Proteja-se / Protect Yourself

The world isn't only good song

Sexo, Rock & Camisinha

Sex, Rock & Condom

Proteja-se / Protect Yourself

The world isn't only good song

Sexo, Rock & Camisinha

Sex, Rock & Condom

Ian Mclagan - Spiritual Boy

Ian Mclagan - Spiritual Boy - 2006

From Wikipedia

Spiritual Boy is the seventh album by former Small Faces and Faces keyboardist Ian McLagan. The album was intended as a tribute to his band mate in both groups, singer-songwriter Ronnie Lane, released on what would have been Lane's sixtieth birthday, 1 April 2006, on McLagan's own Maniac Records. Featuring ten tracks either written or co-written by Lane throughout the span of his career as a musician and one written by McLagan for Lane, it was recorded in February and March 2006 at McLagan's Manor, Texas studio, The Doghouse, with his backing group, the Bump Band in tow alongside such guests as famed Austin, Texas disc jockey Jody Denberg.

01. Spiritual Babe (Lane)
02. Itchycoo Park (Marriott-Lane)

03. Nowhere to Run (Lane)
04. Annie (Lane-Lambert-Clapton)
05. Debris (Lane)
06. April Fool (Lane)
07. Kuschty Rye (Lane-Lambert)
08. Show Me the Way (Marriott-Lane)
09. You're So Rude (McLagan-Lane)
10. Glad and Sorry (Lane)
11. Hello Old Friend (McLagan)

Ian McLagan - Vocals, Acoustic & Electric Pianos,  Hammond B3,  Clavinet, Acoustic & Electric Guitars, Pro2 bass
"Scrappy" Jud Newcomb - Electric & Acoustic Guitars, Mandolin, Vocals.
Mark Andes - Bass, Vocals
Don Harvey - Drums

With

 John Bush - assorted percussion (1-3, 6-8)
 Seela Bush - vocals (1, 3)
 Jody Denberg - vocals (7)
 Brian Standefer - cellos (5)

+@192

Esse post dedico a meu amigo e eterno fã dos Beatles e de Ronnie Lane, Guilherme João Paulo. Espero que as praias do ES o permitam ler isso.

Ian Mclagan - Spiritual Boy

Ian Mclagan - Spiritual Boy - 2006

From Wikipedia

Spiritual Boy is the seventh album by former Small Faces and Faces keyboardist Ian McLagan. The album was intended as a tribute to his band mate in both groups, singer-songwriter Ronnie Lane, released on what would have been Lane's sixtieth birthday, 1 April 2006, on McLagan's own Maniac Records. Featuring ten tracks either written or co-written by Lane throughout the span of his career as a musician and one written by McLagan for Lane, it was recorded in February and March 2006 at McLagan's Manor, Texas studio, The Doghouse, with his backing group, the Bump Band in tow alongside such guests as famed Austin, Texas disc jockey Jody Denberg.

01. Spiritual Babe (Lane)
02. Itchycoo Park (Marriott-Lane)

03. Nowhere to Run (Lane)
04. Annie (Lane-Lambert-Clapton)
05. Debris (Lane)
06. April Fool (Lane)
07. Kuschty Rye (Lane-Lambert)
08. Show Me the Way (Marriott-Lane)
09. You're So Rude (McLagan-Lane)
10. Glad and Sorry (Lane)
11. Hello Old Friend (McLagan)

Ian McLagan - Vocals, Acoustic & Electric Pianos,  Hammond B3,  Clavinet, Acoustic & Electric Guitars, Pro2 bass
"Scrappy" Jud Newcomb - Electric & Acoustic Guitars, Mandolin, Vocals.
Mark Andes - Bass, Vocals
Don Harvey - Drums

With

 John Bush - assorted percussion (1-3, 6-8)
 Seela Bush - vocals (1, 3)
 Jody Denberg - vocals (7)
 Brian Standefer - cellos (5)

+@192

Esse post dedico a meu amigo e eterno fã dos Beatles e de Ronnie Lane, Guilherme João Paulo. Espero que as praias do ES o permitam ler isso.

Locomotive - We Are Everything You See

Locomotive - We Are Everything You See - 1970

 

By Richie Unterberger from Allmusic

Locomotive's only album was an oddball piece of second-tier British psychedelia, stuck somewhere between psych and progressive rock, and mixing in a lot of soul music, a good deal of jazz, and a bit of classical. In those respects, they were similar to Traffic and Family, though putting more emphasis on soul music. The influences didn't cohere as well as they did in Traffic and Family, though, and the material wasn't nearly as effective.

Of-the-day traits like swirling organ, fishbowl-distorted vocals, and phased drumming provided the freakiest elements, along with the band's liking for throwing in jazzy tempo changes. Melodically and lyrically, Locomotive were uncommonly grim for a late-'60s British psychedelic band, and there was a touch of Procol Harum in the vague tormented metaphysical questing of some of their lyrics and vocals. It's a reflection of their relatively inaccessible original material that the most memorable song is their cover of the United States of America's "Coming Down/Love Song for the Dead Che," an imaginative choice, considering the original must have been barely known in Britain at that time.

   
01. Overture
02. Mr. Armageddon
03. Now Is the End-The End Is When
04. Lay Me Down Gently
05. Haines
06. Nobody Asked You to Come
07. You Must Be Joking
08. A Day in Shining Armour
09. The Loves of Augustus Abbey - Part One
10. Rain    
11. The Loves of Augustus Abbey - Part Two
12. Coming Down/Love Song for the Dead Ché
13. The Loves of Augustus Abbey, Part Three
14. Time of Light and Darkness
15. Mr. Armageddon [Mono Single Version]
16. There's Got to Be a Way
17. I'm Never Gonna Let You Go
18. You Must Be Joking [Mono Single Version]
19. Movin' Down the Line
20 Roll Over Mary


+@320 in only one file

Locomotive - We Are Everything You See

Locomotive - We Are Everything You See - 1970

 

By Richie Unterberger from Allmusic

Locomotive's only album was an oddball piece of second-tier British psychedelia, stuck somewhere between psych and progressive rock, and mixing in a lot of soul music, a good deal of jazz, and a bit of classical. In those respects, they were similar to Traffic and Family, though putting more emphasis on soul music. The influences didn't cohere as well as they did in Traffic and Family, though, and the material wasn't nearly as effective.

Of-the-day traits like swirling organ, fishbowl-distorted vocals, and phased drumming provided the freakiest elements, along with the band's liking for throwing in jazzy tempo changes. Melodically and lyrically, Locomotive were uncommonly grim for a late-'60s British psychedelic band, and there was a touch of Procol Harum in the vague tormented metaphysical questing of some of their lyrics and vocals. It's a reflection of their relatively inaccessible original material that the most memorable song is their cover of the United States of America's "Coming Down/Love Song for the Dead Che," an imaginative choice, considering the original must have been barely known in Britain at that time.

   
01. Overture
02. Mr. Armageddon
03. Now Is the End-The End Is When
04. Lay Me Down Gently
05. Haines
06. Nobody Asked You to Come
07. You Must Be Joking
08. A Day in Shining Armour
09. The Loves of Augustus Abbey - Part One
10. Rain    
11. The Loves of Augustus Abbey - Part Two
12. Coming Down/Love Song for the Dead Ché
13. The Loves of Augustus Abbey, Part Three
14. Time of Light and Darkness
15. Mr. Armageddon [Mono Single Version]
16. There's Got to Be a Way
17. I'm Never Gonna Let You Go
18. You Must Be Joking [Mono Single Version]
19. Movin' Down the Line
20 Roll Over Mary


+@320 in only one file

Delaney Bramlett - Something's Coming

Delaney Bramlett - Something's Coming - 1972

From www.answers.com

Some Things Coming features Bramlett on lead vocals and guitars with a full-on horn section, Venetta Fields and Clydie King on backing vocals throughout, string arrangements by George Bohannon, percussionist Milt Holland, Ronnie Grayson on drums, bassist Robert Wilson, and B-3 boss Tim Hedding -- the backing chorus added on several cuts includes future disco diva Gloria Jones and Shirley Matthews. The material is wide-ranging but always greasy. 

The opener is the driving funky Southern soul and gospel of "Over and Over"; it's revved to rockist hedonism with a splintering, overdriven guitar and popping bassline dueling to the death with double-time drums and an ambitious horn chart. There's the in-the-pocket ballad "Thank God," which manages to evoke both Ray Charles and '60s Nashville without blowing it. The gospel blues of "Please Accept My Love" is done in the utterly believable, wanton, pleading singing voice that Leon Russell and Bramlett shared -- but Bramlett's range is wider. It gets downright hard and funky on "Keep It Going," a tune that Bramlett co-wrote with Elvin Bishop. This is snaky voodoo funk at its best.

One can hear the Meters and a gospel choir meeting on the street corner where Saturday night reluctantly gives way to Sunday morning and the spirits are everywhere duking it out. Add the title track and the album is worth its weight in gold. Bramlett -- via percussionist Holland with a kalimba, congas, and a boatload of hand percussion, and a gospel choir singing in Zulu -- simply takes the innovation of Hugh Masakela into the rock and Southern soul idiom. He answers them, line for line, in English. It all flows together until it erupts in razor-sharp lead guitar lines; funked-out bass and drums are underscored by the B-3 in the middle eight before it gives way again to the chant. It's stunning -- especially considering it's followed here with the traditional "Down by the Riverside," done with so much class you'd swear you were in church, except for maybe that guitar solo. Speaking of which, "Sit Right Down" offers one of the nastiest-sounding National Steel bottleneck guitars ever put in front of a mike in a studio.

01. Over and Over
02. Thank God
03. Please Accept My Love
04. Keep It Going
05. Some Things Coming (Heartbeat)
06. Down by the Riverside
07. Sit Right Down
08. I'm Not Your Lover, I'm Your Love
09. Try a Little Harder


Delaney Bramlett - Vocals, Guitar
Jim Gordon, Joe Davis, Jerry Jumonville - Saxophone
Ron Grayson - Drums
Tim Heding - Organ
Robert Wilson - Bass
Gloria Jones, Shirley Matthews,  Clydie King, Venetta Fields - Backing Vocals
Milt Holland - Percussion
Darrell Leonard - Brass
Larry Savoie - Trombone

Enjoy so much Ian!!!!!

You have (or a other friend) the album 1998's Sounds from Home?

+@320

Delaney Bramlett - Something's Coming

Delaney Bramlett - Something's Coming - 1972

From www.answers.com

Some Things Coming features Bramlett on lead vocals and guitars with a full-on horn section, Venetta Fields and Clydie King on backing vocals throughout, string arrangements by George Bohannon, percussionist Milt Holland, Ronnie Grayson on drums, bassist Robert Wilson, and B-3 boss Tim Hedding -- the backing chorus added on several cuts includes future disco diva Gloria Jones and Shirley Matthews. The material is wide-ranging but always greasy. 

The opener is the driving funky Southern soul and gospel of "Over and Over"; it's revved to rockist hedonism with a splintering, overdriven guitar and popping bassline dueling to the death with double-time drums and an ambitious horn chart. There's the in-the-pocket ballad "Thank God," which manages to evoke both Ray Charles and '60s Nashville without blowing it. The gospel blues of "Please Accept My Love" is done in the utterly believable, wanton, pleading singing voice that Leon Russell and Bramlett shared -- but Bramlett's range is wider. It gets downright hard and funky on "Keep It Going," a tune that Bramlett co-wrote with Elvin Bishop. This is snaky voodoo funk at its best.

One can hear the Meters and a gospel choir meeting on the street corner where Saturday night reluctantly gives way to Sunday morning and the spirits are everywhere duking it out. Add the title track and the album is worth its weight in gold. Bramlett -- via percussionist Holland with a kalimba, congas, and a boatload of hand percussion, and a gospel choir singing in Zulu -- simply takes the innovation of Hugh Masakela into the rock and Southern soul idiom. He answers them, line for line, in English. It all flows together until it erupts in razor-sharp lead guitar lines; funked-out bass and drums are underscored by the B-3 in the middle eight before it gives way again to the chant. It's stunning -- especially considering it's followed here with the traditional "Down by the Riverside," done with so much class you'd swear you were in church, except for maybe that guitar solo. Speaking of which, "Sit Right Down" offers one of the nastiest-sounding National Steel bottleneck guitars ever put in front of a mike in a studio.

01. Over and Over
02. Thank God
03. Please Accept My Love
04. Keep It Going
05. Some Things Coming (Heartbeat)
06. Down by the Riverside
07. Sit Right Down
08. I'm Not Your Lover, I'm Your Love
09. Try a Little Harder


Delaney Bramlett - Vocals, Guitar
Jim Gordon, Joe Davis, Jerry Jumonville - Saxophone
Ron Grayson - Drums
Tim Heding - Organ
Robert Wilson - Bass
Gloria Jones, Shirley Matthews,  Clydie King, Venetta Fields - Backing Vocals
Milt Holland - Percussion
Darrell Leonard - Brass
Larry Savoie - Trombone

Enjoy so much Ian!!!!!

You have (or a other friend) the album 1998's Sounds from Home?

+@320

Delaney Bramlett - Giving Birth To A Song

Delaney Bramlett - Giving Birth To A Song - 1975

by William Ruhlmann for Allmusic.com

Although his popularity was often eclipsed by the artists he mentored, Delaney Bramlett was an accomplished guitarist and singer/songwriter whose style influenced the likes of Eric Clapton, J.J. Cale, and Duane Allman. A native of Pontotoc, MS, he served time in the U.S. Navy before moving to Los Angeles in 1959. He soon became a member of the Shindogs, the resident band on the TV show Shindig. Such a job allowed Bramlett to rub shoulders with other notable musicians, and in 1967 he met Bonnie Lynn O'Farrell, a member of Ike & Tina Turner's backup group the Ikettes. The two were married within five days; they also formed a duo named Delaney & Bonnie. Read More HERE

Delaney Bramlett - Vocals, Guitar
Jim Gordon - Saxophone
Nick Van Maarth,  Jim McGrew - Guitar
Fred Rivera - Bass
Stu Perry - Drums, Percussion
Victor Pantoja - Congas, Percussion
Rick Sutherland - Organ
Jim Hobson - Piano, Clavinet
Cole Kesler - Harmonica

1975's Jimmy Bowen produced "Giving Birth To A Song" marked Delaney Bramlett's third solo album (and his third label in as many years).  Credited as 'Delaney and Blue Diamond' the album found Bramlett returning to the confines of a full fledged band.  Musically the set wasn't a major departure from his standing soul/rock moves. 

01. Giving Birth To A Song
02. I Get High
03. So Much In Love
04. My Lover's Prayer
05. (I Wanna) Stay Home With You
06. The Plug
07. Nothing Without You
08. Never No More Blues
09. Lonesome, Long Gone, And So Long
10. Over You
11. I Got Away

Para comemorar o 100º post, um disquinho razoalvelmente fácil de se achar.

+@128 vinyl rip

Delaney Bramlett - Giving Birth To A Song

Delaney Bramlett - Giving Birth To A Song - 1975

by William Ruhlmann for Allmusic.com

Although his popularity was often eclipsed by the artists he mentored, Delaney Bramlett was an accomplished guitarist and singer/songwriter whose style influenced the likes of Eric Clapton, J.J. Cale, and Duane Allman. A native of Pontotoc, MS, he served time in the U.S. Navy before moving to Los Angeles in 1959. He soon became a member of the Shindogs, the resident band on the TV show Shindig. Such a job allowed Bramlett to rub shoulders with other notable musicians, and in 1967 he met Bonnie Lynn O'Farrell, a member of Ike & Tina Turner's backup group the Ikettes. The two were married within five days; they also formed a duo named Delaney & Bonnie. Read More HERE

Delaney Bramlett - Vocals, Guitar
Jim Gordon - Saxophone
Nick Van Maarth,  Jim McGrew - Guitar
Fred Rivera - Bass
Stu Perry - Drums, Percussion
Victor Pantoja - Congas, Percussion
Rick Sutherland - Organ
Jim Hobson - Piano, Clavinet
Cole Kesler - Harmonica

1975's Jimmy Bowen produced "Giving Birth To A Song" marked Delaney Bramlett's third solo album (and his third label in as many years).  Credited as 'Delaney and Blue Diamond' the album found Bramlett returning to the confines of a full fledged band.  Musically the set wasn't a major departure from his standing soul/rock moves. 

01. Giving Birth To A Song
02. I Get High
03. So Much In Love
04. My Lover's Prayer
05. (I Wanna) Stay Home With You
06. The Plug
07. Nothing Without You
08. Never No More Blues
09. Lonesome, Long Gone, And So Long
10. Over You
11. I Got Away

Para comemorar o 100º post, um disquinho razoalvelmente fácil de se achar.

+@128 vinyl rip

Python Lee Jackson - Funny Blend ( Featuring Rod Stewart)

Python Lee Jackson Featuring Rod Stewart - Funny Blend - 1968

Python Lee Jackson was an indistinguished Australian band from Sidney, founded by an Englishman Frank Kennington (vocals) and Scotsman Mick Liber (guitar) which managed to annoy local (Aussie's) scene from 1965 and until 1968 - when the band moved to UK, to be joined by David Montgomery on drums. Before that they've released a single - Bo Diddley "Who Do You Love".

In the UK the band was noticed by John Peel, who as you should know had a weekness for weirdos and nobodys. Frank Kennington by that time was replaced by David Bentley, whose composing was much better than his vocals. But he had decency and brains: "Python" recruited Rod Stewart to record three songs (Stewart by that time had two excellent albums with Jeff Beck Group, and his unusual voice could match the music) - "Doin' Fine", "The Blues" and "In A Broken Dream". The tracks were recorded at famous Pye Studios in London, 1969, but were shelved for more than a year, and the single was released in 1970 only. It flopped - to resurface two years later and climb to Nr 3 in UK Singles Chart.

In A Broken Dream is an amazing album and the band was never able to repeat its success, and went to obscurity. The title song was a massive success, and appears on a couple of Rod Stewart's collections.

Read More Here

01. If It's Meant To Be A Party
02. If The World Stopped Still Tonight
03. The Blues
04. Sweet Consolation
05. Boogie Woogie Joe
06. In A Broken Dream

07. Second Time Around The Wheel
08. Your Wily Ways
09. Doing Fine (Cloud Nine)
10. Turn The Music Down



+@320

Python Lee Jackson - Funny Blend ( Featuring Rod Stewart)

Python Lee Jackson Featuring Rod Stewart - Funny Blend - 1968

Python Lee Jackson was an indistinguished Australian band from Sidney, founded by an Englishman Frank Kennington (vocals) and Scotsman Mick Liber (guitar) which managed to annoy local (Aussie's) scene from 1965 and until 1968 - when the band moved to UK, to be joined by David Montgomery on drums. Before that they've released a single - Bo Diddley "Who Do You Love".

In the UK the band was noticed by John Peel, who as you should know had a weekness for weirdos and nobodys. Frank Kennington by that time was replaced by David Bentley, whose composing was much better than his vocals. But he had decency and brains: "Python" recruited Rod Stewart to record three songs (Stewart by that time had two excellent albums with Jeff Beck Group, and his unusual voice could match the music) - "Doin' Fine", "The Blues" and "In A Broken Dream". The tracks were recorded at famous Pye Studios in London, 1969, but were shelved for more than a year, and the single was released in 1970 only. It flopped - to resurface two years later and climb to Nr 3 in UK Singles Chart.

In A Broken Dream is an amazing album and the band was never able to repeat its success, and went to obscurity. The title song was a massive success, and appears on a couple of Rod Stewart's collections.

Read More Here

01. If It's Meant To Be A Party
02. If The World Stopped Still Tonight
03. The Blues
04. Sweet Consolation
05. Boogie Woogie Joe
06. In A Broken Dream

07. Second Time Around The Wheel
08. Your Wily Ways
09. Doing Fine (Cloud Nine)
10. Turn The Music Down



+@320

Steve Marriott & The Next Band - Live in Germany

Steve Marriott & The Next Band - Live in Germany (1985) - 2000

01. Watch Your Step (Bobby Parker)

02. Some Kind of Wonderful (John Ellison and the Soul Brothers Six)

03. Fool for a Pretty Face (Humble Pie)

04. Everything's gonna be Alright (Little Walter)

05. Big Train Stop at Memphis

06. Watcha gonna Do about It (Small Faces)

07. I don't Know where I've Been (Bo Diddley)

08. Natural Born Bugie (Humble Pie)

09. Five Long Years (Eddie Boyd)

10. All or Nothing (Small Faces)

11. Tin Soldier (Small Faces)

12. Drum Solo )

13. 30 Days in the Hole (5:22) (Humble Pie)

13 .Just Your Fool (2:49) (Little Walter)

Steve Marriott - Guitar, Vocals

Jim Leverton - Bass

Kofi Baker - Drums

Simon Hickling - Hohner Harmonica, Vocal

Poderia dizer que o destaque desse CD é Koki Baker (filho de Ginger) na bateria.

Ou então falar sobre Simon Hickling, um puta bluesman que arrepia na gaita.

Mas, trata-se de um disco do (e com) Steve.

Esse disco tem sua postagem patrocinada por Celso Loos, que me enviou em um único servidor (rapidshare). Qualquer reclamação favor dirigir-se a ele. :)

Mas não se preocupem, em breve esse estará nas melhores - e piores - casas do ramo.

+@320

Steve Marriott & The Next Band - Live in Germany

Steve Marriott & The Next Band - Live in Germany (1985) - 2000

01. Watch Your Step (Bobby Parker)

02. Some Kind of Wonderful (John Ellison and the Soul Brothers Six)

03. Fool for a Pretty Face (Humble Pie)

04. Everything's gonna be Alright (Little Walter)

05. Big Train Stop at Memphis

06. Watcha gonna Do about It (Small Faces)

07. I don't Know where I've Been (Bo Diddley)

08. Natural Born Bugie (Humble Pie)

09. Five Long Years (Eddie Boyd)

10. All or Nothing (Small Faces)

11. Tin Soldier (Small Faces)

12. Drum Solo )

13. 30 Days in the Hole (5:22) (Humble Pie)

13 .Just Your Fool (2:49) (Little Walter)

Steve Marriott - Guitar, Vocals

Jim Leverton - Bass

Kofi Baker - Drums

Simon Hickling - Hohner Harmonica, Vocal

Poderia dizer que o destaque desse CD é Koki Baker (filho de Ginger) na bateria.

Ou então falar sobre Simon Hickling, um puta bluesman que arrepia na gaita.

Mas, trata-se de um disco do (e com) Steve.

Esse disco tem sua postagem patrocinada por Celso Loos, que me enviou em um único servidor (rapidshare). Qualquer reclamação favor dirigir-se a ele. :)

Mas não se preocupem, em breve esse estará nas melhores - e piores - casas do ramo.

+@320

John Phillips - Pay, Pack and Follow

John Phillips - Pay, Pack and Follow - 2001

Pay, Pack and Follow é um álbum de John Phillips realizado em abril de 2001, um mês após a morte do músico. Ele foi gravado nos anos 1970 e seria lançado pelo selo "Rolling Stones Records". Mick Jagger dá uma canja nos backing vocals e assina a co-produção junto com o parceiro Keith Richards que toca sua guitarra. Mick Taylor - à época também nos Stones - e Ron Wood aparecem respectivamente nas guitarras e  baixo.

01. Mr Blue
02. She's Just 14
03. Wilderness Of Love
04. Oh Virginia
05. Sunset Boulevard
06. Pussycat
07. Zulu Warrior
08. Very Dread
09. 2001

John Phillips - Vocals, Keyboards
Keith Richards - Electric, Acoustic & Electric Slide Guitars
Mick Taylor - Electric & Acoustic Guitars
Ron Wood - Bass Guitar
Mick Jagger - Backing Vocals
Rebop Kwaku Baah - Percussion
Chris Spedding -  Electric Guitar
Sid McGinnis - Acoustic Guitar
David Wooford - Bass Guitar
Yogi Horton - Drums
Paul Shaffer, Jean Rousell - Keyboards
John Kito - Keyboards, Piano
Debra Dobkin, Jeb Guthrie - Percussion
Michelle Phillips, Laura MacKenzie Phillips - Backing Vocals


+@320

John Phillips - Pay, Pack and Follow

John Phillips - Pay, Pack and Follow - 2001

Pay, Pack and Follow é um álbum de John Phillips realizado em abril de 2001, um mês após a morte do músico. Ele foi gravado nos anos 1970 e seria lançado pelo selo "Rolling Stones Records". Mick Jagger dá uma canja nos backing vocals e assina a co-produção junto com o parceiro Keith Richards que toca sua guitarra. Mick Taylor - à época também nos Stones - e Ron Wood aparecem respectivamente nas guitarras e  baixo.

01. Mr Blue
02. She's Just 14
03. Wilderness Of Love
04. Oh Virginia
05. Sunset Boulevard
06. Pussycat
07. Zulu Warrior
08. Very Dread
09. 2001

John Phillips - Vocals, Keyboards
Keith Richards - Electric, Acoustic & Electric Slide Guitars
Mick Taylor - Electric & Acoustic Guitars
Ron Wood - Bass Guitar
Mick Jagger - Backing Vocals
Rebop Kwaku Baah - Percussion
Chris Spedding -  Electric Guitar
Sid McGinnis - Acoustic Guitar
David Wooford - Bass Guitar
Yogi Horton - Drums
Paul Shaffer, Jean Rousell - Keyboards
John Kito - Keyboards, Piano
Debra Dobkin, Jeb Guthrie - Percussion
Michelle Phillips, Laura MacKenzie Phillips - Backing Vocals


+@320

Quando essa realidade chegar teremos saudades dos servidores que não prestam

Ronaldo Lemos, Caderno Folhateen, Folha de São Paulo, 25/10/2010 (se vc usa firefox, tecle ctrl (+) para ampliar)

A esse assunto forço uma barra e ligo a outro: O que faz uma pessoa que obtém diariamente os mais variados discos, das mais variadas bandas e dos mais variados ritmos ser tão idiota a ponto de transformar o que é para ser um ponto de encontro, diversão e interação em um local de desgosto, insatisfação e de sensação de "saco cheio"?

Dia após dia a pessoa reúne um sei-lá quantos links e passa a baixá-los como se o fim do mundo estivesse marcado para o próximo final de semana. São tantos downloads que formam infindáveis filas de audição que não deve acabar até o reveillon. Imagino que a maioria dessas audições são superficiais e, pior, nas caixinhas do PC ou fone de ouvido de R$ 9,99.

Então, um belo dia o servidor em que o link esta postado apresenta problemas e a culpa é do pobre otário que disponibiliza seu tempo no ofício não remunerado de levar aos outros um pouco de diversão e cultura. Se o rapidshare não funciona pede no megaupload. Se o megaupload estiver inativo, exigem o rapidshare. E isso com ordens que lembram uma Sinhá a seus mocambos. Educação em primeiro lugar

Isso vejo diariamente por blogs e blogs. Fico pensando se um cara desses algum dia comprou um LP ou um CD. Dúvido muito, pois se fizera saberia que um servidor, por mais lento que seja, sempre será mais rápido do que pegar um ônibus lotado para ir ao Centro, escolher 1 ou 2 discos (porque a grana sempre foi curta) e voltar para casa. E nem vou levantar a questão que se não prestar basta "mandar pra lixeira".

Por causa de alguns escroques, muitos são privados do que é bom.

Não entendeu porra nenhuma do que estou falando? Clique aqui e/ou aqui

Em tempo, minha mensagem aos babacas de plantao

Quando essa realidade chegar teremos saudades dos servidores que não prestam

Ronaldo Lemos, Caderno Folhateen, Folha de São Paulo, 25/10/2010 (se vc usa firefox, tecle ctrl (+) para ampliar)

A esse assunto forço uma barra e ligo a outro: O que faz uma pessoa que obtém diariamente os mais variados discos, das mais variadas bandas e dos mais variados ritmos ser tão idiota a ponto de transformar o que é para ser um ponto de encontro, diversão e interação em um local de desgosto, insatisfação e de sensação de "saco cheio"?

Dia após dia a pessoa reúne um sei-lá quantos links e passa a baixá-los como se o fim do mundo estivesse marcado para o próximo final de semana. São tantos downloads que formam infindáveis filas de audição que não deve acabar até o reveillon. Imagino que a maioria dessas audições são superficiais e, pior, nas caixinhas do PC ou fone de ouvido de R$ 9,99.

Então, um belo dia o servidor em que o link esta postado apresenta problemas e a culpa é do pobre otário que disponibiliza seu tempo no ofício não remunerado de levar aos outros um pouco de diversão e cultura. Se o rapidshare não funciona pede no megaupload. Se o megaupload estiver inativo, exigem o rapidshare. E isso com ordens que lembram uma Sinhá a seus mocambos. Educação em primeiro lugar

Isso vejo diariamente por blogs e blogs. Fico pensando se um cara desses algum dia comprou um LP ou um CD. Dúvido muito, pois se fizera saberia que um servidor, por mais lento que seja, sempre será mais rápido do que pegar um ônibus lotado para ir ao Centro, escolher 1 ou 2 discos (porque a grana sempre foi curta) e voltar para casa. E nem vou levantar a questão que se não prestar basta "mandar pra lixeira".

Por causa de alguns escroques, muitos são privados do que é bom.

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Em tempo, minha mensagem aos babacas de plantao