Søgeresultat: gameboy advance
Download: Schrottgrenze - Château Schrottgrenze (advance Version)

Download: Schrottgrenze - Château Schrottgrenze (advance Version)

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Download: Schrottgrenze - Château Schrottgrenze (advance Version)
Download: Bobby Watson - Advance

Download: Bobby Watson - Advance

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Download: Bobby Watson - Advance
Download: Cecil Taylor - Jazz Advance

Download: Cecil Taylor - Jazz Advance

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Download: Cecil Taylor - Jazz Advance
3 Inches Of Blood Advance And Vanquish

3 Inches Of Blood Advance And Vanquish

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3 Inches Of Blood Advance And Vanquish
Download: Vendetta Red - Between The Never And The Now Album Advance

Download: Vendetta Red - Between The Never And The Now Album Advance

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Download: Vendetta Red - Between The Never And The Now Album Advance
Download: Lashun Pace - All Things Working - Advance Ep

Download: Lashun Pace - All Things Working - Advance Ep

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Download: Lashun Pace - All Things Working - Advance Ep
Taylor Cecil Trio&Quartet Jazz Advance

Taylor Cecil Trio&Quartet Jazz Advance

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Taylor Cecil Trio&Quartet Jazz Advance
Strange Advance Over 60 Minutes With

Strange Advance Over 60 Minutes With

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Audio CD, EMI
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Strange Advance Over 60 Minutes With
LFO Advance

LFO Advance

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Release Date: 1996-01-26, Audio CD, Warp
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LFO Advance
Gameboy Golden Ghetto Sex Ep

Gameboy Golden Ghetto Sex Ep

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Release Date: 2008-03-17, Audio CD, Csr
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Gameboy Golden Ghetto Sex Ep
Various Advance Australia Fair

Various Advance Australia Fair

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Audio CD, ABC
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Various Advance Australia Fair
3 Inches Of Blood Advance and Vanquish

3 Inches Of Blood Advance and Vanquish

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Release Date: 2004-10-18, Audio CD, Roadrunner
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3 Inches Of Blood Advance and Vanquish
Cecil Trio Taylor Jazz Advance

Cecil Trio Taylor Jazz Advance

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Release Date: 2008-03-10, Audio CD, Fresh Sound
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Cecil Trio Taylor Jazz Advance
Joss Stone Introducing Joss Stone [CD + DVD]

Joss Stone Introducing Joss Stone [CD + DVD]

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In the run-up to this, her third album, Joss Stone told a phalanx of glossy magazines that the difference between this disc and the two that preceded it was a newfound clarity of vision. Whereas the other records--their gold status notwithstanding--represented the fumblings of a huge-voiced kid being bossed around by experienced music-biz types, this one, she promised, would reveal the real her. Thus, the titular "introduction." To which anybody who spins the 14 groovy and fully unbuttoned tracks herein will wish to reply not "nice to meet you"--far too lame a sentiment for so fully realized a disc--but "Where have you been all my life?" As good as Joss Stone's previous efforts are, Introducing Joss Stone represents a giant step forward: there's a freshness to these songs that suits her age (19 as of the album's release) and a funkiness that suits modern pop sensibilities. There's also a cross-hatching of visions with artists like Lauryn Hill and Common that will rightly advance her reputation as an artist who can sling disco, R&B, and rock almost as convincingly as soul. Splicing girl-group harmonies with blaxploitation-style funk with Joplin-esque and, at times, Shelby Lynne-reminiscent vocals, Stone works these Raphael Saadiq-produced beats with the stealth and steadiness of a '70s-era legend who's still going strong. "Girl They Won't Believe It," she wails against the tight hoo-hoo harmonizing of talented backup singers on the opening track; get a load of how much she's accomplished in the space of three albums, and you won't believe it, either. --Tammy La Gorce
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Joss Stone Introducing Joss Stone [CD + DVD]
Joss Stone Introducing Joss Stone

Joss Stone Introducing Joss Stone

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In the run-up to this, her third album, Joss Stone told a phalanx of glossy magazines that the difference between this disc and the two that preceded it was a newfound clarity of vision. Whereas the other records--their gold status notwithstanding--represented the fumblings of a huge-voiced kid being bossed around by experienced music-biz types, this one, she promised, would reveal the real her. Thus, the titular "introduction." To which anybody who spins the 14 groovy and fully unbuttoned tracks herein will wish to reply not "nice to meet you"--far too lame a sentiment for so fully realized a disc--but "Where have you been all my life?" As good as Joss Stone's previous efforts are, Introducing Joss Stone represents a giant step forward: there's a freshness to these songs that suits her age (19 as of the album's release) and a funkiness that suits modern pop sensibilities. There's also a cross-hatching of visions with artists like Lauryn Hill and Common that will rightly advance her reputation as an artist who can sling disco, R&B, and rock almost as convincingly as soul. Splicing girl-group harmonies with blaxploitation-style funk with Joplin-esque and, at times, Shelby Lynne-reminiscent vocals, Stone works these Raphael Saadiq-produced beats with the stealth and steadiness of a '70s-era legend who's still going strong. "Girl They Won't Believe It," she wails against the tight hoo-hoo harmonizing of talented backup singers on the opening track; get a load of how much she's accomplished in the space of three albums, and you won't believe it, either. --Tammy La Gorce
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Joss Stone Introducing Joss Stone
Arild Andersen Triangle

Arild Andersen Triangle

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The Triangle, the second ECM release from this world-class post-Bill Evans trio, is both a consolidation of and an advance on their fine 1999 debut Achirana. In particular, Tsabropolous, a classically trained musician with little if any previous exposure to jazz, has acquired a more subtle yet potent fluidity of phrasing and sensitivity of touch than he revealed on that first release: sample the beautifully weighted mood he builds and sustains on the opening "Straight" (one of the best pieces here) and Ravel's "Pavane", for example. As on the previous release, the excellent Marshall is both muscular and sensitive to requisite degree (hear his brush work on the lovely "Choral") while Andersen brings an essential dimension to the maturely conceived and characterful material through both a big, full, singing tone and a widely deployed rhythmic sensitivity (hear him kick on the driving "Lines" and caress on the limpid "Simple Thoughts"). If you'd like to explore some of the rich, essentially lyrical European terrain that lies between the trios of Keith Jarrett and Esbjörn Svensson, the 53 or so minutes of The Triangle offer as good a place as any to start. -- Michael Tucker
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Arild Andersen Triangle
The Levellers Letters from the Underground (2CD)

The Levellers Letters from the Underground (2CD)

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English folk-punk stalwarts the Levellers have come in for their fair share of stick over the last 15 years, with many continuously asserting they wouldn't fancy touching them with a particularly lengthy one. Much of the derision may stem from ugly social bigotry centred on the fact that they look allergic to the idea of a good sponging, but the bulk is of their own making--firstly for scrubbing up to chase radio playlists and sell-out arena tours in a misguided advance on Britpop's commercial bounty (see Zeitgeist and Mouth to Mouth), and secondly by becoming so anaemically middle of the road that fresh road-kill looked more revolutionary ( Hello Pig). But with Letters from the Underground they've pulled off the ageing band's prerogative of dropping the artifice in favour of getting back to what they're good at. And they've done it with some real aplomb. It's essentially involved them throwing their classic Levelling the Land breakthrough at a wall, sticking the pieces back together and re-firing over current political blazes. So the fiddle frazzled high-kicking of "Cholera Well" and self-explanatory "Burn, America, Burn" wreak lyrical wrath on post-9/11 aggression, "Pale Rider" taking a post-7/7 UK perspective, while the didgeridoo underpinned (yes, indeed, that icon of crustiness returns too) "Before the End" is more personal, more tender, though no less fraught. They've regained their bite, like imparting these opinions and observations is a calling they have no choice but to answer. And it turns out that's better for us all than you might have thought. --James Berry
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The Levellers Letters from the Underground (2CD)
Led Zeppelin How the West Was Won

Led Zeppelin How the West Was Won

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How the West Was Won has been a long time coming. For a band with such an overarching legacy, the official record of Led Zeppelin's legendary--and unpredictable--live act has previously been poorly represented by the disappointing, scattershot soundtrack to The Song Remains the Same. But this triple-disc live set (culled from 1972 Long Beach/LA shows in advance of Houses of the Holy) addresses history with a vengeance, if a few decades late. These shows have rightfully assumed cult status in the bootleg market, showcasing a band at the peak of its creative and performing powers. The Zep faithful will welcome this belated release as evidence for enduring loyalty, but younger fans may find its diversity and dynamics even more enlightening--indeed, whole careers have since been built on the musical ideas Jimmy Page and company throw out here as decorative filler. Crucially rooted in the amped-and-hammered American blues of the guitarist's former band, the Yardbirds, the marathon work-outs of "Dazed and Confused" and "Whole Lot a Love" (which consume nearly an hour all by themselves) somehow encompass Ricky Nelson, Morocco, James Brown, Holst, Elvis Presley and Muddy Waters amidst their trademark sturm und drang, while the acoustic set that closes out Disc One showcases the band's--and particularly Robert Plant's--good-natured, crypto-Celtic folk appeal with energetic aplomb. Bigger and brasher than just about any rock act that followed in its historic wake, yet ever fan-loyal to its myriad influences, Led Zeppelin's live juggernaut finally gets the monument it deserves. --Jerry McCulley
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Led Zeppelin How the West Was Won
Green Day Dookie

Green Day Dookie

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Punk had flirted with mainstream attention before--the Clash and Sex Pistols had hits--but didn't fully advance from the underground until this pure-punk 1994 album. In singing catchy, tight rock & roll tunes--including "Longview", "Welcome to Paradise" and "When I Come Around"--Green Day sneered its way into the hearts of millions. The Berkeley, California, trio also ignited a debate: Is it selling out for punks to sign with a major record label and become multi-platinum stars? Fortunately, this band didn't seem to care as much as Kurt Cobain did. --Steve Knopper
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Green Day Dookie
Cream Disraeli Gears

Cream Disraeli Gears

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Fresh Cream, the album that introduced this seminal super-blues trio to America, was perhaps a bit too blues-based to do the advance hype ("Clapton is God!") justice. Two of its three best-known tracks, after all, were blues covers; it was Disraeli Gears that turned Cream into a "supergroup." Here they pursue the psychedelic ideals of the era with total abandon (the LP cover art still stands as one of the 1960s' most striking designs), merging these ideals with their take on the blues and adorning the amalgamation with some superb pop craftsmanship. Of the 11 originals here, four--"Tales of Brave Ulysses", "SWLABR", "Strange Brew" and "Sunshine of Your Love"--earned major airplay. This, their excess-free greatest moment, does the Cream legend proud. --Bill Holdship
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Cream Disraeli Gears
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