Tribute to Joe Zawinul

Immediately recognisable with his col-ourful woollen hat, Zapata moustache and huge sideburns, Joe Zawinul was a vivid and individual musical personality who wrote some of the best-known standard tunes in jazz and pioneered the use of electronic keyboards.
As a member of Cannonball Adderley’s band in the 1960s he composed their best-known piece, the Grammy-winning Mercy, Mercy, Mercy.As a colleague of Miles Davis in 1969, he wrote the title track for the seminal fusion album In a Silent Way, and in addition to the 1976 disco hit Birdland he also wrote a sizeable proportion of the remaining repertoire for the band Weather Report, which he coled with Wayne Shorter. More recently his Zawinul Syndicate band fused elements of world music into jazz, using keyboard samples and a range of Native North American, African, Asian and Latin American musicians.
Josef Erich Zawinul was born in 1932 in Vienna, where he attended the music conservatory and played his first professional engagements as a jazz and dance band musician, before moving on swiftly to studio work and broadcasting. For a time he was the house pianist for Polydor records, and worked with his fellow countrymen Friedrich Gulda and Hans Koller.
But postwar Austria was not the place to make a reputation as an international jazz player, and when Zawinul won a scholarship to the Berklee School of Music in Boston in 1959, he took the opportunity to emigrate to the US, and seek his fortune there.
His time at Berklee was short, because he swiftly landed the job as the pianist in Maynard Ferguson’s powerhouse big band, and opted to go on the road with this dramatic and exciting group, which featured its leader’s flamboyant trumpet and the saxophone of the young tenorist Wayne Shorter, who was to become a lifelong associate of Zawinul. Initially, however, their paths diverged, as Shorter went off to join Art Blakey, while Zawinul became the accompanist to the singer Dinah Washington, before joining the alto saxophonist Cannonball Adderley’s band in 1961.
This was the group that made his name, both for his forceful gospel-inspired piano playing and for his capacity to write chart successes for Adderley and his cornet-playing brother Nat, such as Mercy, Mercy, Mercy and the later Country Preacher. Towards the end of the 1960s Zawinul left Adderley and began working with Miles Davis, in particular contributing to the studio albums In a Silent Way and Bitches Brewin which Davis charted out new territory in the hinterland between jazz and rock.
A significant element of this was Zawinul’s use of electronic keyboards. He had begun to use the Fender Rhodes and Wurlitzer electric pianos in Adderley’s band, altering the ensemble sound to something which was perceived at the time as less dated and hidebound by tradition than the acoustic piano.
In due course, and beginning with Davis, Zawinul added a range of synthesizers to the instruments he used, and by the time he formed Weather Report with Shorter at the end of 1970, the idea of using electronic samples as additional tone colours was an essential ingredient of his style. Few musicians in jazz have been as influential in determining the sound of an entire branch of the music, and Zawinul’s command of the ARP, Oberheim and Prophet synthesizers set the standard for jazz-rock fusion throughout the 1970s.
He and Shorter jointly led Weather Report until 1985. Over the years such players as the bassists Miroslav Vitous and Jaco Pastorius, the drummers Alphonse Mouzin and Peter Erskine and the percussionists Alex Acu?a and Airto Moreira passed through the lineup, and the band made a series of extremely influential recordings, including I Sing the Body Electric, Heavy Weatherand Black Market.Several critics have identified this band as changing the way jazz musicians improvise, because of the way soloists were made to function within the context of the overall ensemble, reexamining notions of collective improvisation that to some extent had been dormant since the 1920s.
Zawinul’s finest playing dates from the 1970s period of Weather Report, with an ability to infuse performances with boundless energy and drive – the finest example of which was the Birdland opening with synthesized bass notes that introduce stabbing, urgent keyboard phrases that underpin the repetitive main theme.
In later years the energy was sometimes quick to subside, and somewhat theatrical effects took over from genuine musical substance. This was particularly true of his most recent band Zawinul Syndicate. The Times critic wrote of their appearance at Ronnie Scott’s in 2002 that it was like “a latterday Weather Report without the tunes. Most numbers involve setting up a heavy groove from drummer Paco Sery, guitarist Amit Chatterjee and bassist Etienne Mbappe, decorating it with percussion and wordless vocals from Sabine Kabongo, and then waiting for Zawinul to drop in thunderous riffs or ethnic samples from his battery of keyboards.”
Such internationalism was a Syndicate hallmark, but too often it lacked the dash of inspiration that had made Weather Report a cut above the fusion standard.
More recently Zawinul had once more been active in his native Austria, receiving several awards for his services to jazz, and opening a club in Vienna. There he recorded his most successful recent album, Brown Street, a collaboration with the WDR Big Band, revisiting several of his famous compositions with considerable verve.
Joe Zawinul, jazz keyboard player, bandleader and composer, was born on July 7, 1932. He died of cancer on September 11, 2007, aged 75

Source

FM

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A+

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06

Morbid - Live from the past

Even though the band is long history already, Sweden's MORBID more and more established themselves over the years as a cult act with only one official demo ("December Moon") released back in 1987... Part of the reason most certainly is the fact that their vocalist at the time was no other than Per Yngve Ohlin (better known as "Dead"), who quickly became an icon as a member of Norway's MAYHEM and even more after he committed suicide! What a lot of people seem to forget is that also Lars Goan ("L.G.") Petrov and Ulf "Uffe" Cederlund (nowadays both to be found in ENTOMBED) started their career in this legendary act...

Tracklist:

1. My Dark Subconsious (Demo 1987)
2. Death Execution (Rehersal 1987)
3. Necrodeath (Rehersal 1987)
4. From The Dark (Rehersal 1987)
5. My Dark Subconsious (Live Sept. 1987)
6. Necrodeath (Live Sept. 1987)
7. Disgusting Semla (Live Sept. 1987)
8. From The Dark (Live Sept. 1987)
9. Wings Of Funeral (Demo 1987)

REPOST

SAFELINKS RIP

Genesis - Au Parc des Princes

Source

ADAT

Sound Quality

A+

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mp3

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192

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19

Marduk - Le Grand Live Macabre

Source

AUD

Sound Quality

A

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mp3

Bitrate

128

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15

the Beatles - Worldwide

Taped by Swedish national radio to be aired some two weeks later on Monday November 11. An exciting and highly enjoyable set of seven songs, twenty-five minutes long. Produced by one Klas Burling, the programme also hosted local talents Masse Rosen and the Norsmen.
The Beatles' short tour of Sweden in late October 1963 was their first Concert trip abroad as a popular foursome. The boys left for Sweden on the afternoon of Wednesday October 23, 1963, after having completed recordings at Abbey Road for their second LP, "With The Beatles'. A total number of nine live performances were scheduled, at the Karlstad Sundsta Larovefk, the Stockholm Kungliga Tennishallen, the Goteborg Lorensbergsparken Cirkus, the Boras Borashallen and the Eskilstuna Sporthallen. The evening of Wednesday October 30 saw the 'fab tour' record a TV show for Svenges Television at the Stockholm Narrenteatern. Presented by the same Klas Burling, the programme, called 'Drop In1, taped a performance of four songs and The Beatles clapping along with the closing theme tune (screened November 3). 1 laving conquered Sweden in just seven days, the Beatles left for London and home in the early hours of Thursday October 31, 1963, to receive their fust fan-packed airport reception.

01 Interview with Swedish radio
02 Intro - I saw her standing there
03 With love from me to you
04 Money
05 Roll over Beethoven
06 You realy gotta hold on me
07 She loves you
08 Twist and Shout

Source

FM

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A+

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mp3

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128

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08

Mark Lanegan Band - the Milan Miracle

Mark Lanegan's solo albums are sufficiently dissimilar in tone from those of his regular group, Screaming Trees, to make listeners wonder where his true interests lie. His records often employ a much more acoustic tone, and address much more serious, personal concerns. Despite ample critical acclaim, Lanegan always kept the Screaming Trees his primary concern (that is, until their breakup). The original plan for Lanegan's first solo recording was to do an EP of blues songs with Nirvana's Kurt Cobain and Chris Novoselic, as well as Screaming Trees drummer Mark Pickerel. That didn't work out, and The Winding Sheet ended up being recorded with Pickerel, guitarist Mike Johnson (later bassist in Dinosaur Jr.), and noted producer Jack Endino on bass. Released in 1990, the album included a cover of the Leadbelly folk number "Where Did You Sleep Last Night?" from the aborted sessions with Cobain and Novoselic; it became the basis for Nirvana's version on MTV Unplugged. Despite a good reception from the underground, it took until 1994 for Lanegan's brilliantly assured follow-up, Whiskey for the Holy Ghost, to surface, which again featured Johnson in a prominent role. Afterwards, Lanegan once again returned to Screaming Trees for what proved to be the band's final album, 1996's Dust. With the Trees on hiatus, Lanegan resumed his solo career with 1998's Scraps at Midnight, which followed in the vein of its predecessors. The follow-up appeared much more quickly this time; 1999's I'll Take Care of You was a quietly stunning covers album drawing on Lanegan's interest in roots music. Two years later, Field Songs arrived.

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AUD

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A+

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mp3

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224

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20

Bootleg Artwork - Ozzy Osbourne: Live 7inches;

Bootleg Artworks ranges from proffessional finest design to the cheap collage & photocopy Job. Here is a new collum on the Smuggled Sounds Blogs.

If you have any Bootleg LP or CD from famous labels pls email them to me– 500pxl max -

Ozzy Osbourne – Live Limited edition 500 copies Labeled Iron maiden in the Inside

Butthole Surfers - Roseland Buttleg

PART 1 PART 2

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DAUD

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A+

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224

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24

Floetry - Manchester Say Yes

Floetry is an English R&B, soul, neo soul, and hip hop duo. The members of the group are singer/songwriter Marsha "the Songstress" Ambrosius and rapper, MTV personality and radio hostess Amanda Diva. Amanda Diva temporarily replaced member Natalie "The Floacist" Stewart. Original members Marsha and Natalie met through their love of basketball and formed a friendship. Ambrosius attended Brits Performing Arts School and studied business and finance. Stewart experimented with acting and directing. For college, Ambrosius planned to attend the Georgia Institute of Technology in Atlanta, Georgia on a basketball scholarship but could not due to an injury. Stewart attended Middlesex University in London and later transferred to North London University. During these years, both women continued to keep in touch. she was part of a girl group named 3 Plus 1. After the split of the group, she and Ambrosius decided to concentrate on a group together.
They began their career as songwriters in 1997. They have written for Jill Scott, Jazz of Dru Hill, Glenn Lewis, Bilal, and Michael Jackson, for whom they penned the hit 2002 single "Butterflies".
In 2000, the duo moved to the United States to further pursue their music career. After frequenting such Atlanta spoken word/poetry spots such as Yin Yang Cafe (to rave reviews), they moved on to Philadelphia. There they met J. Erving, son of basketball player Julius Erving. He became the manager of the group and introduced them to DJ Jazzy Jeff. In 2002, they signed with DreamWorks Records and released their debut album Floetic, which featured the singles "Floetic", "Say Yes", and "Getting Late". The album was also released in the UK with additional tracks, one of which features British singer/songwriter and producer Sebastian Rogers. Floetry released a live album titled Floacism in 2003. The two-disc set consisted of a CD and DVD and included the single "Wanna B Where U R (Thisizzaluvsong)" featuring rapper Mos Def. Their third album Flo'Ology was released in November 2005 and included the single "Supastar" featuring rapper Common.

Source

DAB

Sound Quality

A+

Format

mp3

Bitrate

224

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11

Joe Bonamassa - Denver Blues

Source

AUD

Sound Quality

A+

Format

mp3

Bitrate

128

Tracks

08

the Verve - Wigan Demos

Tracklist:

1. The Sun The Sea
2. Here She Comes
3. Slide Away (1st Take)
4. Open Your Eyes (It's Worth It)
5. The Higher I Go
6. All In The Mind
7. Just To See You Move
8. Who's Clean
9. Verve Are Rising
10. Slide Away (2nd Take)

relinked & reposted

RIP safelinks

Heaven And Hell - the Sign Of The Swedish Cross

The band were absolutely fantastic epecially Dio was in great voice (something I was worrying about after last years 25th year anniversary show for Holy Diver) and seemed to have a lot of fun.
His voice was just fantastic and he did some nice vocal improvisations during Vodoo especially.
Iommi was also in great form and did some lengthy guitar improvisations at the start of Die Young and especially in Heaven and Hell.
This being the only real difference that I recognised as that jamming bit in Heaven and Hell was at least three/four minutes longer in Sweden Rock than in Denmark.
Both nights also included Geezer "fingering away" HEAVYLY in this jam bit .. Besides both nights his bass was turned to Volume 10 or thereabouts . it was HEAVY . Vinnie was no disappointment either he always was on the heavy side of drumming. What was somewhat disappointing though was that only one of the (to me brilliant) three new songs was played and that the set was two/three numbers short to what you Yankey lot got earlier this year.. Than again you didn't have the jamming in Heaven and Hell...
Also in Copenhagen the crowd was a bit on the old side ( I am fifty next year so better shut up maybe . but I can still headbang with the wild bunch) and quite lethargic. Obviously at the Sweden Rock festival there was a much younger and more vocal crowd which made it a better spectacle over all. Both gigs we were near the front ten rows at a wild guess and if my old a trusted pocket camera did deliver (against better believe) I will send some pics in a week or so if worthwhile. Still all I can see if this band of newcomers will be around your area ( make that within a couple of hundred miles) you have to go the are absolutely fantastic and sure a s hell can still deliver a shiver down your spine or a tear to your eye with some of those classic songs. Concert Review by Fam Schulz + Wolter

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AUD

Sound Quality

?

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mp3

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?

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14

Bootlegger Stories - We Were Falling In Love

On The 29th September 1964 Mick Jagger And Keith Richards Entered The Regent Sound Studios In London, And Recorded "We Were Falling In Love” Along With I Rely On You. A Hand Full Of Laquers Were Cut From The Sessions Which Were Intended For Demo Purposes Only." We Were Falling In Love" Was Given To The Manager Of Mark Wynter Who Was A Good Friend Of Oldham's, And It Also Seemed The Sort Of Song That Would Suit Marks Style, Although He Never Recorded It. 30 Years Later A Dutch Record Dealer Purchased A Large Selection Of Records From A Garage That Was Once Owned Dy Mark Wynter. Amongst The Piles Of Acetates, The One-Sided Laquer Of "We Were Falling In Love" Was Found. Virtually Unplayed, Mildew However Was Covering Over Half The Playing Surface. After Careful Cleaning It Was Digitally Re-Mastered Onto Dat Tape, And Then Cut Onto What You Are Holding Now. There Is Some Sorface Noise, Rut The Overall Souhd Is Loud And Clear. Many Thanks To Klaus Wijnen, For Allowing The Use Of This Track, Which Is A Further Piece Of The Fascinating Rock Jigsaw.

Hall and Oates - Live & Exclusive

Daryl Hall and John Oates met in 1967 but after a brief spell performing together they went their separate ways. However, two years later they got back together and were soon discovered and signed to a recording contract. They have since become well known for their 'white soul singing' with hits including: 'Maneater', 'I Can't Go For That (No Can Do)', 'She's Gone', 'Sara Smile', 'Rich Girl' and 'Kiss On My List'.

Source

FM?

Sound Quality

A+

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mp3

Bitrate

224

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11

Mark Knopfler and Emmylou Harris - Under the stars over Berkeley

IF YOU'RE in the market for a duet partner, Emmylou Harris should be right at the top of your list.
She has dueted memorably with Linda Ronstadt, Dolly Parton and even Dave Matthews and Conor Oberst of Bright Eyes. Heck, Harris is so masterful she could probably even make a duet with Britney Spears sound good (not that we necessarily want to hear that).
So it's no surprise that former Dire Straits front man Mark Knopfler has been pursuing Harris for about a decade.
Their paths finally crossed during the taping of a Chet Atkins TV special, and for the last seven years, whenever their busy schedules allowed, Knopfler and Harris have been stealing studio time to record duets. The end result, "All the Roadrunning," is a satisfying album, and Knopfler and Harris are an unlikely but wonderfully matched pair. To support "Roadrunning," the duo hit the road in May and concluded their tour in front of a sold-out crowd at Berkeley's Greek Theatre. With a crescent moon shining directly above the stage, Knopfler and Harris spent nearly two blissful hours working through an 19- song set that drew from their new album and their respective solo careers.
They kicked off with two songs from "Roadrunning," "Right Now" and "Red Staggerwing," both of which show off the undeniably appealing blend of Knopfler's bass growl of a voice and Harris' sweet, edgy soprano. These openers also demonstrated that Knopfler and Harris were fronting a pretty incredible band that included Knopfler's former Dire Straits bandmates Danny Cummings on drums and Guy Fletcher on keyboards. This being a Knopfler show, of course, guitars are going to feature prominently, but a definite audience favorite was fiddler Stuart Duncan, who also plays a mean mandolin. Pianist Matt Rollings livened things up as well -- especially on the Cajun-spiced "Born to Run" (by Paul Kennerly, not Springsteen) -- with his accordion, and bassist Glenn Wolf shifted between electric and acoustic instruments. Knopfler's extraordinary guitar playing was a constant and compelling facet of the show, and his duets with guitarist Richard Bennett, most notably on "I Dug Up a Diamond," managed to seamlessly blend rock, country and blues. The music that filled the Greek on Friday defied definitive labels because it had one foot firmly in rock territory and one dancing through the realm of country and blues. A Knopfler solo on "Song for Sonny Liston" was pure blues, while Harris' solos on "Red Dirt Girl" and "Boulder to Birmingham" were country at its most sublime. And then there were decidedly rock moments like the Dire Straits song "Romeo and Juliet" and "Speedway at Nazareth" from Knopfler's solo career. The cheesy light show -- with the smoke machines in overdrive to compete with the evening breezes -- was definitely more befitting a rock show. In fact, the lights were so crazy during "Speedway" that it might as well have been the Rolling Stones onstage. Another reason for complaint was the sound mix on Harris' solo vocals. The sharper edges of her voice were much too present in the mix and made her vocals sound unnecessarily ragged. The simpler the presentation, the better the concert. During the first encore, the lights calmed down, and the back wall of the stage turned into a field of stars as Harris and Knopfler joined voices on the Dire Straits hit "So Far Away" and Knopfler's "Our Shangri-La." The simplicity increased during the second encore when they performed the new album's best song, "If This is Goodbye," which Knopfler wrote after reading an Ian McEwan essay written in the days following 9/11. The evening's final number had Knopfler and Harris by themselves with only their guitars in hand to sing Dire Straits' wistful, "Why Worry." Just the sound of their voices and their instruments made you wish for moments as intimate and musically perfect as this one. But as they sang a few songs earlier, "It's the end of a perfect day... This is all the heaven we've got, right here where we are in our Shangri-La." Like a whole evening of Mark Knopfler and Emmylou Harris, a little Shangri-La really is heaven enough.

From ANG Newspapers by Chad Jones … Sorry No time to ask for permission.

Concert Review found with: ........

FILE REUPPED... SORRY ABOUT THE MIX-UP... WAS NOT MY FAULT THIS TIME

Source

AUD

Sound Quality

A+

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mp3

Bitrate

192

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19

De La Soul - Conscious hip-hop Veterant

The UK hip-hop fraternity on both sides of the Atlantic may have long shifted its attentions to the darker, sharper beats of today's real and imaginary 'thug-lifers', but De La Soul still command 'nuff respect to fill out Kentish Town's elegantly decorated Forum twice in a matter of weeks.
The decidedly youthful audience must be 90% Caucasian, with the profile heavy on the graduates, but if the assembled had merely gathered to witness the dying embers of an oldies act, it was an illusion they were to be gratefully relieved of, as soon as DJ Pasemaster Mase took his prodigious dimensions to the stage. Its been 14 years since this correspondent saw the threesome long-since labelled 'the Daisy-Agers' in person. In that time, the group (DJ Mase, Posdunos and, er, Dave), have added a slickness and confidence that was lacking in the supposed golden age of Three Feet High And Risin'. Together with their Native Tongues good-buddies A Tribe Called Quest and the Jungle Brothers, De La Soul were centrists of the block-party spirit that had been hip-hop's original inspiration. But it wasn't just hippy-wistfulness - by the time De La Soul hit their litigious second album, they were already exploring such radio unfriendly subjects as drug dependency (My Brother's A Basehead) and child abuse (Milliepulledagunonsanta) - neither of which get an airing tonight. It's ultimately irrelevant though - there's enough material in the De La Soul back catalogue to leave the audience begging for more from a frenetic 90 minute show. There's also enough to convince even a casual observer why hip-hop has flourished in the era of the sound-bite - the recognition-factor of Buddy and Ring! Ring! Ring! results in just two of the evening's chant-along hooks of 'Hold Up! Wait a Minute!' and 'I'll Get Back To You'. Yet there's no chance that De La Soul are here to make up the retro numbers. With a recent compilation that does little justice to the back catalogue, De la Soul live prove to be an ongoing concern, with equal parts given to the likes of Ego Trippin' and I.C. Y'All jostling comfortably for space amongst the breathless segue of breaks 'n' rhymes and the bonhomie of the presentation. Throughout, the sheer confidence of Posdunos and the smiley-faced delight of DJ Mase are an infectious fait accompli to an audience already determined to enjoy the show. The band end the show by inviting all the women to join them on stage (and afterwards) with a number, we are told, is "for the ladies". However, even this blatant example of groupie-gathering , enough to make Bill Wyman blush, isn't enough to dismantle the geniality that these hip-hop legends have established.

 

Source

DAB

Sound Quality

A+

Format

mp3

Bitrate

256

Timing

57

Velvet Revolver - Quilmes Rock

- repost -

safelix rest in peace

Buju Banton - Dancehall culture

Buju Banton was one of the most popular dancehall reggae artists of the '90s. Debuting with a series of popular "slack" singles, which drew criticism for their graphic sexuality and homophobia, Banton converted to Rastafarianism and revolutionized dancehall by employing the live instrumentation and social consciousness of classic roots reggae. He first adopted the approach on his 1995 classic 'Til Shiloh, which raised hopes among his fans that he would become dancehall's great international ambassador, as Bob Marley had been for roots reggae. While that never quite materialized, Banton remained a high-profile star into the new millennium. Buju Banton was born Mark Anthony Myrie on July 15, 1973, in the Kingston slum of Salt Lane. Buju was his childhood nickname, a word for breadfruit that was often applied to chubby children; he would later adopt Banton in tribute to one of his earliest musical influences, Burro Banton. He was one of 15 children; his mother was a street vendor, and he was directly descended from the colonial-era freedom fighters known as the Maroons. Banton first tried his hand at DJing and toasting at age 13, performing with local sound systems. He made his first recording not long after, with the 1986 Robert Ffrench-produced single "The Ruler." He continued to record through 1987, then took some time off to allow his voice to mature. He returned in the early '90s with a rough growl comparable to that of Shabba Ranks. In 1991, Banton began recording for Donovan Germain's Penthouse label, often teaming with engineer/producer/songwriter Dave "Rude Boy" Kelly. Debuting for the label with "Man Fi Dead," his first major hit was "Love Mi Browning," an ode to light-skinned women that drew the ire of Jamaica's sizable darker-skinned population. As penance, he released a follow-up single called "Love Black Woman," but courted even more controversy with "Boom Bye Bye," a notoriously homophobic track that seemingly advocated violence against gays. Other hits of the period included "Batty Rider," "Bogle," and "Women Nuh Fret," among many others; in fact, 1992 saw Banton break Marley's record for the most number one singles in one year. His debut album, Mr. Mention, was a smash hit that year as well, and he signed an international major-label deal with Mercury.  The Voice of Jamaica album, released in 1993, introduced Banton to the world outside Jamaica, and gave him a huge hit in the celebratory safe-sex anthem "Willy (Don't Be Silly)." Other singles from the album included "Operation Ardent," a critique of police corruption, and "Deportees (Things Change)," which castigated emigrants who refused to share their overseas earnings with the family back in Jamaica. In early 1994, Banton released the monumental single "Murderer," an impassioned indictment of dancehall culture and gun violence recorded after the shooting deaths of fellow dancehall DJs Panhead and Dirtsman.  As well-received as Voice of Jamaica was, it was the 1995 follow-up, 'Til Shiloh, that would rank as Banton's masterpiece. A fusion of dancehall with live instrumentation and classic roots reggae, 'Til Shiloh consolidated Banton's move into social awareness and adopted a more mature, reflective tone that signaled Banton's arrival as an artist able to make major creative statements.

Source

DAUD

Sound Quality

A+

Format

mp3

Bitrate

224

Tracks

20

Iron Maiden - EuroMetal

Source

AUD

Sound Quality

A+

Format

mp3

Bitrate

128

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18

the Flaming Lips - Y2K

Source

FM??

Sound Quality

A+

Format

mp3

Bitrate

256

Tracks

9

Greenday - Live At Point Center

Source

AUD

Sound Quality

A+

Format

mp3

Bitrate

256

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12

the Horror - Psychotic Sounds for Freaks and Weirdos

- repost -

the Crown - RememberTheGods

The Crown was a death/thrash metal band from Trollh?ttan, Sweden. Originally, they used the name Crown of Thorns but were forced to change their name due to another band already using that name. Their music and lyrics were inspired by death, antireligious themes and rebellion. They were known to fuse death metal with thrash influences. The Crown disbanded in 2004 – see (dis-)band statement here -. After that, Lindstrand went on to form One Man Army and the Undead Quartet. Tervonen formed Angel Blake, named after a song by Danzig.

On their 2002, the Crown gave a stuning show at Wacken festival. They were filmed for TV broacast purposes. It finally ended up on their last triple DVD set. This Killer set was obviouly heavyly traded among fans until its official realease – Do not trust the .nfo file content – .

Source

TVB

Sound Quality

A+

Format

mp3

Bitrate

VBR

Tracks

8