![King Crimson - Larks’ Tongues in Aspic (40th Anniversary Edition) (1973/2023) [High Fidelity Pure Audio Blu-Ray Disc]](https://imghd.xyz/images/2024/05/12/138741_front.md.jpg)
John Lennon – Imagine (1971/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 39:45 minutes | 1 GB
Blu-Ray Audio Rip | Sourced Track – LPCM 2.0 Stereo
After the harrowing Plastic Ono Band, John Lennon returned to calmer, more conventional territory with Imagine. While the album had a softer surface, it was only marginally less confessional than its predecessor. Underneath the sweet strings of “Jealous Guy” lies a broken and scared man, the jaunty “Crippled Inside” is a mocking assault at an acquaintance, and “Imagine” is a paean for peace in a world with no gods, possessions, or classes, where everyone is equal. And Lennon doesn’t shy away from the hard rockers — “How Do You Sleep” is a scathing attack on Paul McCartney, “I Don’t Want to Be a Soldier” is a hypnotic antiwar song, and “Give Me Some Truth” is bitter hard rock. If Imagine doesn’t have the thematic sweep of Plastic Ono Band, it is nevertheless a remarkable collection of songs that Lennon would never be able to better again. (more…)
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John Lee Hooker – Mr. Lucky (1991) (DAD)
DAD | ISO | PCM 24bit/96KHz | 1700MB
Classic Records DAD 1007 | rel: 1998 | covers
One of the last great bluesmen to make the musical and geographical transition from the rural South to the urban North, John Lee Hooker has received a great deal of attention over the past few years, thanks to a 1989 album, The Healer, which put him together with an all-star cast of musicians. Mr. Lucky repeats that formula with such famous rockers and bluesmen as Keith Richards, Carlos Santana, Robert Cray, and Albert Collins. In essence, this is a tribute album with Hooker singing his songs to the accompaniment of his admirers’ bands. Most of the tunes, however, don’t sound like Hooker at all — the cut with Van Morrison, for example, is more like one of the Irishman’s brooding meditations. While this makes for mild entertainment, Hooker gets deep into his blues only a couple of times, most notably on ”Highway 13,” when guitarist-harp player John Hammond produces the kind of intense, slow groove for which Hooker is famous. On this dark shuffle, when the man tells you about driving in the rain to try and find his woman, you’re almost drenched by his obsessive need. ~Ron Givens
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On the eve of the release of her new album, Feels Like Home, nine-time Grammy winner Sheryl Crow delivered a powerhouse performance in the ornate Grand Ballroom of The Plaza. In a taping for an episode of Live from the Artists Den, Crow tore through eighteen songs at the New York City landmark, leading her six-piece band in a career-spanning set that ran from her breakthrough hit, “All I Wanna Do,” right up to her new single, “Callin’ Me When I’m Lonely.” Whether seated for a three-song acoustic set or blowing an electrifying, rocked-up harmonica solo, Crow thrilled the invited audience of 600. The episode will air on public television in early 2014.
Since the release of her first album in 1993, Sheryl Crow has become one of the most popular and critically-acclaimed artists of the last twenty years. Born in Missouri, Crow got her start as a backing vocalist for Michael Jackson, Stevie Wonder, and Don Henley before the release of her breakout debut album, Tuesday Night Music Club. The album garnered Crow three of her nine total Grammy Awards, including Record of the Year, while such singles as “All I Wanna Do” topped radio charts. Subsequent releases produced more hits, including “Everyday Is A Winding Road” from her 1996 self-titled follow-up album, “My Favorite Mistake” from 1998′s The Globe Sessions, the duet “Picture” with Kid Rock, and “Soak Up The Sun” from 2002′s C’mon C’mon. On September 10, 2013, Crow released her eighth studio album, Feels Like Home. The album shot into the Top Ten of both the Billboard 100 and Country Albums charts and produced Crow’s first Top 20 single in the country format, “Easy.”
The Plaza is one of the most celebrated hotels in the world and a designated National Historic Landmark. Designed by Henry Janeway Hardenbergh, the French Renaissance chateau-style building opened in 1907 on the southern border of Central Park, and originally served as a residence for wealthy New Yorkers. Since its inception, the Plaza has been the site of numerous historic meetings and events. In 1964, the Beatles stayed at the hotel during the band’s first visit to the United States, and in 1966 Truman Capote hosted his famous Black and White Ball there. From appearing in some of the most beloved works of fiction of the past century – including F. Scott Fitzgerald’s novel The Great Gatsby and Kay Thompson’s series of Eloise children’s books – to such classic films as Alfred Hitchcock’s North By Northwest, the Plaza has cemented its place as an icon of New York City.
http://theartistsden.com/sherylcrow-firstlook (more…)
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It was a school night to remember when international superstars Phoenix performed a spectacular show in the gym at LC Anderson High School in Austin, Texas. Following a main-stage set at the Austin City Limits Festival the day before, the French band played for 800 invited guests – including several hundred students – for an upcoming episode of the public television series Live from the Artists Den. They blasted through 16 songs, including such hits as “Lisztomania” and “If I Ever Feel Better” and selections from their most recent album, Bankrupt!, before singer Thomas Mars invited the audience to join them on stage at the home of the Trojans for thrilling, chaotic renditions of “1901″ and “Rome.”
The origins of French rock band Phoenix go back to the childhoods of lead singer Thomas Mars, bassist Deck d’Arcy, and guitarist Christian Mazzalai, who grew up playing music together as schoolmates in the Parisian suburb of Versailles. The group officially took the name “Phoenix” when Mazzalai’s older brother, Laurent Brancowitz, joined in 1997. After years of work and a self-released EP, the band released its debut album, United, in 2000. Its follow-up, 2004′s Alphabetical, and 2006′s It’s Never Been Like That continued to raise Phoenix’s profile, but it wasn’t until the band’s fourth album, Wolfgang Amadeus Phoenix, that the band achieved widespread mainstream success. The album won the 2010 Grammy Award for Best Alternative Music Album and landed on “Best of the Year” lists in Rolling Stone, Time, Pitchfork, and Spin. In 2013, the band’s fifth album, Bankrupt!, was released and debuted at the Number Four spot on the Billboard 200 charts.
L. C. Anderson High School (then known as E. H. Anderson High School) opened in 1907 as Austin’s first school for African-American students. Named after local black educator Laurine Cecil Anderson, the high school was home to one of the most successful football programs in the state. The Anderson Yellow Jackets won four state championships before the school was forced closed in 1971 as part of desegregation. The newly-integrated Anderson High School opened in 1973 at its current location with a new mascot (the Trojans), new school colors (blue and gold), and a brand new campus. Consistently recognized for its strong academics by such publications as Newsweek and The Washington Post, Anderson has become one of the top high schools in the nation.
http://theartistsden.com/phoenix-firstlook
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‘Evolution of Style’ is an intriguing documentary about the passion, carrier and life of the hardstyle DJ Brennan Heart. More than a year a camera team followed Brennan Heart. You will get impressions of events, his private life, and some worldwide fans will share their experiences.
‘Evolution of Style’ contains a DVD + Blue Ray of the documentary and a CD with the biggest hits and a lot of new music.
BD (81 min):
Documentation (approx. 55 min)
video clips:
01 Imaginary
02 F.I.F.O.
03 Fight The Resistance
04 Freaqshow Anthem
05 We Can Escape
06 Never Break Me
07 Lose My Mind
08 Running Late
Angra: Angels Cry
20th Anniversary Tour
OFFSTAGE…….: feb12 (’14)
ONSTAGE……..: nov18 (’13)
GENRE……….: power-metal prog-metal heavy-metal folk-metal concert
RUNTIME……..: 01:56:33 (29.970)
VIDEO……….: 1280×720 (5202)
AUDIO……….: dts 5.1 (1509)
LANGUAGE…….: english
NAMED……….: lqd-angraangelscry720p.mkv
SIZE………..: 5595.37 (60×100)
BLURAY………: http://tinyurl.com/kjj99ze
http://www.imdb.com/title/ttxxxxxxx/
DESCR
never forget…
support the artists, go to the festivals
…and buy the stuff u love!
01 Angels cry
02 Nothing to say
03 Waiting silence
04 Lisbon
05 Time
06 Millennium sun
07 Winds of destination
08 Gentle change
09 The voice commanding you
10 Late redemption
11 Reaching horizons
12 A monster in her eyes
13 No pain for the dead
14 Stand away
15 Wuthering heights
16 Evil warning
17 Unfinished allegro / Carry on
18 Rebirth
19 In excelsis / Nova era
20 Gate XIII
Source: HDTV 1080i
Format: TS
Video: MPEG2
Audio: AC3
video: MPEG2 Video 1920×1080 29.97fps 15.7 Mbps
audio: Dolby AC3 48000Hz 6ch 384kbp
Size: 6.41 GB
Time: ~ 00:53:00
TRACKLIST:
01 Maroon 5 – All My Loving/Ticket To Ride
02 Stevie Wonder – We Can Work It Out
03 Joe Walsh, Jeff Lynne and Dhani Harrison – Something
04 Eric Idle
05 Interview with Letterman 1
06 Ed Sheeran – In My Life
07 John Mayer and Keith Urban – Don’t Let Me Down
08 Interview with Letterman 2
09 Katy Perry – Yesterday
10 Imagine Dragons – Revolution
11 Interview with Letterman 3
12 Dave Grohl and Jeff Lynne – Hey Bulldog
13 Eurythmics – Fool On The Hill
14 Interview with Letterman 4
15 Alicia Keys and John Legend – Let It Be
16 Pharrell Williams and Brad Paisley – Here Comes The Sun
17 Interview with Letterman 5
18 Gary Clark Jr., Joe Walsh and Dave Grohl – While My Guitar Gently Weeps
19 Interview with Letterman 6
Music Director – Don Was
House Band:
Kenny Aronof – drums
Peter Frampton – guitar
Rami Jaffe – organ
Steve Lukather – guitar
Greg Phillinganes – keyboards/piano
Chris Caswell – keyboards
Lenny Castro – percussion
Don Was – bass
Larry Hall – trumpet
Nick Lane – trombone
Larry Williams – sax/woodwinds
Carmel Echols – vocals
Judith Hill – vocals
Kari Kimmel – vocals (more…)
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
Tony McPhee & Friends – I Asked For Water, She Gave Me…Gasoline (1969)
Vinyl rip @ 24/96 | FLAC | Artwork | 1248Mb inc. 3% recovery
FilePost, FileFactory | British Blues | 1969 UK LP | Liberty LBS 83252
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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Titus Groan – Titus Groan
Label: Get Back/Get 564 | Released: 1970/2000 | Genre: Progressive-Rock
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
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…)
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The Chieftains - The Chieftains 7
Label: Columbia/PC 35612 | Release: 1978 | Genre: Irish-Folk
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
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…)
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The Byrds - The Best Of The Byrds / Greatest Hits, Volume II
Label: Columbia/31795 | Release: 1972 | Genre: Country-Rock
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
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…)
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Planxty – After The Break
Label: Tara/TARA 3001 | Release: 1979 | Genre: Irish-Folk
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
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)
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
Label: Passport Records/PPSD-98017 | Release: 1972 | This Issue: 1976 | Mastered at Sterling Sound | Genre: Progressive-Rock
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
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