Wednesday, 19 February 2025

Iommi with Glenn Hughes - The 1996 Dep Sessions [Japan Ed.] (2004)

Year: 28 September 2004 (CD Jan 21, 2005)
Label: Victor Records (Japan), VICP-62961
Style: Hard Rock, Heavy Metal
Country: England (19 February 1948), England (21 August 1951)
Time: 37:44
Format: Flac Tracks 16/44,1 kHz
Size: 297 Mb

The 1996 DEP Sessions is a collaborative studio album by British musicians Tony Iommi and Glenn Hughes, released through Sanctuary and Mayan Records in 2004.
Material for The 1996 DEP Sessions was originally recorded in 1996, and was circulated among fans as a bootleg recording dubbed Eighth Star: on this recording, two of the final tracks were missing, while a cover of Jethro Tull's To Cry You A Song (mistitled "Shaking My Wings") was included (which did not feature Tony Iommi). The album title reflects the fact that the tracks were recorded in the DEP International Studios in Digbeth, Birmingham.
The album's drum tracks were originally performed by Dave Holland, formerly of Judas Priest and one-time bandmate of Glenn Hughes in Trapeze. After Holland was convicted of attempted rape in 2003, Iommi had the drum tracks re-recorded by Jimmy Copley prior to release to prevent the album from having any association with a sex offender.
(en.wikipedia.org/wiki/The_1996_DEP_Sessions)

01. Gone (04:29)
02. From Another World (05:55)
03. Don't You Tell Me (04:14)
04. Don't Drag The River (04:33)
05. Fine (05:05)
06. Time Is The Healer (04:16)
07. I'm Not The Same Man (04:21)
08. It Falls Through Me (04:47)

Iommi-Hughes2004-The1996-Dep-01 Iommi-Hughes2004-The1996-Dep-03 Iommi-Hughes2004-The1996-Dep-05 Iommi-Hughes2004-The1996-Dep-back

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Iommi (Black Sabbath) - Fused [Japan Ed.] (2005)

Year: 11 July 2005 (CD Jul 21, 2005)
Label: Victor Records (Japan), VICP-63102
Style: Hard Rock, Heavy Metal
Country: Birmingham, England (19 February 1948)
Time: 54:02
Format: Flac Tracks 16/44,1 kHz
Size: 411 Mb

Charts: US #34, GER #92.
Fused is the second solo album by Black Sabbath guitarist Tony Iommi, released in 2005. The album also features vocalist/bassist Glenn Hughes (who briefly fronted Black Sabbath in the mid-1980s, assuming vocal duties on the album Seventh Star - an album that was originally intended to be Iommi's first solo album) and drummer Kenny Aronoff.
The album was recorded in Monnow Valley Studios, Wales in December 2004 and BHM's studio in Warwickshire, England, and was produced, engineered and mixed by Bob Marlette (who also contributed keyboards and bass on the album), with additional production by Tony Iommi. Fused reached number 34 on Billboard's Top Heatseekers chart.
Vinyl 2?LP was released in 2024.
(en.wikipedia.org/wiki/Fused_(album))

01. Dopamine (04:09)
02. Wasted Again (03:56)
03. Saviour Of The Real (04:07)
04. Resolution Song (04:56)
05. Grace (05:13)
06. Deep Inside A Shell (03:42)
07. What You're Living For (04:37)
08. Face Your Fear (04:36)
09. The Spell (04:57)
10. I Go Insane (09:14)
11. Let It Down Easy (04:30)

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John Martyn - Solid Air (1973)

Year: February 1973 (CD 2000)
Label: Island Records (UK), IMCD 274, 548 147-2
Style: Folk Rock, Folk Jazz
Country: Surrey, England (11 September 1948)
Time: 41:13
Format: Flac Tracks 16/44,1 kHz
Size: 222 Mb

The album was recorded over eight days and features instrumental contributions by bassist Danny Thompson and members of Fairport Convention.
"Solid Air", the title track, was dedicated to a friend of Martyn's, Nick Drake, who would die of an antidepressant overdose 18 months after the album was released. Martyn said of the track "It was done for a friend of mine, and it was done right with very clear motives, and I'm very pleased with it, for varying reasons. It has got a very simple message, but you'll have to work that one out for yourself."
The album features an avant-garde cover of Skip James' "Devil Got My Woman", here retitled "I'd Rather Be the Devil" and performed with heavy use of Martyn's Echoplex tape delay effect.
"May You Never" became something of a signature song for Martyn, becoming a staple of his live performances. Released in November 1971 as a single in an early form, the song was re-recorded during the Solid Air sessions. Eric Clapton covered "May You Never" on his 1977 album Slowhand.
(en.wikipedia.org/wiki/Solid_Air)

01. Solid Air (05:46)
02. Over The Hill (02:54)
03. Don't Want To Know (03:04)
04. I'd Rather Be The Devil (06:19)
05. Go Down Easy (03:37)
06. Dreams By The Sea (03:19)
07. May You Never (03:42)
08. The Man In The Station (02:53)
09. The Easy Blues (03:23)
10. I'd Rather Be The Devil (Live) (06:11)

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Tuesday, 18 February 2025

Sparks - Kimono My House (1974)

Year: May 1974 (CD ????)
Label: Island Records (UK), IMCD 198
Style: Art Pop, Art Rock, Glam Rock
Country: Pacific Palisades, California, U.S.
Time: 43:10
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

Charts: US #101, AUS #22, CAN #58, NLD #10, UK #4. UK: Gold.
Brothers Ron and Russell Mael or, as they are better known, Sparks, are among the most prolific and original artists to ever arise from the sun-soaked streets of California. Throughout their six-decade career, the band have explored every genre under the sun, from art rock to techno and everything in between. Before they were a global success, with nearly 30 studio albums and an Edgar Wright-directed documentary, there were simply two brothers and Kimono My House.
First released in 1974, Kimono My House had some stiff competition, with the early 1970s rock scene dominated by truly iconic artists such as Roxy Music and David Bowie. Unphased, Sparks successfully managed to create an album unlike any other. Kimono My House is fearlessly individualistic and pioneering, much like the band themselves. Although the record provided Ron and Russell with their breakout success, you get the feeling that this commercial success was not entirely by design. Sparks were fairly content to operate away from the mainstream, playing by their own rules.
From the first bars of the opening track, ‘This Town Ain’t Big Enough For The Both Of Us’, Ron and Russell establish the mood for the vibrant and eclectic album which will follow. Arguably their defining track, the opener is awash with proto-new-wave influences and art rock tendencies, with the undeniable tones of singer Russell acting as a guiding voice through the sonic menagerie. Evoking the gun duels of a Clint Eastwood flick, the song also speaks to the cinematic nature of Sparks, something which they would later develop while writing the soundtrack to the 2021 Leos Carax film Annette.
As the tracklisting of Kimono My House progresses, Sparks repeatedly affirm their endearing eccentricity and seemingly endless ability to craft pieces which are equal parts innovative and pop-centric. With all songs composed by the moustachioed master Ron Mael, Kimono My House is a true masterpiece of songwriting. When taking into account not just the tracks on this album but the rest of Sparks’ extensive discography, it does not seem at all outlandish to list Ron as being among the most profuse and gifted writers in pop history.
Stand-out tracks on the record come in the form of ‘Amateur Hour’ and ‘Talent Is An Asset’, with Russell’s distinctly un-American singing style becoming increasingly captivating as the album progresses. Sparks also establish their unique sense of humour on this record too, through the ‘Bah, humbug’ anthem of ‘Thank God It’s Not Christmas’ and ‘Complaints’. This sense of humour, that has followed Sparks throughout their discography, is one of the things that make the group so special to their legions of fans.
While the brotherhood of Ron and Russell is undoubtedly the driving force behind Sparks, their infallible backing band should certainly not be forgotten. On Kimono My House, for example, the incredible guitar stylings of Adrian Fisher form the basis for many of the album’s stand-out moments, particularly on ‘Hasta Manana Monsieur’ and ‘Here In Heaven’.
With 26 studio albums under their belts and a career spanning over five decades, it is easy to get lost in the excellence of Sparks. However, Kimono My House remains a stand-out project within their discography. With the benefit of hindsight, it is easy to see why it acted as the gateway to their long history of commercial success, but even if that was not the case, Kimono My House is undoubtedly one of the greatest albums to arise from the art rock scene of the 1970s.
(faroutmagazine.co.uk/sparks-kimono-my-house-album-review/)

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Alice Cooper - Easy Action [Japan Ed. SHM-CD] (1970)

Year: March 27, 1970 (CD December 21, 2011)
Label: Warner Bros. Records (Japan), WPCR-14300
Style: Garage Rock, Experimental Rock, Progressive Rock
Country: Phoenix, Arizona, U.S. (February 4, 1948)
Time: 34:48
Format: Flac Tracks 16/44,1 kHz
Size: 258 Mb

The album appeared in 1970 with a cover on which the band poses turned away from the camera, their uncovered backs exposed except where covered with their long hair. A radio commercial that accompanied the album's release touted the band as "unisex, raw, together, and violent—just like you, fellow American".
The staff of Rolling Stone did not like the album, stating that "there's nothing nearly that interesting" and that "the pretty stuff sounds like something Walt Disney had the good sense to leave in the can". Robert Christgau, in The Village Voice, rated it a C, explaining that it has very few of the "pseudo-decadent and -psychedelic charms" shown on Pretties for You, along with "tuneless singing, tuneless playing, tuneless tunes, and pseudo-musique concrete".
The music showed little of the hard rock the band became famous for; the songs on its first two albums are more reminiscent of the pop-rock and psychedelia of bands such as mid-1960s the Who and Jefferson Airplane. They failed to find an audience and sold poorly. The group moved to the Detroit area (Pontiac, Mich.), and with the next album, Love It to Death, producer Bob Ezrin had them strip down their sound and simplify the songwriting; the album and its first single, "I'm Eighteen", were the first in a string of big successes.
(en.wikipedia.org/wiki/Easy_Action)

01. Mr. & Misdemeanor (03:11)
02. Shoe Salesman (02:38)
03. Still No Air (02:34)
04. Below Your Means (06:54)
05. Return Of The Spiders (04:32)
06. Laughing At Me (02:16)
07. Refrigererator Heaven (02:01)
08. Beautiful Flyaway (03:01)
09. Lay Down And Die, Goodbye (07:37)

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Chicago - Chicago II (1970)

Year: January 26, 1970 (CD July 16, 2002)
Label: Rhino Records (US), R2 76172
Style: Pop
Country: Chicago, Illinois, U.S.
Time: 73:20
Format: Flac Tracks 16/44,1 kHz
Size: 469 Mb

Charts: US #4, AUS #5, CAN #4, FR #13, GER #20, ITA #8, NLD #2, SWE #7, UK #6. US: Platinum; CAN: 3x Platinum.
The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department -- which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits -- the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" -- both of which remained at the center of the group's live sets. Chicago had certainly not abandoned its active pursuit of blending high-octane electric rockers such as "25 or 6 to 4" to the progressive jazz inflections heard in the breezy syncopation of "The Road." Adding further depth of field is the darker "Poem for the People" as well as the politically charged five-song set titled "It Better End Soon." These selections feature the band driving home its formidable musicality and uncanny ability to coalesce styles telepathically and at a moment's notice. The contributions of Terry Kath (guitar/vocals) stand out as he unleashes some of his most pungent and sinuous leads, which contrast with the tight brass and woodwind trio of Lee Loughnane (trumpet/vocals), Walter Parazaider (woodwinds/vocals), and the aforementioned Pankow. Peter Cetera (bass/vocals) also marks his songwriting debut -- on the final cut of both the suite and the album -- with "Where Do We Go from Here." It bookends both with at the very least the anticipation and projection of a positive and optimistic future.
(allmusic.com/album/chicago-ii-mw0000649971)

01. Movin' In (04:06)
02. The Road (03:10)
03. Poem For The People (05:35)
04. In The Country (06:35)
05. Wake Up Sunshine (02:32)
06. Ballet For A Girl In Buchannon: Make Me Smile (03:15)
07. Ballet For A Girl In Buchannon: So Much To Say, So Much To Give (01:12)
08. Ballet For A Girl In Buchannon: Anxiety's Moment (01:00)
09. Ballet For A Girl In Buchannon: West Virginia Fantasies (01:33)
10. Ballet For A Girl In Buchannon: Colour My World (03:00)
11. Ballet For A Girl In Buchannon: To Be Free (01:15)
12. Ballet For A Girl In Buchannon: Now More Than Ever (01:25)
13. Fancy Colours (05:09)
14. 25 Or 6 To 4 (04:58)
15. Prelude (01:09)
16. A.M. Mourning (02:05)
17. P.M. Mourning (01:58)
18. Memories Of Love (03:58)
19. It Better End Soon: 1st Movement (02:33)
20. It Better End Soon: 2nd Movement (03:40)
21. It Better End Soon: 3rd Movement (03:18)
22. It Better End Soon: 4th Movement (00:55)
23. It Better End Soon: Where Do We Go From Here (02:53)
24. Make Me Smile (Single Version) * (03:00)
25. 25 Or 6 To 4 (Single Version) * (02:53)

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Monday, 17 February 2025

The Manhattan Transfer - Extensions [MFSL-CD] (1979)

Year: October 31, 1979 (CD 1995)
Label: Mobile Fidelity Sound Lab (US), UDCD 578
Style: Jazz, Pop, Disco, Vocal
Country: New York City, U.S.
Time: 37:17
Format: Flac Tracks 16/44,1 kHz
Size: 212 Mb

Extensions is the fifth studio album by the Manhattan Transfer, released on October 31, 1979, by Atlantic Records.
Marking a new era for the group, the album was the first one with Cheryl Bentyne, who replaced Laurel Masse in early 1979. It was also their first album with Jay Graydon in the producer's chair and their first to contain songs that were hits in both the jazz and pop categories. The song "Twilight Zone/Twilight Tone" reached No. 4 on the Billboard Disco chart and No. 30 on the Hot 100. "Trickle, Trickle" reached No. 73 on the Hot 100. The album reached No. 55 on the Billboard Top LPs chart.
The most widely known song from this album, "Birdland" by Weather Report, won the Grammy Award for Best Jazz Fusion. Best Jazz Fusion Performance in 1981. Jon Hendricks wrote lyrics for the vocalese version on the album and Janis Siegel received a Grammy for her vocal arrangement of "Birdland".
The New York Times wrote that the album "carries their exploration of group harmony to a level of seriousness that finally establishes them as the legitimate heirs of Lambert, Hendricks and Ross and the Hi-Lo's."
(en.wikipedia.org/wiki/Extensions_(The_Manhattan_Transfer_album))

01. Birdland (06:01)
02. Wacky Dust (03:09)
03. Nothin' You Can Do About It (04:27)
04. Coo Coo-U (02:15)
05. Body And Soul (04:28)
06. Twilight Zone/Twilight Tone (06:07)
07. Trickle Trickle (02:21)
08. Shaker Song (04:32)
09. Foreign Affair (03:53)

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Rainbow - Live In Japan [Japan Ed. 2CD] (2015)

Year: 18 November 2015 (CD Nov 18, 2015)
Label: Ward Records (Japan), GQCS 90051-2
Style: Classic Rock, Hard Rock
Country: Hertford, Hertfordshire, England
Time: 65:16, 39:42
Format: Flac Tracks 16/44,1 kHz
Size: 463, 284 Mb

The same line-up as Bent out of Shape, the last album before Ritchie Blackmore broke up the band, and one of the last concerts before the triumphant reunion of Deep Purple. The song Spotlight Kid demonstrates excellent drive, then Miss Mistreated keeps the rhythm, the baton is picked up by I Surrender, one of the undisputed hits of the last period of Rainbow's work. Joe Lynn Turner's vocals are almost as flawless here as in the studio version. The same can be said about his singing throughout the concert, where his vocals become lyrically tender, then driving and harsh. Still, Joe Lynn Turner managed to organically fit into the band and please the picky Blackmore (it was no coincidence that it was the man in black who lobbied for his appearance in Deep Purple a few years later). Catch the Rainbow is again sung perfectly, a wonderful song from the Dio era, very close to the original, but it is not an imitation. At the same time, the guitar part sounds different than in the classic version. An excellent medley with excerpts from the classics precedes the good song Street of Dreams. Once again the musicians will remember the classics during the performance of Difficult to Cure, which, supported by the symphony orchestra, again sounds large-scale and majestic. A very good introduction, a little reminiscent of the famous Stargazer, which we will not hear here, unfortunately, then a little improvisation and here it is, the monumental Beethoven's Ninth, where Blackmore's guitar competes with the orchestra, sometimes coming to the fore, sometimes hiding behind the main melody, then bursting into the main melody again. This is simply musical ecstasy and the apotheosis of the entire concert, when all the musicians in turn show everything they are capable of. The symphony orchestra does not lag behind. I like this version even more than the studio version from the Difficult to Cure album. But still not as much as at the concert Come Hell or High Water, which took place 10 years later and captured Ritchie Blackmore's last performance with Deep Purple. Then there are two wonderful solos on guitar and drums and a wonderful instrumental blues, which is called Blues. These improvisations give Joe Lynn Turner a chance to rest a little, who begins to exploit the microphone with renewed vigor with the song Stranded, whose first chords are consonant with the Deep Purple song Enya. Along the way, he does not forget to rock the audience with his lines and at the same time briefly recalls the old school song, Hey Joe, which was popular in the 60s and got a second wind in the performance of Jimi Hendrix. Very good.
Unfortunately, the overall drive in the first part of the concert is somewhat slowed down by long pauses between songs, when the vocalist communicates with the audience. Of course, interaction with the audience is important, but everything is good in moderation. It is also disappointing that they mainly perform songs from the Joe Lynn Turner era, and such indisputable Deep Purple masterpieces as Women from Tokyo and Lazy are played in fragments. It is good that they played Smoke on the Water in full at the end of the concert.
Conclusion: this concert recording is a good document of the final era of Rainbow's short but bright history (not taking into account the band's short reincarnation in 1995). The selection of songs convincingly demonstrates that Ritchie Blackmore is not very interested in the period of Rainbow's creativity before Joe Lynn Turner's arrival. Therefore, you should not form your impression of Rainbow based on this concert. At the same time, it is a wonderful illustration of the musical evolution of one of the trendsetters of the genre from complex, sophisticated music to simpler musical forms, while maintaining his style and image.
(progarchives.com/Review.asp?id=3085780) Review by VladAlex. 2024-8-26

 01. Intro (01:48)
02. Spotlight Kid (04:47)
03. Miss Mistreated (04:31)
04. I Surrender (06:29)
05. Can't Happen Here (03:57)
06. Catch The Rainbow (06:43)
07. Power (04:00)
08. Keyboard Solo (04:24)
09. Street Of Dreams (04:42)
10. Fool For The Night (03:58)
11. Difficult To Cure (Beethoven's Ninth) (11:17)
12. Guitar Solo (03:38)
13. Drum Solo (04:54)

01. Blues (03:16)
02. Stranded (incl. Hey Joe) (08:01)
03. Death Alley Driver (05:09)
04. Fire Dance (04:48)
05. Maybe Next Time (01:43)
06. All Night Long (incl. Woman From Tokyo) (09:07)
07. Lazy (01:31)
08. Since You've Been Gone (01:20)
09. Smoke On The Water (04:43)

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Sunday, 16 February 2025

Eurythmics - Sweet Dreams (Are Made Of This) (1983)

Year: 4 January 1983 (CD 1983)
Label: RCA Records (US), PCD14681
Style: New Wave, Synth-Pop
Country: London, England
Time: 42:36
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb

Charts: UK #3, AUS #5, CAN #6, FRA #4, GER #6, NZ #2, SWE #14, US #15. GER & US: Gold; UK: Platinum; CAN: 2x Platinum.
The album was assembled by Eurythmics mainly at two locations: a small project studio in the attic of an old warehouse in the Chalk Farm district of north London, where the duo spent seven months living and working, followed by a small room in the Church Studios in London. The album was largely recorded onto an 8-track tape machine, apart from three songs: "The Walk" was transferred onto a friend's 16-track, and "Somebody Told Me" and "Wrap It Up" were both recorded onto 24-track (using only half the tracks) while the Church studio was being built. Equipment-wise, the band had a recording setup consisting of a Tascam 80-8 8-track, a Soundcraft Series 2 mixer, two Beyerdynamic M201 TG microphones, a Roland Space Echo, a Furman compressor, a B.E.L. Electronics noise reduction unit, and a Klark Teknik DN50 spring reverb unit. The instruments they used were mainly a Roland SH-09 synthesizer (later said to be an SH-101 instead), a CSQ-100 sequencer, a Gretsch slide guitar, a Movement drum computer, a Roland Juno-6, and a borrowed Oberheim synthesizer (later described as the OB-X model by Stewart). Overall, the record cost around ?5,000 to make, due to equipment costs.
(en.wikipedia.org/wiki/Sweet_Dreams_(Are_Made_of_This)_(album))

01. Love Is A Stranger (03:44)
02. I've Got An Angel (02:44)
03. Wrap It Up (03:34)
04. I Could Give You (A Mirror) (03:51)
05. The Walk (04:43)
06. Sweet Dreams (Are Made Of This) (03:37)
07. Jennifer (05:08)
08. This Is The House (05:00)
09. Somebody Told Me (03:30)
10. This City Never Sleeps (06:40)

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Slade - Wall Of Hits [Compilation] (1991)

Year: 11 November 1991 (CD 1991)
Label: Polydor Records (Germany), 511 612-2
Style: Hard Rock, Glam Rock
Country: Wolverhampton, Staffordshire, England
Time: 76:36
Format: Flac Tracks 16/44,1 kHz
Size: 452 Mb

Wall of Hits is a compilation album by the British rock band Slade. It was released on 11 November 1991 and reached No. 34 in the UK Albums Chart. The album was issued by Polydor and included the last two singles to be recorded by the band: "Radio Wall of Sound" and "Universe".
After the commercial failure of the band's 1987 album You Boyz Make Big Noize, and the end of their contract with RCA, Slade decided to take an eighteen-month break. Although the band announced their intentions to record a new album, these plans did not materialise and band activity remained limited. Later in 1991, the band's former 1970s label Polydor Records approached the band with the idea of recording two new singles to promote a new compilation album Wall of Hits. The two singles, "Radio Wall of Sound" and "Universe", were soon completed, with Polydor offering the option of a new studio album if both singles were successful. "Radio Wall of Sound" was released in October 1991 and reached No. 21 in the UK, earning the band their twenty-fourth Top 40 single and their first Top 40 hit since 1984.
Wall of Hits was then released in November and peaked at No. 34. It was certified UK Silver by BPI that month. A VHS of the same name was also released, featuring numerous music videos and filmed performances of the band's singles over their career. "Universe" was released in December to attract the Christmas market and further promote the compilation over the festive period. It failed to reach the top 75 and replicate the success of "Radio Wall of Sound", stalling at number 76. Polydor withdrew their option for a new studio album and the band split up in 1992.
The album contained twenty tracks covering the band's career from 1971 to 1991. However, some critics were quick to notice the omissions of a number of charting singles, including "In for a Penny, "We'll Bring the House Down", "All Join Hands" and "Myzsterious Mizster Jones". In a 1992 fan club interview, Holder spoke of the track selection on the compilation: "Something had to go to enable the inclusion of the two new tracks and the two RCA tracks which made it a good overall package, although we are not likely to get a volume two deal if the first volume doesn't do that well."
(en.wikipedia.org/wiki/Wall_of_Hits)

01. Get Down And Get With It (03:50)
02. Coz I Luv You (03:32)
03. Look Wot You Dun (02:50)
04. Take Me Bak 'Ome (03:13)
05. Mama Weer All Crazee Now (03:43)
06. Gudbuy T'jane (03:31)
07. Cum On Feel The Noize (04:27)
08. Skweeze Me Pleeze Me (04:28)
09. My Friend Stan (02:41)
10. Everyday (03:10)
11. Bangin' Man (04:08)
12. Far Far Away (03:36)
13. How Does It Feel (05:55)
14. Thanks For The Memory (Wham Bam Thank You Mam) (04:34)
15. Let's Call It Quits (03:32)
16. My Oh My (04:11)
17. Run Run Away (03:42)
18. Radio Wall Of Sound (03:47)
19. Universe (04:12)
20. Merry Xmas Everybody (03:25)

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Electric Light Orchestra - On The Third Day [Japan Ed. 5 bonus tracks] (1973)

Year: November 1973 (CD September 20, 2006)
Label: Epic Records (Japan), MHCP 1094
Style: Progressive Pop, Pop Rock
Country: Birmingham, England
Time: 57:34
Format: Flac Tracks 16/44,1 kHz
Size: 362 Mb

On the Third Day is the third studio album by Electric Light Orchestra (ELO), and the first to be recorded without input from Roy Wood. From this album on, the word The was dropped from the band's name (other than The Night the Light Went On in Long Beach which was one of their live albums). The album was reissued on 12 September 2006.
On the Third Day was released in 1973 and failed to enter the UK charts at the time, although it did reach the US charts at number 52. Side two of the album was recorded during or shortly after the sessions for ELO's second album ELO 2. On The Third Day contains shorter tracks than its predecessor, but the four songs on side one of the album were linked into a continuous suite. Violinist Mik Kaminski made his debut on side one of this album, replacing Wilfred Gibson, although Gibson plays on side two (plus the bonus tracks). Also, cellist Colin Walker left the line up around the same time, leaving Mike Edwards as lone cellist.
"Showdown" was originally intended to be released only as a single, and, because it was on a different label (Harvest) than the UK album, "Showdown" did not appear on the Warner Bros. Records issue. It was, however, included on the U.S. version of the album, because the band remained on United Artists Records in the U.S. Some copies of On the Third Day from this period had "Showdown" as the last track on side one. Although he didn't record on the album, Hugh McDowell did appear on this front cover of the U.S. album seen at right, which was an unusual photograph taken by photographer Richard Avedon that had ELO displaying their navels.
(en.wikipedia.org/wiki/On_the_Third_Day)

01. Ocean Breakup/King Of The Universe (04:07)
02. Bluebird Is Dead (04:42)
03. Oh No Not Susan (03:07)
04. New World Rising/Ocean Breakup [Reprise] (04:05)
05. Showdown (04:09)
06. Daybreaker (03:51)
07. Ma-Ma-Ma Belle (03:56)
08. Dreaming Of 4000 (05:04)
09. In The Hall Of The Mountain King (06:37)
10. Auntie (Ma-Ma-Ma Belle) [Take 1] (01:19)
11. Auntie (Ma-Ma-Ma Belle) [Take 2] (04:05)
12. Mambo (Dreaming Of 4000) (Alternate Mix) (05:05)
13. Everyone's Born To Die (03:43)
14. Interludes (03:40)

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Saturday, 15 February 2025

Bon Jovi - Greatest Hits (2010)

Year: October 29, 2010 (CD Nov 9, 2010)
Label: Island Records (Germany), 602527523361
Style: Hard Rock, Arena Rock
Country: New Jersey, U.S. (March 2, 1962)
Time: 74:13
Format: Flac Tracks 16/44,1 kHz
Size: 558 Mb

Charts: US #5, AUS #1, AUT #2, CAN #1, FIN #6, GER #2, NL #3, SWE #1, SWI #3, UK #2. FIN & SWI: Gold; US, EU (Europe Awards) & GER: Platinum; UK: 5x Platinum; AUS: 8x Platinum.
The standard edition of the album includes 14 of the band's hits and two previously unreleased songs, "What Do You Got?" and "No Apologies".
The font used for the band's name on the album's cover is a return to the Bon Jovi logo used from 1985 to 1988, and it was also their first release to use the heart and dagger logo.
Bon Jovi performed a special, live streaming concert for the Live on Letterman web series on November 9, 2010, where the band performed a significant part of the album during the hour-long set.
The new single, "What Do You Got?" hit radio airwaves globally August 26, 2010 and was released as a digital download on September 21, 2010. The band later confirmed that "No Apologies" will be a single. It was released on October 22, 2010, on the band website. A music video was made while performing in Australia. "This Is Our House" was released as a promo single.
(en.wikipedia.org/wiki/Greatest_Hits_(Bon_Jovi_album))

01. Livin' On A Prayer (04:10)
02. You Give Love A Bad Name (03:43)
03. It's My Life (03:44)
04. Have A Nice Day (03:48)
05. Wanted Dead Or Alive (05:08)
06. Bad Medicine (05:16)
07. We Weren't Born To Follow (04:04)
08. I'll Be There For You (05:46)
09. Born To Be My Baby (04:40)
10. Bed Of Roses (06:35)
11. Who Says You Can't Go Home (04:40)
12. Lay Your Hands On Me (03:49)
13. Always (05:53)
14. In These Arms (05:19)
15. What Do You Got (03:47)
16. No Apologies (03:44)

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Various Artists - Organ Spectacular (2012)

Year: 2012 (CD 2012)
Label: Decca Records (Germany), 478 4032
Style: Pop, Classical, Folk, World
Country: Various
Time: 70:24
Format: Flac Tracks 16/44,1 kHz
Size: 347 Mb

I very much enjoy pipe organ, and this hits a zillion right notes. Very fun listen and a lot of great tunes to show what the organ can do. Peter Hereford really plays well!
(amazon.com/Organ-Spectacular-PETER-PRESTON-HURFORD/dp/B007BLHYA0) Review by MnM Bandit
"Organ Spectacular" is truly spectacular. Peter Hurford has combined the finest organ pieces along with absolutely superb playing. All of the pieces are as if the composer himself is playing them. This recording is very rewarding and worth every penny.
(amazon.com/Organ-Spectacular-PETER-PRESTON-HURFORD/dp/B007BLHYA0) Review by George Pisula
Hurford delivers an exciting compilation of these high-powered organ favorites. For people who love the organ for its ability to rattle the fillings in your teeth, this album is a must! If you are looking for soft, mellow, soothing music, well...you're going to have your fillings rattled. His rendition of Widor's allegro from the sixth symphony is the best piece on the album, but I found the tocotta from the fifth to be rather bland. The Boellmann suite gothique (why I bought the album) is also great. Overall, money well spent.
(amazon.com/Organ-Spectacular-PETER-PRESTON-HURFORD/dp/B007BLHYA0) Review by lelandallen@yahoo.com

01. Johann Sebastian Bach (1685 - 1750) Toccata And Fugue In D Minor (02:29)
02. Johann Sebastian Bach (1685 - 1750) Toccata And Fugue In D Minor (05:58)
03. Johann Sebastian Bach (1685 - 1750) Wachet Auf, Ruft Uns Die Stimme ((Sleepers, Awake) (04:55)
04. Johann Sebastian Bach (1685 - 1750) Fantasia In G (07:51)
05. William Walton (1902 - 1983) Crown Imperial - A Coronation March (09:20)
06. Sigfrid Karg-Elert (1877 - 1933) Marche Triomphale - Nun Danket Alle Gott (03:36)
07. Henri Mulet (1878 - 1967) Tu Es Petra (03:50)
08. Theodor Dubois (1837 - 1924) 12 Pieces Nouvelles, Toccata In G Minor (05:47)
09. Leon Boellmann (1862 - 1897) Suite Gothique, Op.25. 4. Toccata (03:47)
10. Louis Vierne (1870 - 1937) Pieces De Fantaisie, Suite No.3, Op.54, 6. Carillion De Westminster (06:49)
11. Louis Vierne (1870 - 1937) Symphony No.1 In D Minor, Op.14 For Organ, 6. Final (06:10)
12. Jehan Ariste Paul Alain (1911 - 1940) Trois Pieces. 3. Litanies (04:18)
13. Charles-Marie Widor (1844 - 1937) Symphony No.5 In F Minor, Op.42 Toccata (05:29)

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Ache - Green Man (1971)

Year:  (CD Sep 2012)
Label: Esoteric Recordings (UK), ECLEC2345
Style: Psychedelic Rock, Progressive Rock, Symphonic Rock
Country: Denmark
Time: 39:50
Format: Flac Tracks 16/44,1 kHz
Size: 272 Mb

Founded in Copenhagen, Denmark in 1968 - Disbanded in 1980 - Reunited briefly in 1985 and reformed in 2003
The seeds for ACHE were sown in the early 60's via the Danish beat group THE HARLOWS. When HARLOWS Torsten Olafsson (bass), Peter Mellin (organ) and Glenn Fischer (drums) were joined by former MCKENZIE SET guitarist Finn Olafsson in 1968, ACHE was born.
They spent the next two years working on an extended piece called "De Homine Urbano", which was released as programme music to an experimental "rock ballet" in 1970. Released on the Philips label the same year with an accompanying single of non-album tracks, it netted positive reviews in the Danish press. ACHE's "rock theater" created something of a sensation in the rock underground, and "Green Man" followed in 1971. The next major ACHE project, by a revised six-piece version of the band, was a conceptual work called "Pictures From Cyclus 7", written in collaboration with lyricist Bo Lillesoe in 1975 and released one year later.
Ache have remained active on and off, albeit sporadically, ever since. Their only other major work (i.e.: not counting singles and compilations) has been "Bla som altid", a folk-oriented album released in 1978.

This Danish band was founded in '68 and featured Torsten Olafsson (bass and vocals), Finn Olafsson (guitar and vocals), Peter Mellin (organ and keyboards) and Glen Fisher (drums and pecussion). They made two albums: "De hombre urbano ('70) and "Green man" ('71). The music is similar to the Early British Progressive Rock Movement (JULIAN'S TREATMENT, RARE BIRD, BEGGAR'S OPERA, ATOMIC ROOSTER), the German Krautrock (early JANE, ELOY, RAMSES, TRIUMVIRAT) and Dutch masters EARTH & FIRE (their early, con-commercial era). In 2000 both albums were released on 1 CD entitled "Ache: De hombre urbano + Green man". The music is based upon splendid keyboardplay (many floods of Hammond organ) and some fiery electric guitar. The first album contains two 'side-long tracks', the atmosphere is typically end Sixties and early Seventies with lots of solos and long, exciting interplay between guitar and keyoards, like jams. The second album includes shorter songs but the climates are in the vein of the first LP. If you listen to this CD, it's incredible that the magnificent keyboardplay is delivered by an unknown Danish musician!
This is very inspired and powerful Hammond organ driven early progrock.
(progarchives.com/artist.asp?id=1753) Review by Erik Neuteboom

01. Equatorial Rainfall (07:03)
02. Sweet Jolly Joyce (03:50)
03. The Invasion (06:01)
04. Shadow Of A Gypsy (04:40)
05. Green Man (04:41)
06. Acheron (04:49)
07. We Can Work It Out - Working (08:44)

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Friday, 14 February 2025

Tom Waits - Bone Machine (1992)

Year: September 8, 1992 (CD Sep 8, 1992)
Label: Island Records (US), CID 9993, 512 580-2
Style: Pub Rock, Experimental, Jazz
Country: Pomona, California, U.S. (December 7, 1949)
Time: 53:41
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

"Bone Machine" is not just a departure from Tom’s previous sounds. It’s as if he boarded a train and traversed the landscapes of the country to birth something as unique as he is as a person. This album really contains everything that makes Tom Waits special, and I absolutely mean EVERYTHING. This is Tom Waits put into album form. The first four tracks show how dynamic his vocals can be, whether it’s his ultra-hellish bellow or his sensitive, yet off-putting falsetto. His vocal work entirely matches the tone (or tones) of the record, as the lyrics and experimental production create his most morbid work yet. The sound is almost industrial, with clangs of metal often acting as the percussion, with dissonant musical lines contributing to the everlasting apocalyptic feel this album invokes in the listener. Yet, I did say this album contains every bit of the Tom Waits we once knew (and will know in the next couple decades). "A Little Rain" and "Whistle Down The Wind" show that the "old Tom Waits" is still there, but juxtaposing those with the grotesque "In The Colosseum" and the uniquely abrasive, folk-tinged "I Don’t Wanna Grow Up" makes it clear that the Asylum Waits vanished the moment the strings in "Ruby’s Arms" faded away. Ever since, he’s gone on a path of increasingly-unorthodox artistic discovery, culminating in arguably the most avant-garde Tom would ever be. Yes, he would make things just as bold as this album in the future, but nothing would touch how jarring this was to hear for the first time, and every single track pays off his insane experimental ideals. When this album reaches its closing track, "That Feel," you get hit with a choir of every voice Tom has used in the last two decades, making this truly his career-defining work. While this isn’t my absolute favorite Tom Waits album, this was without a doubt the high point of his artistic expression.
(reddit.com/r/tomwaits/comments/199us02/review_13_bone_machine_1992/?rdt=48589)

01. Earth Died Screaming (03:39)
02. Dirt In The Ground (04:08)
03. Such A Scream (02:08)
04. All Stripped Down (03:03)
05. Who Are You (03:57)
06. The Ocean Doesn't Want Me (01:51)
07. Jesus Gonna Be Here (03:21)
08. A Little Rain (02:58)
09. In The Colosseum (04:50)
10. Goin' Out West (03:20)
11. Murder In The Red Barn (04:28)
12. Black Wings (04:37)
13. Whistle Down The Wind (04:35)
14. I Don't Wanna Grow Up (02:31)
15. Let Me Get Up On It (00:55)
16. That Feel (03:12)

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The Mothers of Invention (Frank Zappa) - Absolutely Free (1967)

Year: May 26, 1967 (CD 1995)
Label: Rykodisc Records (US), RCD 10502
Style: Avant-Pop, Avant-Garde, Experimental
Country: Pomona, California, U.S.
Time: 43:42
Format: Flac Tracks 16/44,1 kHz
Size: 273 Mb

Much like their 1966 debut Freak Out!, the album is a display of complex musical composition with political and social satire, whose blend of jazz, classical, avant-garde and rock idioms within multi-sectional, suite-like compositions is seen as an important and influential precursor to progressive rock. The band had been augmented since Freak Out! by the addition of woodwinds player Bunk Gardner, keyboardist Don Preston, rhythm guitarist Jim Fielder, and drummer Billy Mundi; Fielder quit the group before the album was released, and his name was removed from the album credits.
Freak Out! cost Verve $20,000 to make, more than double the cost of a typical album at the time. When it struggled to sell, the record company only allowed a budget of $11,000 for the follow up, which was recorded on four-track over just four days from November 15–18, 1966 at TTG studios in Los Angeles, with additional mixing and editing at MGM in New York City a week later. Tom Wilson again sat in the producer’s chair, although it is generally agreed that he took a hands-off approach and let Zappa have full creative control. Unlike Freak Out!, which used extensive orchestration, the budget this time only allowed for orchestral additions to "Brown Shoes Don’t Make It", with the band playing virtually live in the studio for most tracks. Since many of the songs were complex multi-sectional pieces, the group would do up to 30 takes of each specific section of a track, which were then strung together in editing. According to Zappa, the group had "one day with 15 minutes per tune to do all the vocals on that album. That's right. It's called 'sing or get off the pot’."
(en.wikipedia.org/wiki/Absolutely_Free)

01. Plastic People (03:42)
02. The Duke Of Prunes (02:13)
03. Amnesia Vivace (01:01)
04. The Duke Regains His Chops (01:52)
05. Call Any Vegetable (02:15)
06. Invocation And Ritual Dance Of The Young Pumpkin (07:00)
07. Soft-Sell Conclusion (01:40)
08. Big Leg Emma (02:31)
09. Why Don'tcha Do Me Right? (02:37)
10. America Drinks (01:53)
11. Status Back Baby (02:54)
12. Uncle Bernie's Farm (02:10)
13. Son Of Suzy Creamcheese (01:34)
14. Brown Shoes Don't Make It (07:30)
15. America Drinks & Goes Home (02:45)

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Elvis Costello And The Attractions - Highlights From Almost Blue & Imperial Bedroom (1994)

Year: 1981-1982 (CD 1994)
Label: Demon Records (UK), ECPROMO 2
Style: Rock, Folk, World, Country
Country: London, England (August 25, 1954)
Time: 19:37
Format: Flac Tracks 16/44,1 kHz
Size: 137 Mb

Tracks 1-3: from Almost Blue, Tracks 4-6: from Imperial Bedroom. Promo, Sampler.
Declan Patrick MacManus (born 25 August 1954), better known by his stage name Elvis Costello, is an English singer, songwriter, record producer, author and television host. According to Rolling Stone, Costello "reinvigorated the literate, lyrical traditions of Bob Dylan and Van Morrison with the raw energy and sass that were principal ethics of punk", noting the "construction of his songs, which set densely layered wordplay in an ever-expanding repertoire of styles." His first album, My Aim Is True (1977), spawned no hit singles, but contains some of Costello's best-known songs, including the ballad "Alison". Costello's next two albums, This Year's Model (1978) and Armed Forces (1979), recorded with his backing band the Attractions, helped define the new wave genre. From late 1977 until early 1980, each of the eight singles he released reached the UK Top 30. His biggest hit single, "Oliver's Army" (1979), sold more than 500,000 copies in Britain. He has had more modest commercial success in the US, but has earned much critical praise. From 1977 until the early 2000s, Costello's albums regularly ranked high on the Village Voice Pazz & Jop critics' poll, with This Year's Model and Imperial Bedroom (1982) voted the best album of their respective years. His biggest US hit single, "Veronica" (1989), reached number 19 on the Billboard Hot 100.
(en.wikipedia.org/wiki/Elvis_Costello)

01. Sweet Dreams (03:00)
02. Sittin' And Thinkin' (Live At The Mean Machine, Aberdeen) (02:54)
03. How Much I Lied (02:47)
04. Man Out Of Time (05:29)
05. The Loved Ones (02:50)
06. From Head To Toe (02:35)

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Roger Hodgson (Supertramp) - Hai Hai (1987)

Year: 9 October 1987 (CD 19??)
Label: A&M Records (Canada), 8283951122
Style: Rock, Pop Rock, Art Pop
Country: Oxford, England (March 21, 1950)
Time: 49:01
Format: Flac Tracks 16/44,1 kHz
Size: 319 Mb

Charts: AUS #88, CAN #42, NLD #52, Nor #20, SWI #16, US #163. Canada: Platinum.
Hai Hai is the second solo album by ex-Supertramp singer/guitarist/keyboardist Roger Hodgson, released in October 1987. Co-produced by future No Doubt and Black Crowes producer Jack Joseph Puig, and recorded at Hodgson's 48-track home studio in Nevada City, California, the album is a merger of Supertramp-styled progressive pop-rock and extensive use of Los Angeles session musicians and late-1980s synthesizer technology.
Hai Hai features ten songs, all of which were written by Hodgson, with the exception of "Land Ho", an old Supertramp song (at the time never released on an album but only as a single), which Hodgson co-wrote in 1974 with his long-time partner Rick Davies. Hodgson had previously recorded the song in 1983 for his solo album In the Eye of the Storm, but it was never released.
Hodgson was unable to fully promote or tour behind Hai Hai, having sustained injuries to both of his wrists in a fall a week after its release. After that accident, Hodgson stopped his musical career for the next decade, returning to the public in 1997 with live shows and a live album, Rites of Passage.
In the song "Hai Hai", backmasking is used 13 seconds in. When played in reverse, a whisper says "what happened to you?"
(en.wikipedia.org/wiki/Hai_Hai)

01. Right Place (04:06)
02. My Magazine (04:42)
03. London (04:12)
04. You Make Me Love You (05:09)
05. Hai Hai (05:31)
06. Who's Afraid? (05:00)
07. Desert Love (05:29)
08. Land Ho (04:09)
09. House On The Corner (05:24)
10. Puppet Dance (05:17)

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Thursday, 13 February 2025

Ozzy Osbourne (Black Sabbath) - Diary Of A Madman [Japan Ed. Deluxe Ed. 2CD] (2011)

Year: October 1981 (CD Nov 30, 2011)
Label: Epic Records (Japan), EICP 1456-7
Style: Hard Rock
Country: Birmingham, England
Time: 43:23, 61:28
Format: Flac Tracks 16/44,1 kHz
Size: 346, 482 Mb

CD1: "Diary Of A Madman" - original release. CD2: "Ozzy Live" - all songs recorded live during the second leg of the Blizzard of Ozz Tour (2 September 1980 - 13 September 1981).
Diary of a Madman is the second studio album by English heavy metal singer Ozzy Osbourne. It was released in October 1981, and re-issued on CD on 22 August 1995. This is the last Osbourne studio album to feature guitarist Randy Rhoads and drummer Lee Kerslake. An altered version appeared in 2002 with the original bass and drum parts removed and re-recorded. In 2011, a Deluxe 30th Anniversary Edition was released with all original parts restored. To date, the album has sold over 3 million copies worldwide.
Diary of a Madman was supported by the Diary of a Madman Tour, which began on November 5, 1981, and ended August 8, 1982, spanning Europe, North America, and Asia. On March 19, 1982, during the North American leg of the tour, Rhoads died in a plane crash in Leesburg, Florida; after a two-week break, the tour continued with guitarist Bernie Torme performing several shows in place of Rhoads before in turn being replaced by Brad Gillis.
In May 2011, Sony Legacy released its Deluxe 30th Anniversary Editions of Diary of a Madman and Blizzard of Ozz with the original bass and drum tracks. These releases also featured bonus tracks and previously unreleased live material featuring guitarist Rhoads – Diary of a Madman features a second CD entitled Ozzy Live, featuring previously-unreleased concert performances from the Blizzard of Ozz 1981 US tour.
(en.wikipedia.org/wiki/Diary_of_a_Madman_(album))

01. Over The Mountain (04:31)
02. Flying High Again (04:44)
03. You Can't Kill Rock And Roll (06:59)
04. Believer (05:16)
05. Little Dolls (05:39)
06. Tonight (05:50)
07. S.A.T.O. (04:07)
08. Diary Of A Madman (06:14)

01. I Don't Know (Live) (04:50)
02. Crazy Train (Live) (05:26)
03. Believer (Live) (05:37)
04. Mr. Crowley (Live) (06:32)
05. Flying High Again (Live) (04:17)
06. Revelation (Mother Earth) (Live) (05:58)
07. Steal Away (The Night) (Live) (08:00)
08. Suicide Solution (Live) (07:30)
09. Iron Man (Live) (04:09)
10. Children Of The Grave (Live) (05:42)
11. Paranoid (Live) (03:23)

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Wednesday, 12 February 2025

Uriah Heep - Salisbury (1971)

Year: January 1971 (CD 1996)
Label: Castle Communications (UK), ESMCD 317, GAS0000317ESM
Style: Hard Rock, Pop Rock
Country: London, England
Time: 45:23
Format: Flac Tracks 16/44,1 kHz
Size: 303 Mb

Unlike their first album, songwriting credits for fully half of the record were attributed to Ken Hensley alone, as opposed to the debut's collaborative partnership of frontman David Byron and guitarist Mick Box. Soon after the release, drummer Keith Baker left the band, replaced by Ian Clark (from another Vertigo band, Cressida). With Clark, the band embarked on their first US tour, supporting Three Dog Night and Steppenwolf.
Salisbury is skewed toward the progressive rock genre, with its 16-minute title track featuring a 24-piece orchestra and was also significant for Hensley's instant rise to a position as main composer of the group's music.
The front cover of the album depicted a British Chieftain tank, which connects to the title, as Salisbury Plain in Wiltshire, England, is a military training area. The original LP release was a gatefold sleeve, with a black-and-white image of the underside of a Chieftain tank on the inside with the turret facing the rear, over which were printed Hensley's comments on each track. Later reissues would be in a single sleeve. The American release on Mercury Records featured a different cover image (a man tearing out of his own skin), as did the original Canadian pressings. Subsequent Canadian pressings used the UK artwork.
(en.wikipedia.org/wiki/Salisbury_(album))

01. Bird Of Prey (04:13)
02. The Park (05:41)
03. Time To Live (04:01)
04. Lady In Black (04:44)
05. High Priestess (03:42)
06. Salisbury (16:20)
07. Simon The Bullet Freak (Bonus Track) (03:27)
08. High Priestess (Single Edit, Bonus Track) (03:13)

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James Taylor - Sweet Baby James [24kt Gold. Audio Fidelity] (1970)

Year: February 1, 1970 (CD Sep 2011)
Label: Audio Fidelity (US), AFZ 118
Style: Folk Rock, Soft Rock
Country: Boston, Massachusetts, U.S. (March 12, 1948)
Time: 31:54
Format: Flac Tracks 16/44,1 kHz
Size: 179 Mb

Charts: US #3, AUS #7, CAN #3, UK #6. UK: Silver; US: 3x Platinum.
The album, produced by Peter Asher, was recorded at Sunset Sound, Los Angeles, California, between December 8 and 17, 1969, at a cost of only $7,600 (US$63,145 in 2023 dollars) out of a budget of $20,000. Taylor was "essentially homeless" at the time the album was recorded, either staying in Asher's home or sleeping on a couch at the house of guitarist Danny Kortchmar or anyone else who would have him.: 66 
The song "Suite for 20 G" was so named because Taylor was promised $20,000 (US$166,171 in 2023 dollars) once the album was delivered. With one more song needed, he strung together three unfinished songs into a "suite", and completed the album.
The album produced two charting singles: "Fire and Rain", backed by "Anywhere Like Heaven", which peaked at number three on the Billboard Hot 100 on October 31, 1970, and "Country Road", backed by "Sunny Skies", which peaked at number 37 on March 20, 1971. An additional single, "Sweet Baby James", backed by "Suite for 20 G", did not chart.
(en.wikipedia.org/wiki/Sweet_Baby_James)

01. Sweet Baby James (02:52)
02. Lo And Behold (02:35)
03. Sunny Skies (02:20)
04. Steamroller (02:57)
05. Country Road (03:22)
06. Oh Susannah (02:04)
07. Fire And Rain (03:23)
08. Blossom (02:13)
09. Anywhere Like Heaven (03:27)
10. Oh Baby, Don't You Loose Your Lip On Me (01:48)
11. Suite For 20 G (04:48)

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Tuesday, 11 February 2025

The Mothers of Invention (Frank Zappa) - Cruising With Ruben & The Jets (1968)

Year: December 2, 1968 (CD 1995)
Label: Rykodisc Records (UK & Europe), RCD 10505
Style: Doo-Wop, Avantgarde, Experimental Pop
Country: Pomona, California, U.S.
Time: 41:23
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

Cruising with Ruben & the Jets is the fourth album by the Mothers of Invention, and fifth overall by Frank Zappa, released under the alias Ruben and the Jets. Released on December 2, 1968 on Bizarre and Verve Records with distribution by MGM Records, it is a concept album, influenced by 1950s doo-wop and rock and roll. The album's concept deals with a fictitious Chicano doo-wop band called Ruben & the Jets, represented by the cover illustration by Cal Schenkel, which depicts the Mothers of Invention as anthropomorphic dogs. It was conceived as part of a project called No Commercial Potential, which produced three other albums: Lumpy Gravy, We're Only in It for the Money and Uncle Meat.
The album and its singles received some radio success, due to its doo-wop sound. Subsequently, the name Ruben and the Jets continued with a different lineup, led by musician Rubén Guevara Jr., who recorded the albums For Real! (1973) and Con Safos (1974). Zappa produced the former.
(en.wikipedia.org/wiki/Cruising_with_Ruben_%26_the_Jets)

01. Cheap Thrills (02:39)
02. Love Of My Life (03:08)
03. How Could I Be Such A Fool (03:34)
04. Deseri (02:08)
05. I'm Not Satisfied (04:08)
06. Jelly Roll Gum Drop (02:24)
07. Anything (03:05)
08. Later That Night (03:00)
09. You Didn't Try to Call Me (03:57)
10. Fountain Of Love (03:22)
11. No. No. No. (02:15)
12. Anyway The Wind Blows (03:01)
13. Stuff Up The Cracks (04:36)

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Kim Simmonds (Savoy Brown) - Jazzin' On The Blues (2015)

Year: 2015 (CD 2015)
Label: Panache Records (US), CD #1270
Style: Instrumental, Blues, Jazz
Country: Newbridge, Caerphilly, Wales (5 December 1947)
Time: 47:13
Format: Flac Tracks 16/44,1 kHz
Size: 313 Mb

Comes in cardboard sleeve.
Savoy Brown was formed in 1965 by guitarist Kim Simmonds in London, England. Simmonds has been the group’s guiding hand from the first singles released in 1966 through the band’s newest effort, their forty-first album “Ain’t Done Yet” to be released August 28, 2020
Energetic blues has been the calling card of the band from the beginning. Blues Rock became the catch-all phrase in the late 1960s to describe the band’s music along with that of contemporaries including Cream, Fleetwood Mac, and Jimi Hendrix.
In fact, in the 2013 movie, “Jimi Hendrix: All Is By My Side,” a Savoy Brown song co-written by Simmonds was included in the soundtrack.
Many of the band’s singles and albums have appeared on the Billboard charts. Through the 1960s, 1970s and 1980’s songs such as “I’m Tired”, “Train to Nowhere”, “Tell Mama” and “Lay Back In The Arms Of Someone” became Hot 100 entries.
Two of the band’s albums in the 1970s, “Looking In” and “Hellbound Train”, appeared on the Billboard Top Forty charts. This pattern continues today, culminating with “Witchy Feelin’,” the band’s 2017 album, reaching #1 on the Billboard Blues Chart.
Along the way, Savoy Brown has toured continuously, making it one of the longest running blues rock bands in existence. Through the years, the band has headlined concerts at many prestigious venues including Carnegie Hall, the Fillmore East, the Fillmore West, and London’s prestigious Royal Albert Hall.
Savoy Brown, having established national status in the 1970s, provided other groups opportunity. Kiss opened the bill on a Savoy Brown national tour as did ZZ Top, The Doobie Brothers and many, many more acts.
Former members, having cut their teeth under Simmonds’ leadership, have gone on to complete their careers with other bands. Among others, these include singer Dave Walker with Fleetwood Mac and Black Sabbath, Bill Bruford with King Crimson, Andy Pyle with the Kinks and Paul Raymond with UFO.
Many familiar names have recorded and toured with the band including Hughie Flint (original Blues Breaker with John Mayall) Miller Anderson, Stan Webb, and Dave Olson (Robert Cray Band).
Three other band alumni – Lonesome Dave Peverett, Roger Earl, and Tony Stevens, went on to become the founding members of the multi-platinum act Foghat.
A resident of the USA since 1980, bandleader Simmonds has received many accolades himself. These include placement on the front cover of Guitar Player magazine, enshrinement on the Hollywood Rock Walk of Fame and acceptance in many regional “Halls of Fame” in the USA and Canada.
“I have always opted for a non-mainstream, yet complimentary, music route,” says Kim – “one that would allow me personal and artistic freedom. In the end, it seems I’ve had the best of both worlds.”
Savoy Brown helped spawn the 1968 UK Blues Rock boom and later opened the eyes of many 1970s American teenagers to their own home territory blues artists.
More than 50 years later, Savoy Brown remains a formidable, progressive Blues Rock force. The three- piece line-up includes Kim Simmonds on guitar and vocals, Pat DeSalvo on bass and Garnet Grimm on drums. This trio has established itself as the longest-running consistent line-up in the band’s history, now going strong for more than 10 years. Their legacy continues with the coming 2020 release of “Aint Done Yet” released by the Californian-based record label, Quarto Valley Records.
Savoy Brown and Kim Simmonds have a body of work that is matched by only a small portion of musical artists. As they continue to tour the world, young and old find inspiration in their timeless music, classic style, and performances.
(savoybrown.com/biography/)

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Monday, 10 February 2025

The Rolling Stones - Metamorphosis (1975)

Year: 6 June 1975 (CD 2002)
Label: Abkco Records (Europe), 8823112
Style: Rhythm & Blues
Country: London, England
Time: 48:03
Format: Flac Tracks 16/44,1 kHz
Size: 319 Mb

Charts: UK #45, US #8, AUS #51, FRA #10.
This is a Hybrid Super Audio CD playable on both Super Audio and regular CD players. METAMORPHOSIS is a collection of outtakes from 1975 and has never been available on CD. All tracks have been digitally remastered. The Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones, Mick Taylor (guitar); Bill Wyman (bass); Charlie Watts (drums). Culled from the Rolling Stones' massive archive, 1975's METAMORPHOSIS is the band's sole rarities compilation featuring material from the Stones' fertile '60s and '70s era. Cherry picked by former manager Allen Klein as a result of a bitter lawsuit that found a similar anthology contrived by Bill Wyman going unreleased, this treasure trove of cuts is a boon to both die-hard and casual Stones fans. It kicks off with a lush, orchestrated version of "Out Of Time," one of a handful of outtakes (along with "Heart Of Stone") featuring a studio full of session musicians including John McLaughlin, Jimmy Page, and John Paul Jones. Overseen by Mick Jagger and then manager Andrew Oldham, these tracks provide interesting insight to a time when the Stones' success allowed them to dish off songs to other UK artists, using versions like these as demos. Other highlights include a killer cover of Stevie Wonder's "I Don't Know Why" (originally recorded for LET IT BLEED) and "Memo From Turner," a Jagger/Richards number cut with Al Kooper and penned for the soundtrack to the Jagger vehicle Performance. Making its CD debut in 2002, METAMORPHOSIS remains a jewel that still glimmers almost three decades after its release.
(From cduniverse)

 01. Out Of Time (03:22)
02. Don't Lie To Me (02:02)
03. Somethings Just Stick In Your Mind (02:27)
04. Each And Everyday Of The Year (02:49)
05. Heart Of Stone (03:48)
06. I'd Much Rather Be With The Boys (02:12)
07. (Walkin' Thru The) Sleepy City (02:52)
08. We're Wastin' Time (02:44)
09. Try A Little Harder (02:19)
10. I Don't Know Why (03:02)
11. If You Let Me (03:18)
12. Jiving Sister Fanny (03:25)
13. Downtown Suzie (03:53)
14. Family (04:06)
15. Memo From Turner (02:46)
16. I'm Going Down (02:52)

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