Smegma - Mirage album flac

Label: Important Records (2) ‎– IMPREC311. Format: Vinyl, LP, Album. A1, B2 recorded at Smegma House Party, Portland, Sept. 25. Special thanks to guests: Scott, Dan, Mia, Spencer, Amy Faust, Cheez-It Ritz, Dan, Kilynn, Pat, Lala, Joan, David, Rob, Rod, Greta, Karianne, Matt & others. Track B2 is exclusive to the LP version.

Recorded at Smegma House Party, Portland, Sept. Other Versions (3 of 3) View All. Cat.Important Records (2). IMPREC311. Mirage ‎(LP, Ltd, Han).

Mirage is a music studio album recording by SMEGMA (essive Rock) released in 2010 on cd, lp, vinyl and/or cassette. 1. World of My Own (11:22) 2. Mirage (7:06) 3. F-85 Turbo Rocket (2:24) 4. Very Good Advice (8:54) 5. That Part of Wales (5:59) 6. Quiet on the Set Rioux! (March 16, 1974) (8:42).

El Mirage is the sixth album by American singer-songwriter Jimmy Webb, released in May 1977 by Atlantic Records. This was the first album for which Webb handed production and arrangement duties on to another person, George Martin, producer of The Beatles. The album is notable for containing "The Highwayman", a song that later provided both the name and first hit for The Highwaymen, a country supergroup comprising Johnny Cash, Waylon Jennings, Kris Kristofferson and Willie Nelson.

Mirage is the second studio album by the English progressive rock band Camel, released on 1 March 1974. It features songs such as "The White Rider" and "Lady Fantasy". It is also a showcase for Andrew Latimer's flute, played in "Supertwister". There are five tracks on Mirage, two over 9 minutes. Those two are multi-part songs: "Lady Fantasy" and "Nimrodel/The Procession/The White Rider", the latter being about The Lord of the Rings. The album was released on Gama Records/Deram Records.

Mirage turns out to be a mature take on Smegma’s brand of punk, and, even better, I only use mature in the sense that the punchlines are punchier and the anger is sharper: this is a honed record, I mean, and glorious for it. The most exciting thing about Mirage is how wonderfully it recalls that the brilliance of this band most readily manifests itself in a wealth of claustrophobic melodies that kind of grind against one another. The album ends with a 1974 jam from the band’s archives. It falls more in line with World of My Own and Oh Yeh, and provides an interesting point of comparison for how the band’s sound has developed.