Missionaria Protectiva

        Serving the needs of Rammstein’s music, Riedel is a playful player who mixes up open notes, root notes, chord progressions and, sometimes just matches the guitar riff, while offering the occasional fill. Sure, they’re all pretty standard expectations of a bassist, but Riedel keeps Rammstein from being too rigid and mechanical, which is critical to their worldwide success. RAMMSTEIN Live In Berlin Motor/Mercury,1999 CD 1.....https://www.sendspace.com/file/mbk6ne CD 2.....https://www.sendspace.com/file/44vg75

  ANTHRAX  Armed And Dangerous  (Megaforce,1985/1992) - Thrash metal       "Armed & Dangerous"  is not just for die-hard fans and collectors , but it is an excellent piece of Anthrax's discography and moreover, it is the first great showcase for an excellent singer like Joey Belladonna. TRACKLIST : Armed And Dangerous                     Raise Hell                     God Save The Queen                     Metal Thrashing Mad                     Panic                     Soldiers Of Metal                     Howling Furies https://www.sendspace.com/file/oomson

  HEAVY CRUISER  Lucky Dog  (Family Productions,1973) - Hard rock       Lucky Dog is the second and final album by Heavy Cruiser, a studio-based side project conceived by Neil Merryweather during his time with Mama Lion. While the band’s lineup remained anonymous on the original release due to label politics, this album features the same powerhouse rhythm section and explosive musicality that made their debut such a cult favorite. TRACKLIST : Everytime I Hear Your Music                          Mirrors In Your Eyes                          Where You Gonna Run To                          Gotta Get Away                          Open Your Eyes                  ...

  SPEED, GLUE & SHINKI  Eve  (Atlantic,1971) - Acid rock, Hard rock       As everyone has asked himself, I'm wondering how drugs can (or could) influence rock artists. I consider some of the answers are lying open in this album. Look folks. The first track is named  Mr. Walking Drugstore Man . Even only this dangerous flavour is enough for us to feel the drug culture, isn't it? Yes, Joey Smith's nickname was 'Speed'. From the beginning, massively heavy Masayoshi's bass & Joey's drums, and funky and sneaky Shinki's guitar, can attack and kick our b**t seriously. Furthermore, at the last of this song he whispers 'Hey, you wanna buy the speed, you wanna buy the speed! Yea...huh...peace!'. Wow, we should be amazed and shocked there be such a song possessed by SPEED. However I suggest this song should be born not in their 'tripping' but in their 'desire for tripping'. That is, I do feel this song be not a freaky-out or another-...

  RORY GALLAGHER  Rory Gallagher  (Polydor,1971) - Blues rock       Rory’s solo debut was a natural progression from Taste and set the template for the 10 studio albums that followed: a blend of authentic blues, acoustic folk, and blistering rock‘n’roll.       Impressively for such a staunch blues traditionalist, Gallagher didn’t cover any old standards for any of his earliest solo albums. He had plenty of great original material, and a shit-hot band to back him up.  Laundromat  is the kind of stinging boogie that  ZZ Top  built an entire career on,  I Fall Apart  is a deep blues lament, and  Can’t Believe It’s True  is a Traffic-style jazz-rock jam with Rory playing saxophone.  TRACKLIST : Laundromat                          Just The Smile                          I Fal...

  ROBBIE ROBERTSON  Storyville  (Geffen,1991) - Rock       The 10 tracks traverse several states and decades in describing an on-again, off-again love affair, along with the protagonist’s search for spiritual fulfillment, climaxing far from Louisiana on the Hopi Indian reservation.       This narrative seems to have stayed mostly in the artist’s head (and in the detailed press kit synopsis). “Storyville” is better appreciated as a strong but uneven collection of tunes than as the dramatic whole he envisioned.       Some cuts get surprisingly pedestrian in waxing romantic and wonderstruck, Robertson’s populist sense besting his poetic instincts. (Lines like “We’re all living in a street opera” veer mighty close to Bon Jovi territory.)       Other vignettes, though, are standouts--like “Soapbox Preacher” (in which Robertson’s husky whisper mixes prettily with a Neil Young harmony), “Resurrection” (where gospel’s Zi...