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Tim Story – Glass Green (1987) (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Tim Story – Glass Green – 1987
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 773 MB + 186 MB
1987 / Genre: Electronic – Ambient – Neo Classical / Windham Hill – CA

Tim Story, hailed as “a true artist in the electronic medium” (Victory Review, USA) and “a master of electronic chamber music” (CD Review, USA) has received worldwide acclaim for his haunting compositions which blend acoustic orchestral instruments, spiky electronica, and a pioneering sense of sound design. Tim’s intensely personal style as a composer, synthesist and pianist evolved from years of experimentation in his home studio, and a love of composition. Along with his self-taught, idiosyncratic approach to the piano, Story saw the great potential of the new breed of electronic music instruments that were appearing in the early 70’s.
This affinity for synthesizers, as well as electric guitars, tape loops and kitchen utensils, is evident in his early recordings. The careful juxtaposition of acoustic instruments with electronic textures, and an inventive approach to composition are common threads running through most of Story’s work. “Enjoy this beautiful album, that has a strong relaxing effect; the “Windham Hill” recording is fantastic (a wide open soundstage)”.
Note > No silence was deleted; please burn this album gapless..

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Supertramp – Crime Of The Century (1974) (24-Bit/96Khz) (Vinyl Rip)

Supertramp ‎– Crime Of The Century (1974)
Vinyl rip in 24 bit/96 kHz | 895 Mb | FLAC tracks | Artwork
Speakers Corner ‎– A&M SP 3647 (1999) ( Remastered, 180 Gram ) | Rock

Even before Pink Floyd thrust their musical message of protest, The Mechano-hit The Wall, under the noses of the establishment and the established, the melancholic songs of the group Supertramp had long found their way into the hearts of the young who had been shaken by one crisis after the other. The LP with its surrealistic, chilling cover and eye – raising title was a success all over the world and even the sternest critics showered it with praise. Their music just floods the senses; it is as though someone has put on all the good pop records of the ’60s and ’70s at the same time, lamented the music magazine SOUNDS helplessly – totally fascinated by their sound. Crime Of The Century provided plenty of fodder for the hit charts and radio DJs. And even today, the balladesque collage School with its bloodcurdling harmonica introduction, the pearl-like Rhodes piano chords in the rocking Bloody Well Right, and the childlike, Mocking Dreamer are the epitome of the pop cult of the ’70s. The recording quality of this disc is excellent, and what is more – it has been judged the very best album that the English quintet ever produced. Celebrate the records 25th birthday with a fantastic vinyl re – release fresh from the press.The album’s dedication reads “To Sam”, which is a nickname for Stanley August Miesegaes, the Dutch millionaire who supported the band financially from 1969–72.

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Renaissance ‎- Azure D’Or (1979) (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Renaissance ‎- Azure D’Or (1979)
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 993mb – 16bit/44kHz: 301mb
Genre: Symphonic-Rock | Label: Sire Records Company ‎/ SRK 6068 | Release: 1979

In my view, “Azure D’Or” is the latest album of good quality from “Renaissance”. They move away from the long tracks, with commercial music glimpses, but maintaining the style that made them famous.
My ideal collection from this group, does end in “Azure D’Or”.
I chose two exquisite pieces “Golden Key” and “Kalynda” (my favorite).
Absolutely recommended.

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Planxty – The Woman I Loved So Well (1980) (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Planxty – The Woman I Loved So Well (1980)

Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | HR Covers | 912 MB + 260 MB
1980 / Genre: Irish Folk – Tara Records – IRL

The Woman I Loved So Well is a studio album by Planxty released in 1980. Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band’s virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music. “Enjoy this beautiful atmospheric album and new upgrade rip”! H.R. Covers are made by Fran Solo; thank you Fran for the excellent scans”!

Note > No silence was deleted; please burn this album gapless..

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Pete Dello and Friends (Honeybus) – Into Your Ears (1971) (24-Bit/96Khz) (Vinyl Rip)

Pete Dello and Friends (Honeybus) – Into Your Ears (1971)

Vinyl rip @ 24/96 | FLAC | Artwork | 1065mb
Pop/Rock, Baroque Pop | 1989 reissue | See For Miles SEE 257

After tasting success in 1968 with the single “I Can’t Let Maggie Go,” Honeybus founder Pete Dello left the band to pursue a more settled lifestyle. His distaste for the rigors of touring left him with a surplus of un-recorded material that would eventually steer him back into the studio to record his first and only solo record. Into Your Ears features 14 songs, each under three-and-a-half minutes long, that prosper through a winning combination of goofy psychedelia and Beatlesque beauty. The sweet melodies and gentle harmonies of “It’s What You’ve Got” and “Taking The Heart Out Of Love” are timeless, devoid of irony, and begging for placement in a Wes Anderson film. “Do I Still Figure In Your Life,” which has since been covered by the likes of Joe Cocker, conveys the same irresistible form of melancholy that permeates a great Randy Newman or Harry Nilsson recording, and more than makes up for the wince-inducing “Uptight Basil” and “Harry The Earwig (the latter inspired the horrific Roger Dean cover art). Dello’s voice is sweet and clear, with only a tinge of the British folk throatiness that ruled the era. The songs, while never complex, benefit from strategically placed string arrangements that rarely disappoint, and crisp production as exemplified on the set closer “Arise Sir Henry.” Also included are the Magic Valley versions of “Taking The Heart Out Of Love” and “Uptight Basil,” which differ only in sound quality (poorer) from the album renditions, and provide collector’s with the definitive edition of this highly sought after (almost) masterpiece. James Christopher Monger, allmusic.

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Mainhorse ‎- Mainhorse (Featuring Patrick Moraz) (1971) (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Mainhorse ‎- Mainhorse (Featuring Patrick Moraz) (1971)

Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 860mb – 16bit/44kHz: 249mb
Genre: Symphonic-Rock | Label: Import Records / IMP 1001 | US Pressing |Release: 1971

Anyway, on this album the ‘Swiss poodle’ delivers an impressive Hammond organ sound. The first song is “Introduction”, it features fluent ‘heavy progressive’ with floods of Hammond organ and fiery electric guitarplay, the sound has echoes from ATOMIC ROOSTER, THE NICE and early DEEP PURPLE. The following “Passing Years” is a slow, bluesy like song with mellow organ and a bit melancholic vocals. Then again ‘heavy prog’ with swirling organ and biting electric guitar in “Such a beautiful day”, the climate evokes THE NICE and QUATERMASS. In “Pale sky” a wailing violin and howling electric guitar colour a bluesy atmosphere, topped by strong Hammond play and dynamic drums. This song features halfway a jam with violin, guitars, electric piano, experimental sounds and a hypnotizing rhythm-section, to end with a sensitive electric guitarsolo and loads of Hammond. Next is “Basia”, an up-tempo and catchy song with strong organ – and electric guitarplay, a pumping bass and cheerful vocals, halfway MAINHORSE surprises with a swinging electric pianosolo. The track “More tea vicar” contains subtle changes of rhythm, from soft jazzy to fluent heavy prog with a classical sounding organ (like EKSEPTION), assorted percussion like glockenspiel and fiery electric guitar. The final composition “God” (almost 10 minutes) is the most alternating and dynamic one with many changes of climate with Patrick MORAZ on organ and the ‘Klavio- synthesizer’ and strong electric guitarwork, it sounds like a blend of THE NICE and ATOMIC ROOSTER. THIS ALBUM CONTAINS THE FIRST IMPRESSIVE STEPS FROM PATRICK MORAZ AS A KEYBOARD-WIZARD!

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The BluRay Experience 2: Opera Ballet And Theatre (2010) 1080p MBluRay x264-LOUNGE

The.BluRay.Experience.2.Opera.Ballet.And.Theatre.2010.1080p.MBluRay.x264-LOUNGE | 4.37 GB

The Blu-ray Experience II: Opera, Ballet & Theatre: includes opera, ballet and theatre highlights from the Opus Arte catalogue and gives everyone the opportunity to experience the stunning quality of
High Definition picture and sound, at an extremely competitive price. Including world-class artists such as Carlos Acosta, Darcy Bussell, Sarah Connolly, Miyako Yoshida, Diana Damrau, Joyce DiDonato,
Adetomiwa Edun, and Gerald Finley, this is a must-have purchase.
Blu-ray offers an outstanding audio and visual experience, with up to six times the resolution of standard definition DVD, and up to 5.1 channels of High Definition surround sound.

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Michael Schenker Temple of Rock 2012 COMPLETE MBLURAY-COPYRiOT

Michael Schenker Temple of Rock 2012 COMPLETE MBLURAY-COPYRiOT | 34.4 GB

Blu Ray version! A concert from Tilburg in the Netherlands, recorded in May 2012. This release distinguishes itself from previous releases due to the line-up that includes Michael Schenker (lead guitar), Doogie White (vocals), Herman Rarebell (drums), Francis Buchholz (bass) and Wayne Findley (rhythm guitar, keyboards). Also includes bonus tracks from the 2011 High Voltage Festival with Michael Voss (vocals), plus awe-inspiring guest appearances from Schenker”s friends and musical companions including his brother Rudolf Schenker (The Scorpions), ex-Journey singer Jeff Scott Soto, and UFO bassist Pete Way.

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The Doors: Live At The Bowl (1968) 720p+1080p MBluRay x264-FKKHD

The Doors: Live At The Bowl (1968) 720p+1080p MBluRay x264-FKKHD | 3.27 GB+5.45GB

1968 proved to be one of the most tempestuous years in American history. The “youth movement” was in full swing, replete with sit-ins and other protests, with dissent against the Vietnam War leading to President Lyndon Johnson famously announcing he would not accept his party’s nomination for another term. That was followed in quick succession by the shocking assassinations of Dr. Martin Luther King, Jr. and then Robert F. Kennedy, and the summer saw huge riots in Chicago during the Democratic National Convention. In fact many political historians attribute Richard Nixon’s narrow victory (only a bit larger than his nail biting loss to John F. Kennedy in 1960) to the facts that Nixon promised to end the Vietnam conflict (something he was either unable or unwilling to do for several years) and to be a “law and order” President, which was code for tamping down the simmering unrest that was roiling the nation. Through all of this turmoil the airwaves were vibrant with some of the most interesting and stylistically diverse music of the decade. Looking at the pop charts for that year is like viewing the entire prism of a slightly schizophrenic society in miniature. On the one hand, fairly traditional “easy listening” hits were still big business. Herb Alpert stormed the charts with his plaintive attempt at vocalizing on Bacharach and David’s “This Guy’s in Love With You,” and his A&M label mate Sergio Mendes had three huge hits that year with “The Look of Love”, “The Fool on the Hill” and, late in the year, a psychedelic reworking of Simon and Garfunkel’s “Scarborough Fair”. That last hit points up the tendency toward spacey influences that had started being much more prevalent even in supposed “middle of the road” singles, an obvious nod to the burgeoning drug culture that had really exploded in the Summer of Love the previous year. But sitting side by side with these more “adult contemporary” artists were an astonishing array of other styles. The Beatles hit it big that year with “Hey Jude” and “Lady Madonna”. The Stones were charting with “Jumpin’ Jack Flash”. Blood, Sweat and Tears released their first album (in their Al Kooper formulation), and folksy artists like Simon and Garfunkel and Joni Mitchell scored significant hits. There was even a nascent country-pop movement afoot with such smashes as Glen Campbell’s beautiful version of Jimmy Webb’s “Wichita Lineman” and O.C. Smith’s “Little Green Apples”. Harder rock fans flocked to such tunes as Iron Butterfly’s “In-a-Gadda-da-Vida” and Steppenwolf’s “Born to be Wild”, while at least a couple of tunes like Mason Williams’ “Classical Gas” and Richard Harris’ reading of Jimmy Webb’s quasi-suite “MacArthur Park” seemed to defy any easy attempt at categorization. The Doors also were making chart news in 1968, after having experienced their first Number One single in 1967 with “Light My Fire”. They repeated their trip to the top of the charts in 1968 with “Hello, I Love You,” and just a few days after their July 5, 1968 appearance at The Hollywood Bowl, released their first album to reach Number One, Waiting for the Sun.

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Stanley Jordan: Trio The Paris Concert (2007) 1080p MBluRay x264-LOUNGE

Stanley.Jordan.Trio.The.Paris.Concert.2007.1080p.MBluRay.x264-LOUNGE | 8.74 GB

I have always been astounded that so many beginning musicians begin their musical explorations on the guitar. Despite being an at least competent pianist, I have never been able to master the fretboard technique to really be able to eke out even the most basic chords on the guitar. I blame my somewhat stubby fingers for this inability, but of course my more musically astute colleagues point out that I have no problem voicing extremely complex chords on the piano with those same stubby fingers. Perhaps it’s the more “graph like” quality of voicing items on the guitar that throws me off, or something endemic to actual guitar technique. I might have had better luck had I adopted Stanley Jordan’s innovative, almost keyboard-esque, approach: instead of using his left hand to finger notes and his right hand to strum, Jordan exploits the “tapping” technique where he uses both hands to play the fretboard almost like a pianist percussively presses the keys. Surprisingly, Jordan’s approach doesn’t result in an overly staccato sound, and in fact there are beautifully sustained legato passages in a lot of Jordan’s work. This 2007 Paris concert, part of in-Akustik’s New Morning (a Paris nightclub) Blu-ray series, finds the guitarist and his ace band in fine form as they move through both originals and standards.

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