Now Playing! With Cover Art & Reviews if Possible.

[Marvin the Martian]

http://www.youtube.com/watch?v=Ek0SgwWmF9w&feature=g-u-u

http://www.youtube.com/watch?v=Ek0SgwWmF9w&feature=g-u-u

Not a bad song. Matt Bellamy still needs dancing lessons from Thom Yorke though!

http://www.youtube.com/watch?v=cfOa1a8hYP8&list=UUq19-LqvG35A-30oyAiPiqA&index=29&feature=plcp

http://www.youtube.com/watch?v=cfOa1a8hYP8&list=UUq19-LqvG35A-30oyAiPiqA&index=29&feature=plcp

[Marvin the Martian]

http://www.youtube.com/watch?v=wxaFANthouM&feature=watch-vrec

http://www.youtube.com/watch?v=wxaFANthouM&feature=watch-vrec

http://www.youtube.com/watch?v=EQuamQc9OjY

http://www.youtube.com/watch?v=EQuamQc9OjY

heavy-metal-044.gif

[musichound]

Pink Floyd - Wish You Were Here

You Tube

You Tube

You gotta listen to this at least once in your life. This is currently my all time favorite album.

[McDougal]

You Tube

You Tube

[Marvin the Martian]

http://www.youtube.com/watch?v=qa65embWO1Y&feature=watch-vrec

http://www.youtube.com/watch?v=qa65embWO1Y&feature=watch-vrec

http://www.youtube.com/watch?v=Bu-c1ixMsYw&feature=related

http://www.youtube.com/watch?v=Bu-c1ixMsYw&feature=related

http://www.youtube.com/watch?v=d5zcJ64C5o0&feature=related

http://www.youtube.com/watch?v=d5zcJ64C5o0&feature=related

[kp-j3]

Killer Dwarfs - Reunion Of Scribes - 2001



Not a bad dvd. Definitely bare bones, just the 13 song set, with no extended solos. The bass and guitar seemed obscure in the mix, and could have definitely used a 2nd guitar to flush things out. I'm not sure what the tricycle abuse is about, but at least it's not a musical instrument.

[kp-j3]

Arc Angels - Living In A Dream - 2009



Been on an Austin kick lately. Multiple editions of this one, I think one cd, two cd, and two cds with a DVD of the show at Stubb's Video quality isn't that great, and things seem to be a little slower than the studio stuff, but it's still Doyle Bramhall II, Charlie Sexton and Double Trouble in all their glory.

There are four studio tracks which are pretty good, but I'd wish they'd do a overfull length studio CD, like Kenny Wayne Shepherd did. I miss Doyle II's solo work, now that he's playing with everyone else, his own output has dropped to 0.

[kp-j3]

Hoobastank - Fight or Flight - 2012 - Best Buy Limited Edition



Not sure if I can separate the release politics of this from the music. There's no less than 4 U.S. editions.

Standard 11 track version - which is falling like a rock in the used market.
Best Buy's edition - includes the previously (foreign only) released Is This The Day? unplugged on CD 2
Walmart's edition - includes a DVD of stuff, supposedly not the same as the stuff on the Japanese CD/DVD set
itunes edition - which looks like they somehow wrangled the Japanese CD bonus track

I'm assuming since they just changed contracts they'd have input into this type of thing, so I'm hoping maybe they are just bad negotiators, and don't think this is a good idea. Beyond the edition bloat, I'm not that impressed with Fight or Flight. Seems overly mellow, and the tunes that are the rockers of the bunch have such a terrible farty distorted guitar tone it's hard to enjoy these. Seems a little more stripped down than previously releases.

I'm not into electric songs done accoustically, so Is This The Day will have to wait, until I have nothing else to listen to.

Packaging Note: No lyrics or credits. It supposedly self serve (go to their site), but I couldn't find them last week, and I don't particularly appreciate it being DIY, when I bought the damn thing.

[Marvin the Martian]

Summary: Opeth softens up their sound, completely eliminating the extreme metal influences from their song writing. Needless to say, the 43 minute progressive rock offering is among the greatest albums released over the last few years.

As I sit in my bedroom, writing the opening sentences of this review, I take a look out the window. The skies are cloudy, grey, and gloomy. The street is quite, dull, and empty. After the long winter, it's quite a familiar, unwelcome scene. When I gaze upon the cover art of Opeth's 2003 album, Damnation, I get the same sort of feeling. Like the scenery outside my window (Well, actually the clouds are kind of clearing up now. Whoops), Damnation's art conveys a bleak, grey, unpleasant picture. Yet (unlike my street), it has a mysterious feel to it. Honestly, I'm not quite sure what it's trying to depict, but it does seem to reflect the emotions of the album. Often portrayed as an experimental record, Damnation isn't so much a change in musical ideals for Opeth, but it does introduce a new sound. The polar opposite of Deliverance in terms of delivery (pardon the pun); Damnation is a softer offering, void of any distortion or death metal growls. Yet despite this, Damnation still manages to be my favourite album from Opeth.

As I mentioned earlier, Damnation is not totally different from the band's previous outings. For me, just as in the past, the most important part of the album is the emotion that Opeth crafts and delivers. Even without the extreme metal influences, Opeth still manages to produce fantastic arrangements, which make use of soloing (electric guitar is used in Windowpane), harmonies, as well as enjoyable acoustic and clean guitar elements which draw in the listener and do not really let go for the entirety of the album. Songs from Hope Leaves to Closure to the four minute instrumental Ending Credits all feature impressive guitar work. Both guitarists, Mikael Akerfeldt and Peter Lindgren, play a series of complex riff work which, due to the subtlety in which the guitars were laid out, feels very simple. Now how about these emotions I've mentioned. Opeth's seventh full length studio effort covers a variety of feelings, the most notable in the 43 minute recording is that of deep regret and sorrow. But when listening to Damnation I feel a sense of appreciation. It's a very powerful record in this sense, especially the album's closer Weakness, with its depressing, melancholic mellotrons.

Perhaps the most impressive physical element in Opeth's musical arsenal is the vocals of Mikael Akerfeldt. As I had mentioned earlier, his powerful screams and growls were not made use of during the entirety of the album. So instead, Mikael has to rely on that of his cleaner singing. And I must say, his efforts here are quite superb. Much like the guitars, Akerfeldt's voice is soft and crooning, evoking similar emotions to what the guitars create. Some of the strongest vocal offerings I've heard from Mikael, they fit the attitudes or Damnation exceedingly well. Sombre, soothing, calm, any of these words would be a fairly accurate description of what's to be heard from the Opeth frontman. To go with Akerfeldt's impressive performance is the lyrical element of Damnation. With lines such as "I can't see the meaning of this life I'm leading / I try to forget you as you forgot me / This time there is nothing left for you to take, this is goodbye" or "Weaker now, drawing fluid from me / You kill me / I'm not afraid of what you have just done / But of what you've just become" this is obviously the most frightening or depressing aspect of Damnation. But don't let negativity of the lyrics turn you off from the album, as they fit the direction of Damnation very well, and are very powerful underneath Mikael Akerfeldt's voice.

Originally to be released as a double-disk album with Deliverance, Damnation was pushed back a few months after the release of the former. Yet, this isn't a problem at all and in fact might have been a rather good thing. Throughout the entirety of the eight track, 43 minute album, Damnation holds its own rather well. The obvious progressive rock influences work exceedingly well with the emotional, intertwining sound Opeth employs, as tracks such as In My Time of Need, Windowpane and Hope Leaves show listeners. This is probably my favourite of the Opeth albums I have heard, even without the extreme metal influences, as the song writing is superb, the feel of the album is excellent, and the subtle yet complex performances are quite enjoyable. A definite classic which I wholeheartedly recommend.

Mike Stagno

http://www.sputnikmusic.com/review/1...eth-Damnation/

[WalkGood]

Eric Clapton
Rainbow Concert
"Bottle of Red Wine" (in da morning )

[Marvin the Martian]

review[-]by Thom Jurek
Heritage, Opeth's tenth studio offering, finds the Swedish band abandoning death metal: no growled vocals, no blistering fast power riffs, no blastbeats. Mixed by Steven Wilson (Porcupine Tree, King Crimson) and engineered by Janne Hansson, Heritage is easily Opeth's most musically adventurous -- and indulgent -- recording. Written primarily by vocalist/guitarist Mikael Åkerfeldt, these ten songs are drenched in instrumental interludes, knotty key and chord changes, shifting time signatures, clean vocals, and a keyboard-heavy instrumentation that includes Mellotrons, Rhodes pianos, and Hammond organs -- ironic since keyboardist Per Wiberg left the band after Heritage was completed.

Opening with the title track, a haunting solo piano instrumental, it careens into the explosive "The Devil's Orchard," with spectacular, arpeggiatic guitar work by Fredrik Åkesson and matching drums by Martin Axenrot. With a huge, swirling B-3 in the backdrop, it melds progressive metal to prog rock, with Åkerfeldt's clear, clean singing. "I Feel the Dark" marries Åkerfeldt's classical guitar to piano, flute, a droning Martin Mendez bassline, and double-timed, quietly tense drum kit work. "Slither" sounds like Motörhead meeting early-'70s Deep Purple. "Nepenthe" begins as a ballad but shifts toward jazz-rock in the instrumental break before finding its way back to a middle ground with sparse instrumentation and taut dynamics. "Haxprogress" draws real inspiration from King Crimson; Mellotrons and nylon-string guitars give way to Åkerfeldt's crooning, thundering basslines, and syncopated drums.

At eight-and-a-half minutes, "Famine" is the album's most abstract cut, with guest Alex Acuña adding Latin percussion to the mix, creating spaciousness in a long intro before giving way to colliding prog rock at the seam where King Crimson's "Larks Tongues in Aspic, Pt. 2" meets Jethro Tull's "Thick as a Brick." "The Lines in My Hand" is the set's most aggressive cut, with a deeply satisfying guitar crunch. "Folklore," with its myriad instrumental and vocal parts, complex melody, and breakbeats, comes off as an eight-minute suite before closing with another jazz- and folk-inflected instrumental entitled "Marrow of the Earth." Love it or hate it, Heritage, for its many excesses -- and stellar conception and execution -- is a brave album. It opens the door for Opeth to pursue many new directions and reinvent themselves as a band.

[WalkGood]

[09:11] * WalkGood »» fb_2k ::: Eric Clapton - Eric Clapton's Rainbow Concert - 13 - Let It Rain ::: 4:24/7:46 (••••••••••) ::: 190 kbps ««

[Marvin the Martian]

review by Gregory Heaney

Opeth frontman Mikael Åkerfeldt and Porcupine Tree's Steven Wilson bring their prog powers as a duo on the self-titled debut of their new project, Storm Corrosion. Longtime admirers and musical collaborators, with Wilson acting as producer on some of Opeth's groundbreaking albums and Åkerfeldt appearing on some Porcupine Tree tracks, it was only a matter of time before these two made the jump from guests to co-conspirators on a new musical venture.

The end product is something altogether different from what fans of either band might expect, moving away from the rock and metal of the pair's main gigs in favor of a more flowing and expansive folk-touched sound. These spacious musical boundaries give the album a beautiful, dreamlike feeling as it drifts from track to track with a measured pace that shows off the highly refined songwriting ability being put to use on the record.

Given the nature of their earlier collaborations, fans diving into Storm Corrosion expecting a sequel to Blackwater Park are going to be disappointed as they unexpectedly hit the shallow end of the pool, but even though the album doesn't sound much like the metal masterpiece, that doesn't make it unworthy of a listener's attention, and anyone open-minded enough to approach the project without any expectations will be quickly swept off into the spacious perennial twilight created by these two master craftsmen.

[WalkGood]

[11:04] * WalkGood »» fb_2k ::: Afro-Cuban All Stars - Distinto, diferente (2001) - 10 - Homanaje a Martha Valdés ::: 0:10/4:36 (••••••••••) ::: 184 kbps ««

[Guitarzan]

You Tube

You Tube

[WalkGood]

[11:38] * WalkGood »» fb_2k ::: Doc Watson and Clarence Ashley - The Original Folkways Recordings, 1960-1962 (1994) - 48 - Wayfaring Pilgrim ::: 0:08/5:05 (••••••••••) ::: 192 kbps ««

[McDougal]

I actually like this better than Madness.
http://www.thisisfakediy.co.uk/artic...-song-of-2012/

You Tube

You Tube

[WalkGood]

[11:51] * WalkGood »» foobar2000 ::: Doc Watson and Clarence Ashley - The Original Folkways Recordings, 1960-1962 (1994) - 45 - Handsome Molly ::: 0:34/2:16 (•••••••••••) ::: 192 kbps ««

[WalkGood]

[12:04] * WalkGood »» foobar2000 ::: Doc Watson and Clarence Ashley - The Original Folkways Recordings, 1960-1962 (1994) - 40 - I'm Going Back To Jericho ::: 0:19/1:55 (••••••••••) ::: 192 kbps ««

[WalkGood]

Originally Posted by WalkGood

[12:04] * WalkGood »» foobar2000 ::: Doc Watson and Clarence Ashley - The Original Folkways Recordings, 1960-1962 (1994) - 40 - I'm Going Back To Jericho ::: 0:19/1:55 (••••••••••) ::: 192 kbps ««

Edit: this is syndrome music for sure