Caaaaaaan Yoooou Diiiiggg Itttttt?!!?

[002]

I'ALL KNOW WHAT THIS IS






http://www.filebox.ro/download.php?k...daad26bb1a8506




When Stevie Wonder applied his tremendous songwriting talents to the unsettled social morass that was the early '70s, he produced one of his greatest, most important works, a rich panoply of songs addressing drugs, spirituality, political ethics, the unnecessary perils of urban life, and what looked to be the failure of the '60s dream — all set within a collection of charts as funky and catchy as any he'd written before. Two of the highlights, "Living for the City" and "Too High," make an especially deep impression thanks to Stevie's narrative talents; on the first, an eight-minute mini-epic, he brings a hard-scrabble Mississippi black youth to the city and illustrates, via a brilliant dramatic interlude, what lies in wait for innocents. (He also uses his variety of voice impersonations to stunning effect.) "Too High" is just as stunning, a cautionary tale about drugs driven by a dizzying chorus of scat vocals and a springing bassline. "Higher Ground," a funky follow-up to the previous album's big hit ("Superstition"), and "Jesus Children of America" both introduced Wonder's interest in Eastern religion. It's a tribute to his genius that he could broach topics like reincarnation and transcendental meditation in a pop context with minimal interference to the rest of the album. Wonder also made no secret of the fact that "He's Misstra Know-It-All" was directed at Tricky Dick, aka Richard Milhouse Nixon, then making headlines (and destroying America's faith in the highest office) with the biggest political scandal of the century. Putting all these differing themes and topics into perspective was the front cover, a striking piece by Efram Wolff portraying Stevie Wonder as the blind visionary, an artist seeing far better than those around him what was going on in the early '70s, and using his astonishing musical gifts to make this commentary one of the most effective and entertaining ever heard.





A lot more dope shit comin up.
p.e.a.c.e.

[LuckyTheWonderDog]

Hahah, that album's about as good as it gets.

[INF]

Innervisions is a staple for my collection since I was like 8 or 9. I always have a copy. I got one on vinyl and an MP3 version.


I love the songs

Too High
Dont you worry bout a thang
missstra know it all
All is fair


ANd the best joint on the whole shit is - GOlden lady!!!


Stevie's best IMO

[002]

http://www.megaupload.com/?d=NVH79W82


Along with its counterpart "Songs of Experience" -both single, consecutive releases about William Blake's books of poems- "Songs of Innocence" represents, perhaps, the essence of Axelrod's daring and beautiful work.
Released in 1968, this album reflects much of what was going on with music then, and probably represents one of its most interesting documents. Axelrod, still rather young was already at a creative peak: Jazz discovering Rock and willing to embrace it, orchestral arrangements that are bold and pushing the envelope of the traditional big band concept and -along with the addition of electric guitars- engage in full psychedelic flight without indulging in trippiness for trippiness' sake.
Where its succesor, Song of Experience, can be dark and ominous at times, something that would be even more pronounced in the albums that follow these, Songs of Innocence is hopeful, the wide-eyed wonder of someone wanting to tell you all the promise they see ahead.
As you listen to it, you may find difficult not to be swept by this music and be impressed by its visionary power. Don't be surprised if you find sounds you might have credit other artists for, who only got there years later.
I recommend that you get both albums and listen to them in tandem. Of course begin here with "...Innocence" -just like life does- and then move on to "... Experience." Although both works stand alone and each is a distinct marvel, the combined listening experience will provide even more pleasure and insight into the mind and heart of one of a great contemporary composer who, given the weight and depth of what he has to offer, has been sadly under-recognized.

[002]

http://www.megaupload.com/?d=OBO49MHA


Thanks to yet another pristine digital remastering from the archivists at Legacy, we are drawn deeper into the creative vortex of John McLaughlin's groundbreaking fusion ensemble, captured at the peak of their powers in August 1972. By this time, Mahavishnu were headliners, and by offering greater bass extension, more air and resolution, and a clearer sense of distinction between the component parts, McLaughlin's collaborators sound clearer in their shaping of the group's overall sound. Clearly, guitarist McLaughlin was the creative lightning rod, as his chanting solo on the title tune suggests, colored as it is by the cathartic melodic fire of late Coltrane and Hendrix. Likewise, his interest in the vocalized scales and extended rhythmic cycles of Indian classical music reveals itself in the round-robin solo exchanges on showstoppers like "Celestial Terrestrial Commuters" and "One Word" and in the more formal designs of "Hope" and "Resolution."

[002]

http://youtube.com/watch?v=Dw9yEuwohkk