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Triana – Sombra y luz (1979)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 843 Mb
Fonomusic (Serie Gong) – 5046617651 (Spain Reissue, 180 gram, 2014) | Prog Rock
Tracklist
A1 Una Historia 5:06
A2 Quiero Contarte 5:00
A3 Sombra Y Luz 7:40
B1 Hasta Volver 10:40
B2 Tiempo Sin Saber 5:21
B3 Vuelta A La Sombra Y La Luz 5:20
Credits
Artwork, Design – Máximo Moreno
Drums, Percussion, Voice – Juan José Palacios*
Electric Bass – Manolo Rosa
Electric Guitar – Antonio Pérez* (tracks: A1, B2, B3), Enrique Carmona* (tracks: A1 to B1, B3), Pepe Roca
Guitar [Spanish], Voice – Eduardo Rodríguez R.*
Keyboards, Vocals – Jesús De La Rosa
Vocals – Eduardo Rodríguez R.* (tracks: B2)
Vocals, Backing Vocals – Miguel Angel Iglesias (tracks: A3)
Voice – Enrique Carmona* (tracks: B1), Pepe Roca (tracks: A2)
Written-By – J. de la Rosa* (tracks: A1 to B1, B3)
Triana – Hijos del Agobio (1977)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 760 Mb
Fonomusic – 5046617631 (Reissue, Rem., 2014, Spain) | Prog Rock
Tracklist:
Side A
“Hijos del agobio” – 5:18
“Rumor” – 3:20
“Sentimiento de amor” – 5:32
“Recuerdos de Triana” – 2:50
Side B
“¡Ya está bien!” – 3:12
“Necesito” – 4:04
“Sr. Troncoso” – 3:38
“Del crepúsculo lento nacerá el rocío” – 5:50
Jesús de la Rosa Luque – voz , teclados y guitarra en “Sr. Troncoso”
J. J. Palacios “Tele” – batería , percusión y moog en “Recuerdos de Triana”
Eduardo Rodríguez R – guitarra , voz en “Del crepúsculo lento nacerá el rocío”, voces en “Sr. Troncoso” e “Hijos del agobio”
Antonio García de Diego – guitarra eléctrica
Manolo Rosa – bajo eléctrico y guitarra española en “Del crepúsculo…”
Enrique Carmona – introducción guitarra en “Del crepúsculo…”
Triana – Hijos del Agobio (1977)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 757 Mb
Movieplay – 17.0907/9 (Original Spain, 1977) | Prog Rock
Tracklist:
Side A
“Hijos del agobio” – 5:18
“Rumor” – 3:20
“Sentimiento de amor” – 5:32
“Recuerdos de Triana” – 2:50
Side B
“¡Ya está bien!” – 3:12
“Necesito” – 4:04
“Sr. Troncoso” – 3:38
“Del crepúsculo lento nacerá el rocío” – 5:50
Jesús de la Rosa Luque – voz , teclados y guitarra en “Sr. Troncoso”
J. J. Palacios “Tele” – batería , percusión y moog en “Recuerdos de Triana”
Eduardo Rodríguez R – guitarra , voz en “Del crepúsculo lento nacerá el rocío”, voces en “Sr. Troncoso” e “Hijos del agobio”
Antonio García de Diego – guitarra eléctrica
Manolo Rosa – bajo eléctrico y guitarra española en “Del crepúsculo…”
Enrique Carmona – introducción guitarra en “Del crepúsculo…”
Triana – Triana (El Patio) (1975)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 860 Mb
Movieplay – 17.0678/7 {Original SPAIN}| Prog Rock, Rock Andaluz
Tracklist
A1 Abre La Puerta 9:48
A2 Luminosa Mañana 4:00
A3 Recuerdos De Una Noche 4:40
B1 Sé De Un Lugar 7:08
B2 Diálogo 4:27
B3 En El Lago 6:32
B4 Todo Es De Color 2:04
Credits
Acoustic Guitar [Guitarra Flamenca] – Eduardo Rodriguez
Artwork – Máximo Moreno
Bass Guitar – Manolo Rosa
Drums, Percussion – Juan José Palacios
Electric Guitar – Antonio Perez
Keyboards, Vocals – Jesús De La Rosa
The Dregs – Unsung Heroes
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz | 813mb
Mastered At Sterling Sound
Label: Arista/AL 9548 | Release: 1981 | Genre: Progressive-Fusion
In the early ’80s the blight of commercialitis had severely degraded the quality of progressive music being created. There are still many gems from that era. Unsung Heroes isn’t necessarily one of them yet a fine, and imperfect album all the same. The Dregs dropped the “Dixie” from their name in an attempt to reach a broader audience. I wonder how many of you out there haven’t checked this band out because of the “Dixie”? This was the first of two albums in that direction and under “The Dregs” band name, which was what we all around here referred to them as anyway. It unfortunately didn’t work as well as they’d hoped and after the second album as “The Dregs”, everyone moved on to other projects. (The original violinist Alan Sloane moved on after Unsung Heroes. )
Cruise Control kicks off the album and is probably the worst piece on the album, not to say it’s actually a bad piece of music, it’s just that the live versions are far superior. And as the song was mostly a vehicle for improvisation, it was just sad to see it reduced to this way too short piece for the sake of trying to get some airplay. Fer shame, fer shame. The older version on the album Freefall beats this version but also pales in comparison to any live version I’ve experienced.
Divided We Stand sees them back in finer form. This is what the Dregs were all about. It’s just progressive fusion, jazzy/rocky/a little bluegrassy/complexy, well, you’ll just have to hear it to appreciate it (dancing about architecture and what not.).
I’ll Just Pick has even a stronger bluegrass flavor to it. Trust me, this is bluegrass even a die hard prog zombie pod person could like. I know, I was one when I went nutzo for the Dregs.
Day 444 is a nice slow long piece dedicated to the release of the American embassy hostages from Iran. Post Rock fans should really dig this.
Rock and Roll Park another attempt at an instrumental AOR friendly hit. But dang it, just way too progressive to be successful. We’re talking 1981 here. Ok maybe it was just the title trying to sound AOR friendly rather than the music.
Attila the Hun is hard to really classify. High energy prog? Speed prog? Complexo prog? A fun little musical ride, for sure, Mr. Morse can really play rings around every guitarist out there, seriously.
Kat Food not to be confused as a cover for Crimson’s Cat Food, this one’s actually a much better song. A little funky/bluesy, I suppose. Killer complex musicianship again.
In Go for Baroque, the Dregs really did go for an excellent piece in the classical style, really not anything like the classical style pieces they did in the past, it could just about get a classical snob to appreciate prog.
Had to get the CD as a Japanese import. (I’m greatful for all the great import prog available only from Japan!) Really glad to have it back in my collection available to play after a hiatus due to the whole LP Cassette CD transitioning thing.
Review by Slartibartfast, progarchives.com
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The Dregs – Industry Standard
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz | 793mb
Mastered At Sterling Sound By George Marino
Label: Arista/AL AL 9588 | Release: 1982 | Genre: Progressive-Fusion
4.5 stars for this one, really. Almost a masterpiece, but definitely a classic. Some fans might be put off with the vocals of Patrick Simmons(Doobie Brothers) or Alex Ligertwood(Brian Auger/Santana), but if you like them like I do, you’re in for a treat. Not much to add here other than it’s very similar to their masterpiece _What If_(check my review) with a few vocal tracks. Apparently they were looking for a more commercial audience(probably the record label). Nothing really commercial here other than _Turn It Up_, but there’s enough instrumental chops to save it from the dumpster. Great song! _Industry Standard_ is the 2nd album one should purchase along with DREGS OF THE EARTH. Either one would be a great for your collection.
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Name: Gustav Mahler: Symphonies Nos. 9 & 10
Release year: 2008/2009
Genre: Classical
Directed by: Michael Ciniselli
Conductor: Paavo Järvi
Artist: Frankfurt Radio Symphony Orchstra (HR-Sinfonieorchester)
Issued: United States | C MAJOR
Duration: 1:57:45
Size: 36.49 GB
Gustav Mahler spent 1909 and 1910 working on his final two symphonies. The Ninth has gone down in history as the culmination of his symphonic output and a prophetic anticipation of musical modernism. But owing to his declining health, he had to stop work on the Tenth after a few months and was unable to resume it before his death. Only the first movement, included here, was orchestrated to a point where it can be performed without non-authorial additions. – The Mahler cycle by the Frankfurt Radio Symphony Orchestra under Paavo Järvi is appearing complete on DVD and Blu-ray on the C Major label and has already been internationally acclaimed as one of the most important Mahler projects of the new millennium.
Recorded at the Rheingau Musik Festival, 2011 (Symphony No. 7) and 2013 (Symphony No. 8).
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Сomposer: Reinhold Moritsevich Glière (1875-1956)
Artist: Buffalo Philharmonic Orchestra, JoAnn Falletta
Title: Symphony No. 3 in B Minor, Op. 42, “Il’ya Muromets”
Genre: Classical
Label: © Naxos
Release Date: 2014
Recorded: Kleinhans Music Hall, Buffalo, New York, USA, from 3rd to 5th May, 2013
Quality: Blu-ray Audio
Length: 01:11:38
Video: MPEG-2 4742 kbps / 1080i / 29,970 fps / 16:9
Audio: Russian DTS-HD MA 5.1 / 96 kHz / 5709 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Audio: Russian LPCM 2.0 / 96 kHz / 4608 kbps / 24-bit
Size: 8.09 GB
“The Glière Symphony No. 3 has always been a piece that shimmered on my horizon—a cult piece, in a way, renowned as the composer’s towering masterpiece but rarely played in concert. As long as a Mahler symphony and enormous in its instrumental requirements, it was a work that people spoke about reverently but almost never heard live. The recording was an adventure that changed our orchestra, strengthened us, and became an artistic benchmark for our musicians. We revelled in the gorgeous landscape of the Symphony—from mysterious bass murmurings to crushing walls of brass fortissimo to breathtaking impressionistic renderings of forests and birds. We performed and recorded this massive work uncut to preserve Glière’s extraordinary architecture. This work is a cathedral in sound that unfolds in breathtaking swashes of colour, poetry and monumental climaxes.” – JoAnn Falletta (more…)
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The Who – Who’s Next (1971)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 901 Mb
Polydor – 2484 026 (Original French, 1971) | Rock
Tracklist:
A1 Baba O’ Riley 4:59
Piano – Pete Townshend – Keith Moon// Violin – Dave Arbus
A2 Bargain 5:33
A3 Love Ain’t For Keeping 2:11
A4 My Wife 3:35
Piano – John Entwistle
A5 Song Is Over 6:16
Piano – Nicky Hopkins
B1 Getting In Tune 4:49
Piano – Nicky Hopkins
B2 Going Mobile 3:40
B3 Behind Blue Eyes 3:40
B4 Won’t Get Fooled Again 8:31
Personnel
The Who
Roger Daltrey – vocals
Keith Moon – drums, percussion
John Entwistle – bass, brass, vocals, piano on “My Wife”
Pete Townshend – guitar, VCS3, organ, A.R.P. synthesiser, vocals, piano on “Baba O’Riley”
Additional musicians
Dave Arbus – violin on “Baba O’Riley”
Nicky Hopkins – piano on “The Song Is Over” and “Getting in Tune”
Al Kooper – organ on alternate version of “Behind Blue Eyes”
Leslie West – lead guitar on “Baby, Don’t You Do I
The Who – Who’s Next (1971)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 898 Mb
Track Record – 2408 102 (UK First Reissue, 1974) | Rock
Matrix / Runout: 2408102 A//4 420 03 BILBO 15 16
Matrix / Runout : 2408102 B//4 420 05 13 17
Tracklist:
A1 Baba O’ Riley 4:59
Piano – Pete Townshend – Keith Moon// Violin – Dave Arbus
A2 Bargain 5:33
A3 Love Ain’t For Keeping 2:11
A4 My Wife 3:35
Piano – John Entwistle
A5 Song Is Over 6:16
Piano – Nicky Hopkins
B1 Getting In Tune 4:49
Piano – Nicky Hopkins
B2 Going Mobile 3:40
B3 Behind Blue Eyes 3:40
B4 Won’t Get Fooled Again 8:31
Personnel
The Who
Roger Daltrey – vocals
Keith Moon – drums, percussion
John Entwistle – bass, brass, vocals, piano on “My Wife”
Pete Townshend – guitar, VCS3, organ, A.R.P. synthesiser, vocals, piano on “Baba O’Riley”
Additional musicians
Dave Arbus – violin on “Baba O’Riley”
Nicky Hopkins – piano on “The Song Is Over” and “Getting in Tune”
Al Kooper – organ on alternate version of “Behind Blue Eyes”
Leslie West – lead guitar on “Baby, Don’t You Do I
Steely Dan – Can’t Buy A Thrill (1972)
Vinyl rip in 24 Bit/96 kHz | FLAC | Artwork HR | 858 Mb
ABC Records – ABCX-758 (Original US, 1972) | Rock
Tracklist
A1 Do It Again 5:56
A2 Dirty Work 3:08
A3 Kings 3:45
A4 Midnite Cruiser 4:09
A5 Only A Fool Would Say That 2:54
B1 Reelin’ In The Years 4:35
B2 Fire In The Hole 3:26
B3 Brooklyn 4:20
B4 Change Of The Guard 3:28
B5 Turn That Heartbeat Over Again 4:58
Steely Dan
Donald Fagen – acoustic and electric pianos, plastic (YC-30) organ, lead vocals (except on “Dirty Work”, “Midnite Cruiser”, and “Brooklyn”), backing vocals
Walter Becker – electric bass, backing vocals, dual lead vocal on “Turn That Heartbeat Over Again”
Jeff “Skunk” Baxter – guitar, pedal steel guitar, spoken word on “Only a Fool Would Say That”
Denny Dias – guitar, electric sitar
Jim Hodder – drums, percussion, lead vocal on “Midnite Cruiser”, backing vocals
David Palmer – lead vocals on “Dirty Work” and “Brooklyn”, backing vocals
Roxy Music – Flesh And Blood (1980)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 889 Mb
Polydor – 2302 099 (Original Holland, 1980) | Rock
Side one
1. “In the Midnight Hour” (Wilson Pickett, Steve Cropper) 3:09
2. “Oh Yeah” 4:51
3. “Same Old Scene” 3:57
4. “Flesh and Blood” 3:08
5. “My Only Love” 5:16
Side two
1. “Over You” (Ferry, Phil Manzanera) 3:27
2. “Eight Miles High” (Gene Clark, David Crosby, Roger McGuinn) 4:55
3. “Rain, Rain, Rain” 3:20
4. “No Strange Delight” (Ferry, Manzanera) 4:44
5. “Running Wild” (Ferry, Manzanera)
Roxy Music
Bryan Ferry – vocals, keyboards, piano, synthesiser (on track 4), guitar (on track 4), and strings (on track 5)
Andy Mackay – saxophones, oboe
Phil Manzanera – guitar, bass (on track 6)
Additional personnel
Paul Carrack – strings (on track 2), organ, piano (on track 10)
Neil Hubbard – guitar (on tracks 1, 2, 5, and 7–10)
Neil Jason – bass (on tracks 2, 7, and 9)
Andy Newmark – drums (on tracks 4 and 5)
Simon Phillips – percussion (on track 5)
Allan Schwartzberg – drums (on tracks 1-3 and 6–10), percussion (on tracks 4 and 5)
Alan Spenner – bass (on tracks 3–5, 8, and 10)
Gary Tibbs – bass (on track 1)
Narciso Yepes – Francisco Tárrega
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz | 819 mb
Label: Deutsche Grammophon/410 655-1 | Release: 1983 | Genre: Classical-Guitar
Yepes was born into a family of humble origin in Lorca, Region of Murcia. His father gave him his first guitar when he was four years old, and brought the boy five miles on a donkey to and from lessons three days a week. He took his first lessons from Jesus Guevara, in Lorca. Later his family moved to Valencia when the Spanish Civil War started in 1936.
When he was 13, he was accepted to study at the Conservatorio de Valencia with the pianist and composer Vicente Asencio. Here he followed courses in harmony, composition, and performance. Yepes is credited by many with developing the A-M-I technique of playing notes with the ring (Anular), middle (Medio), and index (Indice) fingers of the right hand.[1] Guitar teachers traditionally taught their students to play by alternating the index and middle fingers, or I-M. However, since Yepes studied under teachers who were not guitarists, they pushed him to expand on the traditional technique. According to Yepes, Asencio “was a pianist who loathed the guitar because a guitarist couldn’t play scales very fast and very legato, as on a piano or a violin. ‘If you can’t play like that,’ he told me, ‘you must take up another instrument.'” Through practice and improvement in his technique, Yepes could match Asencio’s piano scales on the guitar. “‘So,’ he [Asencio] said, ‘it’s possible on the guitar. Now play that fast in thirds, then in chromatic thirds.'”[2] Allan Kozinn observed that, “Thanks to Mr. Asencio’s goading, Mr. Yepes learned “to play music the way I want, not the way the guitar wants.”[3] Similarly, the composer, violinist, and pianist George Enescu would also push Yepes to improve his technique, which also allowed him to play with greater speed.[4]
On 16 December 1947 he made his Madrid début, performing Joaquín Rodrigo’s Concierto de Aranjuez with Ataúlfo Argenta conducting the Spanish National Orchestra. The overwhelming success of this performance brought him renown from critics and public alike. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy, Germany and France. During this time he was largely responsible for the growing popularity of the Concierto de Aranjuez, and made two early recordings, both with Argenta[5] – one in mono with the Madrid Chamber Orchestra (released between 1953 and 1955),[6] and the second in stereo with the Orquesta Nacional de España (recorded in 1957 and released in 1959).[7]
In 1950, after performing in Paris, he spent a year studying interpretation under the violinist George Enescu, and the pianist Walter Gieseking. He also studied informally with Nadia Boulanger. This was followed by a long period in Italy where he profited from contact with artists of every kind.
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Mona Lisa – L’Escapade
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz | 908 mb
Label: Arcane /87015 | Release: 1974 | Genre: Progressive-Rock
Formed in 1970, it was only in 1974 that French band Mona Lisa could perpetrate their debut album and start to bring their contribution to their country’s progressive rock arena and deliver one of the most accomplished expressions of theater rock. This band pursued a development through the paths of art-rock opened years earlier by Ange and was more than willing to leave a solid trademark on this specific road. In fact, this album received a noticeable heritage from the dark playfulness that inundated Ange’s first two studio efforts, and what’s more, Ange’s guitarist Mr. Brezovar was himself in charge of the production duties for “L’Escapade”, although the result of this first attempt of his turned out to be only partially credible. Anyway, through the limited range of sonic sources, the incomplete elaboration of the interplaying arrangements and the not-so-perfect sound production, you can tell that Mona Lisa had a voice of its own in terms of composition and musical expression right from the beginning. The album kicks off with a pastoral prelude entitled ‘Prelude A L’Escapade’, a lovely sketch of early Baroque moods dominated by classical guitar and flute and ended with a cymbal beat. Then, the sound of a cold wind and the distant melody of a bagpipe playing ‘Amazing Grace’ sets the opening stages of ‘Le Fantome de Galashiels’, a song signaled by somber moods and solemn dramatics, which makes it a perfect manifesto of what the whole album is all about. There is much intensity in this performance, but there is also a sense of constrain that properly highlights the mysterious aura that the track is intended to portray. The intensity level goes up quite a bit with the next two pieces, con ‘Voyage per l’Infini’ and ‘Les Vielles Pierres’ ? the former is a catchy mid-tempo prog rocker that raises the Ange reference quite vividly, while the latter explores an artsy dynamics with more power and fruition, abundantly bringing images of spacey Pink Floyd-meets-creepy Procol Harum-meets “Trespass” Genesis. A special mention goes to the lovely intro of a musical box playing ‘Pour Elise’: this melody can never seem to be a failure. IMHO, the last two songs capture the best part of “L’Escapade”, since they develop and schematize the most ambitious levels of expression and musicality that the band was capable of at the time. ‘Le Colporteur’ and ‘Petit Homme de la Terre’ are just great, clear signs that this band had enough artistic and intellectual sources to rival (or even surpass) any other compatriot band of the rock theater area. The Musea edition adds two bonus tracks: a demo version of ‘Les Vielles Pierres’ and a previously unreleased song, ‘Diableries’, which delivers a similar aura to that of ‘Le Colporteur’ only with a bit less of muscle. This is a great opening for a rock career destined to generate artistic glory for French progressive rock in the 70s, all specific faults aside: I grant a 3.60 star grade for Mona Lisa’s debut album since it is excellent in exclusively artistic terms.
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