+++++ Hi-Res Audio Share +++++

ABBA – The Albums (9CD Box Set] (2008) [FLAC]

ABBA – The Albums (9CD Box Set] (2008) [FLAC]
flac – lossless | 3.06 GB | Pop

The Albums is a box set of recordings by the Swedish pop group ABBA. It was released on November 11, 2008, through Universal Music.The box set includes nine discs, the first eight are all of the original studio albums the way they were originally released between 1973 and 1981 while the ninth disc features all of the singles that were not released on the band’s studio albums along with some of the b-sides. It does not include rarities or extras.


Beach House – Studio Album Discography (2006-2012) [FLAC]

Beach House – Studio Album Discography (2006-2012) [FLAC]
flac – lossless | 1.29 GB | Indie Rock, Dream Pop

Despite its summery name, Beach House creates music that is dark, dreamy, and alluringly hypnotic. Baltimore residents Alex Scally and Victoria Legrand (the niece of French composer Michel Legrand) formed the duo in 2005, with Legrand’s hushed, Nico-like vocals and Scally’s delicate instrumentation paving the way for their first batch of songs. Within a year, Beach House had charmed indie music enthusiasts across the blogosphere with its languid songcraft, and the eerie warmth of “Apple Orchard” landed on Pitchfork’s Infinite Mixtape MP3 series in August 2006. Two months later, Beach House issued its eponymous debut album for Carpark. The band remained with the Carpark label for one additional album, 2008′s Devotion, before graduating to Sub Pop and releasing Teen Dream in early 2010. The duo built on the acclaim of Teen Dream with 2012′s Bloom, meticulously constructing a unified sound and vision meant to be experienced as an entire album rather than a collection of songs.


1. Beach House (2006)
2. Devotion (2008)
3. Teen Dream (2010)
4. Bloom (2012)


Beyoncé – Studio Album Discography (2003-2013) [FLAC]

Beyoncé – Studio Album Discography (2003-2013) [FLAC]
flac – losslesss | 6.92 GB | R&B

One of the most recognizable characters in modern-day R&B, Beyoncé first rose to fame as the siren-voiced centerpiece of Destiny’s Child before embarking on a multi-platinum solo career in 2001. Booming record sales, Grammy awards, movie roles, and marriage to rapper/CEO Jay-Z combined to heighten her profile in the 2000s, making the singer a virtual mainstay in the entertainment world. While some media outlets derisively championed Paris Hilton as “the next Marilyn Monroe,” Beyoncé was a much better contender for the role, her glittering pop culture persona only matched by her success onscreen and on record.

Born in Houston in September 1981, Beyoncé Giselle Knowles began performing at age seven, winning upwards of 30 local competitions for her dancing and vocal abilities. She also joined her cousin Kelly Rowland and classmates LaTavia Roberson and LeToya Luckett in forming an adolescent vocal group. Mathew Knowles, Beyoncé’s father and Rowland’s legal guardian, signed on to be the girls’ manager, eventually quitting his full-time job to focus on their efforts. This situation would ultimately lead to the creation of one of the most popular female R&B groups of all time — Destiny’s Child.

Destiny’s Child gained momentum throughout the ’90s, appearing on Star Search in 1992 (under the name Girl’s Tyme) and weathering several lineup changes before signing to Columbia Records in 1997. Four studio albums later, the group had officially become the best-selling female group of all time, with such smash hits as “Jumpin’ Jumpin’,” “Bills, Bills, Bills,” “Say My Name,” and “Survivor” bolstering the girls’ momentum despite a continued string of lawsuits from former members Roberson and Luckett (who contested Mathew Knowles’ management, claiming he withheld profits and unjustly favored his daughter and niece). In 2001, Beyoncé, Rowland and replacement member Michelle Williams allowed themselves a break from the group to pursue individual solo careers. Before landing several movie roles, Beyoncé became the first African-American female artist and second woman ever to win the annual ASCAP Pop Songwriter of the Year Award. An appearance in the MTV drama Carmen: A Hip Hopera quickly followed, but it was her role as Foxxy Cleopatra in 2002′s Austin Powers in Goldmember that established her as a true Hollywood star.

While her inclusion on the movie’s soundtrack failed to chart nationally, Beyoncé’s full-length solo debut, 2003′s Dangerously in Love, reached multi-platinum status. Featuring collaborations with Sean Paul, Missy Elliott, OutKast’s Big Boi, and romantic interest Jay-Z, the album spawned a total of four Top Ten singles and garnered the singer five Grammys. Destiny’s Child reconvened the following year to release Destiny Fulfilled; upon completing the resulting tour, the group issued one final album, a greatest-hits compilation entitled #1′s, and subsequently disbanded. Beyoncé turned her full attention to her burgeoning solo career, releasing the sophomore effort B’day in September 2006 and, three months later, turning in an award-winning performance for the movie musical Dreamgirls. The singer then embarked on the Beyoncé Experience concert tour, releasing a live DVD in November 2007.

The following year proved to be another busy one as Beyoncé landed the role of Etta James in Cadillac Records, a musical biopic that explored the heyday of Chicago’s Chess Records. Shooting commenced in February 2008, with Beyoncé also serving as co-executive producer. One month before the film’s December release, the singer released her third studio album, I Am…Sasha Fierce. The double-disc effort emphasized her two distinct personalities, allowing Beyoncé to explore both mainstream sounds and traditional R&B. Some live releases followed. Released in 2009, I Am…Yours, a CD/DVD set, documented an August 2009 performance at Wynn Las Vegas, while 2010′s I Am…World Tour, available in separate audio and video formats, was recorded at London’s significantly larger O2 Arena (a few months after the Vegas program). She followed ten Grammy nominations with 2011′s 4, which debuted at the top of the Billboard 200. One of her most energetic and empowering tracks, “Run the World (Girls),” was issued as the lead single, while “Love on Top” eventually won a Grammy for Best Traditional R&B Performance.

Giving birth to Blue Ivy Carter in January 2012 didn’t slow her down. Within a few months, she was performing in Atlantic City, and she later appeared at President Barack Obama’s second inauguration. Joined by Michelle Williams and Kelly Rowland, she headlined the Super Bowl XLVII halftime show. Life Is But a Dream, a documentary, first aired on HBO in February 2013, and was followed by appearances on albums by Rowland, the-Dream, and Jay-Z. New material, such as “Bow Down” and “Standing on the Sun,” trickled out without proper release. Then, on December 13 — with no preceding announcement — Beyoncé released a self-titled album, with accompanying videos, via iTunes. Her husband and daughter, along with Drake, Frank Ocean, and writer Chimamanda Ngozi Adichie (via a sampled TED talk), made guest appearances. Knowles, assisted by the likes of Hit-Boy, Pharrell, Timbaland, Justin Timberlake, and Miguel, co-wrote and co-produced the majority of the album’s

2003 – Dangerously in Love
2006 – B’Day
2007 – B’Day [2-CD Deluxe Edition]
2008 – I Am… Sasha Fierce [Deluxe Edition]
2011 – 4 [Deluxe Edition]
2013 – Beyoncé [CD+DVD]

Album artwork is also included. Enjoy


Bloc Party – Discography (2004-2013) [FLAC]

Bloc Party – Discography (2004-2013) [FLAC]
flac – lossless | 3.06 Gb | Indie Rock

Equally inspired by Sonic Youth, Joy Division, Gang of Four, and the Cure, East London art punkers Bloc Party mix angular sonics with pop structures. Consisting of singer/guitarist Kele Okereke, guitarist Russell Lissack, bassist/singer Gordon Moakes, and drummer Matt Tong, the band was formerly known as Angel Range and Union before settling on Bloc Party. Okereke and Lissack met each other through mutual friends at the Reading Festival, and discovered that they had musical tastes as well as friends in common. Tong and Moakes soon joined their collaboration, and under the name Union, the quartet issued a demo in early 2003; later that year, they switched their name to Bloc Party.

The group’s demo and concerts began to attract attention from both the press and their peers; Okereke sent a copy of the demo to Franz Ferdinand, who invited them to play at the Domino tenth anniversary bash in fall 2003. Early the following year, the band released one of the demo’s tracks, “She’s Hearing Voices,” as a single on Trash Aesthetics. A few months later, Banquet/Staying Fat arrived on Moshi Moshi. That spring, Bloc Party signed to Wichita to release their full-length album in the U.K., and to Dim Mak for U.S. distribution. The band spent summer 2004 recording and touring. Late that summer, Bloc Party, which collected the band’s first two singles, arrived in the States.

Their debut album, Silent Alarm, appeared early in 2005 and was released by Vice Records in the States to widespread acclaim. Later that year, Silent Alarm Remixed capitalized on the band’s burgeoning popularity, as did the 2006 EP Helicopter. A Weekend in the City, Bloc Party’s second proper album, followed in 2007. A Weekend in the City leaked onto the Internet months before the album’s street date, which inspired Bloc Party to issue their third album, Intimacy, online in late summer 2008; the album was released on compact disc that fall. Late in 2009, Bloc Party went on hiatus and Okereke began working on songs on his own, moving to Berlin and collaborating with producers Hudson Mohawke and XXXchange in New York on a solo album. In 2010, the single Tenderoni arrived, revealing that Okereke’s solo work was more dance-oriented than his music with Bloc Party. His full-length debut, The Boxer, arrived in summer 2010. Meanwhile, Moakes formed a side project, Young Legionnaire, with the Automatic’s Paul Mullen and La Roux’s William Bowerman. The following year, Bloc Party reunited to record their fourth album; that July, the lead single “Octopus” showed that the band had returned to the angular, guitar-heavy sound of their earlier work. Four arrived in August 2012. The band’s contribution to !K7′s mix series Tapes, which featured cuts by Wiley, Junior Boys, and Fela Kuti, arrived the following October.


2004 – Bloc Party [EP]
2004 – Little Thoughts [Japan EP]
2005 – Silent Alarm
2005 – Silent Alarm Remixed
2007 – A Weekend in the City
2008 – Intimacy [US Bonus Tracks]
2009 – Intimacy Remixed
2012 – Four [Deluxe Edition]
2012 – Four More [Promo EP]
2013 – The Nextwave Sessions [EP]

Album artwork and rip logs are included. Enjoy!


Bon Iver – Studio Discography (2008-2011) [FLAC]

Bon Iver – Studio Discography (2008-2011) [FLAC]
flac – lossless | 470 MB | Indie Folk

Justin Vernon began recording under the nom de band Bon Iver following the breakup of DeYarmond Edison, an indie folk group similar in tone and manner to Iron & Wine, Little Wings, and — to a certain extent — Bonnie “Prince” Billy. Vernon’s solo project took DeYarmond Edison’s introspective, folky sound and embellished it with squinchy, quirky orchestral touches that nodded to Sparklehorse and the drifty optimism of the Flaming Lips. Vernon moved back to Wisconsin the winter following DeYarmond’s demise, setting up camp in a remote cabin in the north woods for three months. It was a hugely generative period for Vernon; writing and recording songs in 12-hour bursts, he found himself with a nine-song debut album by spring. He dubbed the project Bon Iver (an intentional misspelling of the French for “good winter”), and the disc, For Emma, Forever Ago, was released on Jagjaguwar in early 2008.

Joined in his live shows by Sean Carey, Vernon toured throughout the eastern U.S. and Canada throughout the remainder of the year, sharing the stage with like-minded singer/songwriter Elvis Perkins. As the year progressed, the album became quite popular with both the buying public and critics, eventually landing on a number of “best of 2008″ year-end lists. In January 2009, Bon Iver returned with an EP of old and new songs titled Blood Bank. One of Vernon’s fans turned out to be Kanye West, who brought him to Hawaii later that year to add vocals to a couple tracks on West’s 2010 album, My Beautiful Dark Twisted Fantasy. When it came time to return to Vernon’s own music, he continued stretching his legs by composing orchestral, lushly arranged folk songs that turned their back on For Emma’s intimate sound. The new tunes were released during the following summer as Bon Iver. It received generally positive reviews, topped the charts in several countries, and hit number two in America. In February 2012, Bon Iver won two Grammy awards: Best Alternative Album and Best New Artist.

2008 – For Emma, Forever Ago
2009 – Blood Bank [EP]
2011 – Bon Iver, Bon Iver

Album artwork and rip logs are included. Enjoy!


Global Deejays – Network (2005) [FLAC]

Global Deejays-Network-CD-FLAC-2005-MAHOU Download

Global Deejays-Network-CD-FLAC-2005-MAHOU

Description :

Artist Global Deejays
Album Network
Bitrate 949 kbps
Source CD
Label Superstar Recordings
Year 2005
Rip date 2014-06-20
Store date 2005-06-27
Genre House
Size 321,MB
Encoder FLAC 1.2.1 -8 -V

1. Intro 1:14
2. Stars On 45 4:43
3. What A Feeling (Flashdance) (Clubhouse 3:33
Album Mix)
4. Lonely 4:27
5. Global Deejays ID 0:22
6. The Sound Of San Francisco (Progressive 3:44
Album Mix)
7. Mr. Funk 3:32
8. Shock Me 3:30
9. Global Network ID 0:17
10. Clap Your Hands 4:44
11. Global Network Signation 0:28
12. Happy Station 4:01
13. Commercial Break 0:25
14. Its The Music (Remix) 3:58
15. What A Feeling (Flashdance) (Progressive 3:16
Album Mix)
16. Talkbox 3:26

CAT: SPV CD-E 183052

Accept – Blind Rage (Bonus DVD) (2014) [FLAC]

Accept-Blind Rage-Bonus-DVD-FLAC-2014-FORSAKEN Download

Accept-Blind Rage-Bonus-DVD-FLAC-2014-FORSAKEN

Description :

Artist : Accept
Album : Blind Rage
Label : Nuclear Blast
Genre : Metal
Source : Bonus DVD / 2ch / LPCM / Overall BR: 1536kbps
Street Date : 2014-00-00
Quality : 1138kbps / 48.0kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 1035.90 MB
Time : 119:57min
Url : http://www.acceptworldwide.com/band/

1. Intro (Live In Chile) 1:01
2. Hung, Drawn And Quartered (Live In Chile) 4:20
3. Hellfire (Live In Chile) 5:39
4. Restless And Wild (Live In Chile) 4:27
5. Losers And Winners (Live In Chile) 4:27
6. Stalingrad (Live In Chile) 6:07
7. Breaker (Live In Chile) 4:29
8. Bucket Full Of Hate (Live In Chile) 4:55
9. Monsterman (Live In Chile) 3:02
10. Shadow Soldiers (Live In Chile) 6:10
11. Amamos La Vida (Live In Chile) 4:22
12. Guitar Solo Wolf (Live In Chile) 3:21
13. Neon Nights (Live In Chile) 6:25
14. Bulletproof (Live In Chile) 7:49
15. Aiming High (Live In Chile) 4:21
16. Princess Of The Dawn (Live In Chile) 7:51
17. Up To The Limit (Live In Chile) 4:39
18. No Shelter (Live In Chile) 5:50
19. Pandemic (Live In Chile) 5:26
20. Fast As A Shark (Live In Chile) 4:55
21. Metal Heart (Live In Chile) 6:25
22. Teutonic Terror (Live In Chile) 5:17
23. Balls To The Wall (Live In Chile) 8:39

This material/performance is the product of a sweet performance
in Chile, circa 2013.

Friedrich der Grosse – Graun, Nichelmann, C.P.E Bach, Friedrich II: Music for the Berlin court (2012) [Qobuz 24-96]

Friedrich der Grosse – Graun, Nichelmann, C.P.E Bach, Friedrich II: Music for the Berlin court (2012)
FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.32 GB
Genre: Classical | Official Digital Download – Source: Qobuz

The year 2012 marks the tercentenary of the birth of Frederick the Great, whose political and military glory has often relegated his musical talent to the status of a mere hobby. But Frederick II was not only the key personality of Berlin musical life for the whole of the 18th century – as is shown by the works of the composers presented on this CD, all of whom worked at his court at some point in their careers – but also an excellent flautist who left posterity a number of fine flute sonatas from his own pen.

The Akademie für Alte Musik Berlin celebrates its 30th anniversary in 2012. Formed in East Berlin in 1982, Akamus can pride itself on an outstanding reputation and an exceptional career: it has been a welcome guest in all thegreat musical institutions of Europe, Asia and North and South America. In 2011, the ensemble took in its stride operatic productions in nine European countries, an extended tour of the USA and its first tour to China.

The group gives around one hundred concerts a year, with varied forces, under the direction of its different Konzertmeisters: Midori Seiler, Stephan Mai, Bernhard Forck, Georg Kallweit; or guest conductors such as Marcus Creed, Daniel Reuss and Hans-Christoph Rademann. The Akademie’s collaboration with René Jacobs, which started almost 25 years ago, has turned into a genuine artistic partnership. The productions resulting from their work together have been enthusiastically acclaimed both on stage and on record: their recording of ‘Die Zauberflöte’ was distinguished with an Editor’s Choice in Gramophone and BBC Music Choice. More recently ‘Agrippina’ has been shortlisted for a BBC Music Award in April 2012.

Since 1994, the Akademie für Alte Musik Berlin has recorded exclusively for harmonia mundi.

Composer: Johann Gottlieb Graun, Christoph Nichelmann, Frederick the Great, Carl Philipp Emmanuel Bach
Orchestra/Ensemble: Academy for Ancient Music Berlin

Reviews: Released to coincide with the 300th anniversary of the birth of Frederick the Great, Akademie für Alte Musik Berlin’s album of music from the Potsdam court is a strong-willed tribute to the strong-willed monarch’s musical achievements, both as a composer himself—he studied with the composer and pedagog Quantz—and as impresario, surrounding himself with some of his age’s finest performers and composers.

Johann Gottlieb Graun (1703–71) is represented here by two works. Sometimes overshadowed by the achievements of his brother Carl Heinrich (1704–59), one of the most important German mid-century composers of Italian opera, Johann Gottlieb worked at Frederick’s court as a violinist and composer. His Overture and Allegro in D Minor are fine examples of a composer who deserves more recognition than he is currently receiving. The overture in the French style receives a stylish and rivetingly precise treatment at the hands of Stephan Mai (directing from the violin) and the orchestra. This is a group that is not afraid to explore contrast in dynamic, articulation, and color, including experimenting with scoring; the repeat of the allegro in the overture opens with winds and no strings, highlighting the rich and reedy sound of oboists Xenia Löffler and Michael Bosch and bassoonist Christian Beuse.

Graun’s A-Minor Gamba Concerto is a real monster. One of five concerti that Graun wrote for Frederick’s court gambist, the virtuoso Ludwig Christian Hesse, the piece clocks in at nearly 25 minutes. The first movement is tempestuous, with sudden silences and dramatic ebbs and flows, demanding virtuosity and precision from not only the soloist but the orchestra as well. A tender Arioso in C Major provides a respite from the drama, but does not let up on the technical demands, while the closing Allegro blends fireworks with elegant restraint. Gambist Jan Freiheit handles the demanding solo part with grace and power. However, the recording’s engineering does not do him any favors, creating a thunderously booming bass while leaving the gamba’s highest register sounding waifish and whiny at times. It simply cannot compare to the depth, power, and sparkle of Vittorio Ghielmi’s 1998 recording of the same concerto with Limoges Baroque Ensemble (Astrée 8617).

Christoph Nichelmann (1717–62) studied with both Johann Sebastian and Wilhelm Friedemann Bach, and served as second harpsichordist at Frederick’s court from 1745 to 1756. The Concerto in C Minor on this album, one of at least 20 concerti for harpsichord and orchestra Nichelmann composed, shows the stylistic influence of both the elder Bach and the newer empfindsamer , or sensitive style, championed by C. P. E. Bach and the Grauns, and even points toward early Classicism. On this recording, keyboardist Raphael Alpermann plays the solo on fortepiano, but delivers a puzzling interpretation. While his articulation is searingly crisp and perfectly executed, he does not fully take advantage of the fortepiano’s expressive capabilities through techniques carried over from expressive harpsichord playing, such as rolling chords for greater emphasis or slightly dislocating a melody note as an accent. The result is disconcertingly reminiscent of Glenn Gould’s Bach recordings, and odd, considering Alpermann’s stylish, rhythmic, and expressive harpsichord playing on the Graun and Bach works and his fortepiano continuo on Frederick the Great’s Flute Sonata in C Minor, a pleasant work with its most interesting feature being its dramatic opening recitative.

The album closes with C. P. E. Bach’s quirky and fun Symphony in D, once again demonstrating the orchestra’s ability to turn on a dime, bringing out the striking tempo and affect changes that define the younger Bach’s style. The second movement is a tender accompanied duet between flute and viola da gamba, elegant and refined, and beautifully played by gambist Freiheit and flutist Christoph Huntgeburth. As on the rest of the album, the soundstage is close, yet wide enough to capture the space between instruments. Except for the unfortunate EQ problems with the gamba concerto, it makes for a delightful if idealized listening experience, with every instrumental color coming through clearly and independently without sacrificing blend and a sense of space, important conditions necessary for this capricious, witty, and highly expressive music to come alive.

1. Ouvertüre und Allegro in A Minor, GraunWV A:XI:2: I. Ouvertüre (Lento – Allegro) 8:22
2. Ouvertüre und Allegro in A Minor, GraunWV A:XI:2: II. Allegro 3:25
3. Concerto per il Cembalo Concertante in D Minor, D-B M. TH. 169: I. Allegro 7:26
4. Concerto per il Cembalo Concertante in D Minor, D-B M. TH. 169: II. Adagio sempre piano 6:13
5. Concerto per il Cembalo Concertante in D Minor, D-B M. TH. 169: III. Presto 3:46
6. Sonata, per il Flauto Traverso Solo e Basso in C Minor, “pour Potsdam No. 190″: I. Recitativo 2:09
7. Sonata, per il Flauto Traverso Solo e Basso in C Minor, “pour Potsdam No. 190″: II. Andante et Cantabile 5:09
8. Sonata, per il Flauto Traverso Solo e Basso in C Minor, “pour Potsdam No. 190″: III. III. 1:29
9. Concerto Per Il Viola Da Gamba Concertata In A Minor, Graunwv A:XIII:14: I. Allegro Moderato 10:14
10. Concerto Per Il Viola Da Gamba Concertata In A Minor, Graunwv A:XIII:14: II. Adagio (Arioso) 6:56
11. Concerto Per Il Viola Da Gamba Concertata In A Minor, Graunwv A:XIII:14: III. Allegro 7:14
12. Sinfonie No. 1 in D Major, Wq. 183, 1: I. Allegro di molto 5:47
13. Sinfonie No. 1 in D Major, Wq. 183, 1: II. Largo 1:34
14. Sinfonie No. 1 in D Major, Wq. 183, 1: III. Presto 2:51


Fontana: Sonate A Violino ed altri strumenti – Daniel Cuiller, Stradivaria (2014) [Qobuz 24-88.2]

Fontana: Sonate A Violino ed altri strumenti – Daniel Cuiller, Stradivaria (2014)
FLAC (tracks) 24 bit/88.2 kHz | 1 CD | Digital Booklet | 940 MB
Genre: Classical | Official Digital Download – Source: Qobuz

Born in Brescia around 1571, Giovanni Battista Fontana lived in Venice, Rome and Padua, where he died during the plague of 1630. His music surprises by the mastery of counterpoint, the simplicity and the expression of its slow movements, the complexity of its ornamentation and the elegant vivacity of its short dance sections. Nicknamed ‘dal Violino’ and described as “one of the most singular virtuosos the age has seen”. Fontana has left us an outstanding example of early Baroque instrumental music. On this release, Daniel Cuiller leads the ensemble Stradivaria in a selection of sonatas.

1. Sonata undecima a due violini col basso (7:36)
2. Sonata 4 a violino solo e basso (5:19)
3. Sonata 1 a flauto solo col basso (3:56)
4. Sonata 5 a violino sol e basso (5:42)
5. Sonata ottava a due violini col basso (5:52)
6. Sonata 2 a violino solo e basso (6:40)
7. Sonata 3 a flauto solo col basso (4:57)
8. Sonata 6 a violino solo e basso (6:19)
9. Sonata settima a due violini col basso (4:59)


Grace Jones – Nightclubbing (1981) [Deluxe Edition 2014] {Blu-Ray Audio Rip 24bit/96kHz}

Grace Jones – Nightclubbing (1981) [Deluxe Edition 2014]
FLAC (tracks) 24 bit/96 kHz | Time – 115:25 minutes | 2,6 GB
Blu-Ray Audio Rip | Sourced Track – LPCM 2.0 Stereo | No Art
Genre: Electronic, Funk, Soul

In a career of myriad highlights ‘Nightclubbing’ remains the high water mark of Grace Jones’s imperial years with Island Records. It is indisputably the album on which her musical legacy rests, and rightly considered one of the greatest albums of all time. A sophisticated mêlée of sound, blending post-punk cool with a hot Caribbean vibe and a catwalk Studio 54 sensibility, it’s a perfect example of artist and musicians working in complete accord. It contains the all-time Grace classics in ‘Pull Up To The Bumper’, ‘Walking In The Rain’, ‘Demolition Man’ (written by Sting) and of course the Bowie / Iggy Pop-penned title track. There is magic in its every groove.

By all means a phenomenal pop album that hit number nine on the black albums chart and crossed over to penetrate the pop charts at number 32, Nightclubbing saw Grace Jones working once again with Sly Dunbar, Robbie Shakespeare, and the remainder of the Compass Point team. Nightclubbing also continues Jones’ tradition of picking excellent songs to reinterpret. This time out, the Police’s “Demolition Man,” Bill Withers’ “Use Me,” and Iggy Pop’s “Nightclubbing” receive radical reinterpretations; “Nightclubbing” is glacial in both tempo and lack of warmth, while both “Use Me” and “Demolition Man” fit perfectly into Jones’ lyrical scheme. Speaking of a lyrical scheme, “Pull Up to the Bumper” (number five black singles, number two club play) is so riddled with naughty double entendres — or is it just about parallel parking? — that it renders Musique’s “In the Bush” as daring as Paul Anka’s “Puppy Love.” Drive it in between what, Grace? It’s not just lyrics that make the song stick out; jingling spirals of rhythm guitar and a simplistic, squelching, mid-tempo rhythm make the song effective, even without considering Jones’ presence. Sly & Robbie provide ideal backdrops for Jones yet again, casting a brisk but not bristly sheen over buoyant structures. Never before and never since has a precisely chipped block of ore been so seductive.

01 – Walking In The Rain
02 – Pull Up To The Bumper
03 – Use Me
04 – Nightclubbing
05 – Art Groupie
06 – I’ve Seen That Face Before (Libertango)
07 – Feel Up
08 – Demolition Man
09 – I’ve Done It Again
10 – Demolition Man [12'' Version]
11 – Pull Up To The Bumper [Long Version]
12 – I’ve Seen That Face Before (Libertango) [12'' Version]
13 – Walking In The Rain [12'' Version]
14 – Pull Up To The Bumper [Remixed Version]
15 – Use Me [Long Version]
16 – Pull Up To The Bumper [Party Version]
17 – Feel Up [Extended Version]
18 – Pull Up To The Bumper [1985 Remix]
19 – Peanut Butter (Pull Up To The Bumper) [Instrumental]
20 – If You Wanna Be My Lover
21 – Me! I Disconnect From You
22 – Esta Cara Me Es Conocida (I’ve Seen That Face Before (Libertango)) [Album Version]

Tracks “10-22″ is bonus tracks on this remastered edition.


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