Hello, lots of trouble with my provider they disconnected me and then reconnected but something went wrong there, no phone and no internet, got another modem, same problem went back with it this afternoon and this time this extra modem is initiated and working hurrah ! Got to say though i'm lucky as one of the 2 service centers in my country is downtown where i live otherwise this 'drama' would have continued or maybe not because clearly the reconnecting at the service center went wrong 2 days without internet that's tough no re-ups this week but that means a bigger one next time.
Meanwhile a little later as usual Grooves
Today's artists are an American funk band from Long Beach, California, known for the hit songs "Spill the Wine", "The World Is a Ghetto", "The Cisco Kid", "Why Can't We Be Friends?", "Low Rider", and "Summer". War is a musical crossover band which fuses elements of rock, funk, jazz, Latin, rhythm and blues, and reggae. Their album The World Is a Ghetto was the best-selling album of 1973. The band also transcended racial and cultural barriers with a multi-ethnic line-up. The band was also subject to many line-up changes over the course of its formation, leaving member Leroy "Lonnie" Jordan as the only original member in the current line-up. ........ N'joy
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Eric Burdon was a founding member and vocalist of the Animals, a band originally formed in Newcastle in the early 1960s. The Animals were one of the leading bands of the "British Invasion", and the band had quite a following around the world. Along with The Beatles, The Rolling Stones, The Dave Clark Five, and Gerry and The Pacemakers, they introduced British music and fashion to an entire generation in an explosion of great tunes and outspoken attitude on, and off the stage. Burdon sang on such Animal classics as "The House of the Rising Sun", "Good Times", "Don't Let Me Be Misunderstood", "Bring It On Home to Me", and "We Gotta Get Out of this Place". The Animals combined the traditional blues with rock to create a unique sound. By 1966 the original members had left, except for Barry Jenkins, and the band was reformed as Eric Burdon and the Animals later going through several line-up changes, the New Animals .This lasted until 1969.
War formed out of the ashes of an earlier R&B covers group, The Creators. In 1968, the band was reconfigured and dubbed Nightshift; Peter Rosen was the new bassist, and percussionist Thomas Sylvester "Papa Dee" Allen, who'd previously played with Dizzy Gillespie, came onboard, along with two more horn players. In 1969 they were discovered by producer Jerry Goldstein, he suggested the band as possible collaborators to former Animals lead singer Eric Burdon, who along with Danish-born harmonica player Lee Oskar had been searching L.A. clubs for a new act.
After witnessing Nightshift in concert, Burdon took charge of the group. He gave them a provocative new name, War, and replaced the two extra horn players with Oskar. To develop material, War began playing marathon concert jams over which Burdon would free-associate lyrics. In August 1969, Burdon and War entered the studio for the first time, and after some more touring, they recorded their first album, 1970's Eric Burdon Declares War. The spaced-out daydream of "Spill the Wine" was a smash hit, climbing to number three and establishing the group in the public eye. A second album, The Black Man's Burdon, was released before the year's end, and over the course of two records it documented the group's increasingly long improvisations.
Burdon's contract allowed War to be signed separately, and they soon inked a deal with United Artists, intending to record on their own as well as maintaining their partnership with Burdon. Burdon -- citing exhaustion -- suddenly quit during the middle of the group's European tour in 1971, spelling the beginning of the end; he rejoined War for a final U.S. tour and then left for good.
In 1971 Burdon began a solo career. Around this time, he also recorded the album Guilty! He has led a number of groups named Eric Burdon Band or some variation thereof, with constantly changing personnel. Burdon rejoined briefly with the other original Animals in 1976 and 1983, but neither union lasted. His popularity has remained stronger in continental Europe than in the UK or U.S. Today he continues to record and tour either on his own, or in front of yet another version of "Eric Burdon and the Animals" as Black & White Blues
War had already issued their self-titled, Burdon-less debut at the beginning of 1971, but it flopped. Before the year was out, they recorded another effort, All Day Music, which spawned their first Top 40 hits in "All Day Music" and "Slippin' Into Darkness". The follow-up album, 1972's The World Is a Ghetto; boosted by a sense of multicultural harmony, topped the charts and sold over three million copies, making it the best-selling album of 1973. Deliver the Word was another million-selling hit, though it had less of the urban grit that War prided themselves on. War consolidated their success with the double concert LP War Live, recorded over four nights in Chicago during 1974.
Released in 1975, Why Can't We Be Friends returned to the sound of The World Is a Ghetto with considerable success. The bright, anthemic title track hit the Top Ten, as did "Low Rider," an irresistible slice of Latin funk that became the group's first (and only) R&B chart-topper, and still stands as their best-known tune. 1976 brought the release of a greatest-hits package featuring the new song "Summer," which actually turned out to be War's final Top Ten pop hit. A double-LP compilation of jams and instrumentals appeared on the Blue Note jazz label in 1977, under the title Platinum Jazz; it quickly became one of the best-selling albums in Blue Note history.
In 1977, the band switched labels, moving to MCA for Galaxy; though it sold respectably, and the title track was a hit on the R&B charts, disco was beginning to threaten the gritty, socially aware funk War specialized in, and it proved to be the last time War would hit the Top 40. After completing the Youngblood soundtrack album in 1978, the original War lineup began to disintegrate.
Things started to go downhill for the group in the late 70s when bassist B.B. Dickerson left and another member, Charles Miller, was murdered. Various line-up changes followed but the original magic was lost and the group were not as successful, eventually becoming just a touring act. Papa Dee Allen collapsed and died on-stage of a brain aneurysm in 1988, leaving Jordan, Hammon, Oskar, and Scott as the core membership. Interest in War's classic material remained steady, as they have been heavily sampled by hip-hop artists creating a new generation that discovered the music of War. The band continues to tour, although with only one of the original members.
On 21 April 2008, Eric Burdon and War reunited for the first time in 37 years to perform a one-time-only concert at the London Royal Albert Hall. The reunion was actually only between Eric Burdon and Lonnie Jordan, as the other original surviving members had not been asked to be a part of the reunion. The concert coincided with Avenue / Rhino Records' Eric Burdon and War reissues which included Eric Burdon Declares "War" and The Black-Man's Burdon, plus compilations The Best of Eric Burdon and War and Anthology. In 2008, Lonnie Jordan's edition of War released a live album / DVD of songs originally from 1969 to 1975: Greatest Hits Live. War were unsuccessfully nominated for 2009 induction into the Rock and Roll Hall of Fame.[10] There were rumours that Burdon would join them again in summer 2009, but it did not happen. In 2011, War played "Low Rider" and many other hits at the Rack n' Roll in Stamford, Connecticut with Remember September and Westchester School of Rock.
In 2014 the "new" War released a new studio album Evolutionary, coupled with a remasterd edition of their smash hitsampler from 1976. Also in 2014, War was a nominee for induction into the Rock and Roll Hall of Fame.
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War's third album as an act separate from Eric Burdon was also far and away their most popular, the group's only long-player to top the pop charts. The culmination of everything they'd been shooting for creatively on their two prior albums, it featured work in both succinct pop-accessible idioms ("The Cisco Kid," etc.) as well as challenging extended pieces such as the 13-minute "City, Country, City" -- which offered featured spots to all seven members without ever seeming disjointed -- and the title track, and encompass not only soul and funk but elements of blues and psychedelia on works such as the exquisite "Four Cornered Room." "The Cisco Kid" and "The World Is a Ghetto" understandably dominated the album's exposure, but there's much more to enjoy here, even decades on. Beyond the quality of the musicianship, the classy, forward-looking production has held up remarkably well, and not just on the most famous cuts here; indeed, The World Is a Ghetto is of a piece with Marvin Gaye's What's Going On and Curtis Mayfield's Curtis, utilizing the most sophisticated studio techniques of the era. Not only does it sound great, but there are important touches such as the phasing in "Four Cornered Room," not only on the percussion but also on the vocals, guitars, and other instruments, and the overall effect is a seemingly contradictory (yet eminently workable) shimmering blues, even working in a mournful and unadorned harmonica amid the more complex sounds.
War - The World Is A Ghetto (flac 449mb)
01 The Cisco Kid4:35
02 Where Was You At 3:25
03 City, Country, City 13:18
04 Four Cornered Room 8:30
05 The World Is A Ghetto 10:10
06 Beetles In The Bog 3:51
Bonus Ghetto Jams
07 Freight Train Jam 5:41
08 58 Blues 5:29
09 War Is Coming (Blues Version) 6:15
10 The World Is A Ghetto (Rehearsal Take) 8:06
War - The World Is A Ghetto (ogg 175mb)
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War Live -- also sometimes known simply as Live -- was recorded just as the group was achieving a peak of popularity and virtuosity; it was released 16 months later amid a string of highly successful studio LPs. Underappreciated at the time, it was recorded at a late November show at the High Chaparral in Chicago. The group had been engaged earlier the same year in a national tour as the opening act for Isaac Hayes and was reportedly so good that Hayes kept extending the length of their opening set.
This album is badass and if you're a fan of War enough where you'd go out and buy an album then you should definitely own this live album cut during the band's peak. The only negitive sentiment I could share is there aren't enough songs. Four of the nine tracks on this album make up two really long jammed out versions of two of War's best tunes in my opinion, "Slippin' Into Darkness" and "Get Down". These tunes are awesome but I don't know if many will find they justify the 29 minutes they collectively take up on this album. They're complete with percussion & drumset solos the likes of Ginger Baker's famous "Toad" drum solo and a wild harmonica solo on "Slippin' part 2". The tunes they play are inspired and the band is tight and razor sharp. Another major plus is the sound quality is top notch for a live album from this era. The real tragedy is the cd copy of this album isn't to easy to find so get it while you can. It blows away the live stuff that's out from the band's twilight years where you've got only one of the original members and the great multi part vocal arrangements aren't anything like they were in their hey day.
War - Live ! (flac 515mb)
01 Introduction By E. Rodney Jones Of Radio Station WVON, Chicago, Ill. 0:31
02 Sun Oh Son 10:39
03 The Cisco Kid 6:05
04 Slippin' Into Darkness 9:45
05 Slippin' Part 2 8:52
06 All Day Music 10:09
07 Ballero 8:29
08 Lonely Feelin' 3:00
19 Get Down 20:30
War - Live ! (ogg 200mb )
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Focusing in part on their softer side, War unleashed Deliver the Word in fall 1973. A smooth blend of the band's more progressive jazz-rock fusion, the LP shot to the top of the R&B charts, their second of four number one records in a row. It was a perfect tonic to the mediocre MOR music rampaging its way through the early part of the decade. The opening "H2 Overture" is a restrained jazz jam that gives way to "In Your Eyes," which keeps the progressive momentum going but adds unexpected vocal twists that vary from interesting spoken pleasures to full vocal harmonies -- it's sex on a groove. Both "Southern Part of Texas" and a long-awaited studio recording of "Baby Brother -- now titled "Me and Baby Brother" -- swing the band back to their alter ego cutting-edge funk stomp. "Gypsy Man," meanwhile, is a near-12-minute mantric, tantric opus whose blues riffs are pinned down only by the song's low, unyielding rhythm. It's a memorable slab of pure prog passed through Lee Oskar's stroboscopic brain. An outstanding album split between War's two definitive styles, Deliver the Word ultimately delivers a vibe, a groove, and an intent that are hard to resist. A magical ride with plenty of surprises to keep the listener on his or her toes, this set is a perfect example of the band at their genre-fusing best.
War - Deliver the Word (flac 234mb)
01 H2 Overture 4:38
02 In Your Eyes 4:22
03 Gypsy Man 11:35
04 Me And Baby Brother 3:30
05 Deliver The Word 7:48
06 Southern Part Of Texas 6:22
07 Blisters 2:21
. War - Deliver the Word (ogg 93mb)
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Cut from the same cloth as the band's 1973 Deliver the Word LP, War's 1975 Why Can't We Be Friends? is a masterpiece in its scope and breadth. And, emerging as the last work the band would do for its longtime label, United Artists, it became a fitting swansong, powering up the charts and giving War its fourth and final number one hit. In recent years, the album has been overshadowed by the monstrously popular bass-beating and bright brass of its singular hit, "Low Rider." Indeed, the song would become the band's signature theme, as the Latino street-cruiser jam quickly became a live set staple and, much later, was reinvigorated through sampling on songs by the Beastie Boys, Stereo MC's, and Offspring. However, that one track, iconographic as it is, is by no means the only treat onboard Why Can't We Be Friends? There are far more interesting and superb treats roiling in the wake of "Low Rider." The snappy title track, which poses the question of the decade and, oddly, closes the album, is a feel-good thumper. Its bright brass punctuation and rakish vocals are wonderfully combined with an absolutely contagious reggae beat. Then, add the doesn't-get-much-better-than-that medley "Leroy's Latin Lament." Divided into four "songs," the music swings from the smart vocal opening "Lonnie Dreams" to the effervescent Latin jam of "La Fiesta." And, of course, where there's War, there's funk -- this time on the seven-plus minute"Heartbeat." Wrap it all up with the poignant ballad "Lotus Blossom," and the result is pretty much perfection. Why Can't We Be Friends? remains one of War's truly outstanding efforts, and has become an integral part of the funk genre's landscape. It also remains the nightcap of their finest hour. War's ill-timed move to MCA changed the energy and focus of the band forever.
War - Why Can't We Be Friends (flac 289mb)
01 Don't Let No One Get You Down 3:59
02 Lotus Blossom 3:59
03 Heartbeat 7:25
04 Leroy's Latin Lament (Medley) 6:44
+++Lonnie Dreams 0:49
+++The Way We Feel 1:10
+++La Fiesta 2:10
+++Lament 2:27
05 Smile Happy 7:22
06 So 4:48
07 Low Rider 3:11
08 In Mazatlan 2:45
09 Why Can't We Be Friends ? 3:49
.War - Why Can't We Be Friends (ogg 109mb)
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Meanwhile a little later as usual Grooves
Today's artists are an American funk band from Long Beach, California, known for the hit songs "Spill the Wine", "The World Is a Ghetto", "The Cisco Kid", "Why Can't We Be Friends?", "Low Rider", and "Summer". War is a musical crossover band which fuses elements of rock, funk, jazz, Latin, rhythm and blues, and reggae. Their album The World Is a Ghetto was the best-selling album of 1973. The band also transcended racial and cultural barriers with a multi-ethnic line-up. The band was also subject to many line-up changes over the course of its formation, leaving member Leroy "Lonnie" Jordan as the only original member in the current line-up. ........ N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Eric Burdon was a founding member and vocalist of the Animals, a band originally formed in Newcastle in the early 1960s. The Animals were one of the leading bands of the "British Invasion", and the band had quite a following around the world. Along with The Beatles, The Rolling Stones, The Dave Clark Five, and Gerry and The Pacemakers, they introduced British music and fashion to an entire generation in an explosion of great tunes and outspoken attitude on, and off the stage. Burdon sang on such Animal classics as "The House of the Rising Sun", "Good Times", "Don't Let Me Be Misunderstood", "Bring It On Home to Me", and "We Gotta Get Out of this Place". The Animals combined the traditional blues with rock to create a unique sound. By 1966 the original members had left, except for Barry Jenkins, and the band was reformed as Eric Burdon and the Animals later going through several line-up changes, the New Animals .This lasted until 1969.
War formed out of the ashes of an earlier R&B covers group, The Creators. In 1968, the band was reconfigured and dubbed Nightshift; Peter Rosen was the new bassist, and percussionist Thomas Sylvester "Papa Dee" Allen, who'd previously played with Dizzy Gillespie, came onboard, along with two more horn players. In 1969 they were discovered by producer Jerry Goldstein, he suggested the band as possible collaborators to former Animals lead singer Eric Burdon, who along with Danish-born harmonica player Lee Oskar had been searching L.A. clubs for a new act.
After witnessing Nightshift in concert, Burdon took charge of the group. He gave them a provocative new name, War, and replaced the two extra horn players with Oskar. To develop material, War began playing marathon concert jams over which Burdon would free-associate lyrics. In August 1969, Burdon and War entered the studio for the first time, and after some more touring, they recorded their first album, 1970's Eric Burdon Declares War. The spaced-out daydream of "Spill the Wine" was a smash hit, climbing to number three and establishing the group in the public eye. A second album, The Black Man's Burdon, was released before the year's end, and over the course of two records it documented the group's increasingly long improvisations.
Burdon's contract allowed War to be signed separately, and they soon inked a deal with United Artists, intending to record on their own as well as maintaining their partnership with Burdon. Burdon -- citing exhaustion -- suddenly quit during the middle of the group's European tour in 1971, spelling the beginning of the end; he rejoined War for a final U.S. tour and then left for good.
In 1971 Burdon began a solo career. Around this time, he also recorded the album Guilty! He has led a number of groups named Eric Burdon Band or some variation thereof, with constantly changing personnel. Burdon rejoined briefly with the other original Animals in 1976 and 1983, but neither union lasted. His popularity has remained stronger in continental Europe than in the UK or U.S. Today he continues to record and tour either on his own, or in front of yet another version of "Eric Burdon and the Animals" as Black & White Blues
War had already issued their self-titled, Burdon-less debut at the beginning of 1971, but it flopped. Before the year was out, they recorded another effort, All Day Music, which spawned their first Top 40 hits in "All Day Music" and "Slippin' Into Darkness". The follow-up album, 1972's The World Is a Ghetto; boosted by a sense of multicultural harmony, topped the charts and sold over three million copies, making it the best-selling album of 1973. Deliver the Word was another million-selling hit, though it had less of the urban grit that War prided themselves on. War consolidated their success with the double concert LP War Live, recorded over four nights in Chicago during 1974.
Released in 1975, Why Can't We Be Friends returned to the sound of The World Is a Ghetto with considerable success. The bright, anthemic title track hit the Top Ten, as did "Low Rider," an irresistible slice of Latin funk that became the group's first (and only) R&B chart-topper, and still stands as their best-known tune. 1976 brought the release of a greatest-hits package featuring the new song "Summer," which actually turned out to be War's final Top Ten pop hit. A double-LP compilation of jams and instrumentals appeared on the Blue Note jazz label in 1977, under the title Platinum Jazz; it quickly became one of the best-selling albums in Blue Note history.
In 1977, the band switched labels, moving to MCA for Galaxy; though it sold respectably, and the title track was a hit on the R&B charts, disco was beginning to threaten the gritty, socially aware funk War specialized in, and it proved to be the last time War would hit the Top 40. After completing the Youngblood soundtrack album in 1978, the original War lineup began to disintegrate.
Things started to go downhill for the group in the late 70s when bassist B.B. Dickerson left and another member, Charles Miller, was murdered. Various line-up changes followed but the original magic was lost and the group were not as successful, eventually becoming just a touring act. Papa Dee Allen collapsed and died on-stage of a brain aneurysm in 1988, leaving Jordan, Hammon, Oskar, and Scott as the core membership. Interest in War's classic material remained steady, as they have been heavily sampled by hip-hop artists creating a new generation that discovered the music of War. The band continues to tour, although with only one of the original members.
On 21 April 2008, Eric Burdon and War reunited for the first time in 37 years to perform a one-time-only concert at the London Royal Albert Hall. The reunion was actually only between Eric Burdon and Lonnie Jordan, as the other original surviving members had not been asked to be a part of the reunion. The concert coincided with Avenue / Rhino Records' Eric Burdon and War reissues which included Eric Burdon Declares "War" and The Black-Man's Burdon, plus compilations The Best of Eric Burdon and War and Anthology. In 2008, Lonnie Jordan's edition of War released a live album / DVD of songs originally from 1969 to 1975: Greatest Hits Live. War were unsuccessfully nominated for 2009 induction into the Rock and Roll Hall of Fame.[10] There were rumours that Burdon would join them again in summer 2009, but it did not happen. In 2011, War played "Low Rider" and many other hits at the Rack n' Roll in Stamford, Connecticut with Remember September and Westchester School of Rock.
In 2014 the "new" War released a new studio album Evolutionary, coupled with a remasterd edition of their smash hitsampler from 1976. Also in 2014, War was a nominee for induction into the Rock and Roll Hall of Fame.
xxxxx xxxxx xxxxx xxxxx xxxxx
War's third album as an act separate from Eric Burdon was also far and away their most popular, the group's only long-player to top the pop charts. The culmination of everything they'd been shooting for creatively on their two prior albums, it featured work in both succinct pop-accessible idioms ("The Cisco Kid," etc.) as well as challenging extended pieces such as the 13-minute "City, Country, City" -- which offered featured spots to all seven members without ever seeming disjointed -- and the title track, and encompass not only soul and funk but elements of blues and psychedelia on works such as the exquisite "Four Cornered Room." "The Cisco Kid" and "The World Is a Ghetto" understandably dominated the album's exposure, but there's much more to enjoy here, even decades on. Beyond the quality of the musicianship, the classy, forward-looking production has held up remarkably well, and not just on the most famous cuts here; indeed, The World Is a Ghetto is of a piece with Marvin Gaye's What's Going On and Curtis Mayfield's Curtis, utilizing the most sophisticated studio techniques of the era. Not only does it sound great, but there are important touches such as the phasing in "Four Cornered Room," not only on the percussion but also on the vocals, guitars, and other instruments, and the overall effect is a seemingly contradictory (yet eminently workable) shimmering blues, even working in a mournful and unadorned harmonica amid the more complex sounds.
War - The World Is A Ghetto (flac 449mb)
01 The Cisco Kid4:35
02 Where Was You At 3:25
03 City, Country, City 13:18
04 Four Cornered Room 8:30
05 The World Is A Ghetto 10:10
06 Beetles In The Bog 3:51
Bonus Ghetto Jams
07 Freight Train Jam 5:41
08 58 Blues 5:29
09 War Is Coming (Blues Version) 6:15
10 The World Is A Ghetto (Rehearsal Take) 8:06
War - The World Is A Ghetto (ogg 175mb)
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War Live -- also sometimes known simply as Live -- was recorded just as the group was achieving a peak of popularity and virtuosity; it was released 16 months later amid a string of highly successful studio LPs. Underappreciated at the time, it was recorded at a late November show at the High Chaparral in Chicago. The group had been engaged earlier the same year in a national tour as the opening act for Isaac Hayes and was reportedly so good that Hayes kept extending the length of their opening set.
This album is badass and if you're a fan of War enough where you'd go out and buy an album then you should definitely own this live album cut during the band's peak. The only negitive sentiment I could share is there aren't enough songs. Four of the nine tracks on this album make up two really long jammed out versions of two of War's best tunes in my opinion, "Slippin' Into Darkness" and "Get Down". These tunes are awesome but I don't know if many will find they justify the 29 minutes they collectively take up on this album. They're complete with percussion & drumset solos the likes of Ginger Baker's famous "Toad" drum solo and a wild harmonica solo on "Slippin' part 2". The tunes they play are inspired and the band is tight and razor sharp. Another major plus is the sound quality is top notch for a live album from this era. The real tragedy is the cd copy of this album isn't to easy to find so get it while you can. It blows away the live stuff that's out from the band's twilight years where you've got only one of the original members and the great multi part vocal arrangements aren't anything like they were in their hey day.
War - Live ! (flac 515mb)
01 Introduction By E. Rodney Jones Of Radio Station WVON, Chicago, Ill. 0:31
02 Sun Oh Son 10:39
03 The Cisco Kid 6:05
04 Slippin' Into Darkness 9:45
05 Slippin' Part 2 8:52
06 All Day Music 10:09
07 Ballero 8:29
08 Lonely Feelin' 3:00
19 Get Down 20:30
War - Live ! (ogg 200mb )
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Focusing in part on their softer side, War unleashed Deliver the Word in fall 1973. A smooth blend of the band's more progressive jazz-rock fusion, the LP shot to the top of the R&B charts, their second of four number one records in a row. It was a perfect tonic to the mediocre MOR music rampaging its way through the early part of the decade. The opening "H2 Overture" is a restrained jazz jam that gives way to "In Your Eyes," which keeps the progressive momentum going but adds unexpected vocal twists that vary from interesting spoken pleasures to full vocal harmonies -- it's sex on a groove. Both "Southern Part of Texas" and a long-awaited studio recording of "Baby Brother -- now titled "Me and Baby Brother" -- swing the band back to their alter ego cutting-edge funk stomp. "Gypsy Man," meanwhile, is a near-12-minute mantric, tantric opus whose blues riffs are pinned down only by the song's low, unyielding rhythm. It's a memorable slab of pure prog passed through Lee Oskar's stroboscopic brain. An outstanding album split between War's two definitive styles, Deliver the Word ultimately delivers a vibe, a groove, and an intent that are hard to resist. A magical ride with plenty of surprises to keep the listener on his or her toes, this set is a perfect example of the band at their genre-fusing best.
War - Deliver the Word (flac 234mb)
01 H2 Overture 4:38
02 In Your Eyes 4:22
03 Gypsy Man 11:35
04 Me And Baby Brother 3:30
05 Deliver The Word 7:48
06 Southern Part Of Texas 6:22
07 Blisters 2:21
. War - Deliver the Word (ogg 93mb)
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Cut from the same cloth as the band's 1973 Deliver the Word LP, War's 1975 Why Can't We Be Friends? is a masterpiece in its scope and breadth. And, emerging as the last work the band would do for its longtime label, United Artists, it became a fitting swansong, powering up the charts and giving War its fourth and final number one hit. In recent years, the album has been overshadowed by the monstrously popular bass-beating and bright brass of its singular hit, "Low Rider." Indeed, the song would become the band's signature theme, as the Latino street-cruiser jam quickly became a live set staple and, much later, was reinvigorated through sampling on songs by the Beastie Boys, Stereo MC's, and Offspring. However, that one track, iconographic as it is, is by no means the only treat onboard Why Can't We Be Friends? There are far more interesting and superb treats roiling in the wake of "Low Rider." The snappy title track, which poses the question of the decade and, oddly, closes the album, is a feel-good thumper. Its bright brass punctuation and rakish vocals are wonderfully combined with an absolutely contagious reggae beat. Then, add the doesn't-get-much-better-than-that medley "Leroy's Latin Lament." Divided into four "songs," the music swings from the smart vocal opening "Lonnie Dreams" to the effervescent Latin jam of "La Fiesta." And, of course, where there's War, there's funk -- this time on the seven-plus minute"Heartbeat." Wrap it all up with the poignant ballad "Lotus Blossom," and the result is pretty much perfection. Why Can't We Be Friends? remains one of War's truly outstanding efforts, and has become an integral part of the funk genre's landscape. It also remains the nightcap of their finest hour. War's ill-timed move to MCA changed the energy and focus of the band forever.
War - Why Can't We Be Friends (flac 289mb)
01 Don't Let No One Get You Down 3:59
02 Lotus Blossom 3:59
03 Heartbeat 7:25
04 Leroy's Latin Lament (Medley) 6:44
+++Lonnie Dreams 0:49
+++The Way We Feel 1:10
+++La Fiesta 2:10
+++Lament 2:27
05 Smile Happy 7:22
06 So 4:48
07 Low Rider 3:11
08 In Mazatlan 2:45
09 Why Can't We Be Friends ? 3:49
.War - Why Can't We Be Friends (ogg 109mb)
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4 comments:
Good to see everything seems to be o.k. No internet is quite a bad thing nowadays.As always, thank you very much.
many thanks
hi it's me again, do you have some flamin' groovies in stock?
thanks, JM
Hello Rho
Thank you for this week's War re-ups. Is it possible to re-up these albums too?
Regards
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