tag:blogger.com,1999:blog-3930150044128201022024-03-28T03:05:26.482-07:00gOldRockMusicСтарый Добрый Рок.George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.comBlogger1378125tag:blogger.com,1999:blog-393015004412820102.post-70007417035865754152024-03-28T03:04:00.000-07:002024-03-28T03:04:52.759-07:00Yes - Relayer [Japan Ed.] (1974)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFarFkuE6HOHcNzU4DNQiRB7eUOIqqQyZ4gJK8QggtjeiBnzyaMcE1jeQCOOXLpEk8qy9k7_4csjS4lv0r3wpNv6Pzgx-5GsBKKjlw7KA0BxA9vIedIOtEaXhWy4YBS-4E8t-XIX8mwRYJJa8tD6Q0OCcDCBskZjIoTF5YY7iA7rfBEM2Ukfc-fAV3feQ/s340/Yes74Relayer_jap_340_obi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFarFkuE6HOHcNzU4DNQiRB7eUOIqqQyZ4gJK8QggtjeiBnzyaMcE1jeQCOOXLpEk8qy9k7_4csjS4lv0r3wpNv6Pzgx-5GsBKKjlw7KA0BxA9vIedIOtEaXhWy4YBS-4E8t-XIX8mwRYJJa8tD6Q0OCcDCBskZjIoTF5YY7iA7rfBEM2Ukfc-fAV3feQ/s320/Yes74Relayer_jap_340_obi.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>29 November 1974 (CD 22 Jul 2009)</b></span><br />Label: <span style="color: red;"><b>Warner Music (Japan), WPCR-13521</b></span><br />Style: <span style="color: red;"><b>Symphonic Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>69:31</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>503 Mb</b></span><br /><p>In 1973 Yes released their most pompous, overblown, and over-the-top effort ever, Tales From Topographic Oceans. Although fans were now somewhat used to longer songs by Yes, four 20 minute songs was not what they had in mind. After the commercial disappointment and mixed reactions from fans, Rick Wakeman decided to leave the band in order to pursue his solo career. This left a large void in Yes, as Wakeman's lead keyboard work was a huge part of the band as we had been shown in such masterpieces like Close to the Edge and Siberian Khatru. The man to replace him was an entirely different type of player, one that would take Yes's sound to a new level that they had not seen before. Coming from a jazz background, Patrick Moraz was not as much of a lead player as Wakeman was, but he was perfect at completing everything that was going on.<br />By the time Moraz had joined the band, most of the material for the album had been written, so much of his influence is not shown with the exception of the frantic jazz-fusion bazed Sound Chaser. One huge characteristic of this album is that the guitar takes a very leading role along with the drumming, making Relayer the "Steve Howe/Alan White" show. Many of the sounds on Relayer are far more aggressive than previous albums with the guitar at center stage, which is by no means a bad thing. From the get go with The Gates of Delirium, Steve Howe shows us that his leadership can produce great tracks and a great Yes album in general.<br />This opening track is based off of War And Peace, and is divided into three (or four if you'd like) large sections. Kicking things off we instantly notice a more raw sound to this cd, with Steve Howe's guitar dibbling over a small Patrick Moraz background does a great job of emulating a buildup of some sort. Jon Anderson kicks in with his classic vocals, this time dealing directly with the topics war. Throughout this whole song, there is always a lot going on. Even at slower points, Steve Howe's guitar can run at a frantic pace, and Alan White's drumming is always at a top notch level. Moraz throws in his lead keyboard lines from time to time to continue driving the song forward. Then at 4:30 we see a repeat of keyboard line, but Moraz's genuious shines and we see an awesome intro to this line. After one more round of classic Jon Anderson, we begin to enter into the "battle" section. Starting with a guitar line that we have heard already, it becomes perfect when Moraz repeats the D minor chord from the behind and Steve Howe adds just a little bit more to put it over the top. The battle section is an intense fury of music, Chris Squire finally shines in this part putting in his best bass work, and Alan White comes in full force with perfect drumming alongside some quick Patrick Moraz keyboard work. Throughout this part quick changes come along as Steve Howe will go off on the guitar with a fantastic flurry of notes that is quickly succeeded by Moraz with more lines of keyboard goodness. Eventually this all explodes into one final burst that brings up an ascending keyboard line that just keeps climbing higher and higher until it finally shifts to Steve Howe, who puts it over the edge and sends into the section named "Soon". This section is a large departure from the earlier parts of the song in that it is entire soft, but it is also entirely beautiful. Jon Anderson's vocals shine here and round off this song, making The Gates of Delirium one of the greatest progressive rock tracks ever written.<br />(full version: sputnikmusic.com/review/11160/Yes-Relayer/) Review by clairvoyant. February 21st, 2007</p><p>01. The Gates Of Delirium (21:56)<br />02. Sound Chaser (09:27)<br />03. To Be Over (09:19)<br />04. Soon (Single Edit) (04:17)<br />05. Sound Chaser (Single Edit) (03:13)<br />06. The Gates Of Delirium (Studio Run-Through) (21:16)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/yfzdzbp2" target="_blank">TurboBit</a> <a href="https://tinyurl.com/mvfyccv2" target="_blank">KatFile</a> <a href="https://tinyurl.com/43h825cx" target="_blank">FikPer</a> <a href="https://goo.su/ggzgk" target="_blank">FreeDlink</a> <a href="https://goo.su/KPKt0Sc" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-63132868979679247982024-03-27T04:47:00.000-07:002024-03-27T04:47:08.892-07:00Led Zeppelin - Coda [Vinyl Rip] (1982)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLL4bW9JdFtHeCssVI5bhth76AFg2FMu33hPzututbWWI_XDRPz5lb3U9mwDCzpwSXEcNIQPBv62GHnqxvKV2OSiREW5QFmAy_ofr7HQU5a36Zu-erIyLYBIraoxiqZwuIgFPlbza9w_xziI7ji_BXl5MehN2VaN29naKil1YgiinK0GSpU422PrKnVA/s340/LedZeppelin82Coda_LP_24x96_340_LP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLL4bW9JdFtHeCssVI5bhth76AFg2FMu33hPzututbWWI_XDRPz5lb3U9mwDCzpwSXEcNIQPBv62GHnqxvKV2OSiREW5QFmAy_ofr7HQU5a36Zu-erIyLYBIraoxiqZwuIgFPlbza9w_xziI7ji_BXl5MehN2VaN29naKil1YgiinK0GSpU422PrKnVA/s320/LedZeppelin82Coda_LP_24x96_340_LP.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>26 November 1982 (LP 1982)</b></span><br />Label: <span style="color: red;"><b>Swan Song Records (Germany), 79.0051-1/UK: a 0051</b></span><br />Style: <span style="color: red;"><b>Hard Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>33:06</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 24/96 kHz</b></span><br />Size: <span style="color: red;"><b>747 Mb</b></span><br /><p>Charts: UK #4, AUS #9, AUT #17, CAN #3, GER #5, JPN #16, NLD #9, NZ #7, NOR #18, US #6. UK: Silver; US: Platinum.<br />Coda is a unique album for us to review. Although it is listed officially as the ninth and final studio album by Led Zeppelin, it could just as well be listed as a quasi-compilation of unreleased tracks in the tradition of The Who’s Odds and Sods or Bob Dylan’s Basement Tapes. Like those, this is a fine and entertaining album, and a must-have for any serious fan of the artist. But we internally debated whether it was proper to include Coda with our reviews from 1982. After all, it had been a full two years since the death of drummer John Bonham and the subsequent disbandment of Led Zeppelin as a cohesive group. Also, the most recent recordings on Coda were made four years prior to its November 1982 release, with the earliest recording stretching back to the late 1960s. The truth is, we simply could not overlook this album. After all, this IS Led Zeppelin and this band is likely to be the only one which Classic Rock Review covers every single studio album (I mean, we’ve already done Presence, what can we possibly exclude?)<br />The album spans the band’s entire career, from live performances just after their debut album to unused songs from In Through the Out Door sessions. However, it focuses mainly on the bookends of very early material and very recent material with very little representation from the band’s most popular “middle” years. This is most likely due to the fact that 1975’s Physical Graffiti included many unreleased songs from that era.<br />With such a chasm between the early and recent material, producer and lead guitarist Jimmy Page did a great job making it all sound cohesive. This included extensive, yet not overwhelming, post-production treatment of each track. According to Page, the album was released because there was so much bootleg stuff out following the disbandment. However, Coda was not a comprehensive collection in its original form. The 1982 LP contained eight tracks and ran at a mere 33 minutes in length. Eleven years later, four more tracks were added to CD versions of the album, tracks which were mysteriously excluded originally. Some have suggested it was really only released to fulfill a contract obligation to Atlantic Records.<br />(full version: classicrockreview.com/2012/04/1982-led-zeppelin-coda/)<br />Matrix - side A: R/S Alsdorf 790051-1 A5x LZ RAYS 49; side B: R/S Alsdorf 790051-1 B LZ RAIS.<br /></p><p>01. A1 We're Gonna Groove (02:38)<br />02. A2 Poor Tom (03:03)<br />03. A3 I Can't Quit You Baby (04:18)<br />04. A4 Walter's Walk (04:31)<br />05. B1 Ozone Baby (03:36)<br />06. B2 Darlene (05:07)<br />07. B3 Bonzo's Montreux (04:19)<br />08. B4 Wearing And Tearing (05:29)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/ypfphhwn" target="_blank">TurboBit</a> <a href="https://tinyurl.com/39tex289" target="_blank">KatFile</a> <a href="https://tinyurl.com/yrxjuwyp" target="_blank">FikPer</a> <a href="https://goo.su/aenae" target="_blank">FreeDlink</a> <a href="https://goo.su/Ygw4UI" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-66908704681562371822024-03-26T01:40:00.000-07:002024-03-26T01:40:59.542-07:00Elton John - Tumbleweed Connection [MFSL CD] (1970)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFNaRDVRRecr6YUWY358eYtL4bqAR3msHyRyb8QOoQUwHc7qYbHqvrjeb-2vAu-m9DYQaR1JgpG6UoIuA901EFpNv0ApxZaG6TTocDgGr1g-s8lBVm4HHVCmx9cHJU2VOJiHy2COjJ2FuT-gU9zTqvv9xeqhSXqFqwwKhwzoS-TQ6aXPYnPa7-DKWSI_U/s340/EltonJohn70Tumbleweed_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFNaRDVRRecr6YUWY358eYtL4bqAR3msHyRyb8QOoQUwHc7qYbHqvrjeb-2vAu-m9DYQaR1JgpG6UoIuA901EFpNv0ApxZaG6TTocDgGr1g-s8lBVm4HHVCmx9cHJU2VOJiHy2COjJ2FuT-gU9zTqvv9xeqhSXqFqwwKhwzoS-TQ6aXPYnPa7-DKWSI_U/s320/EltonJohn70Tumbleweed_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>30 October 1970 (CD Jan 1991)</b></span><br />Label: <span style="color: red;"><b>Mobile Fidelity Sound Lab (US), UDCD 543</b></span><br />Style: <span style="color: red;"><b>Rock, Pop, Roots Rock</b></span><br />Country: <span style="color: red;"><b>Pinner, Middlesex, England (25 March 1947)</b></span><br />Time: <span style="color: red;"><b>47:03</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>268 Mb</b></span><br /><p>Charts: UK #2, AUS #4, CAN #4, NLD #4, SWE #14, US #5. US: Gold.<br />It is a concept album based on country and western and Americana themes. All songs are written by John and Bernie Taupin, with the exception of "Love Song" by Lesley Duncan.<br />In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time.<br />The wraparound cover photo for the album was taken at Sheffield Park railway station in Sussex, approximately 30 miles (50 km) south of London on the Bluebell Railway. Photographer Ian Digby Ovens[10] captured John (seated to the right in the photo but appearing to the left on the front cover, shown above) and Taupin (standing to the left, on the back cover) in front of the late-nineteenth-century station, to represent the album's rural Americana concept despite the English location. Additional photos were taken from the interior of a train on the line for the album liner notes and libretto.<br />In August 2020, the Bluebell Railway announced that, to mark the 50th anniversary of the release of the album, it had restored the station to look as it did when the cover photo was taken, giving people an opportunity to re-create the scene in their own photos.<br />(en.wikipedia.org/wiki/Tumbleweed_Connection)<br /></p><p>01. Ballad Of A Well-Known Gun (05:00)<br />02. Come Down In Time (03:25)<br />03. Country Comfort (05:06)<br />04. Son Of Your Father (03:47)<br />05. My Father's Gun (06:21)<br />06. Where To Now St. Peter? (04:12)<br />07. Love Song (03:41)<br />08. Amoreena (04:58)<br />09. Talking Old Soldiers (04:08)<br />10. Burn Down The Mission (06:19)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/3d7xn3dr" target="_blank">TurboBit</a> <a href="https://tinyurl.com/5bzmatwv" target="_blank">KatFile</a> <a href="https://tinyurl.com/mr32jczd" target="_blank">FikPer</a> <a href="https://goo.su/PUvJrsz" target="_blank">FreeDlink</a> <a href="https://goo.su/XDIYUa" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-66570106844886641652024-03-25T03:35:00.000-07:002024-03-25T03:35:02.445-07:00Sting - The Dream of the Blue Turtles [MFSL CD] (1985)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilBiCe00lPFgMkNXBV3LilrsQhjHXpfmEwUXofxeJgIRhC_XyRMP4_NBNY0CDSmg6FvZO6gOf1TNBOEauT-43oUIE9I8rGV_b8-aizL0MsmgpZKeLRgJTCW91Ms-GlmmIfBtXA4kjyMt30GuUa7kqryrIzlsWgJUNJeb8PT-S-ZXOZQJkGN8A5EXRn8v8/s340/EltonJohn70Tumbleweed_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilBiCe00lPFgMkNXBV3LilrsQhjHXpfmEwUXofxeJgIRhC_XyRMP4_NBNY0CDSmg6FvZO6gOf1TNBOEauT-43oUIE9I8rGV_b8-aizL0MsmgpZKeLRgJTCW91Ms-GlmmIfBtXA4kjyMt30GuUa7kqryrIzlsWgJUNJeb8PT-S-ZXOZQJkGN8A5EXRn8v8/s320/EltonJohn70Tumbleweed_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>17 June 1985 (CD 04 Jan 1990)</b></span><br />Label: <span style="color: red;"><b>Mobile Fidelity Sound Lab (US), UDCD 528</b></span><br />Style: <span style="color: red;"><b>Rock, Pop, Ska, Reggae</b></span><br />Country: <span style="color: red;"><b>Wallsend, England (2 October 1951)</b></span><br />Time: <span style="color: red;"><b>41:45</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>254 Mb</b></span><br /><p>Charts: UK #3, AUS #1, AUT #13, FRA #4, GER #4, NLD #1, NOR #4, SWE #5, SWI #6, US #2. France & Germany: Platinum; UK: 2x Platinum; US: 3x Platinum.<br />With the Police on hiatus, Sting had choices galore for ways to make his inevitable solo album. The most obvious was to become the world’s bestqualified Police imitator; what he did instead smacks of brilliantly enlightened self-interest.<br />Der Stingle chose to form a new band with young jazz hotshots from Weather Report (drummer Omar Hakim) and the Miles Davis group (bassist Darryl Jones), plus saxophonist Branford Marsalis and keyboardist Kenny Kirkland. These aren’t the usual sleepy gang of veteran sidemen; they never bothered to learn pop-jazz cliches, but they know their Jimi Hendrix, Chic, Herbie Hancock and Led Zeppelin, along with their Duke Ellington.<br />Unlike Joni Mitchell, another Big Blond Star who attempted this kind of jazzification, Sting can swing. You can hear how much fun he’s having, and how much goosing he gets from the band, in the remake of the Police’s "Shadows in the Rain." The spooky, dubwise reggae tune from Zenyatta Mondatta now steams along like a workout by soul-jazz organist Jimmy Smith. Kirkland pumps out organ chords over Hakim’s stomp, while Sting and Marsalis dodge each others’ syncopations around the bass line.<br />But except for "Shadows," the bluesy "Consider Me Gone" and an instrumental, "Blue Turtles," that grafts progressive 1960s jazz onto a Weather Reporty march, The Dream of the Blue Turtles is a pop record above all. It’s only a jam session between the lines, where Marsalis answers Sting’s voice with slyly ubiquitous fanfares and curlicues and epigrams.<br />Sting still writes short, modal melody lines, and sometimes he plays around with the Police’s quiet marches (a la "King of Pain") and Afro-Anglo-Caribbean rhythms - to do anything else would be like changing his fingerprints. But if you listen to the way verses and phrases end, there are new twists, surprising extended chords by way of Steely Dan, Weather Report and Ellington. Although Sting is working with world-class improvisers, many of his new band’s arrangements are more structured than tracks by the Police. That amazing trio could juggle rhythm and lead roles like nobody’s business, while a quintet that tried the same openness would find itself in chaos. The new band is also punchier than the Police, because Kirkland’s keyboards - especially the organ - reinforce the rhythm, and the Hakim-Jones team packs a mighty wallop.<br />Solo albums are traditionally variety shows and statements of purpose, and The Dream of the Blue Turtles is a little of both. Sting delves into neovaudeville with "Moon over Bourbon Street" and serioso classical hymnology with "Russians," a disarmament song. He also comments on the British miners’ strike ("We Work the Black Seam"), on lost generations ("Children’s Crusade") and on matters philosophical and epistemological ("Love Is the Seventh Wave" and "If You Love Somebody Set Them Free").<br />When I saw the band in concert (as you should when it tours this summer), its musical exuberance was contagious: I kept losing track of the lyrics in the brainy kicks of the music. On record, things are a little more sober - and, to my taste, too earnest.<br />It was easy to see it coming. Sting has been driven to tears by world problems since the Police’s third-world tour. Yet I’d suspect that the rest of the band edited his pronouncements for commercial zoning; without them, he does tend to go on about "All the bloodshed all the anger/All the weapons all the greed/All the armies all the missiles/All the symbols of our fear," as he does on "Love Is the Seventh Wave."<br />"Children’s Crusade" makes a rather tenuous connection between soldiers in World War I and young drug users. "We Work the Black Seam" - with a winding melody that suggests climbing and descending and with a rhythm track like the clang of picks - extrapolates from neat denunciations of Thatcherism ("We matter more than pounds and pence/Your economic theory makes no sense") and nuclear power ("Bury the waste in a great big hole") to goofy stuff about the universe. Sting acts worried about carbon 14, which must be easier to rhyme than plutonium.<br />I’m all for political songs, and there’s no better vehicle for them than a megastar album. Yet Sting sabotages his own good intentions when he gets preachy or spacey or sanctimonious. "If You Love Somebody Set Them Free" is a postgrammatical, T-shirt sentiment and a denunciation of possessiveness that would be a lot more convincing issued by someone other than a millionaire. If Sting really believes that we can be happy with less, he can send me $500,000, care of this magazine.<br />So dump the lyric sheet and enjoy the tunes: the transparency of "We Work the Black Seam," the way "Children’s Crusade" slowly spirals to its climax, the Caribbean lilt of "Love Is the Seventh Wave," the impassioned singing on "If You Love Somebody Set Them Free" and the delicate-to-martial dynamics of "Fortress around Your Heart," which evokes Pete Townshend and Steely Dan, along with the Police. Sting the musician has more to say than Sting the deep thinker - especially when he’s paced, and pushed, by extraordinary young musicians.<br />(rollingstone.com/music/music-album-reviews/the-dream-of-the-blue-turtles-190421/) Review by Jon Pareles. June 17, 1997</p><p>01. If You Love Somebody Set Them Free (04:19)<br />02. Love Is The Seventh Wave (03:32)<br />03. Russians (03:57)<br />04. Children's Crusade (05:02)<br />05. Shadows In The Rain (04:50)<br />06. We Work The Black Seam (05:41)<br />07. Consider Me Gone (04:20)<br />08. The Dream Of The Blue Turtles (01:18)<br />09. Moon Over Bourbon Street (04:00)<br />10. Fortress Around Your Heart (04:42)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/4uha6fbz" target="_blank">TurboBit</a> <a href="https://tinyurl.com/2s3vuh54" target="_blank">KatFile</a> <a href="https://tinyurl.com/3kkparfy" target="_blank">FikPer</a> <a href="https://goo.su/NREQNFo" target="_blank">FreeDlink</a> <a href="https://goo.su/vHZaIx" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-84566288896164560372024-03-24T04:16:00.000-07:002024-03-24T04:16:52.792-07:00Three Dog Night - It Ain't Easy [Japan Ed. SHM-CD] (1970)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbcsaijiqRMo41dOkvxggLcm5sCRWgNtwpa542jHHNq6W1rMkRnWXzOpVVIatq0XX4PvVgnNK2bB42xHjZRaxMI4-qkXYMzfKcE0x_EWVT0-hVQ53XrAGS1_2IPG-2ZmabIWF8gSG8rHdxDZzgDcC54hjDygnunxzOtwXNFQ9SlobshuOyK2Q0kT8OnV8/s340/ThreeDogNight70ItAintEasy_340_OBI.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbcsaijiqRMo41dOkvxggLcm5sCRWgNtwpa542jHHNq6W1rMkRnWXzOpVVIatq0XX4PvVgnNK2bB42xHjZRaxMI4-qkXYMzfKcE0x_EWVT0-hVQ53XrAGS1_2IPG-2ZmabIWF8gSG8rHdxDZzgDcC54hjDygnunxzOtwXNFQ9SlobshuOyK2Q0kT8OnV8/s320/ThreeDogNight70ItAintEasy_340_OBI.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>March 31, 1970 (CD April 24, 2013)</b></span><br />Label: <span style="color: red;"><b>Universal Music (Japan), UICY-75565</b></span><br />Style: <span style="color: red;"><b>Classic Rock, Rock</b></span><br />Country: <span style="color: red;"><b>Los Angeles, California, U.S.</b></span><br />Time: <span style="color: red;"><b>32:21</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>208 Mb</b></span><br /><p>According to lead singer Chuck Negron's book Three Dog Nightmare, the album's working title was The Wizards of Orange, with a cover featuring the band's members wearing orange make-up and posing in the nude. The band's record company, ABC/Dunhill, rejected the original album title and cover art, although some configurations of their first "greatest hits" album, 1971's Golden Bisquits, would later be packaged using It Ain't Easy's original cover photo.<br />Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "Admitting it won't gain me any of the hip cachet I crave, but I admired and enjoyed this group's first LP. I found the second mediocre and the live job that followed it wretchedly excessive, but this one-their fourth in just fourteen months-gets back: exemplary song-finding and not too much plastic-soul melon-mouthing or preening vocal pyrotechnique. Highlights: the hit version of Randy Newman's 'Mama Told Me Not to Come,' with just the right admixture of high-spirited schlock to turn it into the AM giant it deserves to be, and a departure from pre-Beatles times called "Good Feeling (1957)."<br />(en.wikipedia.org/wiki/It_Ain%27t_Easy_(Three_Dog_Night_album))<br /></p><p>01. Women (04:40)<br />02. Cowboy (03:41)<br />03. It Ain't Easy (02:47)<br />04. Out In The Country (03:10)<br />05. Good Feeling 1957 (03:35)<br />06. Rock & Roll Widow (02:57)<br />07. Mama Told Me (Not To Come) (03:19)<br />08. Your Song (03:59)<br />09. Good Time Living (04:08)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/5k33yved" target="_blank">TurboBit</a> <a href="https://tinyurl.com/2asn8ej8" target="_blank">KatFile</a> <a href="https://tinyurl.com/282ew4pu" target="_blank">FikPer</a> <a href="https://goo.su/Krz686" target="_blank">FreeDlink</a> <a href="https://goo.su/3rLvP" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-58566952607561545012024-03-23T23:35:00.000-07:002024-03-23T23:35:20.208-07:00Ken Hensley (Uriah Heep) - Free Spirit (1980)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUkEmnAxXvDr6SjAooTmFUFPXfNJqlIZrnqvIkmT1pbpWA1NL1eAy1dUKFQxZSbA8ht12soWmukyN1VnmBqLnSBqsy2xih3admTAZOnOzqQh66WEWrpN7nfL4iVqvFEWc5cZWFxYp5v-5HNLCy1h_bZnz0ePwOEaHxhTvcVWX_PrmmPZutXkGfdtHFAc/s340/KenHensley80FreeSpirit_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUkEmnAxXvDr6SjAooTmFUFPXfNJqlIZrnqvIkmT1pbpWA1NL1eAy1dUKFQxZSbA8ht12soWmukyN1VnmBqLnSBqsy2xih3admTAZOnOzqQh66WEWrpN7nfL4iVqvFEWc5cZWFxYp5v-5HNLCy1h_bZnz0ePwOEaHxhTvcVWX_PrmmPZutXkGfdtHFAc/s320/KenHensley80FreeSpirit_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>1980 (CD 1993)</b></span><br />Label: <span style="color: red;"><b>Repertoire Records (Germany), REP 4343-WY</b></span><br />Style: <span style="color: red;"><b>Pop, Pop Rock</b></span><br />Country: <span style="color: red;"><b>London, England (24 August 1945 - 4 November 2020)</b></span><br />Time: <span style="color: red;"><b>35:06</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>219 Mb</b></span><br /><p>From childhood poet to legendary status is a long, long road and it?s hard to cut this particular story short .... so why try?<br />Born in London with music in his family and in his blood, Ken formed the dream of being a rock star at the age of 11 when he bribed his parents into buying him a guitar.<br />Armed with not much more than sheer determination he moved from step to step always looking for a way to advance his powerful ambitions.<br />This was achieved through bands like The Gods which went through several incarnations before recording 2 albums for EMI Records and until the formation of Uriah Heep in 1970, the group in which all of his dreams came true and which changed his life forever and in many ways.<br />Ken will tell you that he is a first and foremost a writer/composer/lyricist and his enormous history of world-wide hit records is testimony to this, as is his history of world-wide sales of over 40 million records.<br />After returning to Europe from the US, Ken began the climb back into rock & roll history and in 2007 released the acclaimed rock opera Blood On The Highway.<br />Steadily Ken grew back into the consciousness of his huge fan base and, either solo or with Live Fire, the live performances thrilled audiences from Norway to Russia and all points in between.<br />With his classic autobiography, "When Too Many Dreams Come True" printed in English, Russian and Bulgarian, the man who first made his mark in the 20th century is now clearly capturing the 21st.<br />With a new CD of rare songs already mixed, 2012 saw the release of another stunning solo CD, "Love & Other Mysteries" and the recording of a double live CD and DVD with Live Fire. It was also the 50th anniversary of his life on the road … "50 Years On The Job" !!!<br />In 2013, Cherry Red Records released a brilliant new Live Fire CD called "TROUBLE" which embodied all the lyrical and musical power of Ken?s best efforts with Heep, transformed into a 21st century classic album.<br />Live Fire merged some of these great tracks into their live shows as they stormed every market they visited.<br />2013 also saw a dramatic increase in the demand for Ken?s solo shows and this momentum rolled right into 2014, with Live Fire making its first appearance in Russia, with two sold-out shows in Moscow and Kaluga.<br />With tours in Ukraine, Crimea, Latvia and Russia, Ken continued to grow the audience for his solo shows and The Legends continued with two memorable concerts on The November "Rock Cruise".<br />Before anyone knew it, it was already 2015 and Ken began finishing a bunch of new songs for a CD to be recorded this year.<br />Teamed with Steve Weltman, his partner, manager and friend, they are planning (some would say "plotting") a lot of interesting projects for this year and next, so stay tuned here to get all the updates.<br />It has been said before and it?s worth saying again .....<br />Ken Hensley is a rock & roll legend with no plans to stop.<br />(ken-hensley.com/ken.html) Ken Hensley. An Official Mini Biography</p><p>01. Inside The Mystery (04:39)<br />02. New York (02:25)<br />03. The System (02:34)<br />04. When (03:48)<br />05. No More (04:38)<br />06. Brown Eyed Boy (04:05)<br />07. Do You Feel Alright (02:52)<br />08. Telephone (03:11)<br />09. Woman (03:23)<br />10. New Routine (03:27)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/ypxu568t" target="_blank">TurboBit</a> <a href="https://tinyurl.com/4thkuh2v" target="_blank">KatFile</a> <a href="https://tinyurl.com/46vt3s53" target="_blank">FikPer</a> <a href="https://goo.su/n522" target="_blank">FreeDlink</a> <a href="https://goo.su/jpDvuZ" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-78436401034608154652024-03-23T09:52:00.000-07:002024-03-23T09:52:43.759-07:00Cream - Live At The Fillmore [Japan Ed. Unofficial Release] (1968)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDIExOvknqDjsRQbAF6aUllQm-9q07xhnfppLIvZ8TkxdNZgIP6AVou_yBbz_WAZYSpRgDqpvpNFRjM4Acj7N8HpSuMH91XQCsdS7lqu7kCZrW8Jyv501SQu7VtRjcuacorDKU83XHUtmlQmHk0Ax0xAUUYlIXrwlDrvkqcNCS2xkMZp-2s9QV0ThHzAA/s340/Cream68LiveAtTheFillmore_340.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDIExOvknqDjsRQbAF6aUllQm-9q07xhnfppLIvZ8TkxdNZgIP6AVou_yBbz_WAZYSpRgDqpvpNFRjM4Acj7N8HpSuMH91XQCsdS7lqu7kCZrW8Jyv501SQu7VtRjcuacorDKU83XHUtmlQmHk0Ax0xAUUYlIXrwlDrvkqcNCS2xkMZp-2s9QV0ThHzAA/s320/Cream68LiveAtTheFillmore_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>1968 (CD 2001)</b></span><br />Label: <span style="color: red;"><b>C R M Records (Japan), CRM 801/2</b></span><br />Style: <span style="color: red;"><b>Rock, Blues Rock, Hard Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>65:45, 60:24</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>299, 285 Mb</b></span><br /><p>Recording quality is poor.<br />Cream, British rock trio that was the first “supergroup” (made up of musicians who had achieved fame independently before coming together as a band). Cream blended rock, blues, psychedelic rock, and a hint of jazz to create a unique sound. It was known for dexterous live improvisations that often turned into extended jam sessions. The members were Eric Clapton (b. March 30, 1945, Ripley, Surrey, England), Jack Bruce (b. May 14, 1943, Lanarkshire, Scotland—d. October 25, 2014, Suffolk, England), and Ginger Baker (b. August 19, 1939, London, England—d. October 6, 2019).<br />Cream was formed in 1966 while Clapton was still the lead guitarist of the prominent British blues band John Mayall’s Bluesbreakers. Before that he had been the lead guitarist of the Yardbirds (Jeff Beck and Jimmy Page [later of Led Zeppelin] would follow him in that position). Clapton was approached by drummer Baker to form a group focused on expanding the blues-jazz sound. Clapton accepted the invitation with the caveat that Bruce play bass guitar. Despite the long-standing hostility between Bruce and himself, Baker reluctantly agreed, and the three musicians formed Cream. The band’s beginning marked the end of Clapton’s Bluesbreakers’ stint. Before forming Cream, Baker and Bruce had already gained fame as members of British blues musician Alexis Korner’s Blues Incorporated and later as members of the popular Graham Bond Organisation, a jazz and rhythm-and-blues outfit. Bruce and Pete Brown, a poet who was sometimes called Cream’s fourth member, wrote most of band’s lyrics.<br />Clapton’s style as a guitarist had long been influenced by Chicago and Delta bluesmen such as B.B. King, Robert Johnson, Buddy Guy, Howlin’ Wolf, Muddy Waters, and Elmore James. Bruce (who was also the group’s lead vocalist) and Baker veered more toward jazz, with influences that included Art Blakey, Max Roach, Phil Seamen, Charles Mingus, Charlie Parker, and Dizzy Gillespie. Bruce was especially enamoured of bassist James Jamerson (who played in Motown’s house band, the Funk Brothers), and Baker was also inspired by world music, specifically African popular music.<br />Many of the tracks on the band’s first album, Fresh Cream (1966), still retained the bluesy sound that its members were accustomed to producing. Although widely considered mediocre by rock critics, it appeared on the top 100 album charts in both the United Kingdom and the United States.<br />Cream’s second album, Disraeli Gears (1967), veered farther away from the band’s blues comfort zone by incorporating Brown’s and Bruce’s mystical lyrics and guitar techniques that alternated between droning distortion and wailing effects-pedal-assisted riffs. Bruce sometimes played his bass as something of a lead instrument, and Baker’s drumming incorporated jazz tempos—approaches that had not been heard much in rock music at the time. The album broke into the top 10 on both sides of the Atlantic. Its second track, “Sunshine of Your Love,” highlighted the smooth transition from blues to a more psychedelic sound and was touted by critics as the perfect hybrid of hard rock, blues, and psychedelia. It was by far the most popular single from Disraeli Gears and the only Cream single to reach gold status (over 500,000 units sold) in the United States. Cream followed Disraeli Gears with its third and best-selling album, Wheels of Fire (1968), a mixture of studio and live recordings densely packed into two records that became the first platinum-selling (over 1,000,000 units sold) double album. It showcased “White Room,” arguably the group’s most popular song, which layered haunting vocals on top of shimmering guitars. The album also included a live rendition of Robert Johnson’s “Crossroads” that featured an oft-imitated solo by Clapton that is considered by many to be one of the greatest guitar solos ever.<br />In late 1968 Cream decided to disband—a decision that was largely a consequence of the animosity between Bruce and Baker. The band’s six-track farewell album, Goodbye (1969), featured “Badge,” which Clapton cowrote with George Harrison of the Beatles. The group’s lifespan was just under three years. At the tail end of the 1960s into the ’70s, the former members of Cream went on to establish other supergroups such as Blind Faith and Derek and the Dominos, and Cream’s style greatly influenced progressive rock acts such as Rush and the live “jam band” performances of groups such as the Allman Brothers Band.<br />Cream was inducted into the Rock and Roll Hall of Fame in 1993, and the group performed for the first time in 25 years at the induction ceremony. In 2006 the band received a Grammy Award for lifetime achievement.<br />(britannica.com/topic/Cream-British-rock-group) Review by Shirese Franklin. Last Updated: Feb 26, 2024<br /></p><p>01. Tales Of Brave Ulysses (04:02)<br />02. Sunshine Of Your Love (05:28)<br />03. Nsu (09:49)<br />04. Lawdy Mama (04:55)<br />05. Sweet Wine (11:00)<br />06. Spoonful (12:04)<br />07. Sleepy Time Time (07:07)<br />08. Stepping Out (11:15)<br /><br />01. Nsu (16:49)<br />02. Politician (05:52)<br />03. Sunshine Of Your Love (09:05)<br />04. I'm So Glad (14:08)<br />05. Stepping Out (14:28)<br /></p><p><span style="font-size: medium;">Download CD1: <b><a href="https://tinyurl.com/3zkvzwru" target="_blank">TurboBit</a> <a href="https://tinyurl.com/2xwme4j4" target="_blank">KatFile</a> <a href="https://tinyurl.com/58p5jmza" target="_blank">FikPer</a> <a href="https://goo.su/1GHww1" target="_blank">FreeDlink</a> <a href="https://goo.su/pNy8c" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">Download CD2: <b><a href="https://tinyurl.com/5n7wjt46" target="_blank">TurboBit</a> <a href="https://tinyurl.com/2snnj6mp" target="_blank">KatFile</a> <a href="https://tinyurl.com/mpwcf25y" target="_blank">FikPer</a> <a href="https://goo.su/oIic" target="_blank">FreeDlink</a> <a href="https://goo.su/AdwhRhZ" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-68060934779634009102024-03-23T03:51:00.000-07:002024-03-23T03:51:04.411-07:00Kaleidoscope - Tangerine Dream [4 bonus tracks] (1967)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0kg9_KC4IAhMuuwoRjQ1j4zeyk2B_FQWblZKOfi1YdT_ZwzcTdHEkAikah3jAD6nhnoEOlReYzWS_HRNL2c63q6hUWKnBYJF7C7Z3l3y3rwFk3lvRbe5LftJ9XQnjnK2CUsrnRfA7WKA1CpQkocEO_sB55-nJqqcN2-9u2nlbW0iFOPJM6R8IryPuz1o/s340/Kaleidoscope67TangerineDream_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0kg9_KC4IAhMuuwoRjQ1j4zeyk2B_FQWblZKOfi1YdT_ZwzcTdHEkAikah3jAD6nhnoEOlReYzWS_HRNL2c63q6hUWKnBYJF7C7Z3l3y3rwFk3lvRbe5LftJ9XQnjnK2CUsrnRfA7WKA1CpQkocEO_sB55-nJqqcN2-9u2nlbW0iFOPJM6R8IryPuz1o/s320/Kaleidoscope67TangerineDream_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>24 November 1967 (CD 1998)</b></span><br />Label: <span style="color: red;"><b>Repertoire Records (Germany), PMS 7074-WP</b></span><br />Style: <span style="color: red;"><b>Psychedelic Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>51:40</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>267 Mb</b></span><br /><p>Kaleidoscope are an English psychedelic rock band from London that originally were active between 1967 and 1970. The band's songs combined the elements of psychedelia with whimsical lyrics. The band were also known at various times as The Sidekicks, The Key, I Luv Wight and Fairfield Parlour.<br />Having performed since 1963 under the name The Sidekicks, they became The Key in November 1965, before settling upon the name Kaleidoscope when they signed a deal with Fontana Records in January 1967 with the help of the music publisher Dick Leahy. The group consisted of Eddy Pumer on guitar, Steve Clark on bass and flute, and Danny Bridgman on drums and the vocalist Peter Daltrey, who also played various keyboard instruments. Most of the band's songs were compositions of Pumer's music and Daltrey's lyrics. While the group did not achieve major commercial success in its time, it retains a loyal fan base and its recordings are still held in high regard.<br />The band's first single "Flight from Ashiya" (b/w "Holidaymaker") was released on 15 September 1967 by Fontana Records, a little earlier than the band's first album Tangerine Dream. The single, with its lyric about an impending plane crash, got critical acclaim and quite an amount of radio airplay but failed to reach the charts. The song has subsequently appeared on many compilation albums, including Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969, the second box set of the Nuggets series, and Acid Drops, Spacedust & Flying Saucers: Psychedelic Confectionery.<br />Two months later, Tangerine Dream—also produced by Dick Leahy—was released. The album included "Flight From Ashiya", "Please Excuse My Face" and "Dive into Yesterday," now considered some of the band's best songs. Meanwhile, the band performed live on several BBC radio shows. A new single was released in 1968 called "Jenny Artichoke" (b/w "Just How Much You Are"), inspired by Donovan's, "Jennifer Juniper". After the release the band traveled around Europe, supporting Country Joe and the Fish at the Amsterdam Concert Hall while in Netherlands. Faintly Blowing, also produced by Leahy, was released in 1969 by Fontana Records. This time the band's sound was heavier, but the tracks still included psychedelic elements with striking lyrics but it failed to reach the charts. After the failure of Faintly Blowing, they released two more singles.<br />(en.wikipedia.org/wiki/Kaleidoscope_(British_band))<br /></p><p>01. Kaleidoscope (02:15)<br />02. Please Excuse My Face (02:11)<br />03. Dive Into Yesterday (04:46)<br />04. Mr. Small, The Watch Repairer Man (02:43)<br />05. Flight From Ashiya (02:40)<br />06. The Murder Of Lewis Tollani (02:47)<br />07. (Further Reflections) In The Room Of Percussion (03:19)<br />08. Dear Nellie Goodrich (02:46)<br />09. Holidaymaker (02:29)<br />10. A Lesson Perhaps (02:42)<br />11. The Sky Children (08:00)<br />12. Flight From Ashiya (mono single version) (02:40)<br />13. Holiday Maker (mono single version) (02:29)<br />14. A Dream For Julie (02:47)<br />15. Please Excuse My Face (mono single mix) (02:11)<br />16. Jenny Artichoke (02:37)<br />17. Just How Much You Are (02:11)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/zxtv6swe" target="_blank">TurboBit</a> <a href="https://tinyurl.com/yc5eavjm" target="_blank">KatFile</a> <a href="https://goo.su/L5OaBoD" target="_blank">FikPer</a> <a href="https://goo.su/qzoOT85" target="_blank">FreeDlink</a> <a href="https://goo.su/g9UUUBq" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-42742639290550867502024-03-22T22:43:00.000-07:002024-03-22T22:43:36.420-07:00Stray - Stray [Vinyl Rip] (1970)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fF8e7_LoiA_nPoPrjQqKGFMf65FPgP4BdPiPnTAVBVi5B9BxV48lEn8UsceCXWagcU9KjhT8XPpPW0xj8yGxuiXaB9PDdBgkykfyINKAcMhXSsy69L7SOmP1ZLNfievdTc92aWAv9Zp8-pw3vGaP17N4OuWN8LU4qmNsx0EO-B8QLei6GCSfcqZFbdE/s340/Stray70Stray_LP_24x96_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fF8e7_LoiA_nPoPrjQqKGFMf65FPgP4BdPiPnTAVBVi5B9BxV48lEn8UsceCXWagcU9KjhT8XPpPW0xj8yGxuiXaB9PDdBgkykfyINKAcMhXSsy69L7SOmP1ZLNfievdTc92aWAv9Zp8-pw3vGaP17N4OuWN8LU4qmNsx0EO-B8QLei6GCSfcqZFbdE/s320/Stray70Stray_LP_24x96_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>June 1970 (LP 1970)</b></span><br />Label: <span style="color: red;"><b>Transatlantic Records (UK), TRA 216</b></span><br />Style: <span style="color: red;"><b>Hard Rock, Psychedelic Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>45:00</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 24/96 kHz</b></span><br />Size: <span style="color: red;"><b>867 Mb</b></span><br /><p>Unknown "Rip".<br />Stray is an English hard rock band formed in 1966. Vocalist Steve Gadd (born Stephen Gadd, 27 April 1952, Shepherd's Bush, West London), guitarist Del Bromham (born Derek Roy Bromham, 25 November 1951, Acton, West London), bass player Gary Giles (born Gary Stephen Giles, 23 February 1952, North Kensington, West London) and drummer Steve Crutchley (born 1952) formed the band whilst all were attending the Christopher Wren School in London. Richard "Ritchie" Cole (born 10 November 1951, Shepherd's Bush, West London) replaced Crutchley in 1968. They signed to Transatlantic Records in January 1970.<br />The group's brand of melodic, hook-laden hard rock proved to be a popular draw on the local club scene during the early 1970s. However the band did not have commercial success with its record releases. At one stage Charlie Kray (brother of the Kray twins Ronnie and Reggie), was their manager. Gadd left the band in 1975 due to artistic differences and was replaced on vocals by Pete Dyer. The group's early musical style consisted of blues rock, acid rock and psychedelic rock. They then went on to join the hard rock and progressive rock movement.<br />The band served as the rhythm section alongside a string orchestra for the 1975 Jimmy Helms Pye Lp Songs I Sing. The original Stray finally dissolved in 1977, although Bromham later continued to play in various resurrected versions of the project well into the 2000s. By the 2010s the band had a settled lineup again, as well as Del Bromham, Pete Dyer returned and Stuart Uren (bass) and Karl Randall (drums) were regularly gigging as Stray. In November 2016 the band hosted a 50th Anniversary celebration concert (featuring all original members) at a sold-out London Borderline.<br />In 2003 Stray were the support band to Iron Maiden on several of their European dates on the Dance of Death World Tour 2003-2004. These included dates in Spain, Portugal, Poland and France. There are two other Iron Maiden connections to Stray. "All in Your Mind" from Stray's 1970 debut album was covered by Iron Maiden and was included on the 1995 reissue of No Prayer For The Dying, and Maiden bassist Steve Harris's daughter Lauren has covered "Come On Over".<br />(metal.fandom.com/wiki/Stray_(band))<br /></p><p>01. A1 All In Your Mind (09:05)<br />02. A2 Taken All The Good Things (05:22)<br />03. A3 Around The World In Eighty Days (03:30)<br />04. A4 Time Machine (04:34)<br />05. B1 Only What You Make It (03:54)<br />06. B2 Yesterdays Promises (04:13)<br />07. B3 Move On (05:36)<br />08. B4 In Reverse - Some Say (08:43)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/zwtnaxbp" target="_blank">TurboBit</a> <a href="https://tinyurl.com/mtyzbsds" target="_blank">KatFile</a> <a href="https://goo.su/GeIpf" target="_blank">FikPer</a> <a href="https://goo.su/z6BvUcE" target="_blank">FreeDlink</a> <a href="https://goo.su/uq2I" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-31575677269900786912024-03-22T07:44:00.000-07:002024-03-22T23:37:50.782-07:00John & Yoko / Plastic Ono Band - Sometime In New York City - Live Jam [Japan Ed. 2CD] (1972)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhws2XcGT3lu5LvgJRjtOn5G0ppcSBr8Xgp02U39djF5qQoAuYn0wrG_bQJNspb0VinXeHqVSt3m_N34LBpfp33gO9heKDoFNQoviXjNg6oV1ZlH_Tad2sBW7jr0BiYmEj3w0b3G-WbGnXF8P2y2ZkZthb1X7-cwbQs6ZRz52EiGPAd6d21RXsYmp1vqEc/s340/JohnYoko72SometimeInNYCity_340_obi.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhws2XcGT3lu5LvgJRjtOn5G0ppcSBr8Xgp02U39djF5qQoAuYn0wrG_bQJNspb0VinXeHqVSt3m_N34LBpfp33gO9heKDoFNQoviXjNg6oV1ZlH_Tad2sBW7jr0BiYmEj3w0b3G-WbGnXF8P2y2ZkZthb1X7-cwbQs6ZRz52EiGPAd6d21RXsYmp1vqEc/s320/JohnYoko72SometimeInNYCity_340_obi.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>12 June 1972 (CD 2007)</b></span><br />Label: <span style="color: red;"><b>EMI Records (Japan), TOCP-70393 / TOCP-70394</b></span><br />Style: <span style="color: red;"><b>Rock, Pop Rock, Rock & Roll</b></span><br />Country: <span style="color: red;"><b>Liverpool, England (9 October 1940 - 8 December 1980)</b></span><br />Time: <span style="color: red;"><b>43:37, 47:26</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>268, 297 Mb</b></span><br /><p>Some Time in New York City is a part-studio, part-live double album by John Lennon and Yoko Ono as Plastic Ono Band that included backing by the American rock band Elephant's Memory. Released in June 1972 in the US and in September 1972 in the UK on Apple Records, it is Lennon's sixth album to be released under his own name, and his fourth with Ono. Like Lennon's previous solo albums, it was co-produced by Lennon, Ono and Phil Spector. The album's agitprop lyrics are politically charged compared to its predecessors, addressing political and social issues and topics such as sexism, incarceration, colonialism, and racism.<br />Recording for the album's studio portion took place between December 1971 and March 1972 while the live portion, released as Live Jam, was recorded on 15 December 1969 at the Lyceum Ballroom in London for a UNICEF charity concert and on 6 June 1971 at Fillmore East in New York City. Musicians who contributed to the 1969 performance included Eric Clapton, George Harrison, Nicky Hopkins, Keith Moon and Klaus Voormann, while the 1971 performance featured Frank Zappa and his band the Mothers of Invention.<br />Preceded by the single "Woman Is the Nigger of the World", which caused controversy due to its title, Some Time in New York City received scathing reviews on release and performed poorly commercially. Reviewers were especially critical of its politically charged content. Zappa was critical of Lennon and Ono's handling of the recordings of the Mothers performance, eventually releasing his own version of the performance on Playground Psychotics (1992). Some Time in New York City was reissued on compact disc in 2005 as a single album, removing several of the Live Jam songs while adding other non-album singles, and again on CD in 2010 in its original double album format.<br />(en.wikipedia.org/wiki/Some_Time_in_New_York_City)<br /></p><p><b>CD1 "Sometime In New York City":</b><br />01. Woman Is The Nigger Of The World (05:17)<br />02. Sisters, O Sisters (03:48)<br />03. Attica State (02:57)<br />04. Born In A Prison (04:05)<br />05. New York City (04:32)<br />06. Sunday Bloody Sunday (05:03)<br />07. The Luck Of The Irish (02:59)<br />08. John Sinclair (03:30)<br />09. Angela (04:08)<br />10. We're All Water (07:13)<br /><br /><b>CD2 "Live Jam":</b><br />01. Cold Turkey (08:35)<br />02. Don't Worry Kyoko (16:00)<br />03. Well (Baby Please Don't Go) (04:41)<br />04. Jamrag (05:36)<br />05. Scumbag (04:27)<br />06. Au (08:04)<br /></p><p><span style="font-size: medium;">Download CD1: <b><a href="https://tinyurl.com/ms4knbf6" target="_blank">TurboBit</a> <a href="https://tinyurl.com/3x3r4fny" target="_blank">KatFile</a> <a href="https://goo.su/iSf4I" target="_blank">FikPer</a> <a href="https://goo.su/vKIbZLH" target="_blank">FreeDlink</a> <a href="https://goo.su/jCkdt" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">Download CD2: <b><a href="https://tinyurl.com/4w9zcrpj" target="_blank">TurboBit</a> <a href="https://tinyurl.com/5d2daw3x" target="_blank">KatFile</a> <a href="https://goo.su/cYx6z" target="_blank">FikPer</a> <a href="https://goo.su/2NyGAuE" target="_blank">FreeDlink</a> <a href="https://goo.su/7zeztM" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-45575719654363311542024-03-21T09:36:00.000-07:002024-03-21T09:36:38.427-07:00Ashton Gardner and Dyke - Let It Roll - Live 1971 (1971)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgadYbAsPezroikIW-lR7-DmWsZCHopDJybLad36xPx5GOXY_44Gun2uphflPKlYGXGlwb84O9ve_weqvqYHIdzBAVY2wbdCSRM0UMRPdVW0ubgsgq5XNkvjGMnfG0dVTJ6HGvfApa7PrM48xV7eo3nyWkdiYtfDKA0Ieawoksi_HcjsoV0Vn40YAaBQow/s340/AshtonGardnerDyke71LetItRoll_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgadYbAsPezroikIW-lR7-DmWsZCHopDJybLad36xPx5GOXY_44Gun2uphflPKlYGXGlwb84O9ve_weqvqYHIdzBAVY2wbdCSRM0UMRPdVW0ubgsgq5XNkvjGMnfG0dVTJ6HGvfApa7PrM48xV7eo3nyWkdiYtfDKA0Ieawoksi_HcjsoV0Vn40YAaBQow/s320/AshtonGardnerDyke71LetItRoll_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>1971 (CD 2001)</b></span><br />Label: <span style="color: red;"><b>Purple Records (UK), PUR 307</b></span><br />Style: <span style="color: red;"><b>Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>76:00</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>284 Mb</b></span><br /><p>Largely taken from a concert in Belgium in 1971, this captures the offbeat British group when it was at the peak of its popularity. The nine principal tracks are drawn from all three of the band's albums. Included, as most anyone interested in a release like this will be relieved to know, is the trio's big hit, "Resurrection Shuffle," the one Ashton, Gardner & Dyke song that most rock fans will know. That track has enough pizzazz to endure, but otherwise the CD's a quirky and not always pleasant mix of rock, soul, jazz, boogie, and jamming. Tony Ashton's vocals can tend toward the grating, like a hoarse Joe Cocker. A twisting brass section really pushes "It's a Drag, I'm a Drag" along, but some of the songs do drag, particularly the 14-minute "Falling Song." "I'm Dying for You" is distinguished from the studio version by an arrangement that highlights flute rather than fiddle. Drawn from a roadie's soundboard recording, the fidelity is listenable but flawed, marking it as one for the fans and collectors. Three of the 12 songs are "bonus live tracks" that present different recordings of three numbers also heard in the main 1971 Belgium portion: "Billy and His Piano With," "Rolling Home," and, what better for an encore, "Resurrection Shuffle." There's a good history of the band in the 12-page booklet, though.<br />(allmusic.com/album/let-it-roll-live-on-stage-1971-mw0000754746)<br /></p><p>01. It's Gonna Be High Tonight (03:55)<br />02. Let It Roll (05:01)<br />03. Mister Freako (06:03)<br />04. It'a A Drag, I'm A Drag (04:35)<br />05. (Intro) I'm Dying For You (01:32)<br />06. I'm Dying For You (02:53)<br />07. Resurrection Shuffle (06:30)<br />08. (Intro) Falling Song (00:30)<br />09. Falling Song (13:52)<br />10. (Intro) Rolling Home (00:22)<br />11. Rolling Home (15:05)<br />12. Billy & His Piano With (04:17)<br />13. Billy & His Piano With (diff live vsn 1970) (03:53)<br />14. Rolling Home (diff live vsn 1970) (03:28)<br />15. Resurrection Shuffle (diff live vsn 1970) (03:58)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/4jd6s878" target="_blank">TurboBit</a> <a href="https://tinyurl.com/2bfwrznh" target="_blank">KatFile</a> <a href="https://goo.su/EfejvK" target="_blank">FikPer</a> <a href="https://goo.su/cYU5" target="_blank">FreeDlink</a> <a href="https://goo.su/SFtC" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-10247667758303496432024-03-20T11:33:00.000-07:002024-03-20T11:33:37.906-07:00Genesis - Live Over Europe 2007 [2CD Live] (2007)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaUCZvISzD5Ci5PFGvyYZRh-BClpxGSG9C94bfL6v1XL5rOWRmBWwfUbOG5JB0YDFkxl_KTQqjJClLpAvE9olSox4aBnBTif1_4bXUVYKvKNfqMdUohQwU8rAIWXffaZxPkU6UUzGbvf7gTkPAZZuQGdZ33o2htwGDtlcVGKNRaxZ3eA06_YlW0ouypfA/s340/Genesis2007LiveOverEurope_340.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaUCZvISzD5Ci5PFGvyYZRh-BClpxGSG9C94bfL6v1XL5rOWRmBWwfUbOG5JB0YDFkxl_KTQqjJClLpAvE9olSox4aBnBTif1_4bXUVYKvKNfqMdUohQwU8rAIWXffaZxPkU6UUzGbvf7gTkPAZZuQGdZ33o2htwGDtlcVGKNRaxZ3eA06_YlW0ouypfA/s320/Genesis2007LiveOverEurope_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>26 November 2007 (CD 2007)</b></span><br />Label: <span style="color: red;"><b>Virgin Records (Europe), 5099951 132927</b></span><br />Style: <span style="color: red;"><b>Progressive Rock, Rock, Pop Rock</b></span><br />Country: <span style="color: red;"><b>Godalming, Surrey, England</b></span><br />Time: <span style="color: red;"><b>72:02, 67:20</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>503, 448 Mb</b></span><br /><p>Live over Europe 2007 is the sixth live album by British band Genesis. It was recorded during the Turn It On Again: The Tour of 2007.<br />Reunited for the first time in 15 years, which was the last time Phil Collins has played live with Tony and Mike as Genesis. It was titled Turn It On Again: The Tour as well as a final time together. Phil indicated that his hearing was not as good as it was. Venues included Manchester United and Twickenham - UK, Hanover and Dusseldorf - Germany, Rome - Italy, Helsinki - Finland, Amsterdam - Netherlands, Paris - France, Prague, Czech Republic.<br />(en.wikipedia.org/wiki/Live_over_Europe_2007)<br />That single word was the exact feeling every single Genesis fan had when they heard Peter Gabriel and Steve Hackett would not join the group on their 2007 tour, which most likely due to the retirement of Phil Collins in 2011, is their final tour and the final death of Genesis as a band. Heading into this album, there isn’t much to look forward to as the set list consists of the usual greatest hits from 1983’s “Genesis” to 1991’s “We Can’t Dance”.<br />Not much from the Gabriel-era is present here with the exception of the obvious songs: “In the Cage” (a pleasant inclusion to say the least) and “I Know What I Like”. A surprising choice was the use of the guitar solo from “Firth of Fifth” and “The Carpet Crawlers”, but that doesn’t change the great disappointment this album is. Yes, there’s the story that Phil wanted to include “Supper’s Ready”, but was vetoed by Tony Banks and Mike Rutherford, but that just makes the disappointment even more daunting when deciding to listen to this record. This time around, there wasn’t even a little medley to even it out, but just three songs. The performance by the band is not their greatest with Tony’s keyboards sounding out right terrible and Phil not giving his best vocal performance (considering his further deepening vocal range and the constant touring). Daryl Stuermer and Chester Thompson both make a return as members of the group and do an astounding job filling their respective roles. Mike does great as part of the rhythm section, particularly on “In the Cage” and “Domino”.<br />Without complaining about the absence of earlier material, this album holds up well as a live album, but when compared to earlier Genesis live albums, such as 1973’s “Live”, 1977’s “Seconds Out” and 1982’s “Three Sides Live” (The European version, as in the true TSL), “Live Over Europe” just doesn’t have the best set list and instrumentation going for it. It lacks the soul and charm that was present in those respective albums and fails to live up to Genesis’s live standards.<br />(sputnikmusic.com/review/57056/Genesis-Live-Over-Europe-2007/)<br /></p><p>01. Duke's Intro (03:48)<br />02. Turn It On Again (04:26)<br />03. No Son Of MIne (06:57)<br />04. Land Of Confusion (05:11)<br />05. In The Cage / Cinema Show / Duke's Travel's (13:30)<br />06. Afterglow (04:27)<br />07. Hold On My Heart (05:58)<br />08. Home By The Sea (11:58)<br />09. Follow You, Follow Me (04:19)<br />10. Firth Of Fifth (Excerpt) (04:39)<br />11. I Know What I Like (In Your Wardrobe) (06:45)<br /><br />01. Mama (06:57)<br />02. Ripples (07:57)<br />03. Throwing It All Away (06:01)<br />04. Domino (11:34)<br />05. Conversations With Two Stools (06:48)<br />06. Los Endos (06:24)<br />07. Tonight Tonight Tonight (Excerpt) (03:49)<br />08. Invisible Touch (05:35)<br />09. I Can't Dance (06:11)<br />10. Carpet Crawlers (06:00)<br /></p><p><span style="font-size: medium;">Download CD1: <b><a href="https://tinyurl.com/yy4skzz3" target="_blank">TurboBit</a> <a href="https://tinyurl.com/m8zk4f9m" target="_blank">KatFile</a> <a href="https://goo.su/vMmCps" target="_blank">FikPer</a> <a href="https://goo.su/hYAPJS" target="_blank">FreeDlink</a> <a href="https://goo.su/laCbN2Z" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">Download CD2: <b><a href="https://tinyurl.com/5n8e82dp" target="_blank">TurboBit</a> <a href="https://tinyurl.com/bde4jaex" target="_blank">KatFile</a> <a href="https://goo.su/9nwPh" target="_blank">FikPer</a> <a href="https://goo.su/e0gVIO" target="_blank">FreeDlink</a> <a href="https://goo.su/ymme" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-8573156091143808842024-03-20T07:11:00.000-07:002024-03-20T07:11:08.006-07:00Humble Pie - Rock On [MFSL CD] (1971)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHDGzBx9ZmZ_6O-Wtzpbj2NAbBs-12coySRCJqlpIWGJYpi5jPhm3T5uFclimuvVzZYi-IiREfhma2VgEhPmndU3xu_G7i-0CuB-kwx2TtTTUCt6qxnRJPYTPVTgHrH_6xXhrBfRXZdwe9HSwMgJAm0Z11KwxuogiMsurrTyzd-8bYFBvCLgaVSjV2S8A/s340/HumblePie71RockOn_MFSL_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHDGzBx9ZmZ_6O-Wtzpbj2NAbBs-12coySRCJqlpIWGJYpi5jPhm3T5uFclimuvVzZYi-IiREfhma2VgEhPmndU3xu_G7i-0CuB-kwx2TtTTUCt6qxnRJPYTPVTgHrH_6xXhrBfRXZdwe9HSwMgJAm0Z11KwxuogiMsurrTyzd-8bYFBvCLgaVSjV2S8A/s320/HumblePie71RockOn_MFSL_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>March 1971 (CD 1986)</b></span><br />Label: <span style="color: red;"><b>Mobile Fidelity Sound Lab (US), MFCD 847</b></span><br />Style: <span style="color: red;"><b>Rock, Blues Rock, Hard Rock</b></span><br />Country: <span style="color: red;"><b>Moreton, Essex, England, UK</b></span><br />Time: <span style="color: red;"><b>38:53</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>220 Mb</b></span><br /><p>Charts: U.S. #118, CA #87.<br />Rock On saw Humble Pie establishing the heavy blues/rock sound they became famous for, led in no small part by their new manager, Dee Anthony, after the collapse of Andrew Loog Oldham's Immediate Records. It was Frampton's favourite album with Humble Pie, but he was becoming unhappy with continuing in the band. In the latter part of the year, after their live album Performance Rockin' the Fillmore was mixed, and shortly before it was released, he left the band to pursue a solo career, and take his music in a more acoustic direction.<br />Most of the songs on Rock On were performed live on tour before being recorded for the album. Singer and guitarist Steve Marriott turned the production into a studio party of sorts, featuring numerous guest performers from the world of blues and soul. Distinguished performers such as PP Arnold, who Marriott knew very well from his Small Faces days, Doris Troy who had a U.S. hit in the early 1960s with her own self-composed song "Just One Look" (later covered by The Hollies), and Claudia Lennear (who had sung backing for artists such as Joe Cocker, Freddie King and Gene Clark), were featured on this album.<br />The album features the classic rock song "Stone Cold Fever", written by band members Marriott, bassist Greg Ridley, Frampton and drummer Jerry Shirley. Marriott's ballad "A Song For Jenny" (written for first wife Jenny Rylance) features The Soul Sisters (Doris Troy, P.P. Arnold and Claudia Lennear) on backing vocals. B.J. Cole contributes pedal steel guitar. "Strange Days" is a blues rock song in which Marriott's powerful vocals soar as close to a live performance as any on this album. The vocals have a delayed echo, sounding grounded yet "out there"; and Frampton's guitar solos weave throughout. It is also the longest song on the album. "Sour Grain" was a joint composition by Frampton and Marriott, keeping the same tempo as "Shine On", but with just Marriott on vocals. "Big George" was a Ridley composition, for which he sang the lead vocals.<br />(en.wikipedia.org/wiki/Rock_On_(Humble_Pie_album)<br /></p><p>01. Shine On (03:05)<br />02. Sour Grain (02:41)<br />03. 79th And Sunset (03:00)<br />04. Stone Cold Fever (04:10)<br />05. Rollin' Stone (06:05)<br />06. A Song For Jenny (02:35)<br />07. The Light (03:19)<br />08. Big George (04:10)<br />09. Strange Days (06:38)<br />10. Red Neck Jump (03:06)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/24fvjev5" target="_blank">TurboBit</a> <a href="https://tinyurl.com/yc426n8z" target="_blank">KatFile</a> <a href="https://goo.su/UK04ODS" target="_blank">FikPer</a> <a href="https://goo.su/oRN5H" target="_blank">FreeDlink</a> <a href="https://goo.su/GJ6qOD" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-74957868860242037862024-03-19T12:50:00.000-07:002024-03-19T12:50:19.514-07:00Jason Becker - The Raspberry Jams (1999)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvhpsRMdLgZh80rJtfuBq0N2chWMpwWm6M28VgSzwUvylp8wjbHQvZqcZ78lySNCUh5Nsu7uOok2i2RdS5dzYSAWKv-wgkO81uIYhcAcs9tX9Ijzl4FJv1-QOWvjptRcuqewi2C4DWl5xr1X8-90Hnya5U5Ytb0QtaC2VRQndZHsHd0opKSvUsbIUa4qg/s340/JasonBecker99TheRaspberryJams_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvhpsRMdLgZh80rJtfuBq0N2chWMpwWm6M28VgSzwUvylp8wjbHQvZqcZ78lySNCUh5Nsu7uOok2i2RdS5dzYSAWKv-wgkO81uIYhcAcs9tX9Ijzl4FJv1-QOWvjptRcuqewi2C4DWl5xr1X8-90Hnya5U5Ytb0QtaC2VRQndZHsHd0opKSvUsbIUa4qg/s320/JasonBecker99TheRaspberryJams_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>October 19, 1999 (CD 1999)</b></span><br />Label: <span style="color: red;"><b>Shrapnel Records (US), SH11342</b></span><br />Style: <span style="color: red;"><b>Instrumental Rock, Neoclassical Metal</b></span><br />Country: <span style="color: red;"><b>Richmond, California, U.S. (July 22, 1969)</b></span><br />Time: <span style="color: red;"><b>61:17</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>352 Mb</b></span><br /><p>Jason Eli Becker (born July 22, 1969) is an American composer and guitarist. At the age of 16, he became part of the Shrapnel Records-produced duo Cacophony with his friend Marty Friedman, and they released two albums, Speed Metal Symphony (1987) and Go Off! (1988). Since the dissolution of Cacophony in 1989, Becker has undertaken a solo career, releasing seven albums since his 1988 debut Perpetual Burn. He later joined David Lee Roth's solo band and recorded one album with him, A Little Ain't Enough.<br />Becker's performing career was cut short by amyotrophic lateral sclerosis (ALS), which he was diagnosed with in 1989. By 1996, Becker had lost the ability to speak, and he now communicates with his eyes via a system developed by his father. He continues to compose with the aid of a computer and has since released Collection in 2008 and Triumphant Hearts in 2018, as well as various compilations.<br />(en.wikipedia.org/wiki/Jason_Becker)<br /></p><p>01. Becker-Ola (03:50)<br />02. Mandy's Throbbing Little Heart (01:22)<br />03. Amma (00:46)<br />04. When You Wish Upon A Star (01:54)<br />05. Jasin Street (04:08)<br />06. Beatle Grubs (02:41)<br />07. Grilled Peeps (01:20)<br />08. If You Have To Shoot, Shoot...Don't Talk (05:03)<br />09. Purple Chewable Fern (02:37)<br />10. Black Stallion Jam (written by Marty Friedman) (03:15)<br />11. Amarnath (00:36)<br />12. Angel Eyes (03:12)<br />13. Throat Hole (01:50)<br />14. Dang Sea Of Samsara (04:24)<br />15. Urmila (02:11)<br />16. Thousand Million Suns (05:27)<br />17. Clean Solo (03:05)<br />18. Too Fast, No Good For You! (00:45)<br />19. Sweet Baboon (01:36)<br />20. Shock Tea (01:07)<br />21. Ghost To The Post (04:37)<br />22. Blood On The Traches (02:11)<br />23. Oddly Enough (02:07)<br />24. Crush (00:26)<br />25. Vocal Silliness (00:34)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/3dcvynnx" target="_blank">TurboBit</a> <a href="https://tinyurl.com/msk8xf2e" target="_blank">KatFile</a> <a href="https://goo.su/dzVf7hl" target="_blank">FikPer</a> <a href="https://goo.su/yzRTf" target="_blank">FreeDlink</a> <a href="https://goo.su/ycmn" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-39386335572938514772024-03-19T04:24:00.000-07:002024-03-19T04:24:22.016-07:00Gary Moore And The Midnight Blues Band - Back To The Blues [Live. 2CD] (1990)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYWAIY4xhtc4IkqKA9paBnEM9oasBqbhx6R98jhY4NeXNuHXf_GZGoYIYidrrehgipegxl89hZscG0F6CxV_PgY4CR0acOEDyt8Re2KvPMp_iojS5UYaO_PIavERSTIJ7A02I41vNP0b4xaPxFloJ5iitF_3P5mIyb6egGTtw40CwpO4zX7x2nZ3Y47M/s340/GaryMoore90BackToTheBlues_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYWAIY4xhtc4IkqKA9paBnEM9oasBqbhx6R98jhY4NeXNuHXf_GZGoYIYidrrehgipegxl89hZscG0F6CxV_PgY4CR0acOEDyt8Re2KvPMp_iojS5UYaO_PIavERSTIJ7A02I41vNP0b4xaPxFloJ5iitF_3P5mIyb6egGTtw40CwpO4zX7x2nZ3Y47M/s320/GaryMoore90BackToTheBlues_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>July 7, 1990 / Released: 12 March 2001 (CD 1990)</b></span><br />Label: <span style="color: red;"><b>The Swingin' Pig (Germany), TSP-CD-080-2</b></span><br />Style: <span style="color: red;"><b>Blues Rock</b></span><br />Country: <span style="color: red;"><b>Belfast, Northern Ireland, UK (4 April 1952 - 6 February 2011)</b></span><br />Time: <span style="color: red;"><b>52:42, 39:37</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>365, 270 Mb</b></span><br /><p>Charts: UK #53, AUT #68, FIN #36, GER #40, SWE #22, SWI #49, US (blues) #6. Recorded At – Montreux Jazz Festival, July 7, 1990.<br />Influenced by Peter Green and Eric Clapton, Moore began his career in the late 1960s when he joined Skid Row, with whom he released two albums. After Moore left the group he joined Thin Lizzy, featuring his former Skid Row bandmate and frequent collaborator Phil Lynott. Moore began his solo career in the 1970s and achieved major success with 1979's "Parisienne Walkways", which is considered his signature song. During the 1980s, Moore transitioned into playing hard rock and heavy metal with varying degrees of international success. In 1990, he returned to his roots with Still Got the Blues, which became the most successful album of his career. Moore continued to release new music throughout his later career, collaborating with other artists from time to time. Moore died on 6 February 2011 from a heart attack while on holiday in Spain.<br />Moore was often described as a virtuoso and has been cited as an influence by many other guitar players. He was voted as one of the greatest guitarists of all time on respective lists by Total Guitar and Louder. Irish singer-songwriter Bob Geldof said that "without question, [Moore] was one of the great Irish bluesmen". For most of his career, Moore was heavily associated with Peter Green's famed 1959 Gibson Les Paul guitar. Later he was honoured by Gibson and Fender with several signature model guitars.<br />(en.wikipedia.org/wiki/Gary_Moore)<br /></p><p>01. Oh Pretty Woman (04:39)<br />02. Walking By Myself (04:28)<br />03. The Stumble (03:35)<br />04. All Your Love (04:34)<br />05. Midnight Blues (06:32)<br />06. You Don't Love Me (04:16)<br />07. Still Got The Blues (08:21)<br />08. Texas Strut (13:10)<br />09. Moving On (03:04)<br /><br />01. Too Tired (04:31)<br />02. Cold, Cold Feeling (08:57)<br />03. Farther On Up The Road (05:47)<br />04. King Of The Blues (07:20)<br />05. Stop Messin' Around (05:26)<br />06. Why I Sing The Blues (07:33)<br /></p><p><span style="font-size: medium;">Download CD1: <b><a href="https://tinyurl.com/2x9p9v4a" target="_blank">TurboBit</a> <a href="https://tinyurl.com/yyenba74" target="_blank">KatFile</a> <a href="https://goo.su/RvBG" target="_blank">FikPer</a> <a href="https://goo.su/kClxJ1k" target="_blank">FreeDlink</a> <a href="https://goo.su/znoGGzC" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">Download CD2: <b><a href="https://tinyurl.com/5294fpjn" target="_blank">TurboBit</a> <a href="https://tinyurl.com/ja7wzw2u" target="_blank">KatFile</a> <a href="https://goo.su/SWHh" target="_blank">FikPer</a> <a href="https://goo.su/xOBDYZ5" target="_blank">FreeDlink</a> <a href="https://goo.su/oEsJkM" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-1309451093744074182024-03-18T09:58:00.000-07:002024-03-18T09:58:20.190-07:00Dexter Gordon - Go (1962)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghKTg2OIjQ-iGs0YrBCslaTDpP3_kKGjxqZQGZfZ1PknZw-gG0KaXtIGljm0dHUyEzNxdnEe8dKQa26fjTyN5nli-9ltvwmUL5pubdhCx-cTepdt9F2KTvG8JwkL3hyV72HJlQEABOLo6ug44e7Z2_KlEonB0G7zq77_trgL3-aDgrlTr-MeTgraW6pd0/s340/DexterGordon62Go_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghKTg2OIjQ-iGs0YrBCslaTDpP3_kKGjxqZQGZfZ1PknZw-gG0KaXtIGljm0dHUyEzNxdnEe8dKQa26fjTyN5nli-9ltvwmUL5pubdhCx-cTepdt9F2KTvG8JwkL3hyV72HJlQEABOLo6ug44e7Z2_KlEonB0G7zq77_trgL3-aDgrlTr-MeTgraW6pd0/s320/DexterGordon62Go_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>Third week of December 1962 (CD 1999)</b></span><br />Label: <span style="color: red;"><b>Blue Note Records (UK & Europe), 7243 4 98794 2 3</b></span><br />Style: <span style="color: red;"><b>Jazz, Bop, Saxophone Jazz</b></span><br />Country: <span style="color: red;"><b>Los Angeles, California, U.S. (February 27, 1923 - April 25, 1990)</b></span><br />Time: <span style="color: red;"><b>37:44</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>283 Mb</b></span><br /><p>Unanimously hailed by jazz critics as one of his greatest ever albums, Go was Dexter Gordon’s third LP for Blue Note Records. It heralded a remarkable upturn in the tenor saxophonist’s career, which briefly bloomed in the late 40s before floundering during the next decade as a result of his battle with heroin addiction.<br />But by 1960, Gordon, a gentle giant from Los Angeles who stood at six-foot six-inches tall, appeared to have gained control of his demons and was driven by a newfound sense of purpose. The first tenor saxophonist to fully absorb the argot of bebop, Gordon visited New York in 1960 and attracted the attention of Blue Note boss Alfred Lion, who signed him to his label on November 7 of that year. It was the start of what was arguably the most fruitful recording period in the saxophonist’s career.<br />Gordon’s first two sessions for the label, in May 1961, resulted in the classic albums Doin’ Allright and Dexter Calling, whose critical success prompted Lion to put Gordon in the studio again. He scheduled a session for Monday, August 27, 1962; it would yield Go, an album that the saxophonist himself regarded as his favorite recording.<br />Lion had arranged for Gordon, who was then six months shy of his 40th birthday, to record with a younger rhythm section comprising 31-year-old pianist Sonny Clark (who had been making his own records for Blue Note since 1957) alongside two musicians still in their 20s: bassist, Edward "Butch" Warren and drummer Billy Higgins, whom Gordon was already familiar with, having played with them on Herbie Hancock’s debut album, Takin’ Off, three months earlier.<br />Go begins with an original Gordon composition, "Cheese Cake," which quickly became a stalwart of Gordon’s live performances right up until his death, in 1990. The song was an unofficial homage to fellow tenor titan Lester Young and drew inspiration from the latter’s song "Tickle Toe," though it was recast in a minor key. After Gordon’s statement of the song’s memorable "head" theme, he then breaks off for a magnificently fluid solo and shows that, despite the difficulties he encountered in the 50s, his musical ability never suffered.<br />Ballads were Dexter Gordon’s specialty and his interpretation of the Jules Styne-penned "I Guess I’ll Hang Out My Tears To Dry" is an exquisite example of his ability to show his softer, lyrical side. Nonetheless, his tone is virile and muscular, but his phrasing, which is sensuous and delicate, reveals a more vulnerable side. Gordon instinctively knows how to squeeze every drop of emotion out of a melodic phrase, but in a subtle way without being maudlin or melodramatic.<br />"Second Balcony Jump" is Gordon’s revamp of a 1946 swing record by crooner and bandleader Billy Eckstine. Gordon’s version is less frenetic than the original, though it’s still imbued with a propulsive sense of rhythmic elan. After stating the infectious main riff, Gordon embarks on an expansive solo that highlights his melodic invention. It also includes a melodic snippet from Nat "King" Cole’s 1950 hit "Mona Lisa," reflecting Gordon’s love of quoting from other songs in his solos.<br />Gordon also drops in a quote from "Mexican Hat Dance" on his jaunty interpretation of Cole Porter’s jazz standard "Love For Sale," where the rhythm section initially creates a Latin-style undertow before launching into a passage of full-throttle swing.<br />Go’s second and final ballad is "Where Are You?," co-authored by noted songwriter Jimmy McHugh, who was also responsible for penning the standards "I Can’t Give You Anything But Love" and "The Sunny Side Of The Street." Prior to Gordon’s Blue Note recording, the song had been covered by singers Frank Sinatra and Johnny Mathis, as well as jazz instrumentalists such as Ben Webster and Kenny Dorham. But Gordon, with simpatico accompaniment from his young quartet, summons up the essence of late-night loneliness with a tender interpretation that captures the forlorn mood of the song’s lyrics.<br />The mood is lighter on the gently swinging "Three O’Clock In The Morning," which ends the album on an upbeat note. The original song was a hit in 1922 for bandleader Paul Whiteman, but here Dexter Gordon transforms it into a bebop-inspired vehicle that highlights the fluency of his saxophone improvisations.<br />Though Gordon would go on to release three more superb albums for Blue Note (including A Swingin’ Affair, recorded with the same personnel just two days after Go), it is the LP he made on August 27, 1962, that stands tallest in the saxophonist’s catalogue.<br />(udiscovermusic.com/stories/dexter-gordon-go-blue-note-album/)<br /></p><p>01. Cheese Cake (06:33)<br />02. I Guess I'll Hang My Tears Out To Dry (05:22)<br />03. Second Balcony Jump (07:05)<br />04. Love For Sale (07:37)<br />05. Where Are You (05:21)<br />06. Three O'Clock In The Morning (05:43)<br /></p><p><span style="font-size: medium;">Dowmload: <b><a href="https://tinyurl.com/26bjzr7x" target="_blank">TurboBit</a> <a href="https://tinyurl.com/5n7yv59v" target="_blank">KatFile</a> <a href="https://goo.su/LPAjx" target="_blank">FikPer</a> <a href="https://goo.su/aB1Tb" target="_blank">FreeDlink</a> <a href="https://goo.su/UImdHc" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-84638571009860110442024-03-17T05:37:00.000-07:002024-03-17T05:38:04.400-07:00Elton John - A Single Man [Vinyl Rip, Russian Ed. 9 tracks] (1978)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFq1dHGEuYKsUHwVbEqamkKpZwr6jT-P4MLHOkeSKvL7PPfSnp_WHg9FR4MZNIct3wfXR80Yq9gptVBT6sKfhWAXqC8odgg6kXeJ2A0y-ZdyiUAZkdVOoLIFlSCQX33kFzpJmsk7n1U4h9MfDmH8-j2EIzPD2sIXSe35F5wxlloeqz0UaCJ46Epd3FhsI/s340/Elton_340_LP.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFq1dHGEuYKsUHwVbEqamkKpZwr6jT-P4MLHOkeSKvL7PPfSnp_WHg9FR4MZNIct3wfXR80Yq9gptVBT6sKfhWAXqC8odgg6kXeJ2A0y-ZdyiUAZkdVOoLIFlSCQX33kFzpJmsk7n1U4h9MfDmH8-j2EIzPD2sIXSe35F5wxlloeqz0UaCJ46Epd3FhsI/s320/Elton_340_LP.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>16 October 1978 (LP 1986)</b></span><br />Label: <span style="color: red;"><b>Melodia Records (Russia), C 60-15147-8</b></span><br />Style: <span style="color: red;"><b>Rock, Pop</b></span><br />Country: <span style="color: red;"><b>Pinner, Middlesex, England (25 March 1947)</b></span><br />Time: <span style="color: red;"><b>41:24</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 24/96 kHz</b></span><br />Size: <span style="color: red;"><b>905 Mb</b></span><br /><p>Russian Edition 9 tracks - original version 11 tracks.<br />A Single Man is the first of Elton John's albums to not include work by lyricist Bernie Taupin, and the first since his debut Empty Sky without producer Gus Dudgeon. The returning members of his band are percussionist Ray Cooper and guitarist Davey Johnstone; the latter played on only one song on the album. Paul Buckmaster would not appear on another Elton John album until Made in England. Unlike previous compositions in which lyrics came first, John started writing melodies at a piano, and an album unintentionally came about from this. This is also John's first album on which he sings in a lower register. "Song for Guy" was written as a tribute to Guy Burchett, a young messenger employed by John's record label Rocket Records, who was killed in a motorcycle accident.<br />The staff and players of Watford Football Club, of which John was chairman at the time, provide backing vocals on "Big Dipper" and "Georgia". Also featured on these tracks are the backing vocals of the female staff from Rocket Records, credited as 'The South Audley Street Girls' Choir'.<br />The photo for the front cover was taken in the Long Walk, which is part of Windsor Great Park in Berkshire. The inside cover shows John in a Jaguar XK140 FHC. John stopped wearing his trademark glasses in public for a period during the late 1970s, and the album photo reflects this.<br />(en.wikipedia.org/wiki/A_Single_Man_(album))<br /></p><p>01. A1 Shine On Through (03:42)<br />02. A2 Return To Paradise (04:13)<br />03. A3 I Don't Care (04:23)<br />04. A4 It Ain't Gonna Be Easy (08:17)<br />05. B1 Georgia (04:47)<br />06. B2 Shooting Star (02:43)<br />07. B3 Madness (05:50)<br />08. B4 Reverie (00:51)<br />09. B5 Song For Guy (06:34)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/26642h3y" target="_blank">TurboBit</a> <a href="https://tinyurl.com/37634e3n" target="_blank">KatFile</a> <a href="https://goo.su/usdKH" target="_blank">FikPer</a> <a href="https://goo.su/rmkynW" target="_blank">FreeDlink</a> <a href="https://goo.su/DEDctKQ" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-65359104067152267162024-03-17T01:02:00.000-07:002024-03-17T01:02:20.001-07:00Petula Clark – Petula Clark's Greatest Hits Vol.1 [Vinyl Rip] (1968)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqAPUslJdN_cVpiMjvnWCNdBSVs0ACVyN5Xf016S2eHNKfcdOazoEgt3DSKJ9JtvcyZcJrUK8aLBm8XMPkJ_WzjbfuPekBLT0aSSU2mjkutosTt5a4EYZgzTxKl66HNq1tHIg9db1kLB8wy4xXJiIHMriWOaAhM5rTgpHfe70rNqOvQwnwnB_F_Af36Os/s340/PetulaClark68GreatestVol1_340_LP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqAPUslJdN_cVpiMjvnWCNdBSVs0ACVyN5Xf016S2eHNKfcdOazoEgt3DSKJ9JtvcyZcJrUK8aLBm8XMPkJ_WzjbfuPekBLT0aSSU2mjkutosTt5a4EYZgzTxKl66HNq1tHIg9db1kLB8wy4xXJiIHMriWOaAhM5rTgpHfe70rNqOvQwnwnB_F_Af36Os/s320/PetulaClark68GreatestVol1_340_LP.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>1968 (LP 1968)</b></span><br />Label: <span style="color: red;"><b>Warner Bros / Seven Arts Records (US), WS 1765</b></span><br />Style: <span style="color: red;"><b>Pop, Ballad, Vocal, Oldies</b></span><br />Country: <span style="color: red;"><b>Born November 15, 1932, Epson, Surrey (England)</b></span><br />Time: <span style="color: red;"><b>33:02</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>221 Mb</b></span><br /><p>Petula Sally Olwen Clark, CBE (born 15 November 1932) is an English singer, actress and composer whose career has spanned seven decades.<br />Clark's professional career began as an entertainer on BBC Radio during World War II. During the 1950s she started recording in French and having international success in both French and English, with such songs as "The Little Shoemaker", "Baby Lover", "With All My Heart" and "Prends Mon C?ur". During the 1960s she became known globally for her popular upbeat hits, including "Downtown", "I Know a Place", "My Love", "A Sign of the Times", "I Couldn't Live Without Your Love", "Colour My World", "This Is My Song" and "Don't Sleep in the Subway". The timing and popularity of these songs caused Clark to be dubbed the First Lady of the British Invasion. She has sold more than 68 million records throughout her career. (Wikipedia).<br />Matrix side A: S-39427-1S, side B: S-39428-2S<br /></p><p>01. A1 Downtown (03:07)<br />02. A2 You'd Better Come Home (02:54)<br />03. A3 Round Every Corner (02:37)<br />04. A4 Two Rivers (02:30)<br />05. A5 A Sign Of The Times (02:56)<br />06. A6 Color My World (02:52)<br />07. B1 My Love (02:44)<br />08. B2 Who Am I (02:23)<br />09. B3 Call Me (02:47)<br />10. B4 I Couldn't Live Without Your Love (02:56)<br />11. B5 You're The One (02:27)<br />12. B6 I Know A Place (02:43)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/mr2wsyr5" target="_blank">TurboBit</a> <a href="https://tinyurl.com/37dw2k5v" target="_blank">KatFile</a> <a href="https://goo.su/9EaIhBn" target="_blank">FikPer</a> <a href="https://goo.su/src9" target="_blank">FreeDlink</a> <a href="https://goo.su/OvyBvn" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-50654361567951817862024-03-16T13:22:00.000-07:002024-03-16T13:22:54.880-07:00Otis Rush - Lost In The Blues (1991)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJKr7kxV-9YjK4lyF20my3bvFQ_W-bUHP5lVDrYwCAi6J3WxiarKzBjD9Jgvl6jeLYUHxm2dX2PX0ScsCiyxJYGTurDlG4MnWwAAUktz9eSDowdJgHIAD8-iNqmEsQ3xWZE0Pe2hWK_Hx4-q2Ei9oN0wugGmmvQPKBYSMux3vo7NlnJHLmynWb23pytoM/s340/OtisRush93LostInTheBlues_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJKr7kxV-9YjK4lyF20my3bvFQ_W-bUHP5lVDrYwCAi6J3WxiarKzBjD9Jgvl6jeLYUHxm2dX2PX0ScsCiyxJYGTurDlG4MnWwAAUktz9eSDowdJgHIAD8-iNqmEsQ3xWZE0Pe2hWK_Hx4-q2Ei9oN0wugGmmvQPKBYSMux3vo7NlnJHLmynWb23pytoM/s320/OtisRush93LostInTheBlues_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>1991 (CD 1991)</b></span><br />Label: <span style="color: red;"><b>Alligator Records (U.S.), ALCD 4797</b></span><br />Style: <span style="color: red;"><b>Blues, Chicago Blues</b></span><br />Country: <span style="color: red;"><b>Philadelphia, Mississippi, U.S. (April 29, 1934 - September 29, 2018)</b></span><br />Time: <span style="color: red;"><b>47:35</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>276 Mb</b></span><br /><p>Breaking into the R&B Top Ten his very first time out in 1956 with the startlingly intense slow blues "I Can't Quit You Baby," southpaw guitarist Otis Rush subsequently established himself as one of the premier bluesmen on the Chicago circuit. Rush is often credited with being one of the architects of the West side guitar style, along with Magic Sam and Buddy Guy. It's a nebulous honor, since Rush played clubs on Chicago's South side just as frequently during the sound's late-'50s incubation period. Nevertheless, his esteemed status as a prime Chicago innovator is eternally assured by the ringing, vibrato-enhanced guitar work that remains his stock in trade and a tortured, super-intense vocal delivery that can force the hairs on the back of your neck upwards in silent salute. If talent alone were the formula for widespread success, Rush would certainly have been Chicago's leading blues artist. But fate, luck, and the guitarist's own idiosyncrasies conspired to hold him back on several occasions when opportunity was virtually begging to be accepted. Rush came to Chicago in 1948, met Muddy Waters, and knew instantly what he wanted to do with the rest of his life. The omnipresent Willie Dixon caught Rush's act and signed him to Eli Toscano's Cobra Records in 1956. The frighteningly intense "I Can't Quit You Baby" was the maiden effort for both artist and label, streaking to number six on Billboard's R&B chart. His 1956-1958 Cobra legacy is a magnificent one, distinguished by the Dixon-produced minor-key masterpieces "Double Trouble" and "My Love Will Never Die," the tough-as-nails "Three Times a Fool" and "Keep on Loving Me Baby," and the rhumba-rocking classic "All Your Love (I Miss Loving)." Rush apparently dashed off the latter tune in the car en route to Cobra's West Roosevelt Road studios, where he would cut it with the nucleus of Ike Turner's combo. After Cobra closed up shop, Rush's recording fortunes mostly floundered. He followed Dixon over to Chess in 1960, cutting another classic (the stunning "So Many Roads, So Many Trains") before moving on to Duke (one solitary single, 1962's "Homework"), Vanguard, and Cotillion (there he cut the underrated Mike Bloomfield-Nick Gravenites-produced 1969 album Mourning in the Morning, with yeoman help from the house rhythm section in Muscle Shoals). Typical of Rush's horrendous luck was the unnerving saga of his Right Place, Wrong Time album. Laid down in 1971 for Capitol Records, the giant label inexplicably took a pass on the project despite its obvious excellence. It took another five years for the set to emerge on the tiny Bullfrog label, blunting Rush's momentum once again (the album is now available on HighTone). An uneven but worthwhile 1975 set for Delmark, Cold Day in Hell, and a host of solid live albums that mostly sound very similar kept Rush's gilt-edged name in the marketplace to some extent during the '70s and '80s, a troubling period for the legendary southpaw. In 1986, he walked out on an expensive session for Rooster Blues (Louis Myers, Lucky Peterson, and Casey Jones were among the assembled sidemen), complaining that his amplifier didn't sound right and thereby scuttling the entire project. Alligator picked up the rights to an album he had done overseas for Sonet originally called Troubles, Troubles. It turned out to be a prophetic title: much to Rush's chagrin, the firm overdubbed keyboardist Lucky Peterson and chopped out some masterful guitar work when it reissued the set as Lost in the Blues in 1991. Finally, in 1994, the career of this Chicago blues legend began traveling in the right direction. Ain't Enough Comin' In, his first studio album in 16 years, was released on Mercury and ended up topping many blues critics' year-end lists. Produced spotlessly by John Porter with a skin-tight band, Rush roared a set of nothing but covers, but did them all his way, his blistering guitar consistently to the fore. Once again, a series of personal problems threatened to end Rush's long-overdue return to national prominence before it got off the ground. But he's been in top-notch form in recent years, fronting a tight band that's entirely sympathetic to the guitarist's sizzling approach. Rush signed with the House of Blues' fledgling record label, instantly granting that company a large dose of credibility and setting himself up for another career push. It still may not be too late for Otis Rush to assume his rightful throne as Chicago's blues king. After another decade performing and recording albums, Live and in Concert from San Fransisco was released in 2006.<br />(sputnikmusic.com/bands/Otis-Rush/6680/)<br /></p><p>01. Hold That Train (06:20)<br />02. You've Been An Angel (05:04)<br />03. Little Red Rooster (04:39)<br />04. Trouble, Trouble (06:48)<br />05. Please Love Me (04:17)<br />06. You Don't Have To Go (04:20)<br />07. Got To Be Some Changes Made (07:44)<br />08. You Got Me Running (04:27)<br />09. I Miss You So (03:51)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/5ye8w7fe" target="_blank">TurboBit</a> <a href="https://tinyurl.com/mrmw4d55" target="_blank">KatFile</a> <a href="https://goo.su/ecM7o" target="_blank">FikPer</a> <a href="https://goo.su/Y4ih" target="_blank">FreeDlink</a> <a href="https://goo.su/kaUJ" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-54003419846138925462024-03-16T04:35:00.000-07:002024-03-16T12:35:50.050-07:00Emerson, Lake & Palmer - Pictures At An Exhibition [Japan Ed. K2HD Coding] (1971)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj64IoTNIkPA31wQuo1VxZXDg9tmINHI6d2cr4bFIXABYqG4AfGZG3foIAvLcq7vH4_xCsFA5t6QGIKk4uugF6n9xAYcMkfbpVvCLaaPwVcEeD0rWh3e7QZMVd5siGjrd80P0FuQo3vw1RuyJaidcknbSO1hD2u5lLCELqGDGygHva7kiRMLvBl7iaoGEE/s340/ELP71PicturesAtAnExhibition_340.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj64IoTNIkPA31wQuo1VxZXDg9tmINHI6d2cr4bFIXABYqG4AfGZG3foIAvLcq7vH4_xCsFA5t6QGIKk4uugF6n9xAYcMkfbpVvCLaaPwVcEeD0rWh3e7QZMVd5siGjrd80P0FuQo3vw1RuyJaidcknbSO1hD2u5lLCELqGDGygHva7kiRMLvBl7iaoGEE/s320/ELP71PicturesAtAnExhibition_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>November 1971 (CD Sep 28, 2005)</b></span><br />Label: <span style="color: red;"><b>Victor Records (Japan), VICP-63173</b></span><br />Style: <span style="color: red;"><b>Symphonic Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>38:20</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>262 Mb</b></span><br /><p>The rush of joy from the Newcastle crowd following Keith Emerson’s opening announcement that “We’re gonna give you Pictures at an Exhibition” is the audio equivalent of adrenalin. From that point forward, the floodgates of imagination are thrown wide as we take in the sights and sounds of these musical paintings.<br />The trio had first premiered their interpretation (the piece might just as well be called an inspiration) of Mussorgsky’s masterpiece at their first official performance at the Isle of Wight Festival. The version captured here is from a March 26, 1971 performance at the grand Newcastle City Hall. In a sense, the Hall and its inhabitants are the invisible fourth member, adding deep acoustics and emotions to the music that fairly approximate what it must have felt like to be in the room.<br />The entire work follows the outline of Mussorgsky’s original, alternating promenades between various paintings. The promenades are given slightly different treatments: the second features vocals, the third is bombastic. ELP slips a few of their own creations into the gallery—The Sage, Blues Variation, The Curse of Baba Yaga—and mixes them with adaptations of Mussorgsky’s pieces (The Hut of Baba Yaga, The Gnome, The Old Castle). The song cycle culminates with the majestic close of The Great Gates of Kiev, a dreamed-of gateway now a gateway to dreams. Oddly, the group seems stumped for a suitable encore, parading out the novelty Nutrocker, which seems terribly trite after such a walk with giants.<br />For my money, this is one of ELP’s best albums, one of the greatest live prog albums ever recorded, and reason enough to classify Newcastle City Hall as an historically important building. Though chronologically this is the band’s third album, it is rather the firstfruits of an amazing alignment of talent that represented perhaps the pinnacle of progressive rock when it was first performed in 1970. The bar had been raised, the gates opened, and the wave of prog warriors were coming to lift the fallen standard of musical art once more. So, naturally, critic Robert Christgau gave it a D+, begging the question of what the plus was for, since I’m sure we can all agree on what the D means.<br />(progrography.com/emerson-lake-palmer/review-emerson-lake-palmer-pictures-at-an-exhibition-1971/)<br /></p><p>01. Promenade (01:57)<br />02. The Gnome (04:18)<br />03. Promenade (01:23)<br />04. The Sage (04:42)<br />05. The Old Castle (02:33)<br />06. Blues Variation (04:23)<br />07. Promenade (01:28)<br />08. The Hut of Baba Yaga (01:12)<br />09. The Curse of Baba Yaga (04:10)<br />10. The Hut of Baba Yaga (01:06)<br />11. The Great Gates of Kiev (06:37)<br />12. Nutrocker (04:25)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/328v3x9f" target="_blank">TurboBit</a> <a href="https://tinyurl.com/2nrz9dww" target="_blank">KatFile</a> <a href="https://goo.su/X4zn" target="_blank">FikPer</a> <a href="https://goo.su/SxJOyFF" target="_blank">FreeDlink</a></b></span><b><span style="font-size: medium;"> <a href="https://goo.su/2XBJc6" target="_blank">UpLoady</a><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-67351712986042503872024-03-15T23:43:00.000-07:002024-03-15T23:43:40.221-07:00Led Zeppelin - Led Zeppelin IV [Vinyl Rip] (1971)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsmGpl-5KbZGcv5WWZobrkQ-Ngtw4JNKnI4wiQCa5bqpu5n7bDZW-a_L9c6jF9K0o12UPbsEaMYv6c7fk6wt3oaHzKZ7Pa18dqr96CLDsBmy7eiDAxUk6ZojqiQ6t_6I1tZtqKwskGFDkkHNTufvcmW1-cHi2tv3tg46YyuChyphenhyphenGpnnIrAuwCuyuJX_MEc/s340/LedZeppelin71Four_340_LP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsmGpl-5KbZGcv5WWZobrkQ-Ngtw4JNKnI4wiQCa5bqpu5n7bDZW-a_L9c6jF9K0o12UPbsEaMYv6c7fk6wt3oaHzKZ7Pa18dqr96CLDsBmy7eiDAxUk6ZojqiQ6t_6I1tZtqKwskGFDkkHNTufvcmW1-cHi2tv3tg46YyuChyphenhyphenGpnnIrAuwCuyuJX_MEc/s320/LedZeppelin71Four_340_LP.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>8 November 1971 (LP 19??)</b></span><br />Label: <span style="color: red;"><b>Atlantic Records (US), SD 19128</b></span><br />Style: <span style="color: red;"><b>Hard Rock</b></span><br />Country: <span style="color: red;"><b>London, England</b></span><br />Time: <span style="color: red;"><b>42:31</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 24/96 kHz</b></span><br />Size: <span style="color: red;"><b>915 Mb</b></span><br /><p>The untitled fourth studio album by the English rock band Led Zeppelin, commonly known as Led Zeppelin IV, was released on 8 November 1971 by Atlantic Records. It was produced by guitarist Jimmy Page and recorded between December 1970 and February 1971, mostly in the country house Headley Grange. The album is notable for featuring "Stairway to Heaven", which has been described as the band's signature song.<br />The informal setting at Headley Grange inspired the band, and allowed them to try different arrangements of material and create songs in a variety of styles. After the band's previous album Led Zeppelin III received lukewarm reviews from critics, they decided their fourth album would officially be untitled, and would be represented instead by four symbols chosen by each band member, without featuring the name or any other details on the cover. Unlike the prior two albums, the band was joined by some guest musicians, such as vocalist Sandy Denny on "The Battle of Evermore", and pianist Ian Stewart on "Rock and Roll". As with prior albums, most of the material was written by the band, though there was one cover song, a hard rock re-interpretation of the Memphis Minnie blues song "When the Levee Breaks".<br />The album was a commercial and critical success and is Led Zeppelin's best-selling, shipping over 37 million copies worldwide. It is one of the best-selling albums in the US, while critics have regularly placed it highly on lists of the greatest albums of all time.<br />(en.wikipedia.org/wiki/Led_Zeppelin_IV)<br /></p><p>01. A1 Black Dog (04:55)<br />02. A2 Rock And Roll (03:41)<br />03. A3 The Battle Of Evermore (05:50)<br />04. A4 Stairway To Heaven (07:59)<br />05. B1 Misty Mountain Hop (04:38)<br />06. B2 Four Sticks (04:43)<br />07. B3 Going To California (03:34)<br />08. B4 When The Levee Breaks (07:07)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/458n9768" target="_blank">TurboBit</a> <a href="https://tinyurl.com/yc33ytjv" target="_blank">KatFile</a> <a href="https://goo.su/Ctr88" target="_blank">FikPer</a> <a href="https://goo.su/aUGvESw" target="_blank">FreeDlink</a> <a href="https://goo.su/iuoU9L" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-29329958407951939162024-03-15T13:03:00.000-07:002024-03-15T13:03:09.373-07:00David Bowie - Scary Monsters (1980)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEi0NZcx9AREvMoP4RgczvRUXTuNslNuoUGQruRJDglo_SOjg3tbX6hNNWP2Of79OoLtjzz93hBF3oqwzMOtZJA3d3ua7wy-5HeUprtEaFN45dHghpIEht-AG-dB6HDuCEtfcKxJBtbcNjlNOI3HHm3k4ss29fKk4efo-8KFUxD9-3cKhj_fLKYCcIIk4/s340/DavidBowie80ScaryMonsters_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEi0NZcx9AREvMoP4RgczvRUXTuNslNuoUGQruRJDglo_SOjg3tbX6hNNWP2Of79OoLtjzz93hBF3oqwzMOtZJA3d3ua7wy-5HeUprtEaFN45dHghpIEht-AG-dB6HDuCEtfcKxJBtbcNjlNOI3HHm3k4ss29fKk4efo-8KFUxD9-3cKhj_fLKYCcIIk4/s320/DavidBowie80ScaryMonsters_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>12 September 1980 (CD 1999)</b></span><br />Label: <span style="color: red;"><b>EMI Records (Europe), 7243 521895 0 2</b></span><br />Style: <span style="color: red;"><b>Pop, Punk</b></span><br />Country: <span style="color: red;"><b>London, England (8 January 1947 - 10 January 2016)</b></span><br />Time: <span style="color: red;"><b>45:36</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>331 Mb</b></span><br /><p>Charts: UK #1, AUS #1, AUT #20, GER #8, NL #3, NOR #3, NZ #1, SWE #4, SWI #75, US #12. Australia, Canada and UK: Platinum.<br />It's his first album following the Berlin Trilogy (Low, "Heroes" and Lodger), Scary Monsters was Bowie's attempt to create a more commercial record after the trilogy proved successful artistically but less so commercially.<br />Co-produced by Tony Visconti, Scary Monsters was recorded between February and April 1980 at the Power Station in New York City, and later Good Earth Studios in London. Much of the same personnel from prior releases returned for the sessions, with additional guitar by Chuck Hammer and Robert Fripp, and a guest appearance by Pete Townshend. The music incorporates elements of art rock, new wave and post-punk. Unlike the improvisational nature of prior releases, Bowie spent time writing the music and lyrics; several were recorded under working titles and some contained reworked elements of earlier, unreleased songs. The album cover is a large-scale collage featuring Bowie donning a Pierrot costume, with references to his prior releases on the rear sleeve.<br />The album's lead single, "Ashes to Ashes", revisited the character of Major Tom from "Space Oddity" and was promoted with an inventive music video. Scary Monsters garnered critical and commercial acclaim: it topped the UK Albums Chart and restored Bowie's commercial standing in the US, reaching No. 12. Scary Monsters would later be referred to by commentators as Bowie's "last great album" and a benchmark for subsequent releases.<br />(en.wikipedia.org/wiki/Scary_Monsters_(and_Super_Creeps))</p><p>01. It's No Game (No. 1) (04:20)<br />02. Up the Hill Backwards (03:15)<br />03. Scary Monsters (and Super Creeps) (05:12)<br />04. Ashes to Ashes (04:25)<br />05. Fashion (04:49)<br />06. Teenage Wildlife (06:56)<br />07. Scream Like a Baby (03:35)<br />08. Kingdom Come (03:45)<br />09. Because You're Young (04:54)<br />10. It's No Game (No. 2) (04:22)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/4bvzbv7r" target="_blank">TurboBit</a> <a href="https://tinyurl.com/mwcyjscd" target="_blank">KatFile</a> <a href="https://goo.su/7hBl7P7" target="_blank">FikPer</a> <a href="https://goo.su/IvCRyG" target="_blank">FreeDlink</a> <a href="https://goo.su/9GtZt" target="_blank">UpLoady</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a> <a href="https://uploady.io/users/LedZep" target="_blank">UpLoady</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-80696564444514442002024-03-15T09:00:00.000-07:002024-03-15T09:00:26.457-07:00Jimi Hendrix - Crash Landing (1975)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFWZuU4SJgL4ZlxQth2G-GYgjBKLlQcOjDTjBOUVy8uY36LQWT44pTCljQyNv5dLF06jgZds7XP3_mthv0PUq5wJgT81ZY1ErYOpF856RN4jEkhF9hb_uYeA55F5TvT11BLJc6Sua2nPW1KaoM4CaP6s5p-nyWy0e8ALemuUZRVBRwCo1jMabr0bv0FtU/s340/JimiHendrix75CrashLanding_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFWZuU4SJgL4ZlxQth2G-GYgjBKLlQcOjDTjBOUVy8uY36LQWT44pTCljQyNv5dLF06jgZds7XP3_mthv0PUq5wJgT81ZY1ErYOpF856RN4jEkhF9hb_uYeA55F5TvT11BLJc6Sua2nPW1KaoM4CaP6s5p-nyWy0e8ALemuUZRVBRwCo1jMabr0bv0FtU/s320/JimiHendrix75CrashLanding_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>March 1975 (CD 1988)</b></span><br />Label: <span style="color: red;"><b>Polydor Records (Germany), 827 932-2</b></span><br />Style: <span style="color: red;"><b>Rock</b></span><br />Country: <span style="color: red;"><b>Seattle, Washington, U.S. (November 27, 1942 - September 18, 1970)</b></span><br />Time: <span style="color: red;"><b>29:56</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>200 Mb</b></span><br /><p>Charts: UK #5, US #35, Canada #5. US: Gold (RIAA. Recording Industry Association of America).<br />In the '70s, there was no shortage of posthumous Jimi Hendrix releases. Reprise and other labels knew that Hendrix's fans were an incredibly loyal and devoted bunch, and they knew that serious collectors would snag any Hendrix LP they could get their hands on. One of those posthumous releases was Crash Landing, which Reprise assembled in 1975. The LP's best-known tracks include "Message to Love" and "With the Power," both of which find Hendrix leading his Band of Gypsys power trio. Also enjoyable is a remake of the famous "Stone Free." But despite the presence of some gems, Crash Landing isn't essential -- this record is strictly for collectors, and they are the ones who will want to hear such rarities as "Captain Coconut" (a psychedelic instrumental) and "Peace in Mississippi" (which is also instrumental and is the heaviest thing on the album). Listening to "Peace in Mississippi," it isn't hard to see why Hendrix has been described as the first heavy metal artist -- he was certainly a major influence on such early headbangers as Led Zeppelin, Black Sabbath, Budgie and Deep Purple. Novices would do well to skip this LP and start out with essential titles like Are You Experienced?, Electric Ladyland and Axis: Bold as Love, but those who are seriously into Hendrix will find that Crash Landing isn't a bad record to have in their collections.<br />(allmusic.com/album/crash-landing-mw0000195022)<br /></p><p>01. Message To Love (03:15)<br />02. Somewhere Over The Rainbow (03:32)<br />03. Crash Landing (04:18)<br />04. Come Down Hard On Me (03:18)<br />05. Peace In Mississippi (04:22)<br />06. With The Power (03:37)<br />07. Stone Free Again (03:27)<br />08. Captain Coconut (04:04)<br /></p><p><span style="font-size: medium;">Dowmload: <b><a href="https://tinyurl.com/3ftu3fcn" target="_blank">TurboBit</a> <a href="https://tinyurl.com/3j59zey6" target="_blank">KatFile</a> <a href="https://goo.su/TbCYpsl" target="_blank">FikPer</a> <a href="https://goo.su/Kx4nVzL" target="_blank">FreeDlink</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-58181808290855229272024-03-14T11:12:00.000-07:002024-03-14T11:12:22.343-07:00Elton John - Goodbye Yellow Brick Road [Vinyl Rip. 2LP] (1973)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJciaDGtIYmpoKw-5aF4hEON86ADRUvY-IvMaXTiWiNIjDTSh50POyqr-qBtQG-VmPKXRztOjiW9qReM8q251P_40Lnv6OHzR8uBDJy43sIR2Ijo11PigvAfNdvFtFD6e5A0Dc9bUKeQ6lYzw1WO6l_IP5Yd0744xCyAJOnKImMBIMXXYJJP4hMNt2UTw/s340/EltonJohn73GoodbyeYellow_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJciaDGtIYmpoKw-5aF4hEON86ADRUvY-IvMaXTiWiNIjDTSh50POyqr-qBtQG-VmPKXRztOjiW9qReM8q251P_40Lnv6OHzR8uBDJy43sIR2Ijo11PigvAfNdvFtFD6e5A0Dc9bUKeQ6lYzw1WO6l_IP5Yd0744xCyAJOnKImMBIMXXYJJP4hMNt2UTw/s320/EltonJohn73GoodbyeYellow_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>5 October 1973 (LP 1980)</b></span><br />Label: <span style="color: red;"><b>Direct Disk Labs (US), SD-2-16614</b></span><br />Style: <span style="color: red;"><b>Rock, Pop Rock, Glam Rock</b></span><br />Country: <span style="color: red;"><b>Pinner, Middlesex, England (25 March 1947)</b></span><br />Time: <span style="color: red;"><b>76:10</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>464 Mb</b></span><br /><p>Rip by PBTHAL.<br />Goodbye Yellow Brick Road is the seventh studio album by English singer, pianist, and composer Elton John, first released on 5 October 1973 as a double album by DJM Records. The album has sold more than 20 million copies worldwide and is widely regarded as John's magnum opus. Among the 17 tracks, the album contains the hits "Candle in the Wind," US number-one single "Bennie and the Jets," "Goodbye Yellow Brick Road" and "Saturday Night's Alright for Fighting", along with the live favourite "Funeral for a Friend/Love Lies Bleeding."<br />Recorded at the Studio d'enregistrement Michel Magne at the Chateau d'Herouville in France, the album became a double LP once John and his band became inspired by the locale. The album was inducted into the Grammy Hall of Fame in 2003, and continues to be highly regarded in various rankings. It was ranked number 112 on Rolling Stone's 2020 list of the "500 Greatest Albums of All Time".<br />(en.wikipedia.org/wiki/Goodbye_Yellow_Brick_Road)</p><p>01. A1a Funeral For A Friend (05:27)<br />02. A1b Love Lies Bleeding (05:40)<br />03. A2 Candle In The Wind (03:48)<br />04. A3 Bennie And The Jets (05:20)<br />05. B1 Goodbye Yellow Brick Road (03:14)<br />06. B2 This Song Has No Title (02:22)<br />07. B3 Grey Seal (04:00)<br />08. B4 Jamaica Jerk-Off (03:37)<br />09. B5 I've Seen That Movie Too (05:57)<br />10. C1 Sweet Painted Lady (03:53)<br />11. C2 The Ballad Of Danny Bailey (04:22)<br />12. C3 Dirty Little Girl (05:02)<br />13. C4 All The Girls Love Alice (05:08)<br />14. D1 Your Sister Can't Twist (But She Can Rock And Roll) (02:42)<br />15. D2 Saturday Night's Alright For Fighting (04:54)<br />16. D3 Roy Rogers (04:08)<br />17. D4 Social Disease (03:41)<br />18. D5 Harmony (02:46)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/4zvzmacx" target="_blank">TurboBit</a> <a href="https://tinyurl.com/c4w6uaes" target="_blank">KatFile</a> <a href="https://goo.su/OG8Z" target="_blank">FikPer</a> <a href="https://goo.su/eTbJs8O" target="_blank">FreeDlink</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56" target="_blank">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0tag:blogger.com,1999:blog-393015004412820102.post-38362217185945714192024-03-13T12:59:00.000-07:002024-03-13T12:59:25.674-07:00Dexter Gordon - A Swingin' Affair (1962)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQhxAb9-adrGnvLLN0nBYI6khtcJ08Egqq8Mv2nbggsIoAlDrJRivk9rc7IBSFPabwDiDR8lt2Dc08WlCVYIszZCgxcxdyI2FUkZ1McXk62ZvSq5YUw91HQo6jGrmiuB8oanjrmthhb9yfivVdTP1xp1p3Ch3MePUgyMQx5Hj23Lop6OYPN4503JFCv8o/s340/DexterGordon62ASwinginAffair_340.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQhxAb9-adrGnvLLN0nBYI6khtcJ08Egqq8Mv2nbggsIoAlDrJRivk9rc7IBSFPabwDiDR8lt2Dc08WlCVYIszZCgxcxdyI2FUkZ1McXk62ZvSq5YUw91HQo6jGrmiuB8oanjrmthhb9yfivVdTP1xp1p3Ch3MePUgyMQx5Hj23Lop6OYPN4503JFCv8o/s320/DexterGordon62ASwinginAffair_340.jpg" width="320" /></a></div>Year: <span style="color: red;"><b>Recorded August 29, 1962/Released Early October 1964 (CD 2006)</b></span><br />Label: <span style="color: red;"><b>Blue Note Records (Europe), 0946 3 55501 2 2</b></span><br />Style: <span style="color: red;"><b>Jazz, Bop, Saxophone Jazz</b></span><br />Country: <span style="color: red;"><b>Los Angeles, California, U.S. (February 27, 1923 - April 25, 1990)</b></span><br />Time: <span style="color: red;"><b>38:29</b></span><br />Format: <span style="color: red;"><b>Flac Tracks 16/44,1 kHz</b></span><br />Size: <span style="color: red;"><b>279 Mb</b></span><br /><p>A Swingin’ Affair was the second of Gordon’s 1962 recorded Blue Note sessions, taped a day after the similarly iconic Go. Connoisseurs of the label will doubtless fondly remember the original red-washed cover shot of a laughing Dexter and Barbara Long’s evocative sleeve notes. Buyers of this reissue will find the former added – minute-sized and seemingly as an afterthought – on the back cover, while the latter are slashed in half for no readily apparent reason. One can only hope that the current owners of the Blue Note catalogue will come up with the definitive answer to all this revisionist nonsense in what is the label’s 80th anniversary year. Fingers crossed. Apart from a wholly unnecessary addition of a solo track by Sonny Clark recorded two years earlier, the albums’ musical virtues have fortunately been allowed to stand as they are, confirming that the 1960s were Gordon’s peak. Everything from the joyous opener ‘Soy Califa’ through the melancholy balladry of ‘Don’t Explain’ to the groovy ‘The Backbone’ is the stuff from which the leader’s legend was carved. However, it’s a little difficult to gauge who might buy this version, which, to this writer’s mind, is only one step up from the line of horrendously rejigged Italian bootlegs that proliferated in the 1980s. Blue Notes were always records you could judge (and which sold) by their covers: I just can’t help thinking that there’s something a tad dishonourable in trying to palm off a gatefold sleeve and a couple of photos we’ve seen already as a USP. You pays your money.<br />(jazzwise.com/reviews/review?slug=dexter-gordon-a-swingin-affair)<br /></p><p>01. Soy Califa (06:27)<br />02. Don't Explain (06:06)<br />03. You Stepped Out Of A Dream (06:34)<br />04. The Backbone (06:48)<br />05. Until The Real Thning Comes Along (06:49)<br />06. McSplivens (05:43)<br /></p><p><span style="font-size: medium;">Download: <b><a href="https://tinyurl.com/ycyh2s3r" target="_blank">TurboBit</a> <a href="https://tinyurl.com/zwrje4py" target="_blank">KatFile</a> <a href="https://goo.su/3nYQU" target="_blank">FikPer</a> <a href="https://goo.su/Ogmfm0" target="_blank">FreeDlink</a></b></span><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;">All my files: <b><a href="https://es.d-ld.net/cf06409c9c" target="_blank">TurboBit</a> <a href="https://es.d-ld.net/0a8547af56">KatFile</a> <a href="https://fikper.com/user/qFIrQHNcwp" target="_blank">FikPer</a></b></span><br /></p>George Serhttp://www.blogger.com/profile/02643416559108784829noreply@blogger.com0