music download

1. Overlord 03:46
2. Bleeding Shrines of Stone 03:00
3. Maleficent Dreamvoid 04:37
4. Liers in Wait 04:06
5. Gateways 01:34
Total playing time 17:03




http://rapidshare.com/files/55675245/LIW_SUA_HS.rar

Tracklist:

1. I Want You 3:54
2. Tho The Moon And Back 5:42
3. Truly Madly Deeply 4:39
4. I'll Bet He Was Cool 4:39
5. Fire Inside The Man 4:11
6. Break Me Shake Me 3:25
7. This Side Of Me 4:11
8. Universe 4:21
9. Memories Are Designed To Fade 3:37
10. All around Me 4:12
11. Santa Monica 3:36
12. Tears Of Pearls 3:48
13. A Thousand Words 4:00
14. Promises 3:33
15. Carry One Dancing 3:47
16. Mine 4:31
17. Love Can Move You 4:48
18. Violet 4:06

Tracklist:

CD1:

1. Street Fighting Man 3:18
2. Gimme Shelter 4:34
3. Satisfaction (I Can't Get No) 3:46
4. The Last Time 3:44
5. Jumpin' Jack Flash 3:45
6. You Can't Always Get What You Want 7:31
7. 19th Nervous Breakdown 3:59
8. Under My Thumb 3:44
9. Not Fade Away 1:51
10. Have You Seen Your Mother, Baby, Standing In The Shadow? 2:38
11. Sympathy For The Devil 6:20
12. Mother's Little Helper 2:50
13. She's A Rainbow 4:15
14. Get Off Of My Cloud 2:58
15. Wild Horses 5:47
16. Ruby Tuesday 3:17
17. Paint It, Black 3:47
18. Honky Tonk Women 3:03
19. It's All Over Now 3:30
20. Let's Spend The Night Together 3:26

CD2:

1. Start Me Up 3:35
2. Brown Sugar 3:51
3. Miss You 3:37
4. Beast of Burden 3:29
5. Don't Stop 4:00
6. Happy 3:07
7. Angie 4:33
8. You Got Me Rocking 3:35
9. Shattered 3:48
10. Fool To Cry 4:09
11. Love Is Strong 3:50
12. Mixed Emotions 4:03
13. Keys To Your Love
14. Anybody Seen My Baby? 4:09
15. Stealing My Heart 3:44
16. Tumbling Dice 3:48
17. Undercover Of the Night 4:15
18. Emotional Rescue 3:44
19. It's Only Rock 'N' Roll 4:12
20. Losing My Touch 5:06

In this follow-up to the smashing success of her 1997 CD Time to Say Goodbye, Sarah Brightman continues down the primrose crossover path, blithely gliding from covers of Hooverphonic (the title track) and Kansas ("Dust in the Wind") to Puccini and film scores (Titanic and The English Patient). Sometimes, as in "Anytime, Anywhere," the crossover happens within the same song--in this case welding a rhythm track to the somber harmonies of Albinoni's "Adagio." But there's nary a stylistic speed bump to jolt her listeners, as Brightman focuses her tiny, seraphic voice like a beam of light on each melody. The result, bless her heart, may be the invention of a whole new form of kitsch. Like plastic surgery, Brightman's years of specialized vocal training have helped refine her ability to float confidently well-rounded, sparkling tones in her upper range. These have a Dresden china-like, touching fragility in such songs as "So Many Things" and are well-suited to the gauzily romantic (and overproduced) gloss of the string-heavy arrangements that predominate. Eden also introduces Brightman as songwriter ("In Paradisum," with its mix of sitar and modal chant) and features a bonus track unavailable on the album's European-released version ("The Last Words You Said"). --Thomas May

Following the enormous international success of Timeless/Time To Say Goodbye, Sarah's subsequent album, Eden, evokes a musical paradise that is both lush and tranquil.

Sarah co-wrote "In Paradisum" with Peterson and the lyrics to "So Many Things." In addition to English, Sarah also sings in Latin, Italian and French.

The mystical strains of the opening track, "In Paradisum," sets the mood for the album. This is followed by the title track, "Eden," where Sarah's sensual vocals are interlaced with haunting Gregorian chants.

The album seamlessly merges pop and classical, sometimes within the same song; the sultry "Anytime, Anywhere" being a case in point.

Operatic highlights include Haendel's "Laschia Ch'io Pianga" and Puccini's "Nessun Dorma," hitherto the sole domain of tenors.

Contemporary songs include the uplifting "Deliver Me," the remarkably placid "So Many Things" and Ennio Morricone's "Nella Fantasia."

Aptly named indeed, Eden has the uncanny ability to soothe workaday nerves and transport to the listener to a quiet haven of serenity.

The US release of Eden contains "The Last Words You Said," a duet with Richard Marx. The Japanese edition also contains the duet, plus "Time To Say Goodbye." A subsequent "Millenium Edition" release features "Time To Say Goodbye," "Sleep Tight" and the bonus track, "Desert Rose."

1998/1999
CD album
Worldwide
East-West / Angel Records 24355 67692

Millenium Edition:
CD album
East-West
8573-80833-2

Tracklist

1. In Paradisum - Brightman/Peterson
2. Eden - Callier Listen Listen
3. So Many Things - Traditional/Brightman
4. Anytime, Anywhere - Albinoni/Brightman
5. Bailero - Traditional
6. Dust In The Wind - Livgren
7. Il Mio Cuore Va (My Heart Will Go On, From 'Titanic') - Horner/Jennings
8. Deliver Me - Marsh
9. Un Jour Il Viendra - Yared/Jonasz
10. Nella Fantasia - Morricone
11. Tu - Cano Listen
12. Lascia Ch'io Pianga - Handel
13. Only An Ocean Away - Andreason
14. Scene D'Amour - Lai
15. Nessun Dorma - Puccini
16. The Last Words You Said (Featuring Richard Marx)

Amazon.com reviewer:
The music of Ostad Elahi bears one of the best testimony to the allusive power of sounds. While it seems absolutely simple, it immerses the listener in an ocean of sublimated emotions, constantly bringing him back to the center of himself, through its essential nature. A continuation to the Celestial Music of Ostad Elahi (CMT 2741026), these two records are almost entirely dedicated to the little lute of Persian mystics, the tanbur, with its muffled tone, so incredibly efficient. Master of sobriety, Ostad Elahi is capable of expressing a vast array of feelings in the interval of two parent tones, as in "Khbn" in the Haft Khan-e Rostam suite, or to carry the listener away through the repetition and subtle variations of a short and seemingly innocuous musical phrase. And when, in his hoarse voice, he begins to sing one of these ancient Sufi poems, long kept in his memory, his chant is like a drop of water which would alone quench the thirst of the traveler after the longest journey in the desert.




As music was above all a means of reflection and prayer for Ostad, he always played alone or in small gatherings of relatives and friends. However, in 1960 Musa Marufi, a master of classical Persian music, discovered Ostad and in a long article detailed how he had been overwhelmed by Ostad's music. Marufi's account aroused the curiosity of musicologists, and from that day forward great artists and musicians such as Maurice Béjart and the late Yehudi Menuhin sought to visit Ostad and hear him play. Some of these musicians would later provide testimonials regarding the profound impact of Ostad's music on the listener. Combining extraordinary technique and spiritual inspiration, certain pieces of Ostad's music are so complex that attempts by Ruhollâh Khâleqi, Director of the National Academy of Music, and others to transcribe this music have met with little success. A few recordings of his work remain, which have been gradually digitized and released since 1995.

Ostad Elahi was raised in a special atmosphere permeated with spirituality. The village where he was born, one of Iran's mystical havens, is isolated within the tranquil plains of western Iran and has given rise to many prominent spiritual figures over the centuries. His parents, Haj Ne'mat and Sakineh Khanoum, had married at a young age according to the local custom of the time and had nurtured a deep affection and respect for one another. Haj Ne'mat was a respected notable, highly regarded for his honesty, courage, and knowledge. A man of profound faith, he also played the tanbour, an eastern lute reserved for sacred music.

When Ostad was six, Haj Ne'mat had an overwhelming mystical experience that radically transformed him. Renouncing the world entirely, he transferred the management of his lands to a third party and began dressing in the white robes customarily worn by dervishes. His wife supported him fully in his vocation and renounced all forms of worldly activities. Little by little the reputation of Haj Ne' mat, the mystic, spread and thousands of followers gathered around him. It is in this context that young Ostad began a new life marked by prayer and spiritual gatherings, in which sacred music played a central role.

As a master musician, Ostad's extraordinary skills were equaled only by the humility and depth of his character. Without ever seeking the admiration of his fellow musicians, his technical virtuosity and seemingly endless creativity essentially renewed and transcended the age-old tradition of the tanbour. Though music played an essential part in his life (he would devote several hours to it each day), he never considered music as a means of acquiring fame, but rather as a medium for meditation and a language for prayer.

Rooted in a tradition that has remained secret for several centuries, Ostad Elahi's music is truly remarkable and unique. Eluding classification in any of the conventional categories, this music has historically been reserved for devotional contexts. For Ostad, music was above all a means of contemplation and prayer, and he would therefore only play alone or in small gatherings of family and close friends. The recordings that currently remain of his work were made towards the end of his life under simple and nonprofessional conditions, often without his knowledge. While these recordings (totaling some 40 hours) have mostly been edited and made available after his passing, those who actually had the opportunity to hear him play were profoundly affected by his music, including several renowned artists and musicians.

The Tanbour
The sound of the tanbour and certain instruments is similar to celestial sounds. Where does this sound come from? It comes from the Beloved. If the soul's ear has awakened, one can hear secrets that are hidden from those who are only preoccupied with the material world.

In the East, the term tanbour refers to a category of popular lutes of various sizes, proportions, and tones, with the common characteristic that the necks of these lutes are longer than their bodies. The sober tones of the instrument, ranging from dry to mellow, have something immaterial, abstract, and almost ascetic about them, destining the tanbour to a serious and celestial kind of music.

In Iran, the tanbour was among the instruments played at the Court of the Sassanides in the 5th and 6th centuries. Later, some Kurdish religious groups would adopt this sacred instrument to accompany the chants and dances of their spiritual gatherings.

The Musical Art of Ostad Elahi
Born into a family and environment steeped in mystical tradition, the spiritual gatherings of that time revolved around sacred music, which encompassed invocations, chants, dances, and rhythms that were accompanied by melodies of the tanbour. A child prodigy, Ostad rapidly assimilated this sacred repertoire, as well as those of the surrounding regions. In order to fully develop the potential of the tanbour, he developed a complex and subtle playing technique that included all five fingers of each hand, notably the rolling motion of the right hand. Moreover, he doubled the higher string of the tanbour to increase its expressiveness, enhancing not only its potential for ornamentation, but also its overall range and richness. It would only be a matter of time before these innovations were adopted by the next generation of tanbour players. Today, it is widely acknowledged that his instrumental technique and art of ornamentation mark the pinnacle of middle-eastern lutes of the tanbour family.

"There are two things on which my time was truly well spent: the tanbour and spirituality."

Among Ostad's major contributions to the art of tanbour is an original repertoire of over one hundred pieces. Considering the richness of these compositions and their intricate ornamentation, this repertoire clearly transcends the one that preceded it. Moreover, Ostad used this repertoire as a basis for improvisation, an art form in itself which highlighted Ostad's musical genius and enabled him to play with a freedom never heard before in this type of musical tradition.

Through all these innovations, Ostad not only revived, but also transcended the ancient musical tradition he had inherited as a child. When we consider his significant contributions to the art of tanbour (including the physical modifications he made to the instrument itself), it would not be an exaggeration to state that Ostad Elahi was indeed the true creator of this art. Through his efforts, a popular tradition with a scattered and limited repertoire was transformed into a learned music.

The Role of Music According to Ostad Elahi
Parallel to the practice of music, Ostad Elahi reflected on the role of music and its relation to the soul and the Divine. On the path that must lead it back to its origin, the soul finds nourishment in music, which strengthens its fervor and serves as a means of communication with the Creator.

It was not until 1957 when he retired from the judiciary and settled permanently in Tehran that several people were able to gradually discover him. Ostad fully devoted himself to his writings, teachings, and sacred music. As his reputation as a sage and unparalleled musician slowly spread, people from all over the world began to visit him. Several thousand people were present at his funeral. Today, his memorial is an international site of pilgrimage.

More info:
http://www.ostadelahi.com/english/life/html/introduction.html

Tracks:
1. Farangi
2. Suite Haft Khân-E Rostam: Khân 1/Khân 2/Khân 3/Khân 4/Khân 5/Khân 6
3. Suite de Tarz 1-8: Tarz-E Ja 'Fari/Tarz-E Khân Bâbâ Khân/Tarz-E ...
4. Chants: Wa Nokhte Kalâm Didedâre Shun/Zât-E Yâr Dâwed Hâzeran Wa Jam
5. Suite Shâh Hoseyni (2e Partie): Shirin Mayâ Khâl/Lâwe Lâwe/Gharibi
6. Hal Parka

37 minutes of pure nostalgia-coated music. Great stuff. Probably the best Presley tribute I've ever heard. If you consider yourself a Presley fan, you owe it to yourself to get this one, released to mark the 30th anniversary of The King's death. Back-up by the Jordanaires. Plus some BBC Radio programmes marking the 30th anniversary.
Tracks:
01. A Mess of Blues
02. I Beg of You
03. Don't Leave Me Now
04. I'm Left, You're Right, She's Gone
05. Peace In the Valley
06. Don't Be Cruel
07. Lawdy Miss Clawdy
08. My Baby Left Me
09. Too Much
10. Love Me
11. Trying To Get To You
12. (You re So Square) Baby I Don't Care
13. It's Now Or Never
14. It Feels So Right
15. Young and Beautiful




It's the black-leather Elvis--the one who breathed sex and fire into early rock & roll--that singer Robert Gordon and guitarist Chris Spedding memorialize in this 15-song tribute that marks the 30th anniversary of the King's death on August 16, 1977. Gordon is America's preeminent rockabilly singer. At age 60 he still has the flexible, swaggering baritone to negotiate Elvis's swooping style of phrasing as he romps through smashes like "Don't Be Cruel" or croons tender ballads like "Love Me." His knowledge of the Presley catalog runs deep, too, which means there's more obscurities like "Young and Beautiful," from the Jailhouse Rock soundtrack, than predictable hits. This set also reunites Gordon with British roots rock guitar maven Spedding after a 13-year break from their partnership. Although Gordon's production takes an almost Biblical approach, Spedding manages to deploy a cutting slap-back tone on the brisk blues "My Baby Left Me" and "Too Much" that give those tunes plenty of edge. And he lets his strings sing sweetly on opener "A Mess of Blues." The real sugar, though, comes from the Jordanaires--the very same vocal quartet that harmonized behind Presley starting with his first RCA sessions in 1956. More than a half-century later, they apply aural icing to these songs with unmistakable originality.
Ted Drozdowski


Robert Gordon was one of the few major rockabilly revivalists who came on the scene before Elvis Presley died, albeit by a slim margin -- Elvis passed only four months after Gordon's first album was released in April 1977 -- and while Gordon rarely seemed to be emulating Presley in his glory days, the King was clearly a major influence on him, both as the man who disseminated the hepcat ethos to the world at large, and as a gifted singer whose talent went beyond the strict confines of the rockabilly genre into pop, rhythm & blues and gospel. On It's Now or Never (once announced for release under the title "The King and I"), Gordon teams with one of his best instrumental sidekicks, guitarist Chris Spedding, and records 15 songs made famous by Elvis Presley with the Jordanaires, the vocal group that backed up Elvis on many of his RCA sessions, adding harmonies on several tunes. While Spedding follows the teachings of Scotty Moore in his guitar work and the rhythm section similarly aims for a sound that recalls what Presley did with these songs so many years ago, Gordon strives hard to give his recordings a personality of their own, and while Elvis casts a pretty long shadow over this disc, Gordon actually manages to sound like himself on It's Now or Never. It helps that he has a lower voice than Presley, and that his instrument doesn't seem capable of the same gymnastics as Elvis', which forces him to rethink the vocal lines a bit, but there's an undertow to this album that suggests Gordon respects this music too much to simply imitate Elvis. While Gordon brings the same sort of romantic brio to "It's Now or Never," conjures up a similar lovelorn passion on "Trying to Get to You" and even approaches the spiritual conviction of "Peace in the Valley," he finds a way to spin them his own way, and if he isn't the most original sounding vocalist in creation here, he approaches some of the best known songs in the rock & roll canon and interprets them on his own terms, no small task for any singer, and he does so with a healthy dose of heart and soul. Against all odds, It's Now or Never ranks with Gordon's best work since his heyday in the '80s, and finds him singing with strength, confidence and imagination, partly because he's rarely had material this good: maybe he should consider an Eddie Cochran or Buddy Holly homage sometime in the future.
Review by Mark Deming


It seems like an eternity ago now, but it was only thirty years, when this beanpole guy with a great voice put out an album of rockabilly music. It was so bare bones that if not for the fact it had a full drum kit in play, the album could have been easily recorded on a four track recorder and the sound quality would have been fine.
Robert Gordon accompanied by the late great Link Wray on guitar came out of nowhere to remind the world where Rock and Roll came from. They put out two great albums, Robert Gordon With Link Wray and Fresh Fish Special. "Red Hot", the single from the first album, was actually released in and around when Elvis Presley died, which made the song take off like a rocket.
Comparisons between Elvis and Robert were probably inevitable due to the coincidental timing of the first album's release and their similarities in vocal ranges and musical styles. Robert never denied that as a youngster Elvis' music had been a big influence on him, but none of his tunes would ever be confused with Elvis' music. They were harder edged with an undeniable punk influence in sound and attitude.
Link and Robert only lasted two albums together, mainly because the label that put out Fresh Fish Special went under leaving them high and dry. So his third album didn't come out until 1979 on RCA. Rock Billy Boogie was the first recording that Robert made with guitarist Chris Spedding and it had four songs on it that broke the top 100.
Now for the first time in twenty years, and more importantly thirty years since the death of Elvis, Robert Gordon and Chris Spedding have joined forces again for the release of It's Now Or Never on the RYKO label. The thirty-year anniversary is significant because every track on this disc was recorded by Elvis at one time or another during his career.
Since they are accompanied by Elvis' former backup singers, The Jordanaires, one could be excused for thinking that this is some sort of Elvis impersonator's album. Well you couldn't be further from the truth. If you haven't heard Elvis in a long time, than you might think that Robert sounds like him, but in reality it's only the style of the music and the fact they both are baritones.
At worst this is a tribute album, but in reality its interpretations of some of the classic rockabilly and country blues songs that were recorded by Elvis during his hay day. Looking over the track list there's only one song that Elvis even gets a writing credit for, "Don't Be Cruel" and only three others that he even held the rights to. Remember Elvis' first big hit "Hound Dog" was written by Big Mama Thornton, so it shouldn't come as too much of a surprise that most of the songs that we associate with him were written by other people..
Robert Gordon and Chris Spedding have recorded the fifteen songs on It's Now Or Never as pure undiluted rockabilly without any of the augmentations or concessions to modern audiences that groups like the Stray Cats used to do in the early eighties during the so called rockabilly revival. These songs sound like they could have been recorded at the old Sun Records studio in downtown Memphis back in the 1950's they are so pure and authentic.
You can't fake the sincerity in the voice of Robert Gordon when he sings any of the songs on this disc. Even something as potentially cloying as the old country gospel tune "Peace In The Valley" works because he so obviously means what he sings. He still has wonderful control over his voice, as he's able to dip down into the baritone on "(You're So Square) Baby I Don't Care" and reach up high when needed on "It's Now Or Never".
What's truly amazing to me when it comes to his singing is how melodious his voice still is. He's been singing for close to forty years now and there's nothing to suggest that his voice has suffered any damage at all. He never sounds like he's straining for a high note or volume. If at the start of the record you had thoughts that he was trying to imitate Elvis, by the time the disc ends you've completely forgotten about Elvis and are only thinking about Robert Gordon's voice.
I can't think of any other guitar player who would compliment Robert Gordon in this type of music better than Chris Spedding. Not only is he an amazing rhythm guitar player when it comes to this style of music, but he is a totally unselfish lead player. His rockabilly leads are incredible, with each note sounding out individually and echoing a time when guitar leads weren't about speed but what you could make a note say.
When the voice of Robert Gordon is joined with the voice of Chris Spedding's guitar and they are backed up the Jordanaires it is to hear what made Elvis and rockabilly so special. People of my generation really only saw Elvis when he had become the parody of himself doing those horrible shows in Las Vegas. Thanks to It's Now Or Never we have a real opportunity to appreciate the music and understand a little better why people would refer to Elvis as the King.
If he sang anything like Robert Gordon does now, then he must have been something wondrous to behold.
Richard Marcus


"It's now or never" is a tribute to Elvis on the thirtieth anniversary of his death. The album is a collection of Elvis songs from the king's rockabilly period. Some of them were hits, but many were not. The ones you recognize are wonderful and the ones you don't are equally good. Elvis had some great music that was not released for radio airplay.
The real kicker for me was that Gordon and Spedding used The Jordanaires, Elvis' backup singers for much of his career, as the backup singers for this tribute album. What great singers they were.and are. They add a touch of original seasoning to the music and give it a feel of authenticity that the recording may lack without them.
The arrangements seem to be almost exactly the same as the original recordings with the exception of Spedding's guitar work being featured a little more in the mix. Other than that, you'd think that Gordon had just recorded over the original tracks that had been enhanced to todays audio quality. I guess I am saying that this is what the original band would have sounded like had they recorded last year. Spedding still has some nice smooth chops and lays down an elegant backdrop for Gordon's vocals. Oh, about Gordon's vocals.
Robert Gordon will not be mistaken for Elvis Presley. He has a deeper voice and he does not use the inflections that Elvis used when singing. But, he makes the songs his own and could easily fool you if you simply heard the music in a store or weren't paying close attention. I was surprised at how well his voice had held up after all these years. It was clean and pure and he could hit the notes solidly without sliding into them. He is as good as he has ever been, and that is pretty damned good if you ask me.
If you are looking for an Elvis impersonator, don't get this album. If you are looking for a man that respects the early days of the king and works his tool to pay a beautiful homage to Elvis, then this is a must own. I have played it five times since I got it two days ago. My wife asked if it was Elvis and I just chuckled. It does sound like his stuff and the Jordanaires just sweeten the presentation to the next level. And that is the level of most excellent, daddy-o.


Have you heard the news! There's good rockin' tonight and it's coming from the return of Rockabilly legends Robert Gordon and Chris Spedding. Vocalist Gordon and guitarist Spedding pay tribute to Elvis Presley with their new release, It's Now Or Never. These gentlemen are joined by the King's backing vocalists The Jordanaires on fifteen tracks that range from the well known to the obscure. The CD is perfectly timed to hit shelves on the thirty-year anniversary of Elvis' passing,
These two first teamed up when Spedding became guitarist for Gordon's backing band The WildCats by replacing guitar hero/master Link Wray. Producing some good albums and ripping live venues apart, these kats scored with a cover of the classic "Red Hot" and Bruce Springsteen's gift to Gordon, "Fire." After spending twenty years apart, the voice and the guitar tear it up again with this collection of tunes first made popular by "the hillbilly kat," Mr. Elvis Presley.
From reeling and rockin' to slow and low Gordon has chosen tracks that represent the power and emotion that Elvis could convey when he wasn't singing about crap such as clam bakes or luaus. Gordon's vocals are as strong as ever on ballads where he pleads "Don't Leave Me Now," "Love Me," and the swinging title track "It's Now Or Never." On the latter Gordon shows off the power in his baritone voice as The Jordanaires recreate their smooth group harmony behind him. Gordon's voice is reminiscent of Elvis' but is deeper and more gruff, giving him a sound all his own.
Spedding begins to cut his way and be heard on some of the King's bluesy sides, turning tunes like "A Mess Of Blues," "Trying To Get to You," and "It Feels So Right" into grittier, mean-sounding gems from an after-hour's juke joint. The original session guitarist had the vibe but its Spedding's talent and feelings pushing these songs further, reminding us that with the right guitar slinger these songs are street level, greasy blues tunes.
The two rockabilly titans are strongest on the up-tempo numbers. It's here that Spedding swings his ax with a style that adds to the original arrangements while showcasing Gordon's fierce vocals. Songs like "I'm Left, You're Right, She's Gone," and "Too Much" are given new life and jump just as much as the previous versions. "My Baby Left Me" hits hard and fast, leaving you asking for more, which our heroes gladly supply by tackling one of the holiest of Elvis' tunes, "Don't Be Cruel." Many consider this song untouchable and would rather it be left alone, but bravely they step and rock it almost as well as the King himself. Gordon's mature vocals conjure up images of an older Elvis performing in his '68 comeback prime as Spedding gives the tune more of a country slant.The track that pulls it all together is "I Beg Of You." Gordon asserts himself as an older, wiser vocalist. Spedding's picking and strumming jives well with The Jordanaires whose peppy backing chores shine as bright as one of the King's pinky rings. And no true Elvis tribute can be complete with out the spiritual that the King loved so much, "Peace In The Valley;" which is given a fine treatment by this talented group of performers.
In It's Now Or Never you'll get a fresh take on a few Elvis tunes that jump and swing with a life of their own. The rockabilly world is thankful that Gordon ditched his punk band the Tuff Darts to pursue his love of 1950s rock 'n' roll. He carried the torch for music that might have died with Elvis.
There are plenty of good rockabilly bands making the scene now but Gordon hit at a time when this brand of rock was at a low point. Elvis himself shied away from it at the end of his career, focusing more on being a jumpsuit-wearing entertainer. Gordon appeared and stripped this music back to its roots and drawing from the energy of his punk rock beginnings was able to breathe fire and attitude back into the rebellious music known as Rockabilly, the punk rock of the 1950s. So it's now or never, ghoulies. Enjoy the coming month because it's not often that Elvis and rockabilly will be celebrated as much as it will be this August.


PLUS:

A few BBC Radio programmes marking the 30th anniversary of EP's death

Elvis & Me - Presented by Suzi Quatro.

To mark the 30th anniversary of the death of Elvis Presley on 16 August, this programme features a selection of people talking about their memories of Elvis.
Presenter Suzi Quatro describes herself as Elvis' Number One fan, although many would challenge her for that title! She has written a still unreleased tribute song called 'Singing With Angels', which she recorded with James Burton (Elvis' guitar player in the 1970s) and the Jordanaires, who provided backing vocals on so many of his records.
In addition to Elvis admirers Robert Plant, Tim Rice and Cliff Richard, there are stories and reflections from those who worked with him such as James Burton, Jerry Leiber & Mike Stoller and Ray Walker of the Jordanaires. Plus songwriter Jimmy Webb talks about his song 'Elvis And Me' and its inspiration.
The programme will cover Elvis' whole career - from the life-changing impact of his early records through to his Las Vegas live spectaculars of the seventies.



Elvis - The '68 Comeback Special

The amazing impact and legacy of a TV special which Elvis filmed for NBC in 1968.
This one hour documentary explores the amazing impact and legacy of a TV special filmed for NBC called 'Elvis', now better know as Elvis's '68 Comeback special'.
Elvis' stands as one of the great television moments in rock music history and a stunningly brilliant milestone in Elvis Presley's career. Elvis rocked the world in the 1950s, a leader among musicians who brought about a revolution in music and pop culture. Through most of the 1960s he concentrated mainly on his movie career, which was very successful, but had become a grind and had not given him many opportunities to prove himself as a serious actor.
By 1968, it had been more than seven years since Elvis had appeared on stage in front of a live audience. In this television special, Elvis played his greatest role - simply being himself.



Don't Start me Talking - about Elvis

Elvis Presley died 30 years ago, and this programme gives his UK fans an opportunity to share their memories of the night that he died, and to reflect about what Elvis means to them.
Told entirely in the words of the general public, and by turns revealing, moving and funny, the programme is a unique slice of British social history. The mix of first hand testimony, news archive and Elvis music presents a compelling tapestry of events around those days in August 1977, compelling for those who were there and enlightening for those who know the time only second-hand.
And in addition, it's the story of Elvis fandom in the UK. Presley never came to Britain, so we'll meet from the woman who travelled to see him play in America over 40 times. We'll learn about his uncanny ability to mimic a North Staffordshire accent, and what it's like to be kissed by the King! We'll hear about the parents who wouldn't allow Presley records in the house and from the young fan who was converted after finding Elvis singles in his mother's record box. And what happens if you're a fan of the King married to a non-believer? (Hint: not good.)
Don't Start Me Talking. is BBC Radio 2's acclaimed oral history series, telling the stories of pop music through the voices of the fans.


Each programme is in a single MP3 file, about 57 min. in duration, recorded from BBC Radio 2 at 64kbps.

PLUS:

To mark the 30th anniversary of Elvis' passing McLean's Country on BBC Radio Ulster pays tribute to the country roots of The King in the company of Elvis' guitarist James Burton, DJ Tony Prince and Jim Meredith.
The King Of Rock he may have been but Elvis was always a country boy at heart. Join Ralph McLean and Jim Meredith for a two hour celebration of the King's country roots on McLean's Country. From the man's personal favourite country songs to his greatest C&W performances and some great cover versions this is a timely tribute to a true original on the 30th anniversary of his passing.


51.3 MB @ 64 kbps, 114 min.


Thanks, once again, to crackpot, from whom I got the RG files.