Joe Satriani – Not Of This Earth (Featuring “Memories”)
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Relativity / 88561-8110-1 | US Release: 1986 | Genre: Hard-Rock
I chose the hit “Memories” from this LP, because is where one can find all the versatility and virtuosity of Satriani.
And not in vain to remember: Satriani before starting his solo career, he was nothing more and nothing less than the teacher of renowned guitarists, like names some to Eddie Van Halen and the first guitar of Frank Zappa, Steve Vai. Why don’t say the amount of guitarists “copy” of Satriani?
This is his first plate (1986), but my issue is the second, in “blue vinyl”.
Jim Hall – Concierto (1975)
Vinyl rip in 24 bit/96 kHz | 740 Mb | FLAC tracks | LP Artwork
CTI Records – CTI 6060 S1 (US Pressing) (1975) | Jazz, Bop
Tracklist
A1 You’d Be So Nice To Come Home To
Written-By – Cole Porter 7:04
A2 Two’s Blues
Written-By – Jim Hall 3:48
A3 The Answer Is Yes
Written-By – Jane Hall 7:36
B1 Conceirto De Aranjuez
Written-By – Joaquin Rodrigo* 19:17
Credits
Alto Saxophone – Paul Desmond
Arranged By – Don Sebesky
Bass – Ron Carter
Drums – Steve Gadd
Guitar – Jim Hall
Piano – Roland Hanna
Trumpet – Chet Baker
Jan Garbarek, Kjell Johnsen – Aftenland (1980)
Vinyl rip in 24 bit/96 kHz | 880 Mb | FLAC tracks | LP Artwork
ECM Records – ECM 1169, ECM Records – 2301 169 (1980) (Original German) | Contemporary Jazz
Tracklist
A1 Aftenland 7:14
A2 Syn 6:42
A3 Linje 1:58
A4 Bue 2:04
A5 Enigma 3:39
B1 Kilden 7:33
B2 Spill 4:21
B3 Iskirken 6:48
B4 Tegn 4:54
Organ [Pipe Organ], Music By – Kjell Johnsen
Tenor Saxophone, Soprano Saxophone, Flute [Wood Flute], Music By – Jan Garbarek
Greenslade – Spyglass Guest
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Label: Mercury / SRM 1-1015 | US Release: 1974 | Genre: Symphonic-Rock
Unlike many fellow reviewers, I don’t think at all that “Spyglass Guest” is a major artistic turndown in Greenslade’s career; while not being obviously as brilliant as its two preceding albums, it is full of good musical ideas, and the energy is still there, palpable and shining brightly. I can’t deny that the level of energy has decreased a bit: the reason for that is that an important fracture was starting to show the cracks in the band’s integrity – Greenslade and Lawson replaced their mutual complementation for a state of sheer rivalry, with each one of them barely contributing in the instrumentation for the pieces written by the other. But I can tell by the opening track ‘Spirit of the Dance’ that the essence of the band’s musical personality remains untouched, and also that the rules of exquisiteness and melodic sensibility continue to trace and shape Greenslade’s direction. Actually, I regard the sequence of tracks 1-5 as fantastic. After the effective, catchy opener, comes the first sung track titled ‘Little Red Fry-Up’, one more showcase for Lawson’s precise keyboard skills and peculiar singing. The absence of Greenslade’s performing input and the presence of a guest guitar soloist on this one reveal an increasing interest in the band for assuming a rockier direction for their jazz- oriented prog. as well as the aforementioned internal tension between both keyboardists. Then comes ‘Rainbow’, perhaps the eeriest piece ever in Greenslade’s history: nowhere does Lawson get as ethereal as in this number. Its first section consists of a dialogue between grand piano and synth multi-layers, caught under a storming rain and shades of percussion and drums; then comes the second section, in which Lawson lays his soft electric piano lines while his voice resounds in both the lead and the backing chorale roles. A really inventive way to translate the transition from rain to rainbow into a musical context. ‘Siam Seesaw’ also includes a spirit of serenity in the main motif that opens up and closes down the track, in which the harpsichord, electric piano and acoustic guitar display an elegant dialogue; this Reeves-penned number is properly enhanced by a faster bluesy interlude. The album’s tour-de- force ‘Joie de Vivre’ finds the band incorporating some folky sources into a symphonic context: Graham Smith’s impeccable violin interventions sure help to build this particular element up. The following three numbers prove not to be able to keep up with the level of musical magic achieved by the preceding pieces. Had ‘Red Light’ been developed further, it wouldn’t have been reduced to a nice Lawson effort to approach the Steely Dan thing. ‘Melancholic Race’ goes more places, but it doesn’t match the splendour of the previous instrumentals, while the closure ‘Theme for an Imaginary Western’ (a cover of a Jack Bruce bluesy ballad) is simply OK, which means that the listener is left without an outstanding climax to leave them truly amazed. Overall rating: 3 ½ – 4 stars.
progarchives.com (more…)
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Dvorak – Klavierkonzert – Carlos Kleiber – Sviatoslav Richter (1977)
Vinyl rip in 24 bit/96 kHz | FLAC tracks |Tech Log | Artwork | 700 Mb
Emi – 1C 065-02 884 Q (Quadraphonic Germany) (1977) | Classical
Konzert Für Klavier Und Orchester G-Moll Op.33
A1 Allegro Agiato
B1 Andante Sostenuto
B2 Allegro Con Fuoco
Bayrisches Staatsorchester Munchen
Sviatoslav Richter, piano
Carlos Kleiber, Dir.
Dave Mason – Dave Mason (Featuring “All Along The Watchtower”)
Vinyl | LP Cover (1:1) | FLAC | 24bit/96kHz & 16bit/44kHz
Genre: Classic-Rock | Label: Columbia / PC 33096 | Release: 1974
Using his touring band, which included keyboard player Mike Finnigan and guitarist Jim Krueger, Dave Mason turned in a strong pop/rock collection on his second, self-titled Columbia album. “Show Me Some Affection” was one of those songs that should have been a hit single, Mason recut a fuller version of “Every Woman,” originally heard on It’s Like You Never Left, and the album also included Mason’s version of Bob Dylan’s “All Along the Watchtower,” in an arrangement patterned after the one by Jimi Hendrix, on which Mason had played six years earlier. (Originally released by Columbia Records as Columbia 33096, Dave Mason was reissued on CD by One Way Records as One Way 26080 on October 31, 1995.)
allmusic.com
Carla Bley & Steve Swallow – Duets (1988)
Vinyl rip in 24 bit/96 kHz | FLAC tracks | Artwork | 860 Mb
WATT Works – WATT/20, ECM Records – 837 345-1 (Original GER) (1988) | Jazz, Fussion
Tracklist
A1 Baby Baby
A2 Walking Batteriewoman
A3 Útviklingssang
A4 Reactionary Tango Parts 1/2/3
B1 Romantic Nations #3
B2 Remember
B3 Ups & Downs
B4 Ladies In Mercedes
Credits
Bass – Steve Swallow
Piano – Carla Bley
Andy Narell – Slow Motion – 1985
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 930 MB + 263 MB
1985 / Genre: Jazz-World Fusion / HipPocket Records – DE
More often than not, the steel pans are used for playing the traditional sounds of Trinidad. Andy Narell has successfully utilized them in a variety of non-traditional ways. On the ambitious and highly eclectic fusion release Slow Motion, elements of everything from Afro-Cuban salsa to Brazilian samba to African music are fair game for the adventurous, even visionary improviser (who is also heard on electric keyboards).
“A nice first introduction to the music of Andy Narell; HipPocket Records and Windham Hill are related and you can hear that; crystal clear and dynamic open sound on this album”! Enjoy this beautiful music!
Note > No silence was deleted; please burn this album gapless..
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Genre: Rock
Year: 1962 – 1967 (2010)
Label: Columbia
Country of Origin: United States
Audio codec: FLAC
Type rip: tracks +. Cue
Recording Format: 24/96
The format of distribution: 24/96
Length: 394 minutes
The Original Mono Recordings (2010)
Columbia Records
Mastered by George Marino at Sterling Sound
24-bit / 96kHz Vinyl Rip by Dr. Robert
Nitty Gritty RCM 1.5
Technics SL-1200MK2 DD Turntable with KAB Fluid Damping and KAB record grip
Ortofon 2M Black MM Cartridge
Pro-ject Tube Box SE II Preamp
Tascam US-144 external USB 2.0 Audiointerface
Mac Pro Dual Zeon 2.66 GHz
Bias Peak Pro 6.2 recording software
Click Repair 3.4.1 for de-click (manual mode only)
iZotope RX Advanced 2.0 for Redbook conversion
xACT 1.71 for Redbook SBE correction
XLD Version 20101120 (125.2) for FLAC conversion
RCM > TT > Ortofon > TubeBox preamp > ADC > Mac Pro > Peak Pro @ 24/96 >
analyze (no clipping, DC Bias offset correction, each side gain adjusted to -0.5 dB) > split into individual tracks >
Click Repair 3.4.1 used in manual mode, 20~30 Rev, Pitch Protection, X2 > Mix to Dual Mono
FLAC encoded Level 8 with XLD
iZotope DeNoise used on fade outs only.
All de-clicking software used in full manual mode to preserve musical transients.
No music was harmed in the making of this vinyl rip.
No silence been removed, please burn gapless to match original track layout.
You are free to share this along with credit
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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.. (more…)
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.
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)
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)
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!
progarchives.com
Stephen Stills – Stills
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 836mb – 16bit/44kHz: 246mb
Genre: Country-Rock | Label: Columbia / PC 33575 | First US Pressing | Release: 1975
Unquestionably Stephen Stills is one of the prolific creator of the legendary country-rock quartet C, S, N & Y.
Today I share my beloved LP with all his extra material. The reality is that in this work away from his country roots and hints at his love of Latin rhythms. Markedly Salsa, I remember that in the last section of the beautiful song “Suite: Judy Blue Eyes” ends singing in spanish.
The disc itself I find it great and I like Latin rhythms faced without leaving its essence.