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Rebecca Pidgeon – The Raven (1994) [Reissue 2007]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 46:01 minutess | Scans included | 3,33 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 58:30 min | Scans | 1,23 GB
Features 2.0 Stereo and 5.0 multichannel surround sound | Chesky Records # SACD-329
Reflective yet contemporary, Rebecca’s lovely voice rings with honest, unpretentious confidence and vivid tenderness. While her Celtic melodies set the mood, her lyrics tell stories, full, rich, textured, and open hearted. This amazing talent makes her U.S. debut with The Raven, Chesky Record’s most striking, powerful and fully realized vocal record to date.
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Rebecca Pidgeon – Retrospective (2003)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 46:01 minutess | Scans included | 3,96 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 58:30 min | Scans | 1,13 GB
Features 2.0 Stereo and 5.0 multichannel surround sound | Chesky Records # SACD242
Standing at the crossroads of Scottish Folk and Modern Pop, singer/songwriter Rebecca Pidgeon has recorded three wonderfully imaginative albums with Chesky Records over the last decade. In each of Rebecca’s distinct recordings she demonstrates an uncanny ability to span a wide range of vocal and song styles, while consistently propelling her signature sweet voice. Now commemorating the best from each album, this collection offers you the individual titles that together create an exciting mosaic of this amazing singer/songwriter.
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Rob Zombie – Venomous Rat Regeneration Vendor (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 38:49 minutes | 468 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rob Zombie (PS)
Venomous Rat Regeneration Vendor is the highly-anticipated fifth solo album by the seven-time GRAMMY nominee. It features the thrilling first single, “Dead City Radio And The New Gods Of Supertown” and includes the standouts “Ging Gang Gong De Do Gong De Laga Raga,” “Behold, The Pretty Filthy Creatures” and a heavy-duty cover of Grand Funk Railroad’s “We’re An American Band.” Rob Zombie continuously challenges audiences as he stretches the boundaries of music, film and publishing. He is the only artist to experience unprecedented success in both music and film.
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Rob Luft – Riser (2017)
FLAC (tracks) 24 bit/48 kHz | Time – 49:27 minutes | 574 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Edition Records
Riser is the new album from London-born award-winning guitarist Rob Luft. A musician of incredible talent, depth and maturity, Rob Luft is set to become a name to remember. At only 23 years of age his proficiency as a guitarist and composer embodies a level of musicianship and vision well beyond his years. A winner of the prestigious Kenny Wheeler Music Prize as well as placing second in The 2016 Montreux Jazz Guitar Competition, Rob is already garnering praise from critics across Europe. The UK’s Jazzwise Magazine has highlighted his “obvious star quality” and Riser is an album that stands up to scrutiny as one of the finest debut records in many years in the burgeoning creative current UK Jazz scene.
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Riverside – Wasteland (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 50:49 minutes | 564 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © InsideOutMusic
Wasteland is the seventh studio album by Polish progressive rock band Riverside. The album was released on September 28, 2018, through InsideOut Music. The album reached number one in Poland, the top 20 in Germany, and the top 40 in Austria, Finland, the Netherlands and Switzerland.
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Riverside – Riverside 20 – The Shorts & The Longs (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 03:56:57 minutes | 2,63 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © InsideOutMusic
Hello Everyone, In case you missed it – “Story of My Dream” serves as opening track of the first of two special digital “Best of” compilations to be released on November 19th, 2021 in celebration of our Anniversary and to showcase the comprehensive and rich back-catalogue from across the last two decades of RIVERSIDE’s activity. Featuring all ESPECIALLY REMASTERED – by Magda and Robert Srzedniccy (Serakos Studio) – material and some deep cuts, “Riverside 20 – Vol.1, The Shorts” will include 19 tracks and “Riverside 20 – Vol.2, The Longs” will include 14 songs.
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Riverside – Memories in My Head (2011)
FLAC (tracks) 24 bit/44,1 kHz | Time – 32:35 minutes | 328 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © GlassVille Records
Riverside’s Memories in My Head is a three-song EP running 32 and a half minutes, and, that’s right, that means each track is around ten or 11 minutes long. In practice, they segue into each other, however, making for a single lengthy suite. As the overall disc title and the individual song titles – “Goodbye Sweet Innocence,” “Living in the Past,” and “Forgotten Land” – suggest, the theme has to do with recollections and regrets about a time period that has disappeared. “What happened to our days,” wonders singer Mariusz Duda in “Living in the Past,” “They used to be so full of life.” The stretched-out tracks contain simple, repetitive patterns, inclining toward a reflective tone. This is a band that easily could have been a Pink Floyd tribute group, and there are frequent specific references to albums like The Dark Side of the Moon and Wish You Were Here. Like David Gilmour, Duda sings in a calm, quiet tone, again befitting the wistfulness of the message. While fans might have wished for a full-length Riverside album, this shorter work has a consistency it might be difficult to maintain over greater length. – William Ruhlmann
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Rival Sons – Great Western Valkyrie (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 00:47:40 minutes | 1,01 GB | Genre: Blues Rock
Studio Masters, Official Digital Download | Front Cover | © Earache Records Ltd
Robin Everhart, the Rival Sons’ founding bassist, left in late October of 2013, deciding that the grueling rigors of touring weren’t for him. The band replaced him with Dave Beste in time to record the band’s fourth full-length. Once more they enlisted producer Dave Cobb (who helmed the Head Down sessions) and recorded at his Nashville studio. Rival Sons have doubled down on their worship of late-’60s psych, blues-rock, and hard rock because of the lockdown groove in drummer Michael Miley’s interplay with Beste, a much more straight-ahead rock bassist. What’s different is how the band combines these sounds, Led Zeppelin’s pervasive guitar and vocal influence still a primary inspiration, but this is colored also by a love the Jimmy Page-era Yardbirds, the Nazz, the Doors, and the boogie of classic Status Quo. The group has manifested most of these before, but not in this way. In their songwriting and arrangements, they recombine these influences in sometimes startling new ways. Even the most sprawling, psych-oriented tracks have excellent riffs, while most of the hard rockers and boogies contain hooks and multiple textures. Force is never sacrificed. Opening single “Electric Man” is unabashed in its Led Zeppelin IV proclivities, but “Good Things” evokes the Zombies of Odessey and Oracle with harder-edged guitars and fatter drums. “Secret,” led by Beste’s bass throb and Scott Holiday’s thundering guitar vamp, makes room for guest keyboardist Ikey Owens (Mars Volta) on organ. “Open My Eyes” opens with a vamp worthy of Black Sabbath, but it becomes a gritty, near country-rocker with phased drum kit. The transcendent Pete Townshend-esque guitar chords that serve as the intro to “Belle Starr” give way to a crunchy slide riff, then an open, spacious psychedelia. It changes shape several times before the close with a woolly, dirty-assed bassline and Zep-style rhythmic syncopations. The proggy blues in the intro to “Destination on Course” is a fine showcase for Jay Buchanan’s croon atop brooding guitars and a swelling menace in the rhythm section. This holds sway until a female backing chorus (Kristen Rogers) enters, and things come completely off the rails in Wagnerian mind-melting psych. Great Western Valkyrie continues to revel in retro-rock, but it does so with fine songwriting, arrangements, and — above all — taste added to the instrumental firepower. Combined, these strengths make this a full step up from Head Down.
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Rival Sons – Feral Roots (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 47:03 minutes | 1006 MB | Genre: Blues Rock
Studio Masters, Official Digital Download | Front Cover | © Atlantic Records
Rival Sons have announced the release of their highly-anticipated new album. FERAL ROOTS arrives everywhere on January 25th via GRAMMY® Award-winning producer Dave Cobb’s major label imprint Low Country Sound/Atlantic Records. The forthcoming LP is highlighted by the brand new track “Back In The Woods.” Produced by longtime collaborator Cobb at Nashville’s famed RCA Studio A and the equally legendary Muscle Shoals Sound Studio in Muscle Shoals, AL, FERAL ROOTS marks Rival Sons’ Low Country Sound/Atlantic Records debut and features cover artwork painted by renowned contemporary artist Martin Wittfooth.
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Ritual Howls – Rendered Armor (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 35:28 minutes | 414 MB | Genre: Post-Punk, Darkwave
Studio Masters, Official Digital Download | Front Cover | © felte
As their album titles suggest, textures are vitally important to Ritual Howls’ music. Turkish Leather telegraphed the rough sensuality and dusty drama of its songs, while Into the Water hinted at the cold depths of their third album. Rendered Armor’s title is just as evocative of the streamlined, hard-edged sound of the trio’s fourth full-length. This aesthetic is most pronounced on “Love Cuts,” where the band’s love of crushing industrial beats comes to the fore, but it also extends to “Thought Talk,” a gloomy, kinetic standout that delivers a subtler — but still very danceable — version of their music. Despite the restraint they show on Rendered Armor, they still play with a range of sounds and moods. “Alone Together” begins the album by paring their music down to the bare essentials of a spiky drum pattern and a twangy guitar riff; the recriminations of “Mother of the Dead” are so stark that they border on coldwave; and the way Ritual Howls elevate the whispery menace of “I Can Hear Your Tears” with unusual percussion, including bongos, reaffirms that they are much more eclectic than might be expected. Occasionally, they do unleash all of their drama, most strikingly on “The Offering,” where spaghetti western guitars and sighing synths provide the perfect complement to the relentless beats, and on the finale, “All I’ve Known,” which may be the closest they’ve come to a pop song (albeit a pitch-black one) yet. As Ritual Howls incorporate different shades and kinds of darkness into their music, Rendered Armor proves they grow more authoritative with each release. ~ Heather Phares
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Rita Ora – Bang (Acoustic) (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 12:13 minutes | 143 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Atlantic Records UK
Rita Ora is keeping her pedal to the metal in the push for her new EP ‘BANG.’
The joint project with Imanbek has garnered praise aplenty for its pulsating production, catchy hooks, and infectious melodies.
Proving her versatility, Ora strips back the veneer for an acoustic incarnation of the entire EP.
Placing her vocals at the forefront, the set reminds that the Brit-Pop belter is well-equipped to cater to multiple palettes.
Take a listen to new versions of ‘Big,’ ‘Bang Bang,’ ‘Mood,’ and ‘The One’ after the jump…
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Rita Ora – Bang (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 11:26 minutes | 145 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Atlantic Records UK
I honestly didn’t expect any new music from Rita Ora this “soon”. After how hard was for her to release her second studio album Phoenix in 2018, I was expecting a longer time to release anything else that wasn’t a single.
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Rita Coolidge – The Lady’s Not For Sale (1972/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 43:37 minutes | 878 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © A&M
Rita Coolidge’s third album is a fine mixture of covers and originals that manages to showcase her fine vocal abilities as well as show off an impressive array of friends. Booker T. Jones contributes not only his fine flute skills, but also two songs. Noted guitarist and songwriter Marc Benno also lends his impressive, laid-back guitar work all throughout the album. His “Donut Man” adds an air of lazy funk to the proceedings. Bob Dylan’s “I’ll Be Your Baby Tonight” probably gets the most soulful reading, with Coolidge’s take on Leonard Cohen’s “Bird on a Wire” following close behind. Kris Kristofferson is represented at the tail end of the album with the title track. She may not have had the most distinctive of voices, but Coolidge definitely captured the sort of laid-back energy and approach associated with early-’70s country-rock. If Rita Coolidge’s voice and stellar class of backing musicians aren’t enough to sway you, consider the cover that shows her bedecked in what looks to be several pounds of turquoise, or the gatefold in which she appears pensive, with Stonehenge not too far in the background. – Jon Pruett
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Rita Coolidge – Anytime… Anywhere (1977/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 35:42 minutes | 735 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © A&M
Anytime…Anywhere is the sixth album by Rita Coolidge released in 1977 on the A&M Records label. The album is her most successful, reaching #6 on the Billboard 200 and having been certified platinum (over 1 million U.S. copies sold). The album spawned three Billboard top twenty hits; a cover of Boz Scaggs’ “We’re All Alone” (#7), a cover of The Temptations’ “The Way You Do The Things You Do” (#20), and the album’s biggest hit, “(Your Love Has Lifted Me) Higher and Higher” (#2), a remake of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher”.
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Richard Lloyd – The Countdown (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 39:03 minutes | 461 MB | Genre: Alternative Rock
Studio Masters, Official Digital Download | Front Cover | © Plowboy Records
Lloyd’s trademark fusion of garage rock crunch, irresistible power pop hooks and metaphysical soul is apparent from the opening riff of the album’s inaugural rocker “Wind in the Rain.” – In his recent memoir, Everything is Combustible: Television, CBGB’s and Five Decades of Rock and Roll, guitarist-singersongwriter Richard Lloyd recalls his thoughts the first time he saw Tom Verlaine play in a New York nightclub. “This guy has something special but he is missing something,” Lloyd writes. “What he is missing I have… and what I am missing, he has.” That keen sense of observation and self-awareness of the required elements for great rock’n’roll soon led to the formation of the groundbreaking band Television, and that same insight has been a hallmark of Lloyd’s musical career. It can be found in his incredibly influential guitar work with Television, his work supplying perfect power pop guitar leads for Matthew Sweet, and his stellar work on his solo albums throughout his career, to the grooves of his new album, The Countdown, available on Plowboy Records November 2nd. Two of Lloyd’s paintings were used as the visual foundation for the front and back covers for the vinyl and CD packaging of The Countdown. Inside the covers, Lloyd’s trademark fusion of garage rock crunch, irresistible power pop hooks and metaphysical soul is apparent from the opening riff of the album’s inaugural rocker, “Wind in the Rain.” The electric guitar driven meditation on the loneliness of unrequited love kicks off a mini-trilogy of tunes reflecting on the ethereal nature of romance — a theme winding its way through the wistful melancholy of “Smoke” and “So Sad.” The “rawk” returns with force as Lloyd cranks it up for three crunchy guitar rockers. The big beat jam of “Run,” the catchy power pop hook of “Whisper,” and the grungy garage beat of “I Can Tell,” amply demonstrate the excitement, groove, and power of Lloyd’s guitar mastery. After the rock’n’roll workout, Lloyd slows things down a bit for a trio of touching and tender rock ballads, leading with “Just My Heart” and then delivering a yearning reflections of youthful romance and lost love with “Something Remains”. As the end of the album approaches, Lloyd returns to the school of crunch with the raucous rock’n’roll roar of “Down the Drain” and brings down the curtain with the spinning, metaphysical wheels within wheels cosmic guitar journey of “Countdown.”
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