High Definition 24 Bit Music Download
Genre Pop/Rock
Styles: Pop
Source: HD Tracks, vinyl
Codec: FLAC
Bitrates: ~ 1,500 – 3,000 kbps
Bit Depth: 24
Sample Rates: 44.1 kHz, 96 kHz
Two Versions
Interscope Deluxe Edition HD Tracks (24/44)
and
Vertigo 3786617 LP (24/96)
Genre: Thrash Metal
Year: 1986-2017
Sepultura is a Brazilian heavy metal band from Belo Horizonte. Formed in 1984 by brothers Max and Igor Cavalera, the band was a major force in the thrash metal and groove metal genres during the late 1980s and early 1990s, with their later experiments drawing influence from alternative metal, world music, nu metal, hardcore punk and industrial metal. Sepultura has also been credited as one of the leaders of the second wave of thrash metal in the late 1980s and early-to-mid-1990s.
The band has had several lineup changes throughout its existence, with Max and Igor Cavalera departing in 1996 and 2006, respectively. Sepultura’s current lineup consists of vocalist Derrick Green, guitarist Andreas Kisser, bassist Paulo Jr. and drummer Eloy Casagrande. Since Igor Cavalera’s departure in 2006, there have been no original members left in the band. Paulo Jr., who has been a member of Sepultura since 1985, is the only member to appear on every release. Kisser, who replaced Jairo Guedz in 1987, has played on all of the band’s studio albums, except for their debut Morbid Visions (1986) and the split Bestial Devastation (1985).
Sepultura has released fourteen studio albums to date, the latest being Machine Messiah (2017). Their most successful records are Beneath the Remains (1989), Arise (1991), Chaos A.D. (1993) and Roots (1996). Sepultura has sold over three million units in the United States and almost 20 million worldwide, gaining multiple gold and platinum records around the globe, including in countries as diverse as France, Australia, Indonesia,United States, Cyprus and their native Brazil.
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Iggy Pop & James Williamson – Kill City (1977) [USA BOMP 1st press]
Vinyl | DSF DSD128 1bit/5.6MHz | 00:33:14 | 2,62 Gb | Genre: Rock
Label: Bomp Records | Release: 1977
To say Iggy Pop had hit bottom in 1975 is an understatement; after the final collapse of the Stooges, Iggy sank deep into drug addiction and depression, and he eventually checked himself into a mental hospital in a desperate effort to get himself clean and functional again. At the same time, James Williamson, his guitarist and writing partner in the last edition of the Stooges, still believed their collaboration had some life in it, and he talked his way into Jimmy Webb’s home studio to record demos in hopes of scoring a record deal. Iggy checked out of the hospital for a weekend to cut vocal tracks, and while the demos they made were quite good, no record companies were willing to take a chance on them. The tapes sat unnoticed until 1977, when Bomp! Records issued the 1975 demos under the title Kill City after Iggy launched a comeback with the David Bowie-produced The Idiot. Kill City never hits as hard as the manic roar of the Stooges’ Raw Power, but the songs are very good, and the album’s more measured approach suits the dark, honest tone of the material. The sense of defeat that runs through “Sell Your Love,” “I Got Nothin’,” and “No Sense of Crime” was doubtless a mirror of Iggy’s state of mind, but he expressed his agony with blunt eloquence, and his sneering rejection of the Hollywood street scene in “Lucky Monkeys” is all the more cutting coming from a man who had lived through the worst of it. And in the title song, Iggy expressed his state of mind and sense of purpose with a fierce clarity: “If I have to die here, first I’m going to make some noise.” Considering Iggy’s condition in 1975, his vocals are powerful and full-bodied, as good as anything on his solo work of the 1970s. The music is more open and bluesy than on Raw Power, and while Williamson’s guitar remains thick and powerful, here he’s willing to make room for pianos, acoustic guitars, and saxophones, and the dynamics of the arrangements suggest a more mature approach after the claustrophobia of Raw Power. Kill City is rough, flawed, and dark, but it also takes the pain of Iggy’s nightmare days and makes something affecting out of it, and considering its origins, it’s a minor triumph.
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Iggy Pop – Blah-Blah-Blah (1986) [England First Press]
Vinyl | LP Cover (1:1) | WavePack + cue | 32bit/192kHz | 00:42:00 | 2,32 Gb | Genre: Rock
Label: A&M Records # AMA 5145 | Release: 1986
In 1983, Iggy Pop’s career was in shambles, but an unexpected windfall arrived thanks to Iggy’s frequent benefactor David Bowie. Bowie recorded “China Girl,” a song Bowie and Pop co-wrote, for his album Let’s Dance, earning Iggy some large (and much-needed) royalty checks. Wisely realizing he was running out of second chances, Iggy decided to make the most of his good fortune; he steered clear of drugs, learned to cook his own meals, started putting money in the bank, and used his savings to bankroll a new album. David Bowie offered to help, and together they came up with Blah Blah Blah, the most calculatedly commercial album of Iggy’s career. Like The Idiot, Blah Blah Blah was heavily influenced by Bowie’s input; however, while The Idiot was made by a man creating intelligent and ambitious art rock, Blah Blah Blah is the work of a popmeister looking for hits and not afraid to sound cheesy about it. In the liner notes, a member of Duran Duran is thanked for the loan of a drum machine, and that speaks volumes about the production; Blah Blah Blah is slick in a very ’80s way, dominated by preprogrammed percussion and swirling keyboards. And in the four years since Zombie Birdhouse, Iggy hadn’t come up with much in the way of material; the only truly memorable tracks are “Real Wild Child (Wild One),” a neat bit of electro-processed rockabilly (previously a hit for Australian rocker Johnny O’Keefe), and the moody “Cry for Love,” co-written by former Sex Pistols guitarist Steve Jones. Both of these songs were minor hits, so Blah Blah Blah succeeded on its obviously commercial terms, but that doesn’t change the fact it’s one of Iggy’s least interesting albums, and has dated worse than almost anything he’s ever recorded.
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Genre: Rock
Media: 4LP
Year: 2017
Label: Columbia – 88985464971
Country: UK
Audio Codec: DSD 128
Type of rip: tracks
Recording format: 1 / 5.64
Distribution format: 1 / 5.64
Duration: 2:29:00
Size: 11.81 GB
Audio Codec: FLAC
Rip type: tracks + .cue
Recording format: 32/384
Distribution Format: 24/192
Duration: 2:29:08
Size: 5.73 GB
On July 7th & 8th 2016, David Gilmour performed two spectacular shows at the legendary Pompeii Amphitheatre in the shadow of Mount Vesuvius, 45 years after he first played there for Adrian Maben’s classic film Pink Floyd Live at Pompeii.
The concerts were the first-ever rock performances played to an audience in the ancient Roman amphitheatre, which was built in 90 BC and entombed in ash when Vesuvius erupted in AD 79. David Gilmour is the only performer to play to an audience in the arena since the time of the gladiators, almost 2,000 years ago.
The concert performance film, David Gilmour Live at Pompeii, was shot in 4k by director Gavin Elder and includes highlights from both shows. The concert is a spectacular audio-visual experience, featuring the famous huge circular cyclorama screen as well as lasers, pyrotechnics and stellar performances from an all-star band.
The film includes songs from throughout David’s career including the title tracks of his two most recent No. 1 solo albums: Rattle That Lock and On An Island. Also included are other solo and Pink Floyd classics such as Wish You Were Here, Comfortably Numb and One Of These Days, the only song that was also performed by the band in 1971. Both concerts also saw extraordinary performances of The Great Gig In The Sky from The Dark Side Of The Moon, which David rarely plays as a solo artist.
Year Of Release: 2014
Genre: Heavy Metal
Format: Flac, Image+.cue
Bitrate: lossless , 24/192
Total Size: 15 GB
1980 – Iron Maiden
1981 – Killers
1982 – The Number Of The Beast
1983 – Piece Of Mind
1984 – Powerslave
1985 – Live After Death
1986 – Somewhere In Time
1988 – Seventh Son Of A Seventh Son
LIMITED EDITION
PLEASE NOTE-This Special Edition Box only contains the first 3 LPs from Iron Maiden (Iron Maiden, Killers, and The Number of the Beast). The Box was created to house ALL 8 of the Iron Maiden LP releases from 1980 to 1988 but the remaining 5 LPs need to be purchased separately.
Michael Jackson – Bad (1987) [3LP, 25th Anniversary Edition, 2012]
Vinyl rip in 24 bit/96 kHz | FLAC | Artwork | 2,15 GB, 3% RAR Recovery
MJJ/EPIC/LEGACY | Pop
Digitally remastered and expanded triple vinyl LP edition of this classic album from the King of Pop. Disc Two features 12 tracks including previously unreleased recordings and remixes. Bad was the third Michael Jackson album produced by Quincy Jones and was originally released on August 31, 1987. It was monumental in many ways; Michael wrote nine of the album’s 11 tracks and received co-producer credit for the entire album. The album was #1 around the world, made history with five consecutive #1 singles on the Billboard chart, produced 10 chart-topping singles, nine ground breaking short films and to date, the Bad album has generated over 45 million units in sales. Bad was nominated for six Grammys and won two.
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Anathema are a British rock band from Liverpool.The line-up consists of singers and guitarists Vincent and Daniel Cavanagh, their brother Jamie Cavanagh on bass, siblings John and Lee Douglas, respectively drummer and singer, and keyboardist Daniel Cardoso since November 2012.
The band was founded as Pagan Angel in 1990 by the three Cavanagh siblings, John, and singer Darren White, as a death/doom band. At the time White was the only singer of the band. The following year, Jamie left and was replaced by Duncan Patterson. Under this line-up, Anathema released their first EP, The Crestfallen (1992), and their first album, Serenades (1993). However, White left in 1995; Vincent decided to act as Anathema’s vocalist in addition to his guitarist function in the albums The Silent Enigma (1995) and Eternity (1996), which were going into a more gothic metal direction.
In 1997, John left the band, and was replaced by Shaun Steels for the album Alternative 4 (1998). Both Patterson and Steels left the same year, replaced by Dave Pybus and a returning John Douglas, while former My Dying Bride keyboardist and violinist Martin Powell also joined the band (Daniel Cavanagh was also acting as the band’s only keyboardist, and shared this position since). The only album released with this line-up was Judgement (1999): the same year Powell switched positions with Cradle of Filth’s keyboardist Les Smith who joined Anathema, and Lee Douglas, John’s sister, was added to the line-up as a backing and occasional lead vocalist.
The band released their sixth album A Fine Day to Exit in 2001, turning to an alternative sound. Shortly after the release, Pybus announced his departure and was replaced by the band’s original bassist, Jamie Cavanagh, reuniting the three brothers in the band for the first time since 1991. There were no new members for the next ten years, with the albums A Natural Disaster (2003) and We’re Here Because We’re Here (2010) all being recorded and released by the same line-up, with the sound turning even more towards progressive rock; however, Daniel Cavanagh left Anathema in 2002 to join Antimatter, returning in 2003. Smith left Anathema in 2011, and Vincent and Daniel both assumed the function of keyboardist for the band’s ninth album, Weather Systems, in 2012. The same year, Cardoso, the band’s live keyboardist since 2011, joined as a full-time member.
The band’s tenth studio album, Distant Satellites, was released on 9 June 2014 via Kscope.
Album Llist
Anathema · Alternative 4
Anathema · Judgement
Anathema · A Fine Day To Exit
Anathema · A Natural Disaster
Anathema · We’re Here Because We’re Here
Anathema · Weather Systems
Genre: Alternative
Year of manufacture: 2003 [2013], 2017
Label: Wind Up
Format: FLAC (image + .cue)
Sample Rate: 24/192
Duration: 4:39:04
Vinyl Grading: Mint
Playback Device: Micro Seiki DD-8 + ZYX R100 Fuji S
Preamplifier: PS audio Phono Stage + Tube Preamp (Telefunken)
ADC: TASCAM HS-P82
The Ultimate Collection (6-LP Set) is a career-spanning vinyl box set encompassing the Evanescence studio albums and for the first time ever, the commercial debut for the previously unreleased demo album Origin. The Lost Whispers album officially compiles the band’s legendary bonus tracks and features the vinyl exclusive studio version of the long sought-after tour intro ‘Lost Whispers’ and the first new Evanescence studio recording in years, ‘Even In Death (2016)’. The box set details includes a glow in the dark slipcase with a die-cut of the classic Evanescence ‘e’ logo. A 52 page casebound book featuring never before seen photos, handwritten lyrics and art. All albums are on 180-gram black heavyweight vinyl and includes Origin – 1LP, Fallen – 1LP, The Open Door – 2LP, Evanescence – 1LP and Lost Whispers – 1LP.
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The Kinks – Soundtrack from the film “Percy” (1971)
Vinyl rip @ 24/96 | FLAC | Artwork | 696mb
Rock, Soundtrack | 2000 UK reissue | Castle/Pye ESMLP 891
Ray Davies and company had already participated in one failed television musical when the movie Percy came along — it wasn’t as original as Arthur, nor did Davies have nearly as much to do with its creation, but he still outdid himself given the material at hand. Directed and co-produced by Ralph Thomas, who had been responsible for some brilliant thrillers (The Clouded Yellow, Above Us the Waves) and very popular comedies (Doctor in the House) in past decades, Percy was the story of the world’s first penis transplant (it was probably inspired, or at least justified, by big-budget efforts of the period like Myra Breckinridge). Although virtually unseen in the United States, it was still popular enough to yield a sequel (Percy’s Progress), but its real impact came from its soundtrack. Davies wrote some hauntingly beautiful ballads (“The Way Love Used To Be”) and some solid blues and country as well — “God’s Children” and “Animals in the Zoo” have turned up on some career anthologies, but there’s a lot more to Percy than those two tracks. “Completely” is as fine a slow blues as the band ever recorded, with a sizzling performance by Dave Davies, and “Dreams” is a pretty solid rocker, even up alongside “Animals in the Zoo.” To this day the album has never appeared in the U.S. catalogue — recorded at the tail end of their contract with Pye Records in England and Warner/Reprise in America, and connected with a movie that was never going to see much exposure in the U.S.A., Reprise passed on it at the time. Bruce Eder, allmusic.
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