Monday, September 7, 2009

Rapidshare jimi hendrix - villanova junction (2004) Ralph Stanley - Old Time Pickin': A Clawhammer Banjo Collection (2008)

Part: 1 : Rapidshare jimi hendrix - villanova junction (2004)
divJimi Hendrix - Villanova Junction (2004)br br img src="http://i37.tinypic.com/30hv7ew.jpg" border="0" alt=""br br Nice Compilation of Hendrix Studio Raritiesbr br 01 Little Bears - South Southern Deltabr 02 Belly Button Windowbr 03 Country Blues (Straight Mix)br 04 Hear my Train a Comin'br 05 New Rising Sun (M.L.K.)br 06 The Things I used to do(w/Johnny Winter)br 07 Villanova Junction Blues Jambr br :d:br div style="margin:20px;margin-top:5px" div style="margin-bottom:2px"Code:/div hrcode style="margin:0px" dir="ltr"/codehr /div:p:br div style="margin:20px;margin-top:5px" div style="margin-bottom:2px"Code:/div hrcode style="margin:0px" dir="ltr"www.rapidlinks.co.uk/codehr /div:soldier: :flag: :pirate1: :secret:/div
Part: 2 : Ralph Stanley - Old Time Pickin': A Clawhammer Banjo Collection (2008)
Password: sharedmp3.net
Ralph Stanley - Old Time Pickin': A Clawhammer Banjo Collection

Artist.....: Ralph Stanley
Title......: Old Time Pickin': A Clawhammer Banjo Collection
Label......: Rebel Records

Store Date.: 000-00-0000
Genre......: Bluegrass

Encoder....: Lame 3.97 / -V2 --vbr-new
Size.......: 51.5 MB


Track Listing:

01 - Rocky Island 01:53
02 - Shout Little Lulie 02:00
03 - Battle Ax 03:16
04 - Pretty Girls, City Lights 02:14
05 - Cripple Creek 02:37
06 - I've Got A Mule To Ride 01:58
07 - Old Mcdonald/cindy 04:06
08 - Shady Grove 01:49
09 - John Henry 01:32
10 - Little Birdie 02:18
11 - Cuttin' The Cornbread 01:56
12 - Bound To Ride 01:48
13 - Married Life Blues 02:27
14 - Black-Eyed Susie 01:51
15 - Kentucky Shine 01:47
16 - True Blue Bill 01:58
17 - Dixieland (My Old Home Town) 02:13
18 - Old Time Pickin' 01:46

ÄÄÄÄÄ
39:29 min
Release Notes:



Now that Ralph Stanley has established himself as America s
foremost singer of traditional mountain music, it s easy to
overlook the fact that he is regarded by many as one of the finest
practitioners of old-time clawhammer banjo. Like his singing,
Stanley s clawhammer banjo playing is a product of a particular
place, the hills and hollows in an isolated corner of far
southwest Virginia where he was born and still lives today. Ralph
was eleven when he got his first banjo, and its bright ringing
sound cheered the lonely, withdrawn boy. From the first touch the
banjo felt perfect in his hands, like a tool he could make good
use of, just as the miners in the coalfields near his Dickenson
County home had their pick and shovel. It was his mother Lucy who
taught Ralph his first song, Shout Little Lulie, which he learned
on the first try. From the start, Ralph worked out his own
clawhammer technique, using two fingers and his thumb in slashing
up-and-down brush strokes. This approach gave him a much wider
range than his mother s standard drop-thumb style. Stanley s
remarkable growth as a singer once he emerged from Carter s shadow
underscores the fact that his clawhammer playing has remained
frozen in time, a feat of preservation that serves as a vital link
to his beginnings. On the 1974 rendition of Little Birdie, he s at
the height of his vocal powers, adding twists and elongations and
other ornamentation, worrying the lines for all their worth. These
crooks and turns, as he calls them, are skills he simply couldn t
muster as a 25-year-old when he sang on the 1952 record. And yet
the sound of his clawhammer has required no tinkering through the
years and remains essentially unchanged from the version that
dates back to the Truman Era. This collection gathers together for
the first time Ralph s clawhammer numbers, and it will be a
revelation to those who know him mostly as the mournful singer of
O Death. Unlike his a capella gospel singing, with its brooding,
drawn-out cadence, his clawhammer music is pure, unfiltered joy,
as exuberant as a stallion running wild on top of Smith Ridge. As
with the old-time singing, this old-time picking is something bred
into you, as Stanley puts it, and it can t be learned from an
instruction manual.

Furry lewis amp; mississippi joe callicott - complete blue horizon sessions (1968) (2007) German top50 odc 09 03 2009-ministry

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John lee hooker - the healer (mfsl udcd 567) [reupload] The mills brothers-chronological vol 3-2001-dgn

Part: 1 : John lee hooker - the healer (mfsl udcd 567) [reupload]
diva href="http://pixhost.ws/avaxhome/big_show.php?/avaxhome/cd/8f/000b8fcd.jpeg"img src="http://pixhost.ws/avaxhome/cd/8f/000b8fcd_medium.jpeg"/a/divbr divbJohn Lee Hooker - The Healer/bbr ibMobile Fidelity Sound Lab UDCD 567, released 1992/b/ibr iRepost/ibr Lossless (EAC+FLAC) | Blues | 1989, 1992 | 218 MB/div
Part: 2 : The mills brothers-chronological vol 3-2001-dgn
Password: mov-world.net
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                                                            [dmc]




                          Doom    Generation    Noises                      

────[rlsnfo]────────────────────────────────────────────────────────────────────

     Artist   : The Mills Brothers
     Title    : Chronological Vol.3
     Year     : 2001
     Label    : n/a
     Genre    : Jazz
     Type     : Album

────[ripnfo]────────────────────────────────────────────────────────────────────

     Ripped on: 03.01.2009
     Ripper   : DGN
     Quality  : avgkbps / 44,1kHz / Joint-Stereo
     Size     : 63,7 MB
     Playtime : 63:18 min
     Grabber  : Eac
     Encoder  : Lame 3.97 V2 New

────[trax]──────────────────────────────────────────────────────────────────────

     01.  Put On Your Old Grey Bonnet                               02:45
     02.  Sleepy Head                                               03:08
     03.  Lazybones                                                 03:06
     04.  Nagasaki                                                  02:28
     05.  Sweet Georgia Brown                                       02:46
     06.  Old Fashioned Love                                        02:24
     07.  Miss Otis Regrets                                         03:31
     08.  Sweeter Than Sugar                                        02:07
     09.  Ida Sweet As Apple Cider                                  02:44
     10.  My Gal Sal                                                03:06
     11.  Some Of These Days                                        02:45
     12.  I've Found A New Baby                                     02:57
     13.  Limehouse Blues                                           02:32
     14.  Rockin' Chair                                             03:41
     15.  Tiger Rag                                                 01:54
     16.  There Goes My Headache                                    02:11
     17.  Out For No Good                                           02:28
     18.  Lulu's Back In Town                                       02:11
     19.  Sweet Lucy Brown                                          02:50
     20.  Don't Be Afraid Totell Your Mother                        02:48
     21.  Since We Fell Out Of Love                                 02:51
     22.  Moanin' For You                                           03:23
     23.  What's The Reason (I'm Not Pleasin' You)                  02:42

────[Release Note]──────────────────────────────────────────────────────────────

     An astonishing vocal group that grew into one of the longest-
     lasting oldies acts in American popular music, the Mills
     Brothers quickly moved from novelty wonders to pop successes
     and continued amazing audiences for decades. Originally billed
     as "Four Boys and a Guitar," the group's early records came
     complete with a note assuring listeners that the only musical
     instrument they were hearing was a guitar. The caution was
     understandable, since the Mills Brothers were so proficient at
     recreating trumpets, trombones, and saxophones with only their
     voices that early singles like "Tiger Rag" and "St. Louis
     Blues" sounded closer to a hot Dixieland combo than a vocal
     group. And even after the novelty wore off, the group's
     intricate harmonies continued charming audiences for decades.

     The four brothers were all born in Piqua, Ohio -- John, Jr. in
     1910, Herbert in 1912, Harry in 1913, and Donald in 1915. Their
     father owned a barber shop and founded a barbershop quartet as
     well, called the Four Kings of Harmony. His sons obviously
     learned their close harmonies first-hand, and began performing
     around the area. At one show, Harry Mills forgot his ka  --
     the group's usual accompaniment -- and ended up trying to
     emulate the instrument by cupping his hand over his mouth. The
     brothers were surprised to hear the sound of a trumpet
     proceeding from Harry's mouth, so they began to work the
     novelty into their act, with John taking tuba, Donald trombone,
     and Herbert a second trumpet. The act was perfect for
     vaudeville, and the Mills Brothers also began broadcasting over
     a Cincinnati radio station during the late '20s.

     After moving to New York, the group became a sensation and hit
     it big during 1931 and early 1932 with the singles "Tiger Rag"
     and "Dinah" (the latter a duet with Bing Crosby). Dumb-founded
     listeners hardly believed the notice accompanying the records:
     "No musical instruments or mechanical devices used on this
     recording other than one guitar." Though the primitive audio of
     the era lent them a bit of latitude, the Mills Brothers indeed
     sounded exactly like they'd been backed by a small studio band.
     (It was, in essence, the flip side of early material by Duke
     Ellington's Orchestra, on which the plunger mutes of Bubber
     Miley and Tricky Sam Nanton resulted in horns sounding exactly
     like voices.)

     The exposure continued during 1932, with appearances in the
     film The Big Broadcast and more hits including "St. Louis
     Blues" and "Bugle Call Rag." John, Jr.'s sudden death in 1936
     was a huge blow to the group, but father John, Sr. took over as
     bass singer and Bernard Addison became the group's guitarist.
     Still, the novelty appeared to wear off by the late '30s;
     despite duets with Ella Fitzgerald ("Dedicated to You") and
     Louis Armstrong ("Darling Nelly Gray"), the Mills Brothers'
     records weren't performing as well as they had earlier in the
     decade. All that changed in 1943 with the release of "Paper
     Doll," a sweet, intimate ballad that became one of the biggest
     hits of the decade -- twelve weeks on the top of the charts,
     and six million records sold (plus sheet music). The group made
     appearances in several movies during the early '40s, and hit
     number one again in 1944 with "You'll Always Hurt the One You
     Love."

     The influence of middle-of-the-road pop slowly crept into their
     material from the 1940s; by the end of the decade the Mills
     Brothers began recording with traditional orchestras (usually
     conducted by Sy Oliver, Hal McIntyre or Sonny Burke). In 1952,
     "The Glow Worm" became their last number one hit. The group
     soldiered on during the '50s, though John, Sr. semi-permanently
     retired from the group in 1956. A move from Decca to Dot
     brought a moderate 1958 hit, a cover of the Silhouettes' "Get a
     Job" that made explicit the considerable influence on doo-wop
     exerted by early Mills Brothers records. As a trio, Herbert,
     Harry and Donald continued performing on the oldies circuit
     until Harry's death in 1982, and Herbert's in 1988. The last
     surviving sibling, Donald, began performing with the third
     generation of the family -- his son, John II -- until his own
     death in 1999. ~ John Bush, All Music Guide

     http://www.amazon.com/Chronological-Vol-3-Mills-
     Brothers/dp/B000058APW

────[Group Notes]───────────────────────────────────────────────────────────────

     Dgn is around since 1998...

     After a few years, a few rippers who left, a few who joined, people
     greeting,people yelling, people threatening, people helping, people
     watching, we're still enjoying our aime: Let ppl listen to what they
     are gonna buy b4 they pay a single penny.


     There have been also some people and groups that helped out during the
     last few years, maybe it's because of them that (against all odds) we
     are still releasing and doing well, those know who they are, and we'll
     thank forever.


     We remind our beloved public, we're against all kind of distrubution,
     don't search our rips neither in your preferred XDcc channel, nor in
     your local 127.0.0.1 p2p program, We do not distribute ! But it's not
     nice to buy when you do not know what you're buying.
     As a matter of fact, DGN is a private group, and do not need rippers,
     fast or slow shells, traders, t1+ sites, couriers, prewhores, and hw
     suppliers, we need only a nice chalet in Switzerland/Canada or a Villa
     in the Caribbean sea where to listen to some chillout music.
     If you can supply any of those, for free, feel free to contact us for
     an application form.


     Remember to support the artists.

                                                                  DGN Crew, 2003

                                                                                
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