas, energy, and California's meaty guitar, Twelve Dreams exemplifies the best of the late '60s experimentalism.

Alice Cooper - Killer [Warner Germany 7599-27255-2]
Rock | Lossless APE | 1971 | Covers | Log&Cue | EAC | RS | 200MB

Alice Cooper wasted little time following up the breakthrough success of Love It to Death with another album released the same year, Killer. Again, producer Bob Ezrin was on board and helps the group solidify their heavy rock (yet wide-ranging) style even further. The band's stage show dealt with the macabre, and such disturbing tracks as "Dead Babies" and the title track fit in perfectly. Other songs were even more exceptional, such as the perennial barnstorming concert standard "Under My Wheels," the melodic yet gritty "Be My Lover," and the tribute to their fallen friend Jim Morrison, "Desperado." The long and winding "Halo of Flies" correctly hinted that the band would be tackling more complex song structures on future albums, while "You Drive Me Nervous" and "Yeah, Yeah, Yeah" showed that Alice Cooper hadn't completely abandoned their early garage rock direction. With Killer, they became one of the world's top rock bands and concert attractions; it rewarded them as being among the most notorious and misunderstood entertainers, thoroughly despised by grownups.

Alice Cooper - Love it to Death [Warner CD-1883]
Rock | Lossless FLAC | 1971 | Covers | Log&Cue | EAC | RS | 220MB

Alice Cooper's third album, Love It to Death, can be pinpointed as the release when everything began to come together for the band. Their first couple of albums (Pretties for You and Easy Action) were both largely psychedelic/acid rock affairs and bore little comparison to the band's eventual rip-roaring, teenage-anthem direction. The main reason for the quintet's change was that the eventually legendary producer Bob Ezrin was on board for the first time and helped the Coopers focus their songwriting and sound, while they also perfected their trashy, violent, and theatrical stage show and image. One of the band's most instantly identifiable anthems, "I'm Eighteen," was what made the album a hit, as well as another classic, "Is It My Body." But like Alice Cooper's other albums from the early '70s, it was an incredibly consistent listen from beginning to end. The garage rocker "Caught in a Dream" as well as the ass-kicking "Long Way to Go" and a pair of epics — the Doors-esque "Black Juju" and the eerie "Ballad of Dwight Fry" — showed that Alice was easily in league with other high-energy Detroit bands of the era (MC5, Stooges). Love It to Death was the first of a string of classic releases from the original Alice Cooper group.

Small Faces - All or Nothing [Sony AK2427]
Rock | MP3 | 256kbps VBR | 1992 | Covers | RS | 132MB

The Small Faces were the best English band never to hit it big in America. On this side of the Atlantic, all anybody remembers them for is their sole stateside hit, "Itchycoo Park," which was hardly representative of their psychedelic sound, much less their full musical range -- but in England, the Small Faces were one of the most extraordinary and successful bands of the mid-'60s, serious competitors to the Who and potential rivals to the Rolling Stones. This is the best collection to date of odd outtakes, obscure B-sides, and other rarities, remastered for superior sound and reconfigured so that, among other advantages, the live tracks from The Autumn Stone are assembled together in sequence. Also contains lots of alternate takes, instrumental backing tracks etc.

The Troggs - The Singles A's & B's (3-CD Box)
WV+CUE+LOG or MP3 CBR 320 | Covers | 1,25 GB or 512 MB
UK Classic Beat and Garage Rock / 3CD Box Set, Repertoire 2004

This superb 3-CD set of Troggs' treasures covers their vintage years from 1966 to 1978 and stretches beyond into the early nineties. With some 70 tracks and a further nine special bonus items, we embark on a musical Odyssey that explores every aspect of Troggs-mania. Here are all the A and B-sides that came pouring out during their heyday, and there is even a fascinating glimpse back to the pre-Troggs era...

Neil Young & Crazy Horse - Everybody Knows This Is Nowhere [Warner Japan WPCR-75087]
Rock | Lossless FLAC | 1969 | Covers | Log&Cue | EAC | RS | 270MB

Neil Young's second solo album, released only four months after his first, was nearly a total rejection of that polished effort. Though a couple of songs, "Round Round (It Won't Be Long)" and "The Losing End (When You're On)," shared that album's country-folk style, they were altogether livelier and more assured. The difference was that, while Neil Young was a solo effort, Everybody Knows This Is Nowhere marked the beginning of Young's recording association with Crazy Horse, the trio of Danny Whitten (guitar), Ralph Molina (drums), and Billy Talbot (bass) that Young had drawn from the struggling local Los Angeles group the Rockets. With them, Young quickly cut a set of loose, guitar-heavy rock songs — "Cinnamon Girl," "Down by the River," and "Cowgirl in the Sand" — that redefined him as a rock & roll artist.

Hidria Spacefolk - Balansia (2004)
EAC Rip | FLAC (Tracks)+CUE, LOG | 345 MB
Psychedelic Rock, Space Rock, Progressive Rock | Label: Silence | Hotfile + Depositfiles + Filefactory

Creedence Clearwater Revival - Chooglin' (Fantasy 9621-2) (GER 1990)
1990 | FLAC | EAC, LOG & CUE | 300dpi Artwork Scans | 257 MB

Elton John - Tumbleweed Connection [MFSL UDCD 543]
Rock | Lossless WavPack | 400kbps AAC | 1970 | Covers | Log&Cue | EAC | Multihosts | 285MB

Instead of repeating the formula that made Elton John a success, John and Bernie Taupin attempted their most ambitious record to date for the follow-up to their breakthrough. A loose concept album about the American West, Tumbleweed Connection emphasized the pretensions that always lay beneath their songcraft. Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best. As should be expected for a concept album about the Wild West, the music draws from country and blues in equal measures, ranging from the bluesy choruses of "Ballad of a Well-Known Gun" and the modified country of "Country Comfort" to the gospel-inflected "Burn Down the Mission" and the rolling, soulful "Amoreena." Paul Buckmaster manages to write dramatic but appropriate string arrangements that accentuate the cinematic feel of the album.

The Small Faces - Ogden's Nut Gone Flake (1968)
Classic Rock | mp3 | 192 kbps | 50.2 MB

Editorial Review:

All Music Guide
There was no shortage of good psychedelic albums emerging from England in 1967-1968, but Ogden's Nut Gone Flake is special even within their ranks. The Small Faces had already shown a surprising adaptability to psychedelia with the single "Itchycoo Park" and much of their other 1967 output, but Ogden's Nut Gone Flake pretty much ripped the envelope. British bands had an unusual approach to psychedelia from the get-go, often preferring to assume different musical "personae" on their albums, either feigning actual "roles" in the context of a variety show (as on the Beatles' Sgt. Pepper's Lonely Hearts Club Band album), or simply as storytellers in the manner of the Pretty Things on S.F. Sorrow, or actor/performers as on the Who's Tommy. The Small Faces tried a little bit of all of these approaches on Ogden's Nut Gone Flake, but they never softened their sound. (more)

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