Henri Tachan – Vol. 2
Vinyl | CUE | FLAC | Tags | Full LP Cover (1:1) | 24bit/96kHz: 767mb
Genre: Chanson | Label: Barclay 80 507 | Release: 1976
Henri Tachan spends his Catholic boarding school in Notre Dame de Bury, then in a high school in Paris. Then he joined a hotel school in Thonon-les-Bains and becomes the server at the Ritz in Paris.
In 1962, he moved to Quebec. After his work as a waiter, he began to recite poems “At Clairette” (Claire Oddera), at 1124 rue de la Montagne in Montreal. Passage, Jacques Brel encouraged to engage in the song.
Back in France, he released his first album in 1965 Barclay who won the Grand Prix de l’Académie Charles Cros disk. At the same time, he made the curtain of Juliette Greco at the Olympia.
In 1968 he made the first part of Isabelle Aubret and Félix Leclerc to Bobino, then that of Pierre Perret in 1970, and Georges Brassens in 1972, always in the same room. Meanwhile, he represented France at Sopot Festival in 1969 with the song The usual table, and finished 2nd. In 1974, he sang the “Marais Pizza” for its opening.
In 1975, he spent two weeks at the City Theatre and a night at the Olympia headlining. Then, in 1978, it remains at the Olympia.
In 1999, he spent six weeks at the Théâtre de Dix Heures Paris.
wikipedia.org (more…)
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Henri Tachan – Henri Tachan
Vinyl | CUE | FLAC | Tags | Full LP Cover (1:1) | 24bit/96kHz: 832mb
Genre: Chanson | Label: Barclay 80 283 | Release: 1965
Henri Tachan in his first work, especially for those who like traditional french singers Charles Aznavour, Gilbert Bécaud or belgian Salvatore Adamo. For me it was a pleasant revelation, I think those who have listened to the singers mentioned should feel really pleased.
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Ekseption – Trinity – 1973
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 874 MB + 244 MB
1973 / Genre: Symphonic Rock / Philips – NL
Ekseption’s 6th album included some personnel-changes as both Dick Remelink and Peter de Leeuwe were changed by Jan Vennik and Pieter Voogt. But these changes didn’t affect the band’s musical inspiration and artistic quality as “Trinity” proved to be another of their best albums. “One of my last favorites of Ekseption, almost forty years after the release, you can hear it by this fantastic Philips recording on vinyl. Listen to the outstanding “Toccata” on Youtube; Enjoy!”
Note > No silence was deleted; please burn this album gapless..
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Ekseption – Beggar Julia’s Time Trip – 1970
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 704 MB + 197 MB
1970 / Genre: Symphonic-Rock / Philips – NL
Beggar Julia’s Timetrip is based on a story of a man who travels through time in a spaceship and observes the great composers at work. Thus, the story is of course a perfect setting for introducing some rock/jazz versions of Albinoni’s Adagio, Bach’s Italian Concerto and Tchaikovsky’s piano concerto garnished with some Beethoven. “Enjoy this beautiful Ekseption album and great Philips recording (42 years old)”.
Note > This concept album has no gaps between tracks; gapless burning is -essential- to hear the album without interruptions.
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Crosby, Stills, Nash & Young – Déjà Vu
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24bit/96kHz: 806mb – 16bit/44kHz: 234mb
Genre: Country-Rock | Label: Atlantic / SD 19118 | Original Release: 1970 | This Issue: 1977
The second LP “CSN & Y” is this “Déjà Vu”, a key album that marked a generation of bands of country-rock genre in their country of origin, U.S.
This is the only album of his early career (the best, in my opinion), they are all four together, coupled with the legendary live record “4 way street”.
And, in all honesty, “CSN & Y” are far from being a folk-rock band, sometimes unclassifiable … pop? Progressive? fusion? all, for me this is a transcendent album breaker schemes, its members very young, but consolidated racing beforehand.
I could write pages and pages, about the genius of each personality of each member on this record.
I think it is best to listen to them, no doubt.
Appaloosa - Appaloosa (Featuring Al Kooper)
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24bit/96kHz: 927mb – 16bit/44kHz: 265mb
Genre: Psychedelic-Folk | Label: Columbia / CS 9819 | Original First US Pressing: 1969
From the Boston folk scene, emerged John Parker Compton’s band of Appaloosa, from which would also come Earth Opera (and its continuity Sea Train) and James Taylor. JPC (vocals & ac guitars) had formed an experimental duo with David Batteau and his cello that played a few gigs around Boston and Cambridge as they were still teenagers. The duo evolved with David’s brother Robin taking over with his violin, before expanding to a quartet with the arrival of Eugene Rosov (cello) and David Reiser (electric bass) and opened for Tim Harding and played every Sunday afternoon at the Cambridge Common Music Concerts. Rosov and Batteau were Harvard students, while Reiser sat in with prominent jazzmen in Boston clubs.
The group popped down to NY to get an audition with the legendary Al Kooper, playing directly in his office and getting instantly a recording deal. The prominent Kooper (producer and musician with The Blues Project, Blood Sweat & Tears, Bloomfield and by then a solo artiste as well and too many sessions to list) was to produce their sole album.
This album was labelled as folk baroque (as was popular at the time), a term also applying to Donovan, Gordon Lightfoot, Tom Rush, Nick Drake, Bobbie Gentry, Tim Buckley, Phil Ochs, the Bee Gees, and Tim Hardin, and meant folk mixed with classical/symphonic music. Sadly the album got almost no notice, staying four weeks in the US billboard, peaking at 128, as these folk baroque albums were flooding the airwaves at the time. It would be Appaloosa’s only album, the band splitting up when Compton, Batteau, and some friends drove out to California. John and Robin worked as a duo on Columbia for the Compton & Batteau in California album, with John doing his first solo album shortly afterward. To this day JPC is still active in the folk circles and reformed the group in 05, but nothing yet has come out of that.
progarchives.com
Ancient Future – Quiet Fire (Narada Series)
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24bit/96kHz: 944mb – 16bit/44kHz: 256mb
Genre: New-Age | Label: Narada/N-61012 | US Pressing: 1986
When burst Windham Hill label in the music industry, soon imitate his idea by another labels (good and bad): mostly acoustic music, away from the horrible sound of disco-music (that with programmed drums, high-pitched ugly voices and noisy, absolutely massive consumption). From these stamps that followed, the most prominent are Narada and Private Music. I have excellent pressings from Narada, one of them is this “Quiet Fire” by Ancient Future. Anecdotally Windham Hill label musicians appear in this LP.
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Alex De Grassi – Southern Exposure (Windham Hill Series)
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 757mb – 16bit/44kHz: 197mb
Genre: Acoustic-Fusion | Label: Windham Hill Records / AMWH 61030 – A&M Records / AMWH 61030 | Dutch Pressing: 1983
During my forays into Old Europe, Spain (to be precise), I spent time in record stores go in the “Ramblas from Barcelona”, also in the narrow streets of the medieval city (wonderful, admittedly). I remember it was during the summer of 85, I became record-storage such a good collection of LPs of Pat Metheny, Windham Hill label and many other things that I have shared. Today I share one of my favorite acoustic guitarists that label (WH): Alex De Grassi, an extraordinary technique.
Some describe his music style “impressionist”, I am not much given to label because. But yes, I can say that his style is more oriented to the fusion and a bit jazz. Anyway, is not the most important, and I think that is modestly one of the stars of Windham Hill.
Tony Banks – A Curious Feeling – 1979
Vinyl Rip in 24 Bit-96 kHz | Redbook 16 Bit-44 kHz | FLAC | Cue | No Log | Scans | 1,11 GB + 331 MB
1979 / Genre: Prog-Rock / Polydor – CA
Genesis keyboardist Tony Banks has made several stabs at a solo career since 1978, writing and recording in various styles and occasionally under different group names. However, none of his attempts have been very commercially successful, a sore point for the man many deem responsible for a large portion of the Genesis sound. For many observers, Banks is one of the more undeservedly underrated keyboard players in progressive rock — while flashier figures such as Keith Emerson and Rick Wakeman, with their extroverted personalities, long ago gathered the press coverage needed to earn the admiration of starstruck listeners from the 1970s (and enjoy instant name recognition even 30 years later). Banks’ work was so subsumed into the output of Genesis for so long that he never quite achieved the profile of his slightly older rivals, despite playing an essential role in shaping the sound of his group, which, along with Yes, was one of the two most successful prog rock bands of the 1970s. “Enjoy this beautiful atmospheric album with impressive vocals of the relative unkwown Kim Beacon”.
Note > No silence was deleted; please burn this album gapless..
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Shakti – Shakti With John McLaughlin
Vinyl | LOG | CUE | FLAC | Tags | Full LP Cover (1:1)
24bit/96kHz: 1.14gb – 16bit/44kHz: 332mb
Genre: Acoustic-Fusion | Label: Columbia / KC 34162 | First US Pressing | Release: 1976
Believe me, I am not joking when I saw awesome, because it really is. Think about one suberp guitarist , who again show us what he can do with that strings and that fingers, and a superb violin, a superb tabla, so after all it could be a super band no?
I really like John Mclaughlin, I think he is one of the best guitarist ever, so the fact of Mclaughlin here, is one extra point, in this music, you will remind some Mahavishnu Orchestra ( but forgot electric guitars and focus on acoustic), because of the excellent musicianship, and because some passages are very fast, guitar – violin oriented, with tabla and a very particular south indian percussion instrument called mridangam making Raga music, indian music, which could sound a bit rock.
It is a live album which consist in 3 tracks, 2 “epics” and one mid tempo and slow second track. “Joy” is the first track, an 18 minute song showing us how great are the musicians, fast fingers, fast music, all instruments gathered together, and tehy don’t let you go, it is a bit repetitive, but you can’t leave it, you can’t get tired of it, it is awesome because it`s a concert, so that lucky people could appreciate the complexity of the sound, it is full of scales, but you can listen how fine can play the musicians, 18 minutes of an indian trip, which you will enjoy.
“Lotus Feet”, is the shortest song, and is the slowest of them all, i mean, it is not a fast song, it is beautiful and show us the quality of the music, with a more reserved sound, violin is precious, and percussion background beautiful, after this, prepare yourself for the last song.
“What Need Have I for This – What Need Have I for That – I Am Dancing at the Feet of My Lord – All Is Bliss – All Is Bliss “, what a name no?, the name is so long, and the song is longer I think, the best way to end this album is this almost 30 minutes masterpiece, which is full of joy and a ridicoulous (in the good sense of the word) musicianship, is simply awesome, it can’t be 30 minutes of the same way, so you can imagine some changes, I use to listen to this with eyes closed , letting my mind reveiving it, and it is really a pleasure, a can’t say another word, it is simply beautiful, guitar in one hand, violin in other, suddenly both in one hand, it is a tremendous track, I’d love to see something similar until die, I have no words to describe the feeling when I’m listening to it, in fact I don’t open my mouth, only my ears and mind.
After all, Raga – Prog Indo -Prog is my less familiarized genre, but when I listen to this, I have the will to get more of this, not sure if the name of masterpiece of progressive rock is the best for this album, but it clearlydeserves 5 stars, and of course, I highly recommend it to all of you, maybe it is not everybody’s cup of tea, but if you like it the first time, you will love you ever.
5 Stars !
progarchives.com
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Ofra Haza – Galbi
Vinyl | CUE | FLAC | Tags | Full LP Cover (1:1) | 24bit/96kHz: 396mb
Genre: Synth-Pop | Label: Globe Style / NST 117- 12″ 45 RPM | Release: 1986
Ofra Haza ( born Bat-Sheva Ofra Haza; 19 November 1957 – 23 February 2000) was an Israeli singer of Yemenite Jewish origin, an actress and international recording artist.
Her voice has been described as mezzo-soprano, of near-flawless tonal quality, capable of lending itself to a variety of musical styles with apparent ease. Inspired by a love of her Yemenite and Hebrew culture, the appeal of her music quickly spread to a wider Middle Eastern audience, somehow bridging the divide between Israel and the Arab countries. As her career progressed, Haza was able to switch between traditional and more commercial singing styles without jeopardizing her credibility. Her music fused elements of Eastern and Western instrumentation, orchestration and dance-beat. She became successful in Europe and the Americas; during her singing career, she earned many platinum and gold discs.
wikipedia.org
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David Sylvian – Secrets Of The Beehive (1987)
Vinyl Rip in 24 Bit-96 kHz | FLAC | Cue | No Log | Scans | 744 MB
1987 / Genre: Art-Rock / Virgin – UK
Secrets of the Beehive is the fourth solo album by British singer-songwriter David Sylvian and was released in 1987. Produced by Steve Nye and David Sylvian, the album features Ryuichi Sakamoto, David Torn, Mark Isham and Steve Jansen among others. “Enjoy this beautiful melancholy album with the brilliant vocals of David Sylvian; a perfect album to listen in the late evening.”
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Steve Howe – The Steve Howe Album
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24bit/96kHz: 895mb – 16bit/44kHz: 259mb
Genre: Symphonic-Rock | Atlantic / SD 19243 | Release: 1979
Steve’s second solo album is a really nice record, presenting to the listener a palette of guitarist’s styles in a honest and enjoyable way. The music is mostly instrumental, which is a good thing as Steve is not as good in singing as he is with playing guitar. One tune “All’s a Chord” give us an example of this, though the fragile song is not totally ruined by the honest vocal interpretations. There are also few quite jolly rags here, “Cactus Boogie” and “Meadow Rag” which are technically good of course, but perhaps too light-minded rants for my appreciation. Then the rest of the album is really great stuff; the opener “Pennants” is an interesting rock track with complex details, carrying forward the progressive legacy of Yes, which already had started the slow disintegration process concluding at the end of 1970′s. “Look over Your Shoulder” is a calm piece for lady singer, and then the rest of songs are in constructed in European classic music style, ranging from solo guitar works to orchestrated pieces. I like classical music very much, so these song pleased me certainly. The orchestrations are done in a very professional way, and the detailed arrangements are created as essential element of the composition, so these are not typical wallpaper fillers done with the strings. “Double Rondo” is the longest of these classical tunes, and it leads to an arrangement of Antonio Vivaldi’s 2nd Movement of his Concerto for guitar and orchestra in D, melodically really beautiful number also used by Peter Sinfield on his “Song of The Seagoat”. I would recommend this album of course for fans of Yes and the performer himself, but also anybody enjoying elegant and light classical music with art rock crossover blending. The gatefold vinyl covers with Roger Dean’s design and photographs of Steve’s guitar collection make this as a nice object for any vinyl collector too.
progarchives.com
Shocking Blue – The Best Of Shocking Blue (1986)
24bit/192Khz Vinyl Rip | Flac(Image) + Cue | Scans | 2.02 Gb
Rock / Blues Rock | Victor Records, VIL-6211
Formed in 1967 by former Motions guitarist Robbie van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of VanLeeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross’ Colossus Records imprint. Although Shocking Blue’s albums (1968’s Shocking Blue, 1969’s At Home, 1970’s Scorpio’s Dance, 1971’s 3rd Album, 1972’s Inkpot, 1972’s Attila, 1973’s Dream on Dreamer, and 1974’s Good Times) featured progressive rock elements and inventive arrangements thanks to VanLeeuwen’s writing and production skills, the band was essentially marketed as a pop singles unit, and while they scored several subsequent hits in their homeland, none of the group’s releases approached the massive saturation success of “Venus.” Veres left Shocking Blue in 1974 to pursue a solo career, and while there have been various reunions and different touring incarnations of the band over the years (including a version fronted by Veres in the ’90s), its creative history ended then. VanLeeuwen later re-surfaced in the folk/jazz group Galaxy-Lin, while his most famous composition, “Venus,” continued to see play on oldies stations. Veres died of cancer in 2006 at the age of 59.
by Steve Leggett
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Scientist v Prince Jammy – Big Showdown (1980)
Vinyl rip @ 24/96 | FLAC | Artwork | 768mb
Reggae, Roots, Dub | 1980 UK LP | Greensleeves GREL 10
Scientist burst onto the reggae scene in the early 80s with a reckless mixing style that seemed to outdo even King Tubby’s wildest extravaganzas. He began his career as an engineer at King Tubby’s Studio. Shortly afterwards he became a protégé of King Tubby, and swiftly gained a reputation with his fresh mixing style. In 1980 the UK-based record company Greensleeves began to release the productions of top Jamaican producer Henry ‘Junjo’ Lawes. Lawes, finding success with new singing sensation Barrington Levy, used Tubby’s studio for his voicing and final mix-downs and offered Greensleeves a couple of dub albums mixed by Tubby’s sensational young engineer. Scientist v Prince Jammy (1980), mostly consisting of dub mixes of Barrington Levy tracks, was presented as a ‘Big Showdown’ between the two dub-masters. The combination of heavyweight Roots Radics rhythms pitted against one another. Greensleeves followed this with an album proclaiming Scientist to be the Heavyweight Dub Champion, a similar brew of Roots Radics/Barrington Levy rhythms Dub albums mixed by The Scientist soon began to appear with bewildering regularity from various sources. Greensleeves, in particular, continued to issue album after album. From the introduction to an interview with Hopeton Brown (Scientist) which can be found here.
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