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R.E.M. – New Adventures in Hi-Fi (2005) [DVD-Audio ISO]

DVD-A By admin · February 12, 2014 · Comments off

Tracklist:
01. How the West Was Won and Where It Got Us (04:31)
02. The Wake-Up Bomb (05:08)
03. New Test Leper (05:26)
04. Undertow (05:09)
05. E-Bow the Letter (05:24)
06. Leave (07:17)
07. Departure (03:29)
08. Bittersweet Me (04:05)
09. Be Mine (05:33)
10. Binky the Doormat (05:01)
11. Zither (02:34)
12. So Fast, So Numb (04:12)
13. Low Desert (03:31)
14. Electrolite (04:05)

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Reo Speedwagon Live At Moondance Jam (2010) 720p MBluRay x264-LiQUiD

Music Videos By admin · February 9, 2014 · Comments off

The Blu-ray includes renditions of 13 REO tunes, including hits like ‘Keep On Loving You,’ ‘Take It On The Run,’ and ‘Time For Me To Fly’ along with the classic gem ‘157 Riverside Avenue’ plus first ever live versions of ‘In Your Letter,’ ‘Golden Country,’ and ‘Like You Do.’ Live At Moondance Jam also contains an interview with lead vocalist/guitarist, Kevin Cronin.

Tracklisting:
1. Don’t Let Him Go
2. Keep On Loving You
3. In Your Letter
4. Take It On The Run
5. Keep Pushin’
6. Golden Country
7. Can’t Fight This Feeling
8. Like You Do
9. Time For Me To Fly
10. Back On The Road Again
11. Roll With The Changes
12. Ridin’ The Storm Out
13. 157 Riverside Avenue
14. Bonus: Interview with Kevin Cronin (more…)

DTS Blu-ray Music Demo Disc 10 (2014) 1080i Blu-ray AVC DTS-HD MA 5.1

Music Videos By admin · January 26, 2014 · Comments off

Artist: Various
Title: DTS Music Demo Disc 10
Genre: Rock, Pop
Release Date: 2014
Quality: Blu-ray
Video: MPEG-4 AVC ~20000 kbps / 1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio Codecs : DTS-HD Master Audio 7.1 & 5.1 & DTS 5.1 & 4.1, DTS 96/24

Reference quality DTS demonstration Blu-ray disc. For testing and demonstrating your surround system.
Includes more than 2 hours of great sounding pop, rock, hard rock & indie music

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Tony McPhee & Friends – I Asked For Water, She Gave Me…Gasoline (1969) [Liberty LBS 83252 – UK Pressing] (24-Bit/96Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

I Asked for Water, She Gave Me…Gasoline is the second album of (mostly) acoustic blues stylings from Tony McPhee and some talented friends — including Jo-Ann Kelly, Andy Fernbach, Graham Hines and Brett Marvin –, but it’s not quite a repeat of the prior album (Me and The Devil). The playing is more incisive and the boldness is ratcheted up at least half a notch, vocally as well as instrumentally. The overall effect, at times, is one of the “blackest”-sounding blues albums ever generated by white Englishmen (and Englishwomen), even if the presence of drums does present a slightly modernistic intrusion. This is distinctly a more late-’60s record at times, in sound and intent, than its predecessor, but that’s not a problem when you’re dealing with talent this prodigious, because it’s all honest and unaffected. Bruce Eder, Allmusic.

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Tomita – The Planets (1976) [RCA Red Seal/ARL1-1919 – US Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

This was the most controversial Tomita album, where he uses Holst’s spectacular, mystical suite The Planets as a launching pad for what amounts to a simulated spaceship trip through the solar system. Hence the title The Tomita Planets, which did not deter the Holst estate from trying (unsuccessfully) to pull this recording off the market at the time. When Tomita sticks to what Holst wrote, he follows every turn and bend of the score, save for a big cut in the last part of Jupiter and an eviscerated Uranus that nearly disappears altogether. Moreover, the music — especially Venus — often does lend itself to an electronic space flight fantasy, with Tomita’s arsenal of phase-shifting, flanging, pitch-bending, envelope following and reversing choral effects and more on full display. It’s the stuff between movements that provoked the purists — the campy simulated mission control communications and electronic blastoff prior to Mars and the “noises” of space flight scattered throughout (including a nasty asteroid belt between Jupiter and Saturn). The most questionable idea was that of playing Jupiter’s grand central theme on a tinkly electronic music box as a way to open and close the record — which some will find satirical, others touching, still others tasteless. Indeed, Tomita seems to have it in for British pomp; when this theme is played within the context of Jupiter, he interrupts it with electronic chatter between mission control and the spaceship. Ultimately, The Tomita Planets is still good electronic fun, and it launched a series of space-themed concept albums by this electronic astronaut.

allmusic.com (more…)

Titus Groan – Titus Groan (1970) [Get Back/Get 564 – Plus Bonus Tracks – Deluxe 180g IT Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

Not quite a “masterpiece,” but almost. Titus Groan were an early (they formed sometime in 1969 and released their only album and single in 1970) art rock/ progressive band who sounded uncannilly like a cross between Czar without the mellotron and The Move circa Message From The Country with a bit of Jethro Tull thrown in for good measure. This means high energy melodic songs with lots of guitars. sax, vocal harmonies, and great percussion work/drumming. There’s occaisonal organ and electric piano, but mainly a much earlier guitar battling with flute, sax, and oboe sound. The first song “It Wasn’t For You” is very bluesy and grooves along with a restrained hard edge. The vocal sounds eerily like Ian Anderson and this is true for the lead vocals for the whole album. I have no idea which of the four band members took care of lead voice, but he has a great one and if you love Tull (I do) you’ll love this. The guitar, which is strong and confident, also brings to mind that group, while the bass and percussion have a jazzier approach like Cream or King Crimson. The hard hitting attack balanced with good melodies always reminded me of Czar on this album, and that can only be good. Every song is excellent, and there is no problem with any of the words or music here. The only problem is a “rushed” quality that leaves me salivating for more. It sounds like Titus Groan were a confident band who hurried into a studio and gave it their very best and suceeded in making a fantastic album, why wasn’t there a second one? My favourite tracks here are on Side Two, the dark and ominous turning into light and playful at the end epic “I Can’t Change” and Czar soundalike “Fuschia.” Play the two albums together and you’ll see what I’m talking about. Hey, I prefer Titus Groan to Blodwyn Pig- this is prime period Jethro Tull and NOT the much inferior first album with Mick Abrahams. There’s strong melodies here, and even at their most daringly progressive on “Hall Of Bright Carvings” these guys cook and are impressive singers and musicians. If you like early prog with lots of energy this album will knock you out. I don’t know why Titus G. have always been slammed by critics and dealers, I think this is a great album, in fact I know it is. The single wasn’t too good, though, so skip over that if you get the reissue with the 7 inch tracks. Same scenario as another band wonder who that is… Czar. Surprised? Well I’m not, like I said take out the mellotron and put in saxes and flutes, it’s the same great solid sound.

progarchives.com (more…)

The Johnstons – The Johnstons (1972) [Mercury/SRM 1 640 – Gatefold/US Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

The Johnstons were a family folk group who were immensely popular in Ireland in the late 1960s. They recorded both traditional and contemporary folk material, some of the latter straying into folk-rock and pop-folk areas on occasion.

The original lineup consisted of sisters Adrienne and Lucy Johnston singing close-harmony, backed by their brother Michael on acoustic 12-string guitar. This trio signed to Pye Records in 1965 and scored their only Irish #1 hit with their first single, a cover of Ewan MacColl’s “The Travelling People”. Several more successful singles followed over 1966-67 which are collected on the “Travelling People” album released on Marble Arch in 1968.

The Johnstons began to spend more time in the USA, spending three months touring there in 1971, including an apparance at the Philadelphia Folk Festival in August. This tour coincided with the release of “Colours Of The Dawn” on Vanguard Records in September 1971. The contemporary material began to dominate and for this reason Mick chose to leave towards the end of the year. He favoured the traditional material but his bandmates preferred the contempary. Mick later emigrated to the USA to study and released solo albums.

By 1972 the band was duo of Adrienne Johnston and Paul Brady, who signed to Mercury Records in the USA in May that year. The Johnstons released one final LP, “If I Sang My Song” (1972, The Johnstons in US), the majority of the songs coming from the pen of Brady and his co-writer Chris McLoud. The album boasted backing musicians such as Tim Hart, Royston Wood, and Rick Kemp but would prove to be the band’s last.
irishrock.org

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The Chieftains ‎- The Chieftains 7 (1978) [Columbia/PC 35612 – US Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

7 was the first Chieftains album released in the States by Columbia, though the group had been playing together and recording in some form since the early ’60s. (Actually, 7 was first released in Ireland on the Claddagh label, and issued in America the subsequent year.) Truth be told, Chieftains albums don’t vary enormously from one to the other. But this is one is, as expected, Irish traditional music of a high standard, and more varied within its LP-length program than many other such albums of the genre are. What makes the group stand out from many other Irish folk ensembles is the insistent percussive beats of their more up-tempo numbers, the rhythms held by bodhran and bones. More subtly, there’s a gentleness and pastoral sensitivity to their treatments that eludes the brusquer, more in-your-face Irish combos. All those qualities are in force on this set, the percussive thrust coming to the fore on the opening “Away We Go Again,” Derek Bell’s beautiful harp highlighting the wistful “Dochas (Hope)” and the Carolan tunes “John Connor and the Ode to Whiskey.” Elsewhere, the pace varies between jigs, reels, and slower selections, everyone in the band getting a chance to both take the spotlight and play as part of a team effort.

allmusic.com (more…)

The Byrds ‎- Greatest Hits, Volume II (1972) [Columbia/31795 – US Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

It goes without saying that The Best of the Byrds: Greatest Hits, Vol. 2 doesn’t have as many classic singles as the group’s first hits collection, since the Byrds stopped being a singles band shortly after the release of Greatest Hits. They never had another Top 40 hit after 1967’s “My Back Pages,” and between 1968 and 1970, they only had three charting singles. Instead of turning out hits, the band concentrated on albums, almost all of them (with the notable exception of The Notorious Byrd Brothers) explorations of country-rock, and that’s what dominates Greatest Hits, Vol. 2. Two of their three charting singles, “You Ain’t Going Nowhere” and “Ballad of Easy Rider,” are present, as are staples like “He Was a Friend of Mine,” “Wasn’t Born to Follow,” “Chestnut Mare,” and “Drug Store Truck Drivin’ Man.” It’s not a bad sampling of the Byrds’ final years, but Sweetheart of the Rodeo itself offers a better summation of the musical direction the Byrds took after 1967.

allmusic.com (more…)

Planxty – Words & Music (1983) [WEA/240101 1 – IR Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

The last of the official discography of Planxty. There is a loss of that signature sound that made them famous : The traditional and rustic irish-folk except of course, for the noble Liam O’Flynn, that keeps your sound intact.
But why?
Because, if I using my logic, memory and point of view, we were in the eighties (1982 to be precise). Which group did not succumb that artificial sound to the eighties? That decade (my decade of life), was the turning point in terms of what was the excellence music.
Well, unfortunately fell into a pseudo-pop-folk. The classic wear after the first ten years of life. The disc itself is a collector’s item and can not be unaware the fame of its members, vocal and instrumental quality is the same , the opinion expressed is personal.

taramusic.com (more…)

Planxty – The Woman I Loved So Well (1980) [Tara/TARA 3005 – IR Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

The original lineup of Christy, Andy, Liam and Donal reformed Planxty in 1979. They recorded three further albums including After the Break and The Woman I Loved So Well. There were several additions and changes to their lineup most notably the addition of Matt Molloy, flautist from the Bothy Band, and later with The Chieftains.
Planxty with Matt MolloyOthers included fiddlers James Kelly and Nollaig Casey on Words & Music, Bill Whelan, later of Riverdance fame, plays keyboards on The Woman I Love So Well as do concertina/fiddle duet Noel Hill and Tony Linnane. In 1981, Planxty performed a Bill Whelan arrangement called Timedance as the intermission piece during the Eurovision song contest, held that year in Ireland, and later released it as a single (and included on Bill’s The Seville Suite album released by Tara in 1992.

taramusic.com (more…)

Planxty – After The Break (1979) [Tara/TARA 3001 – IR Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 24, 2014 · Comments off

The gravest danger in the resurrection of Planxty was always that, in attempting to recreate the extraordinary verve and majesty of their original incarnation, they neglected natural current instincts and succeeded only in becoming a parody of their former selves. That they managed with ease to avoid this considerable pitfall alone makes this a great record.

Naturally there’s no conceivable way that “After The Break” can manage the same impact as their bold debut LP, purely because “Planxty” came first and hit upon a blend that evidently inspired all those involved. If “The Well Below The Valley” and “Cold Blow The Rainy Night” fell short of it (albeit narrowly) then it was because that sharpness and charged sense of restrained dynamics had to a small degree dissipated. On several tracks here notably “The Rambling Suiler”, “The Pursuit Of Farmer Michael Hayes”, and two sets of reels, it’s fully recaptured.

Yet the track that defiantly declares that they are looking ahead and not behind is “Smeceno Horo”, a frantic Bulgarian dance tune that’s proved so popular on gigs it even merits a “FEATURING SMECENO HORO” sticker on the sleeve. A joker in the pack, it’s a complete departure from everything they’ve done before, even allowing for some of Andy Irvine’s flirtations with Eastern European music in the past. Undeniably invigorating and infectious, it’s nevertheless my least favourite track on the record, jarring in relation to the rest of the album, but I admire their resolve in tackling it. It comes over much more powerfully live.

The only other real quibbles are that Christy Moore (on “The Good Ship Kangaroo” and Andy Irvine (on “You Rambling Boys Of Pleasure”) seem to take the understated vocal style perhaps a shade too far, or maybe the vocals are a fraction too low in the mix. But these really are details – the arrangements around both tracks are superb, the instrumental break tagged on to the end of “The Good Ship Kangaroo”, the opening track, stirring memories of “Raggle Taggle Gypsy” and “Tabhair Dum Do Lamh”, “The Rambling Suiler”, a Scots moral tale of a colonel who dresses up as a beggar and pulls a farmer’s daughter, and “The Pursuit Of Farmer Michael Hayes”, a geographical guide to Ireland through the eyes of a fleeing murderer, are both vintage Planxty.

Matt Molloy and Liam O’Flynn are at the helm of the instrumental tracks (two sets of reels and one of double-jigs) and two things emerge. One is that Liam O’Flynn has become an even more accomplished piper than he was before, and that Matt Molloy’s brief contribution on flute was greater than it actually appeared on stage. His blend with O’Flynn is mesmerising here.

This is of course, an essential album.

Colin Irwin review for Melody Maker 15/12/79)

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Iron Maiden – Live After Death (1985) [2LP, EMI, ES 24 0426 3] (24-Bit/96Khz) (Vinyl Rip)

Vinyl Rips By admin · January 23, 2014 · Comments off

Iron Maiden – Live After Death (1985, 2LP)
Vinyl Rip in 24 Bit/96 kHz -> 2.4 GB | Complete HQ Scans | PNG -> 500 MB
DR 12 | FLAC, IMG+CUE, No Log | Label: EMI, ES 24 0426 3 (RIP 1) | RAR 3% Recovery
… 2 LP Gatefold Sleeve with tour photos + 8-page 12″x12″ book with tour credits and crew photos …

Iron Maiden’s World Slavery Tour was one of the longest and most extensive tours ever undertaken by a rock band. Lasting from August 9, 1984, to July 5, 1985, and visiting such countries as Poland, Austria, Hungry, Yugoslavia, Italy, France, Spain, Portugal, Scotland, England, Germany, Sweden, Canada, Japan, and the U.S., the show included a mammoth setup that replicated the intricate ancient Egyptian scenery of the Powerslave album cover. As a “thank you” to the hundreds of thousands of fans who packed arenas the world over, the double-LP live set Live After Death was issued in 1985 (and first reissued as one CD, without several songs). The album is essentially a best-of of sorts, since most of their singles released up to this point are featured in all of their high-decibel glory. Live After Death is easily one of heavy metal’s best live albums.

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Nektar ‎- A Tab In The Ocean (1972) [Passport Records/PPSD-98017 – US Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 23, 2014 · Comments off

From the opening strains of a monumental organ theme you know this is going to be Prog Heaven. Right on cue the band crashes in and off we go on a roller-coaster ride of majestic proportions. It is a journey that will take us stomping through rough seas of real heavyweight guitar action, sometimes floating lightly on a calm sea beneath the stars of some mellow verses, bobbing bemused on confused waters of quick-fire disorientating theme changes, or surfing serenely on giant Atlantic rollers as riff follows giant riff.
Along the way we open doors into worlds of such delight that no listener will be able to resist, wow moments that cause an involuntary physical reaction, maybe to break into a beatific grin accompanied by a sudden urge to thump something rhythmically. These guys had hit a rich seam of creativity at this time and few bars are without something exciting happening, toying with our emotions and leaving us wanting more.

Based on trademark riff structures from multi-tracked guitars, title track A Tab In The Ocean has a genuinely complex Symphonic Prog structure, with continuous organic progression throughout, awash with key, tempo and mood changes in an ever-flowing monster of a piece. It even has a final sting in its tail with a fantastic guitar motif at 16:00 that is gone before it has time to sink in. A Tab In The Ocean is one of those beloved ‘epics’ that ought to stand proud alongside Tarkus, Supper’s Ready and Close To The Edge as a shining example of the best of Prog.

After a noisy start, Desolation Alley settles into a cool groove, jazz-inspired but with a hint of Floydian blues too, notable by some lovely touches from organ and bass. A mid-song instrumental ups the tempo with guitars and organ bashing away as the bass holds tension. Later, a languid mood is maintained by the wonderful Waves with its spoken vocal, an old Moody Blues trick and very well executed.

Crying In The Dark begins quietly, slowly building tension until a killer riff is finally unleashed. Forever shifting and changing within a hard rock framework, the track proceeds with organ and guitar soloing to segue into King Of Twilight which continues the mood with staccato percussion and a welcome touch of Mellotron choir. It also contains some stunning instrumentals including thrusting power space rock, and it rocks off to an unexpected abrupt end on the word ‘free’. Rock doesn’t get much better than this!

One thing about Nektar – each album had its own special imprint, a character quite distinct from its siblings. A Tab In The Ocean is their most overtly Classic Prog, less psychedelic and more assured than Journey To The Centre Of The Eye, darker and less ‘vocal’ than the funkier, more mainstream road they would later travel. Despite Albrighton’s dominant, almost virtuoso, performance on guitar, there is little soloing as such, just lots of solid riffs and structured progressions dripping with Prog quality oozing from every pore.

Aside from his uplifting guitar, Albrighton’s singing is fine without being special or noteworthy, perfectly in keeping with the mood of the music. Taff Freeman plays a mean Hammond throughout, only occasionally jumping to something different, but is slightly too recessed in an otherwise excellent transparent production. Mo Moore’s bass playing is always strong, and quite forward, often playing semi-lead runs like Jon Camp of Renaissance as a counterpoint while at other times laying a solid foundation for the others.

A Tab In The Ocean was remastered and released in 2004 by Dream Nebula with two versions on the CD – the original German 1972 mix, and a vastly inferior USA 1976 version. Sound is good, though there would appear to some slight problems with a wobbly bottom on one or two occasions. It is presented with a decent booklet containing lyrics and extensive interesting notes.

In the 1970s, Nektar passed underneath my radar, as they must have for most British Prog fans of the time. It was only later I discovered them and soon realised the error of my ways, but I still find it sad they don’t command the same respect as Yes or Genesis. A Tab In The Ocean remains a phenomonal achievement, well deserving of a place in all classic Prog collections.

And all this arose from a chance remark, while admiring the antics of some captive fish, wondering what would happen if someone dropped a giant tab in the ocean!
progarchives.com

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Lavilliers – O Gringo (1980) [Barclay/92 038/39 – Double LP/FR Pressing] (24-Bit/96Khz + 16-Bit/44.1Khz) (Vinyl Rip)

Vinyl Rips By admin · January 23, 2014 · Comments off

Bernard Oulion born October 7, 1946 in Saint- Étienne1 . He grew up in a very modest environment , lulled by the working class. His father, also a trade unionist, is used in the manufacture of weapons of Saint -Étienne (MAS ) and his mother is a social worker . Her education plays a big role in his approach to music . He explained that it is indeed his parents give him the passion for tropical rhythms, Puerto Rican jazz and classical music . It also benefits from its four years of music with the turntable we offer him for his birthday . Pulmonary ill during his childhood, his parents moved to the suburbs away from the pollution of Saint -Étienne . At 16, he became an apprentice turner metals MAS and also turns to boxing . He stays in the house of correction after some thefts. Upon his release , he began to work . The work itself seems tasteless, he later wrote : ” At this time of my life , I was looking for: I do not know if I ‘d gangster , boxer or a poet … ” . He joined the Communist Party in 1963. At 18 , Saint -Étienne , he participated in a first mounting Nocturne (text – songs) created by Duk troupe (led by Pierre- René Massard ) , alongside another young Etienne , Alain Meilland , future co-founder of Printemps de Bourges in which he participated in numerous occasions.
At age 19 he moved to Brazil, where he returned a year later. It is considered to be rebellious and he was interned in the fortress of Metz for a year. This period of his life, often repeated in different ways by the media , is the subject of controversy focusing on the consistency of dates and veracity of faits3 . Upon his release, he began singing in nightclubs on the left bank in Paris: Chez Jacky Scala, Lacepede street is also found in the Court of Miracles in Bordeaux with Gilles Elbaz, Germinal , Gérard Ansaloni . He released in 1967 his first 45 laps. He won the prize of the Golden Rose at Montreux song with The Swank . His first album was released in 1968 , with its first title and an enigmatic ” Lavilliers ” who became his stage name . During the events of May 1968, he sang in the occupied factories in the Lyon region . While crisscrossing France and have difficulties to break into the music, he plays a few months in cabarets province in June , he begs in Britain. He held several odd jobs ( restaurant , nightclub manager in Marseille … ) and married in 1970 with Evelyn . The same year he released a 45 simple4 under the name of ” Edgar Lyon ,” with Camelia blues and Juliet 703 titles .
He released his second album in 1972, The Poets and begins to have a certain reputation , which was confirmed in 1975 with the Etienne ( including securities and San Salvador Saint Etienne ) . Consecration occurs in 1976 with The Barbares5 . He describes this album as musical turning point in his career. It reveals indeed a musical mix ranging from rock to funk, tropical rhythms. He passes for the first time at the Olympia in October 1977. It was at this time that he met Léo Ferré, a model for him. In favor of a joint tour in 1977 (which also involved the Magma and Gong groups) , the two men become friends. Lavilliers also invite his older singing with him at the Fête de l’Humanité in 1992 and will be a tribute concert to the works of Ferré in 2006 in Lyon with her usual musicians and the National Orchestra of Lyon . A DVD of this concert will be released in 2009 under the name Lavilliers Ferré sings .

wikipedia.org (more…)