30 March, 2010


Sonny Rollins - Way Out West (1957) (xrcd24) (eac-flac-cover)

Sonny Rollins - Way Out West (1957) (xrcd24)
jazz | 1cd | eac-flac-cue-log-cover | 360MB
JVC | xrcd24 | rar +5% recovery
The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic.

1. I'm An Old Cowhand
2. Solitude
3. Come, Gone
4. Wagon Wheels
5. There Is No Greater Love
6. Way Out West
7. Come, Gone (alternate take)
8. Way Out West (alternate take)

Sonny Rollins - tenor sax
Ray Brown - bass
Shelly Manne - drums
r c

29 March, 2010


Leonard Cohen - Songs Of Love And Hate (1971) (SONY2007) (eac-flac-cover)

Leonard Cohen - Songs Of Love And Hate (1971) (SONY2007)
rock | 1cd | eac-flac-cue-log-cover | 295MB
Sony | rar +5% recovery
Songs of Love and Hate is one of Leonard Cohen's most emotionally intense albums — which, given the nature of Cohen's body of work, is no small statement. While the title Songs of Love and Hate sums up the album's themes accurately enough, it's hardly as simple as that description might lead you to expect — in these eight songs, "love" encompasses the physical ("Last Year's Man"), the emotional ("Famous Blue Raincoat"), and the spiritual ("Joan of Arc"), and the contempt in songs like "Dress Rehearsal Rag" and "Avalanche" is the sort of venom that can only come from someone who once cared very deeply. The sound of the album is clean and uncluttered, and for the most part the music stays out of the way of the lyrics, which dominate the songs. Thankfully, Cohen had grown noticeably as a singer since his first two albums, and if he hardly boasts a range to rival Roy Orbison here, he is able to bring out the subtleties of "Joan of Arc" and "Famous Blue Raincoat" in a way his previous work would not have led you to expect. And while Bob Johnston's production is spare, it's spare with a purpose, letting Cohen's voice and guitar tell their stories and using other musicians for intelligent, emotionally resonant punctuation (Paul Buckmaster's unobtrusive string arrangements and the use of a children's chorus are especially inspired). And Songs of Love and Hate captured Cohen in one of his finest hours as a songwriter, and the best selections (especially "Famous Blue Raincoat," "Joan of Arc," and "Love Calls You by Your Name") rank with the most satisfying work of his career. If Songs of Love and Hate isn't Cohen's best album, it comes close enough to be essential to anyone interested in his work.

1. "Avalanche" – 5:07
2. "Last Year's Man" – 6:02
3. "Dress Rehearsal Rag" – 6:12
4. "Diamonds in the Mine" – 3:52
5. "Love Calls You by Your Name" – 5:44
6. "Famous Blue Raincoat" – 5:15
7. "Sing Another Song, Boys" (live at the Isle of Wight Festival 30-08-1970) – 6:17
8. "Joan of Arc" – 6:29
9. "Dress Rehearsal Rag" (bonus track, early version, an outtake recorded during the Songs From a Room sessions in 1968) – 5:37
r c

28 March, 2010


Primus - Sailing The Seas Of Cheese (1991) (eac-flac-cover)

Primus - Sailing The Seas Of Cheese (1991)
alternative | 1cd | eac-flac-cue-log-cover | 280MB
Interscope | rar +5% recovery
The first Primus album to achieve much widespread airplay (thanks to its release on a major), and the one that broke them on MTV, Sailing the Seas of Cheese completely redefined the possibilities of the electric bass in rock music for those who'd never heard the group before. Slapping like a funk player, but strumming power chords and finger-tapping like a metal guitar hero, Les Claypool coaxed sounds from his instrument that had rarely if ever been made the focus of a rock band. Claypool's riffs were so full and dominant that they hardly needed to be doubled by guitarist Larry LaLonde (and wouldn't have had the same effect anyway), which freed him up on most songs to launch into dissonant, atonal solos that essentially functioned as texture, complementing Claypool's oddly whimsical sense of melody. The combination results in a weird atmosphere that could be transformed into something dark or eerie, but Claypool's thin, nasal voice and demented blue-collar persona place the record firmly in the realm of the cheerfully bizarre. The compositions are mostly riff-driven, fleshing out their heavy metal roots with prog rock tricks from Rush and Frank Zappa, as well as the novelty side of Zappa's sense of humor. The willful goofiness may alienate some listeners, but it can also obscure some genuinely dark humor, and it never detracts from the band's frequently stunning musicianship. Somewhat analogous to jazz trumpeter Dizzy Gillespie, Claypool hasn't inspired many direct imitators because of his tremendous feats of dexterity. But his stature as a virtuoso able to take his instrument into previously undreamed-of realms is without question. Though Sailing the Seas of Cheese tones down Primus' penchant for jamming, it's the tightest, most song-oriented representation of their jaw-dropping, one-of-a-kind style.

1. "Seas of Cheese" 0:42
2. "Here Come the Bastards" 2:55
3. "Sgt. Baker" 4:16
4. "American Life" 4:32
5. "Jerry Was a Race Car Driver" 3:11
6. "Eleven" 4:19
7. "Is It Luck?" 3:27
8. "Grandad's Little Ditty" 0:37
9. "Tommy the Cat" 4:15
10. "Sathington Waltz" 1:42
11. "Those Damned Blue-Collar Tweekers" 5:20
12. "Fish On (Fisherman Chronicles, Chapter II)" 7:45
13. "Los Bastardos" 2:39

* Les Claypool – electric bass, string bass, six-string fretless bass, clarinet, vocals
* Larry LaLonde – electric guitar, six-string banjo
* Tim "Herb" Alexander – drums, water jug
r c

27 March, 2010


John Coltrane - The Last Trane (1958) (eac-flac-cover)

John Coltrane - The Last Trane (1958)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
OJC | rar +5% recovery
Despite its title (which was due to the original LP containing the last of Prestige's John Coltrane material to be released for the first time), this album does not have Coltrane's final recordings either of his career or for Prestige. These "leftovers" are generally rewarding with an alternate take of "Trane's Slo Blues" (called "Slotrane") being joined by three slightly later numbers ("Lover," "By the Numbers" and "Come Rain or Come Shine") taken from quintet sessions with trumpeter Donald Byrd, pianist Red Garland, bassist Paul Chambers and either Louis Hayes or Art Taylor on drums. Enjoyable if not essential hard bop from John Coltrane's productive Prestige period.
Recorded August 16, 1957, January 10, 1958 and March 26, 1958 in Hackensack, NJ.

01 - Lover
02 - Slowtrane
03 - By The Numbers
04 - Come Rain Or Come Shine

* John Coltrane — tenor saxophone
* Donald Byrd — trumpet (tracks 1,4)
* Red Garland — piano (tracks 1,3,4)
* Paul Chambers — bass (tracks 1,3,4)
* Earl May — bass (track 2)
* Art Taylor — drums (track 2,3)
* Louis Hayes — drums (tracks 1,4)
r c

26 March, 2010


Primus - Frizzle Fry (1990) (2002rem) (eac-flac-cover)

Primus 1990 - Frizzle Fry (2002rem)
alternative | 1cd | eac-flac-cue-log-cover | 400MB
Prawn Song Records | rar +5% recovery
Primus' first studio album wouldn't necessarily be a surprise to anyone familiar with their Suck on This days, not least because a good chunk of that album ended up being represented here. Not that this was surprising, but what was pleasant was how well and easily the at-once frenetic and extremely precise way the trio had around its spastic rhythms, translated into a great effort away from the stage. Certainly the fact that Les Claypool had once tried out for Metallica was clear enough with the doomy metal opening of "To Defy the Laws of Tradition," but once Claypool started singing about brides choosing colors other than white for marriages, the band's own world came to the fore. It's pretty easy to see in retrospect how much of a melange went into the group's work. Nods but thankfully few outright steals to everything from Frank Zappa's arch humor and Funkadelic's sprawl to the Police's early, spare effectiveness crop up and, indeed, so does plenty of Metallica (the title track's extreme climax in particular). But whether it's due to Claypool's reedy, whacked-out voice or the fact that just about every song seems like it could be a soundtrack to a moshpit gone wild, something about Frizzle Fry is ultimately and perfectly of its time and place. The tightly wired and wound lope of "John the Fisherman" probably remains the most concentrated blast of them all, but nods should also go to the grinding march/stomp "Too Many Puppies," with its wry and worried vision of an overcrowded future, and the equally slow death crunch of "The Toys Go Winding Down." Then there's the already established live fave "Pudding Time," which is one of the goofiest anti-celebrations of consumer culture around; and all the better for it.

1. To Defy the Laws of Tradition
2. Groundhog's Day
3. Too Many Puppies
4. Mr. Know It All
5. Frizzle Fry
6. John the Fisherman
7. You Can't Kill Michael Malloy
8. The Toys Go Winding Down
9. Pudding Time
10. Sathington Willoby
11. Spegetti Western
12. Harold of the Rocks
13. To Defy
14. Helly Skinny/Constantinople (bonus track)

Les Claypool - Bass, Vocals
Larry LaLonde - Guitar
Tim Alexander - Drums
r c

25 March, 2010


Leonard Cohen - Songs From A Room (1969) (SONY2007) (eac-flac-cover)

Leonard Cohen - Songs From A Room (1969) (Sony2007)
Rock | 1cd | eac-flac-cue-log-cover | 240MB
Sony | rar +5% recovery
Leonard Cohen's first album was an unqualified triumph which announced the arrival of a bold and singular talent, and many who heard it must have wondered what Cohen could do for an encore. By comparison, Cohen's second album, 1969's Songs from a Room, was something of a letdown. While it's a fine LP, it ultimately feels neither as striking nor as assured as Songs of Leonard Cohen. Bob Johnston stepped in as producer for Songs from a Room, and his arrangements are simpler than those John Simon crafted for the debut, but they're also full of puzzling accents, such as the jew's harp that punctuates several tracks, the churchy organ line in "The Old Revolution," and the harsh synthesizer flourishes on "A Bunch of Lonesome Heroes." Johnston also had trouble coaxing strong vocal performances from Cohen; his singing here sounds tentative and his meter is uncertain, which regardless of how one feels about Cohen's much-debated vocal prowess is not the case with his other work. And finally, the quality of the songs on Songs from a Room is less consistent than on Songs of Leonard Cohen; as fine as "Bird on a Wire," "You Know Who I Am," "The Story of Isaac" and "Seems So Long Ago, Nancy" may be, "The Butcher" and "A Bunch of Lonesome Heroes" simply aren't up to his usual standards. Despite the album's flaws, Songs from a Room's strongest moments convey a naked intimacy and fearless emotional honesty that's every bit as powerful as the debut, and it left no doubt that Cohen was a major creative force in contemporary songwriting.

01. "Bird on the Wire" – 3:28
02. "Story of Isaac" – 3:38
03. "A Bunch of Lonesome Heroes" – 3:18
04. "The Partisan"- 3:29
05. "Seems So Long Ago, Nancy" – 3:41
06. "The Old Revolution" – 4:50
07. "The Butcher" – 3:22
08. "You Know Who I Am" – 3:32
09. "Lady Midnight" – 3:01
10. "Tonight Will Be Fine" – 3:53
11. "Like a Bird (Bird on the Wire)" – 3:21
12. "Nothing to One (You Know Who I Am)" – 2:17

* Ron Cornelius - acoustic & electric guitar
* Bubba Fowler - banjo, bass, violin, acoustic guitar
* Charlie Daniels - bass, violin, acoustic guitar
* Bob Johnston - production, keyboards
* Neil Wilburn - engineer
r c

23 March, 2010


Art Pepper - The Way It Was! (MFSL) (1972) (eac-flac-cover)

Art Pepper - The Way It Was! (MFSL) (1972)
jazz | 1cd | eac-flac-cue-log-cover | 335MB
MFSL Ultradisc SACD | rar +5% recovery 
Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. This collection is better than most. The first four titles team together Pepper with tenor saxophonist Warne Marsh, pianist Ronnie Ball, bassist Ben Tucker, and drummer Gary Frommer for generally intriguing explorations of four standards. One can feel the influence of Lennie Tristano (with Pepper in Lee Konitz's place), although Pepper had his own sound and a more hard-swinging style. The success of the Pepper-Marsh front line makes one wish that they had recorded together again. The other three selections are leftovers from a trio of classic Pepper albums, and all are quite worthwhile. Pepper is heard backed by three separate rhythm sections, which include pianists Red Garland, Dolo Coker, or Wynton Kelly; either Paul Chambers or Jimmy Bond on bass; and Philly Joe Jones, Frank Butler, or Jimmy Cobb on drums. Overall, this album sticks to bop standards and finds Art Pepper in top form.

Recorded between 1956 & 1960. Originally released on Contemporary (7630)

1. I Can't Believe That You're In Love With Me
2. All The Things You Are
3. What's New
4. Tickle Toe
5. The Man I Love
6. Autumn Leaves
7. The Way You Look Tonight
8. I Can't Believe That You're In Love With Me (alternate take)
9. All The Things You Are (alternate take)

Art Pepper (alto saxophone);
Warne Marsh (tenor saxophone);
Dolo Coker, Red Garland, Ronnie Ball, Wynton Kelly (piano);
Ben Tucker, Paul Chambers, Jimmy Mond (bass);
Frank Butler, Gary Frommer, Jimmy Cobb , Philly Joe Jones (drums)


Primus - Suck on This (1990) (eac-flac-cover)

Primus - Suck on This (1990)
alternative | 1cd | eac-flac-cue-log-cover | 310MB
Interscope | rar +5% recovery
The first Primus album was actually a fairly canny way for the band to get itself recorded — like a number of other acts from the late '80s and after, the trio decided to simply record a couple of live shows for its debut. This has the advantage of not only demonstrating Primus' undeniable live flair for art/prog rock/funk of its own devising, but capturing an already rabid fan base getting off on it big-time. That said, a good chunk of the album ended up in studio form on Frizzle Fry the following year, so aside from hyperfans Suck on This is going to be a bit of a secondary listen, though many of those same fans would claim it as the superior release. Certainly the band is flat-out throughout, its tempo-shifting riffing and Funkadelic-meets-Rush rhythm explosions benefiting from a fairly crisp recording. The downside is that Les Claypool's voice is sometimes searching for breath or a touch buried in the mix, though — songs like the merry grind of "John the Fisherman" and "Harold of the Rocks" suffer a little for it. Still, anyone who likes the Zappa/Beefheart goofy voice approach Claypool is fond of will be perfectly happy with his nutty lip-flapping on songs like "Groundhog's Day" and "Pudding Time." The highlight is probably "Tommy the Cat," an early favorite that didn't surface in the studio until Sailing the Seas of Cheese. Here, sans Tom Waits cameo, it's a rollicking explosion of beatnik rant and spastic lust, while the band makes one hell of a righteous noise unto the heavens. Various stage-patter snippets and other odd moments — at one point Claypool cheerily asks the crowd to proclaim Larry Lalonde a bastard, while elsewhere the band's slogan "We're Primus and we suck" takes a bow — fill out the disc.

1 - John the Fisherman
2 - Groundhog's Day
3 - Heckler
4 - Pressman
5 - Jellikit
6 - Tommy the Cat
7 - Pudding Time
8 - Harold of the Rocks
9 - Frizzle Fry

Recorded live at the Berkeley Square on 2/25/89 and 3/5/89.
r c

22 March, 2010


Arvo Part - Stabat Mater etc (2004) (eac-flac-cover)

Arvo Part - Stabat Mater/Magnificat/Nunc Dimittis etc (2004)
classical, contemporary | 1cd | eac-flac-cue-log-cover | 305MB
black Box | rar +5% recovery

Though some of the longer items here have been recorded before, this very nicely packaged and recorded disc from Black Box gives a useful overview of Part’s choral, vocal and instrumental work. Anyone familiar with this composer’s musical make-up will know what to expect, with all its strengths and limitations, but here there are one or two surprises.
Chief among these has to be the two Piano Sonatinas, the composer’s official opus 1 and written when he was still in his twenties. I’ve always found it fascinating to hear composers’ student works, before any ‘style’ as we come to know it, takes hold. Here, you would be very hard pressed to name Part as the composer, such are the influences. The opening toccata-like allegro immediately brings Prokofiev to mind - with Shostakovich lurking somewhere too - and the harmonic palette of Hindemith also gets a strong look-in. They’re lively, very engaging pieces, and I supposed it’s hardly surprising to find the young composer influenced in such a way. We could all name others from the early-middle 20th Century. It puts the later music into proper perspective and, rather like Ligeti, whose early pieces are so Bartokian, when the true ‘voice’ emerges we understand more fully the journey the composer has undertaken.
The largest work here is the Stabat Mater, already excellently recorded by the Hilliards on ECM and here receiving another dedicated performance. It comes from 1985 and underlines the centrality of Part’s Christian faith and influence, from Renaissance and Medieval vocal style to his now-famous use of tintinnabulation and the symbolism of the number 3. Scored for soprano, countertenor and tenor with string trio, it is distinguished by extreme simplicity of utterance and is almost totally static in harmonic and melodic movement, such a contrast to the feverish ‘busy-ness’ of the piano works. This music, as with other composers who subscribe to this ‘holy minimalism’, invites one to share a kind of mystic experience, one where hypnotic repetition replaces any conventional musical argument. You could say you have to be in the right mood, but if you are, it’s mightily effective.
The same is true of possibly the most famous work on the disc, Spiegel im Spiegel (Mirror in the Mirror), plunged even more into the public domain by its constant use in the BBC’s recent and riveting holocaust documentary ‘Auschwitz’. This piece has also been recorded before, most notably by Tasmin Little and Martin Roscoe in their excellent CFP collection, but here the performers choose a slightly quicker tempo, a decision which makes the work even more powerful. This really is quintessential Part, a distillation of his life’s work, poignant, simple, expressive, incantatory and, in every sense timeless, hence, I would imagine, the reason it was picked to play as background to the horrors of man’s inhumanity to man.
The short pieces for counter-tenor are also revealing. Es Sang vor Langen Jahren (She sang so many years ago) features on the afore-mentioned ECM disc and together with the later Burns setting My Heart’s in the Highlands, display an ambience which, to quote Paul Riley’s excellent notes ‘reconcile wide-open grandeur with exquisitely plotted understatement’.
The performances are uniformly superb and the recordings, as mentioned, are also excellent, despite a variety of venues. Full marks and a big thank you to Black Box for providing texts and translations. This is a very appropriate birthday gift for the composer, who turns 70 later this year (2005).

Es Sang vor Langen Jahren (1984) [6’38]
Stabat Mater (1985) [23’55]
Magnificat (1989) [6’33]
Nunc Dimittis (2001) [6’39]
My Heart’s in the Highlands (2000) [7’37]
Zwei Sonatinen for piano, Op.1 (1958/9) [12’54]
Spiegel im Spiegel (1978) [9’34]

Stephen De Pledge (piano)
Stephen Wallace (counter-tenor)
Choir of St. Mary’s Cathedral, Edinburgh
Chamber Domain/Matthew Owens (conductor and organ)

Recorded at Gateway Studios, Kington, Surrey, St. Mary’s Cathedral, Edinburgh and Champs Hill, Pulborough, all March 2002

21 March, 2010


Wayne Shorter - Super Nova (1969) (eac-flac-cover)

Wayne Shorter - Super Nova (1969) (eac-flac-cover)
jazz | 1cd | eac-flac-cue-log-cover | 240MB
BN | rar +5% recovery
This CD reissue brings back an important transitional album for tenor-saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including "Water Babies" which had been recorded previously by Miles Davis) and Antonio Carlos Jobim's "Dindi." He definitely used a forward-looking group of sidemen for his "backup band" includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for "Dindi," bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums and percussionist Airto; Maria Booker takes a vocal on the touching version of "Dindi." The influence of Miles Davis' early fusion period is felt throughout the music but there is nothing derivative about the often-surprising results. As with Wayne Shorter's best albums, this set rewards repeated listenings.

01 - Super Nova
02 - Swee-Pea
03 - Dindi
04 - Water Babies
05 - Capricorn
06 - More Than Human

Wayne Shorter (soprano sax), Sonny Sharrock (guitar), John McLaughlin (guitar), Miroslav Vitous (bass), Chick Corea (keyboards), Jack DeJohnette (drums)

19 March, 2010


Eric Dolphy - The Illinois Concert (1963) (eac-flac-cover)

Eric Dolphy - The Illinois Concert (1963)
jazz | 1cd | eac-flac-cue-log-cover | 305MB
BN | rar +5% recovery
The 1999 discovery of a previously unknown 1963 concert by Eric Dolphy makes it one of the finds of the decade. Taped for broadcast at the University of Illinois at Champaign, it was mentioned in an Eric Dolphy Internet chat room and eventually relayed to producer Michael Cuscuna. The sound is very good, except for overly prominent drums throughout the concert and an under-miked flute on "South Street Exit." Dolphy's playing is consistently rewarding, including a lengthy workout of "Softly, As in a Morning Sunrise," a miniature of "Something Sweet, Something Tender," and his always superb solo feature of "God Bless the Child." He switches to alto sax for an adventurous new work, "Iron Man" (which he would record a few months later for Douglas International), also inserting a hilarious quote of "Comin' Through the Rye." A 23-year-old Herbie Hancock on piano, Eddie Locke on bass, and drummer J. C. Moses make up the solid rhythm section. The last two tracks, "Red Planet" and Dolphy's "G.W.," add the support of the University of Illinois Brass Ensemble, which included a young Cecil Bridgewater on trumpet. Highly recommended!

Recorded live at the University of Illinois, Champaign, Illinois on March 10, 1963.

1 Softly, As in a Morning Sunrise 20:17
2 Something Sweet, Something Tender 1:28
3 God Bless the Child 8:45
4 South Street Exit 7:30
5 Iron Man 10:57
6 Red Planet 12:26
7 G.W. 7:40

Personnel: Eric Dolphy (flute, bass clarinet, alto saxophone); Vince Johnson, Kim Richmond (reeds); Bruce Scafe, Dick Montz, Larry Franklin (trumpet); Jon English , Bob Edmondson (trombone); Aaron Johnson (tuba); Ralph Woodward, Cecil Bridgewater (brass); Herbie Hancock (piano); J.C. Moses (drums).

18 March, 2010


Roy Harper - Flashes From the Archives of Oblivion (1974) (eac-flac-cover)

Roy Harper - Flashes From the Archives of Oblivion (1974)
Rock | 1cd | eac-flac-cue-log-cover | 425MB
Science Friction  | rar +5% recovery
By the time Flashes From the Archives of Oblivion was released in 1974, Roy Harper had already released seven albums and had even opened for Led Zeppelin during their ninth American tour. Nonetheless, Harper was still a virtual unknown in the States, and only a minor figure in England, albeit one with an impressive name-dropping list. While Flashes did not change Harper's obscurity, it did serve as an effective summation of his stunning live work. Numbers like "Commune," "Me and My Woman," and "South Africa" all highlight Harper's beautiful voice, poetic lyrics, and startling acoustic guitar technique. Jimmy Page plays slide guitar on "Male Chauvinist Pig Blues," which legend has it was recorded at Royal Albert Hall in 1973. The liner notes are not forthcoming as to the origin of the tracks, stating they were recorded at various concerts in England at one time or another. While this lack of information is mildly irritating, it does not diminish the effectiveness of the songs. The CD version of Flashes lacks three songs found on the LP, and is actually stronger because of it. Two of those songs were recorded on Valentine's Day in 1974 and are rather sloppy, despite featuring Keith Moon and members of Led Zeppelin. The third song is a studio cut with Ian Anderson on flute. Completists can find these three tracks on the CD reissue of Valentine, where they aren't quite as incongruous. Harper's next two efforts, HQ and Bullinamingvase, included working bands and were much more rock-oriented than his solo efforts. But as an introduction to Harper's acoustic era, Flashes From the Archives of Oblivion is an ideal choice.

1. "Commune"
2. "Don't You Grieve"
3. "Twelve Hours of Sunset"
4. "Kangaroo Blues"
5. "All Ireland"
6. "Me and My Woman"
7. "South Africa"
8. "Highway Blues"
9. "One Man Rock & Roll Band"
10. "Another Day"
11. "M.C.P. Blues"

17 March, 2010


This Mortal Coil - Discography (lossless) (eac-flac-cover)

This Mortal Coil - Discography
alternative | EAC rip | Logs | covers
rar+5% recovery
AMG bio:
The gothic dream pop collective This Mortal Coil was one of the most representative bands on the 4AD label, not least because they were run by 4AD president and co-founder Ivo Watts-Russell. Whether they played covers (of Watts-Russell's favorite artists) or originals, their material epitomized the haunting, ethereal sound that came to be associated with the label. Lush, swirling arrangements drenched in echo, reverb, and other effects were the project's stock-in-trade, often approaching ambient music. A rotating cast of vocalists and musicians supplied the sounds heard on record, all overseen by Watts-Russell and co-producer John Fryer. A studio entity only, the group started out as something of a 4AD all-star unit, but evolved into a way for Watts-Russell to collaborate with up-and-comers and other artists not signed to his label. Whoever was performing, the music was united by its gentle surges of melancholy and by Watts-Russell's highly influential aesthetic.Watts-Russell grew up in England's Northamptonshire area, more than an hour's drive north of London. In lieu of college, he worked in record stores, eventually hooking up with the Beggars Banquet retail chain, which had formed its own label. He and colleague Peter Kent co-founded 4AD in 1980 with financial support from Beggars Banquet, and initially signed post-punk acts like Modern English and the Birthday Party. Kent departed after a few years, and Watts-Russell took the label in a more atmospheric direction, making signature signings in Cocteau Twins and Dead Can Dance. The idea for This Mortal Coil germinated around that time; having been unsuccessful in convincing Modern English to record a covers medley that closed their concerts, Watts-Russell decided to do it himself. Gordon Sharp (of Cindytalk) and Lisa Gerrard (Dead Can Dance) supplied vocals on it and the intended B-side, a lovely cover of Tim Buckley's "Song to the Siren."From there the project snowballed, and Watts-Russell eventually assembled enough material for an album. Released in 1984, It'll End in Tears featured musical efforts from 4AD staples like Robin Guthrie and Simon Raymonde (Cocteau Twins), Steven and Martyn Young (Colourbox), Brendan Perry (Dead Can Dance), and Mark Cox (Wolfgang Press), among others, with vocals from Gerrard, Sharp, Modern English's Robbie Grey, and Howard Devoto (Buzzcocks/Magazine). Watts-Russell and Fryer handled any additional instruments or programmed loops as needed. The track listing featured two songs from Big Star's Third/Sister Lovers, plus numbers by Roy Harper and Wire's Colin Newman, in addition to band originals. It'll End in Tears helped crystallize 4AD's emerging signature sound, and helped win a wider audience for their stable of artists.Fryer and Watts-Russell put together a follow-up album, Filigree & Shadow, which was released in 1986. A sprawling and more varied collection, Filigree & Shadow covered songs by Tim Buckley, Colin Newman, Talking Heads, Pearls Before Swine, Gene Clark, Judy Collins, and Van Morrison in between the original compositions. The Cocteau Twins' Simon Raymonde was still a significant presence, and string player/arranger Martin McCarrick took a bigger role this time around; Steven Young and Mark Cox both returned, and members of Dif Juz were also prominent. Most vocals were by Dominic Appleton (also of Breathless), Deirdre and Louise Rutkowski, and a pre-dance diva Alison Limerick.Much of the same core cast -- Watts-Russell, Fryer, McCarrick, Appleton, Limerick, and the Rutkowskis -- was on hand for the third and final This Mortal Coil album, the tighter Blood, issued in 1991. New guest vocalists included Caroline Crawley of Shelleyan Orphan, Kim Deal and Tanya Donelly of the Breeders, and Heidi Berry. Covers this time out included two by Big Star's Chris Bell, Rain Parade, Spirit, Syd Barrett, and Rodney Crowell, among others. Watts-Russell had announced that he would retire the This Mortal Coil name following Blood, and remained true to his word. In 1993, he issued a limited-edition CD box set, 1983-1991, which packaged all three of the group's albums, plus a bonus disc featuring original versions of many of their covers. In 1998, Watts-Russell formed a similar but somewhat sparser project dubbed the Hope Blister.

01 1984 - It'll End In Tears

02 1986 - Filigree & Shadow

03 1991- Blood


This Mortal Coil - Blood (1991) (eac-flac-cover)

This Mortal Coil - Blood (1991)
alternative | 1cd | eac-flac-cue-log-cover | 420MB
4AD | rar +5% recovery
I got blood some months back, after falling in love with It'll End In Tears years ago, then discovering Filigree and Shadow and finding the beauty in that maze of lushness. Blood is no exception, it's the most different of the three This Mortal Coil records, much more consistent in mood and much more drenched with strings. But this record takes you on a journey to another place, to places so beautiful, the tracks on this record blend so wonderfully and are so perfect. Those strings on "the lacemaker" grab me each time. When you get to "you and your sister" it blends so well into "nature's way" and those strings and that voice . . .the comes "i come and stand at every door" one of the best tracks, sung by the ghost of a child from Hiroshima (Hiroshima Mon Amour). Then another amazing track "bitter" that goes on with it's dramatic stings. "help me lift you up" is stunning beyond stunning. I adore "til i gain control again" and "dreams are like water" which is such a perfect ending to three perfect records. I wish that there would be another This Mortal Coil record, but these are so precious, it seems that they can almost be enough. Yes, there is no "song to the siren" on Blood, but what Blood does offer is simply stunning, inovative, gorgeous, dreamy, and unique music. It will take you away, let it take you away. Ah . . .This Mortal Coil (sixteen days without sun, gathering dust the band played on again)

21 tracks

16 March, 2010


This Mortal Coil - Filigree & Shadow (1986) (eac-flac-cover)

This Mortal Coil - Filigree & Shadow (1986
alternative | 1cd | eac-flac-cue-log-cover | 360MB
4AD | rar +5% recovery
Filigree & Shadow was an album released in 1986 by Ivo Watts-Russell's supergroup, This Mortal Coil. The supergroup consists primarily of artists attached to the 4AD label, of which Ivo was the co-founder and (at the time) the owner and president. The album peaked at number two in the UK Independent Music chart, spending 16 weeks in total on the chart having entered it on 11 October 1986.
Categorically speaking, this music is considered Goth, as the songs have been described as haunting and perhaps dark, though uplifting (the first vocal track, "The Jeweller", is a good example of this). Of the 25 tracks, 13 are instrumental, including the title track.
This was the first double-LP released on 4AD, and introduced the "DAD" (for double album) prefix into the label's catalog [1]. Ivo took careful consideration in shaping the album's four sides so that they flowed together as individual wholes. This is lost somewhat on compact disc, as the entire album fits on one CD.

25 tracks


This Mortal Coil - It'll End In Tears (1984) (eac-flac-cover)

This Mortal Coil - It'll End In Tears (1984)
alternative | 1cd | eac-flac-cue-log-cover | 325MB
4AD | rar +5% recovery
It'll End in Tears was an album released in 1984 by 4AD using the name This Mortal Coil as an umbrella title for a loose grouping of guest musicians and vocalists brought together by label boss Ivo Watts-Russell. When released in late 1984, the album reached #38 on the UK Albums Chart. It features many of the artists on the 4AD roster at the time of issue, including Dead Can Dance, as well as key post-punk figure Howard Devoto, who sang "Holocaust", one of two covers of songs from the Third/Sister Lovers album by Big Star to appear on the album. The other Alex Chilton-penned track, the album opener "Kangaroo", was released as a single to promote the album. Two key songs were performed by Elizabeth Fraser of Cocteau Twins, including "Song to the Siren" by Tim Buckley; which reached #66 on the UK Charts when released as This Mortal Coil's debut single a year before the album. Their version of Buckley's haunting original showed continued popularity in alternative record shops as it spent almost 2 years on the UK Indie Chart. Fraser also performed on "Another Day" by Roy Harper, a track which has also been covered by Peter Gabriel as a duet with Kate Bush. 4AD would go on to release two further albums under the This Mortal Coil name: Filigree & Shadow (1986) and Blood (1991).

1. "Kangaroo" (Alex Chilton) – 3:30
2. "Song to the Siren" (Larry Beckett, Tim Buckley) – 3:30
3. "Holocaust" (Chilton) – 3:38
4. "Fyt" (Ivo Watts-Russell, John Fryer) – 4:23
5. "Fond Affections" (Rema-Rema) – 3:50
6. "The Last Ray" (Watts-Russell, Robin Guthrie, Simon Raymonde) – 4:08
7. "Another Day" (Roy Harper) – 2:54
8. "Waves Become Wings" (Lisa Gerrard) – 4:25
9. "Barramundi" (Raymonde) – 3:56
10. "Dreams Made Flesh" (Gerrard) – 3:48
11. "Not Me" (Colin Newman) – 3:44
12. "A Single Wish" (Gordon Sharp, Steven Young, Raymonde) – 2:26


Blue Mitchell - The Thing To Do (RVG) (1964) (eac-flac-cover)

Blue Mitchell - The Thing To Do (RVG) (1964)
jazz | 1cd | eac-flac-cue-log-cover | 285MB
BN | RVG | rar +5% recovery
This Blue Mitchell date is a classic, particularly the opening "Fungii Mama," which is really catchy. The trumpeter's quintet of the period (which includes tenor saxophonist Junior Cook, the young pianist Chick Corea, bassist Gene Taylor, and drummer Al Foster) also performs two Jimmy Heath tunes and a song apiece by Joe Henderson ("Step Lightly") and Corea. The record is prime Blue Note hard bop, containing inventive tunes, meaningful solos, and an enthusiastic but tight feel. Highly recommended.

1 Fungii Mama 7:48
2 Mona's Mood 5:17
3 he Thing to Do 7:05
4 Step Lightly 10:26
5 Chick's Tune 9:35

Blue Mitchell: Trumpet
Junior Cook: Tenor Saxophone
Gene Taylor :Bass
Chick Corea: Piano
Aloysius Foster: Drums

14 March, 2010


Keith Jarrett - Handel_Suites for Keyboard (1995) (eac-flac-cover)

Keith Jarrett - Handel_Suites for Keyboard (1995)
classical | 1cd | eac-flac-cue-log-cover | 290MB
ECM  | rar +5% recovery
Jarrett's recording of seven attractive Handel suites is, well, just delicious. His pianism, always at the service of the composer, is consistently lyrical, never rushed or hectic, with textures warm and rich. Each suite holds its own bounty, all of which Jarrett mines to the fullest. The pianist's jazz background complements the music, imbues it with a depth and humanity rarely found, especially in baroque keyboard. As well, it's more than apparent that Jarrett has made a conscious effort to get completely "inside" the composer, completely "inside" the music. He has succeeded incredibly well.
Sample, for instance, his swirling, beautifully wrought playing of the opening Prelude from Suite 1, No. 1 (HWV 426), the purity of the following Allemande, and the yearning wistfulness of the Courante. Or feel the breathtaking melancholy of the opening Adagio of Suite 1, No. 2 (HWV 427). And the particular beauty Jarrett imparts to the Prelude-Fuga of Suite 1, No. 8 (HWV 433) is absolutely not to be missed. This is playing of such tenderness and honesty that it silences criticism, pays homage to Handel and offers us the most unusual kind of musical blessing.

Suite HWV 452 in G Minor
01. Allemande
02. Courante
03. Sarabande
04. Gigue
Suite HWV 447 in D Minor
05. Allemande
06. Courante
07. Sarabande
08. Gigue
Suites II / No.7 HWV 440 in B-flat Major
09. Allemande
10. Courante
11. Sarabande
12. Gigue
Suites I / No.8 HWV 433 in F Minor
13. Prelude - Fuga
14. Allemande
15. Courante
16. Gigue
Suites I / No.2 HWV 427 in F Major
17. Adagio
18. Allegro
19. Adagio
20. Allegro
Suites I / No.4 HWV 429 in E minor
21. Fuga
22. Allemande
23. Courante
24. Sarabande
25. Gigue
Suites I / No.1 HWV 426 in A Major
26. Prelude
27. Allemande
28. Courante
29. Gigue
r c


Keith Jarrett - Inside Out (2001) (eac-flac-cover)

Keith Jarrett - Inside Out (2001)
jazz | 1cd | eac-flac-cue-log-cover | 470MB
ECM  | rar +5% recovery
Now into its third decade as a unit, this stupendous trio featuring pianist Keith Jarrett, bassist Gary Peacock, and drummer Jack DeJohnette has evolved into one of the most enduring and rewarding trios in the history of jazz. This brilliantly recorded live date captures this towering triad at its telepathic best. The highly imaginative and spontaneous Jarrett delivers a complex and gospel-like figure, then Peacock's fluid bass lines comment on the pianist's statement, and DeJohnette's intricate propulsions conclude the phrase. Although Bill Evans and Paul Bley first glimpsed this kind of jazz improvisation, Jarrett and his partners have created a new language that speaks with its own voice.

1 From the Body 23:13
2 Inside Out 21:13
3 Free Fade 18:50
4 Riot 7:23
5 When I Fall in Love 7:25

Keith Jarrett: Piano
Jack DeJohnette: Drums
Gary Peacock: Double Bass
r c

12 March, 2010


Thelonious Monk & Gerry Mulligan - Mulligan Meets Monk (XRCD) (1957) (eac-flac-cover)

Thelonious Monk & Gerry Mulligan - Mulligan Meets Monk (XRCD) (1957)
jazz | 1cd | eac-flac-cue-log-cover | 405MB
JVC | 10-bit K2 | RAR +5% recovery

In the late 1950s/early '60s, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians whom he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware, and drummer Shadow Wilson on a surprisingly successful date. Monk and Mulligan blend together quite well on what was essentially Thelonious' repertoire of the era including "'Round Midnight," "Rhythm-A-Ning," "Sweet and Lovely," and "I Mean You."

1.'Round Midnight [8:30]
2.Rhythm-A-Ning [5:20]
3.Sweet And Lovely [7:18]
4.Decidedly (Take 4) [5:54]
5.Decidedly (Take 5) [6:39] *
6.Straight, No Chaser (Take 3) [7:01]
7.Straight, No Chaser (Take 1) [5:31] *
8.I Mean You (Take 4) [6:54]
9.I Mean You (Take 2) [6:32] *
*bonus tracks

Gerry Mulligan: saxophone
Thelonious Monk: piano
Wilbur Ware: bass
Shadow Wilson: drums
r c

11 March, 2010


John Coltrane - Coltrane (Deluxe Edition 2cd) (1962) (eac-flac-cover)

John Coltrane - Coltrane (Deluxe Edition 2cd) (1962)
jazz |  2cd | eac-flac-cue-log-cover | 820MB
Impulse | rar +5% recovery
In 1962, John Coltrane found himself at the center of a storm of controversy, his tumultuous, searching music branded "anti-jazz" by one virulent critic. While Coltrane would continue along that exploratory path for the remaining years of his career, part of his response to the critical venom was to record some of the most sweetly lyrical music in jazz history. The LP Ballads established him as one of the great lyric players and set the tone for his collaborations with Johnny Hartman and Duke Ellington. The first CD presents the original album in all its luminous glory, the burnished, silvery sound of Coltrane's tenor meticulously remastered by the original engineer, Rudy Van Gelder. The second CD presents supplementary material from the original sessions as well as material that has only recently come to light. The classic quartet's collective concentration shows in seven complete takes of "It's Easy to Remember," testing its melody again and again until every gesture--from the flute-like tenor sound to Jimmy Garrison's bowed bass and Elvin Jones's triumphant drum crescendo at the conclusion--is sculpted to perfection. There are also several takes of the airy "Greensleeves" and a limpidly beautiful version of "They Say It's Wonderful" with Coltrane in duet with pianist McCoy Tyner.

Track List:
01 - Out of This World
02 - Soul Eyes
03 - The Inch Worm
04 - Tunji
05 - Miles' Mode

Bonus Disc:
01 - Not Yet
02 - Miles' Mode
03 - Tunji
04 - Tunji
05 - Tunji
06 - Tunji
07 - Impressions
08 - Impressions
09 - Big Nick
10 - Up 'Gainst the Wall

Recorded August 11, June 19-20, June 29 and September 18, 1962.
* John Coltrane — tenor saxophone/soprano saxophone
* McCoy Tyner — piano
* Jimmy Garrison — bass
* Elvin Jones — drums
r c

10 March, 2010


Roy Harper - Stormcock (1971) (eac-flac-cover)

Roy Harper - Stormcock (1971)
Rock | 1cd | eac-flac-cue-log-cover | 255MB
Science Friction  | rar +5% recovery
Roy Harper achieved some acclaim with releases like his debut, Sophisticated Beggar, and Flat Baroque and Berserk, but 1971's Stormcock was his first effort that was a fully realized success. Even though all four long songs on the record were arguably superior in subsequent live versions, this is one of only a handful of Harper's albums that has no weak cuts. "Hors d'Oeuvres" had been previewed two years earlier in a faster incarnation, but this version is pleasingly lethargic in a way much like Pink Floyd's "Fearless." "The Same Old Rock" is an extended musical poem about the narrow-mindedness of organized religion and features several movements, including one of Jimmy Page's best solos, even though the notes list Page as S. Flavius Mercurius. After the strangely melodic "One Man Rock and Roll Band," the album ends with the grand "Me and My Woman." This version, while slower than the definitive live take from Flashes From the Archives of Oblivion, features lush orchestration by David Bedford. All four lyrics could stand on their own, showing Harper's vision to be much more profound than the typical stoned poet. His musicianship on acoustic guitar is revelatory, at once thoughtful and hard-edged. Stormcock, in fact, epitomized a hybrid genre that had no exclusive purveyors save Harper -- epic progressive acoustic. In this style, Harper amalgamated the best elements of associates Pink Floyd, Led Zeppelin, and folk artists like Bert Jansch into a winning stew of thought-provoking acoustic music. Harper dabbled in this style with mostly good results for the rest of his career, but never again would one of his albums exclusively have these type of songs on it. Stormcock represents a truly original vision comprised of oft-heard parts rarely assembled and therefore is on par with other heavyweights from the class of 1971 such as Led Zeppelin IV or Meddle.

Track listing
1. "Hors d'Oeuvres" – 8:37
2. "The Same Old Rock" – 12:24
3. "One Man Rock and Roll Band" – 7:23
4. "Me and My Woman" – 13:01

* Roy Harper – guitar and vocals
* S. Flavius Mercurius – guitar
* Peter Jenner – producer
* John Barrett – sound engineer
* Peter Bown – sound engineer
* John Leckie – sound engineer
* Phil McDonald – sound engineer
* Alan Parsons – sound engineer
* Nick Webb – sound engineer
* Richard Imrie – photography

09 March, 2010


Stan Getz - Dynasty 2cd (1971) (eac-flac-cover)

Stan Getz - Dynasty 2cd (1971)
jazz | 2cd | eac-flac-cue-log-cover | 500MB
Verve | rar +5% recovery
When Stan Getz visited Paris to witness the French Open tennis matches, he would hang out at the Blue Note nightclub to hear how the locals did it, being told their jazz scene was not up to snuff. In London, he would pick up the European band he heard in Paris for an engagement at Ronnie Scott's. Because of his stature, Getz was able to grab the very best musicians the continent could provide, in this case the brilliant Belgian guitarist René Thomas, organist Eddy Louiss from Martinique, and French classical and jazz drummer Bernard Lubat. Bringing no charts of his own, Getz was happy to play the music of his bandmates, choosing virtually no standards, and fitting in beautifully with nary a hint of brandishing his famed ego to the proceedings. This original two-fer LP has been reissued on a double CD, a whopping 88 minutes of highlights over a three day span during an unprecedented three week engagement from this club date at the legendary venue owned the British fellow tenor saxophonist Scott. Perhaps there are some recordings with this combo featuring Scott sitting in with Getz, but that will have to wait for another recording. This one is excellently documented by Beatles producer George Martin, as every instrument is cleanly articulated and heard in pure, balanced form. Getz sounds comfortable and relaxed from the outset on one of five compositions brought by Louiss on "Dum! Dum," a light and breezy but mysterious tune with an implied bossa nova beat, while the title track is a blues shuffle road song, slightly funky, and a good test in regards to the dynamism of the quartet. Louiss, as gifted a jazz organist as any, digs in with splendid two fisted chords on his popping, fairly bluesy "Song for Martine," a tune just for fun that slips back into bossa. While Thomas is most outstanding on his incredible solos, he has room to contribute his "Ballad for Leo," not at all a ballad as the stabbing tones of the organist fire up everybody in a 6/8 framework. "Theme for Emmanuel" is as pretty a song as it gets, with the pristine, classical type free time repeat lines of Thomas opening up, then deferring to the swelling organ of Louiss as a foundation before busting out into the only hard bop swinger of the performance. The lone standard "Invitation" exploits another no time motif that only slightly builds in volume with the small organ of Louiss backing the consistently great guitar lines of Thomas. A truly sweet ballad, "Mona" is written by Albert Mangelsdorff in a manner that refutes the unabashed persona of the author/trombonist, as the silver lined threads of the organ weave through the extremely difficult, molasses slow rhythm. Getz himself is somewhat sublimated, playing his familiar melodically liquid and spare lines as heads and tails, likely in awe of the incredible band he stands alongside, and clearly reveres. He does a nice duet with Thomas on "Ballad for My Dad" waxing poetically over the repeat choruses of the masterful Thomas. Long out of print, Dynasty represents an interesting period in the artistic life of Getz, well out of pure bop, in between his commercial successes with Brazilian music, and on the verge of another phase of his life with fusion pioneers like Chick Corea. This is highly recommended, a solid effort from top to bottom. One quibble -- the name Eddy Louiss is constantly misspelled as Louise in credits, though it is correct in the liner notes.

Disc 1
01 - Dum! Dum! Dum!
02 - Ballad For Leo
03 - Our Kind Of Sabi
04 - Mona
Disc 2
01 - Theme For Emmanuel
02 - Invitation
03 - Ballad For My Dad
04 - Song For Martine
05 - Dynasty

Stan Getz (tenor saxophone);
René Thomas (guitar);
Eddy Louise (organ);
Bernard Lubat (drums)

08 March, 2010


Tchaikovsky (Svetlanov) - Symphonies_live Tokyo 6cd (HDCD) (1990) (eac-wv-cover)

Tchaikovsky (Svetlanov) - Symphonies_live Tokyo 6cd (1990) (HDCD)
classical | 6cd | eac-wv-cue-log-cover | 1260MB
Canyon | HDCD | rar +5% recovery

Recording date: 21 May 1990
Recording Location: Orchard-Hall, Tokyo (live)

canyon 24bit remastering 2002

USSR State Symphony Orchestra
Evgeny Svetlanov (conductor)


07 March, 2010


Last Voices from Heaven (A Copping) - Siva Pacifica (2004) (eac-flac-cover)

Last Voices from Heaven (A Copping) - Siva Pacifica (2004)
world, soundtrack | 1cd | eac-flac-cue-log-cover | 325MB
Columbia | rar +5% recovery
The Last Voices From Heaven was a documentary series that was screened on the Australian Subscription Television National Geographic Channel carried by Foxtel, Optus Television and Austar, on Wednesday nights at 7:30 p.m. during 2004.
The series showed English music producer Anthony Copping and a single cameraman setting out on the adventure of his life to record an album of traditional Melanesian songs which he calls "the last voices from heaven". Travelling up the Mamberamo River in a dugout canoe, Anthony encountered much more than traditional music; he was threatened with spears and dragged into a heart-breaking medical emergency.
The series was nominated as the Most Outstanding Documentary Series at the 47th Annual TV Week Logie Awards on 1 May 2005.
A music CD was released in 2004 entitled "Siva Pacifica - Last Voices from Heaven." It is composed of mixes of the field recordings and of the music of Anthony Copping and Pascal Oritaimae.

Anthony Copping and Pascal Oritaimae are a pair who team electronic music and ethnic sounds. It's something plenty of others have done, with varying degrees of commercial and critical success (think Deep Forest, for example). Last Voices From Heaven is one of those that rates low on the critical success scale. Yes, they do use ethnic samples, made on their travels in the South Pacific, but largely as introductions to the pieces. And when they do use more, as in the final cut, which they claim is a possession ceremony from an island in Melanesia, the supposedly real event is augmented by bits of electronica (and the composition credit notably goes to Copping and Oritaimae). What the duo come up with here has precious little to do with any kind of ethnic music, beyond the luxurious color photos in the booklet. It's music for the lowest Western common denominator, as MOR as possible, with only the samples thrown in -- and then discarded -- to bring any measure of adventure and authenticity in a bid for real world music credibility. As it is, the pair might have had a nice vacation flitting around various Pacific islands. What they obviously didn't bring home with them was any sense of the people whose lives they saw, and whose music they took. Maybe their hearts are in the right places, but this comes across as crass commercialism and exploitation of the worst kind.

01 - Mana Part 1
02 - Ma'a Mera
03 - Shadow of Life
04 - Spirit
05 - Mo're
06 - Mamberamo
07 - Wuroman
08 - Lullaby of the Dead
09 - Taria Waraku
10 - Lament
11 - Possessed

r c

06 March, 2010


John Coltrane - Love Supreme Live (1965) (eac-ape-cover)

John Coltrane - Love Supreme Live (1965)
jazz | 1cd | eac-ape-cue-log-cover | 360MB
Giants of Jazz (Immortal Concerts) | rar +5% recovery
If you know and love John Coltrane's quintessential "A love supreme", then you also need to hear the version included in this performance, recorded live in Antibes in 1965. Following on from the cathartic experiment that was "Ascension", this interpretation is much freer than the original as well as being fifteen minutes longer.
The group (Coltrane's "classic" quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums) are all on excellent form and although they adhere to the same four-part structure of the studio recording, things start to get really interesting during the "Pursuance" section which culminates in a frenetic duet between Coltrane and Jones. Then, in an extended "Psalm", Trane breaks free from the self-imposed restrictions of the original to produce a blistering exploratory coda....
The recording quality isn't perfect, but the excellence of the playing more than makes up for that, and nearly half an hour of "Impressions" and "Naima" completes this wonderful set.

Immortal Concerts. Juan Les Pins Festival, Antibes, July 26-27,1965 (1965)
total 1:16:24
label Giants Of Jazz 53068

1. Love supreme
2. Impressions
3. Naima


John Coltrane
McCoy Tyner
Jimmy Garrison
Elvin Jones


Neil Young - Everybody Knows This Is Nowhere (1969) (HDCD) (eac-log-cover)

Neil Young - Everybody Knows This Is Nowhere (1969)
rock | 1cd | eac-flac-cue-log-cover | 280MB
Reprise | HDCD 2009 | rar +5% recovery
Everybody Knows This Is Nowhere (1969) is Neil Young's second solo album and his first with backing band Crazy Horse. The album was produced by Neil Young and David Briggs and contains three of his most memorable songs: "Cinnamon Girl", "Down by the River", and "Cowgirl in the Sand", all of which were written when Young had a 103 °F (39.5 °C) fever. In 2003, the album was ranked number 208 on Rolling Stone magazine's list of the 500 greatest albums of all time.

1 "Cinnamon Girl" – 2:58
2 "Everybody Knows This Is Nowhere" – 2:26
3 "Round & Round (It Won't Be Long)" – 5:49
4 "Down by the River" – 9:13
5 "The Losing End (When You're On)" – 4:03
6 "Running Dry (Requiem for the Rockets)" – 5:30
7 "Cowgirl in the Sand" – 10:06

* Neil Young – guitar, vocals
* Danny Whitten – guitar, vocals
* Billy Talbot – bass
* Ralph Molina – drums, backing vocal
* Robin Lane – guitar, vocal (Track 3)
* Bobby Notkoff – violin (Track 6)
read the comments


Stan Getz - At The Shrine (1955) (eac-flac-cover)

Stan Getz - At The Shrine (1955)
jazz | 1cd | eac-flac-cue-log-cover | 305MB
Verve | rar +5% recovery
Tenor Stan Getz and valve-trombonist Bob Brookmeyer made a mutually beneficial team. Although they had not played together all that much in 1954 (Brookmeyer had left Getz's band earlier in the year to join the Gerry Mulligan Quartet), the strong musical communication between the two horns during this CD reissue is obvious. Eight of the ten selections are from a live concert (with pianist John Williams, bassist Bill Anthony and drummer Art Mardigan) while the final two numbers (on what was originally a pair of LPs) were cut in the studio the following day with the same personnel except that Frank Isola was on drums. Highlights of this cool-toned bop music (which, in addition to the solos, has many exciting ensembles) include "Lover Man," "Pernod," "Tasty Pudding" and "It Don't Mean a Thing."

01 - Flamingo
02 - Lover Man
03 - Pernod
04 - Tasty Pudding
05 - I'll Remember April
06 - Polka Dots And Moonbeams
07 - Open Country
08 - It Don't Mean A Thing
09 - We'll Be Together Again
10 - Feather Mechant

Stan Getz (tenor saxophone)
Bob Brookmeyer (valve trombone)
John Williams (piano)
Bill Anthony (upright bass)
Frank Isola, Art Mardigan (drums)

05 March, 2010


XTC - Skylarking (1986) (DVD-Audio)

XTC - Skylarking (GART Hybrid DVD-Audio)
Alternative | 1dvd | ISO | cover | 2,8 gb
(orig 1986) | RAR +5% recovery
Skylarking is XTC's eighth studio album, released on October 27, 1986. Considered by many to be their finest album, Skylarking is a "life-in-a-day" semi-concept album which displayed songwriting and arranging heavily influenced by The Beatles, The Beach Boys and The Kinks. The title of the album was inspired by Percy Bysshe Shelley's poem To a Skylark and many of the songs expand on the pastoral themes of their 1983 album, Mummer, most notably "Summer's Cauldron" and "Season Cycle".

DVD info:
This is a hybrid DVD with DTS/DD streams in the video_ts portion and high res 24/96 MLP in the audio_ts portion.
If you wish to play the high res audio_ts folder you must have a player that is capable of decoding DVD Audio.
The other two streams should be compatible with any dvd player.

Audio Format.........: 24/96 MLP, 24/48 DTS & 24/48 DD hybrid DVDA iso
Channels.............: 5.0
Type.................: GART stereo to surround upmix
Cover Art............: Yes
GART: Good Audio Remixing Technique

For Demonstration Purposes Only - Not For Sale

Track List:
1. Summer's Cauldron
2. Grass
3. The Meeting Place
4. That's Really Super, Supergirl
5. Ballet For a Rainy Day
6. 1000 Umbrellas
7. Season Cycle
8. Earn Enough For Us
9. Big Day
10. Another Satellite
11. The Man Who Sailed Around His Soul
12. Dear God
13. Dying
14. Sacrificial Bonfire
15. Mermaid Smiled

read the comments

04 March, 2010


Stan Getz - Apasionado (1990) (eac-flac-cover)

Stan Getz - Apasionado (1990)
jazz | 1cd | eac-flac-cue-log-cover | 325MB
Verve | rar +5% recovery
In the liner notes to this album, Stan Getz comments about how producer Herb Alpert showed him aspects of recording he had never experienced before. In this case, it's how to over-produce without overwhelming a lead soloist, as Alpert loads up this date with synthesizer players, electric instruments, and effects as a backdrop for the ultra-cool tenor of Getz. While not going overboard, it would have been nice to hear this music without the caramel-thick arrangements, leaving just Getz and a rhythm section to play sans the unnecessary sugarcoating. Initially released about a year before Getz passed away, the end result is a lazy and far too sweet group of pieces that muck up romance in a smothering fashion. Where string arrangements can sound beautiful, the sleepy synths on "Waltz for Stan" and echoplexed sax during "Madrugada" and especially the nine-minute ambling "Midnight Ride" are not just a trifle overbearing. Eddie del Barrio's "Coba" fares better in a fusion-on-the-rock-side mode mixed with Brazilian tropicalia, while the title track utilizes an acoustic big band mixed with synths and electric piano in a ballad-to-light-samba-to-heavy-beats sauce. "Española" starts with an out of tune electric bass guitar followed by some clichéd electric guitar from Michael Landau, while "Amorous Cat" reflects its title in a light funk rhythm. Some very good players are included, like drummer Jeff Porcaro (Toto), percussionist Paulinho Da Costa, acoustic guitarist Oscar Castro-Neves, and keyboardist Kenny Barron, with George Bohanon and Oscar Brashear in the big-band horn section. Otherwise, this recording is far from essential music made by Stan Getz, more suitable for mood music elevator wallpaper than a substantive listening experience.

01 - Apasionado
02 - Coba
03 - Waltz For Stan
04 - Espanola
05 - Madrugada
06 - Amorous Cat
07 - Midnight Ride
08 - Lonely Lady

03 March, 2010


Roger Waters & Ron Geesin - Music from The Body (1970) (eac-flac-cover)

Roger Waters & Ron Geesin - Music from The Body (1970)
Rock | 1cd | eac-flac-cue-log-cover | 195MB
EMI | OST | rar +5% recovery 
Music from The Body is the soundtrack album to Roy Battersby's 1970 documentary film The Body, about human biology, narrated by Vanessa Redgrave and Frank Finlay. The music was composed in collaboration between Pink Floyd member Roger Waters and Ron Geesin, and employs biomusic, including sounds made by the human body (slaps, breathing, laughing, whispering, flatulence, etc.), in addition to more traditional guitar, piano and stringed instruments. The date of this album places it between Ummagumma and Atom Heart Mother, the latter featuring Geesin as a collaborator. The album's final track, "Give Birth to a Smile", features an uncredited appearance by all four members of Pink Floyd, with Geesin playing piano. The LP features a different track listing to the original film soundtrack, and a 3 sided acetate does exist of the full version. The cover of the album features a transparent anatomical manikin.

Track listing
All songs written by Ron Geesin, except where noted
   1. "Our Song" (Geesin/Waters) – 1:24
   2. "Sea Shell and Stone" (Waters) – 2:17
   3. "Red Stuff Writhe" – 1:11
   4. "A Gentle Breeze Blew Through Life" – 1:19
   5. "Lick Your Partners" – 0:35
   6. "Bridge Passage for Three Plastic Teeth" – 0:35
   7. "Chain of Life" (Waters) – 3:59
   8. "The Womb Bit" (Geesin/Waters) – 2:06
   9. "Embryo Thought" – 0:39
  10. "March Past of the Embryos" – 1:08
  11. "More Than Seven Dwarfs in Penis-Land" – 2:03
  12. "Dance of the Red Corpuscles" – 2:04
  13. "Body Transport" (Geesin/Waters) – 3:16
  14. "Hand Dance — Full Evening Dress" – 1:01
  15. "Breathe" (Waters) – 2:53
  16. "Old Folks Ascension" – 3:47
  17. "Bed-Time-Dream-Clime" – 2:02
  18. "Piddle in Perspex" – 0:57
  19. "Embryonic Womb-Walk" – 1:14
  20. "Mrs. Throat Goes Walking" – 2:05
  21. "Sea Shell and Soft Stone" (Geesin/Waters) – 2:05
  22. "Give Birth to a Smile" (Waters) – 2:49

01 March, 2010


John Coltrane - A Love Supreme (Deluxe Edition 2cd) (1964) (eac-flac-cover)

John Coltrane - A Love Supreme (Deluxe Edition 2cd) (1964)
jazz | 2cd | eac-flac-cue-log-cover | 585MB
Impulse | rar +5% recovery
John Coltrane's "A Love Supreme" is an elegant masterpiece. A flawlessly conceived suite with spiritual overtones, "A Love Supreme" features the saxaphonist at his most reverend and focused. The repackaged edition is an example of what happens when you take a great record and make it even better. Disc one has the entire album painstakingly remastered by Rudy Van Gelder, and the sound is significantly superior the original monaural mix. On the new version, we witness a huge improvement in clarity, and Coltrane projects even more fully than we've heard before. But disc two, which clocks in at 77 minutes, is the Real Deal for Coltrane completists. Those who have bootlegged copies of the France live recording can now toss them out the window, for that performance, along with a few alternative takes of other tracks, surfaces here. The live performance, recorded in July 1965, is a must-listen for any lover of jazz. In fact, in many respects, I think it's just as good as the original version. For example, I was really blown away by the live rendition of "Pursuance," which kicks off with a fierce two-and-a-half minute drum solo by Elvin Jones that must be heard to be believed. Coltrane then goes full throttle with his sax and amazingly holds his own during this 21-minute excursion which is sure to leave you amazed. "A Love Supreme" is one of those albums that you can't say "no" to. If you have to own any copy of this classic, this version is definitely the way to go. Not only is the sound quality better, but the outstanding live performance and alternative takes on disc 2 provide a more intimate look at this recording. Highly, highly recommended.

Disc 1
1 - A Love Supreme Part I: Acknowledgement
2 - A Love Supreme Part II - Resolution
3 - A Love Supreme, Part III: Pursuance
4 - A Love Supreme, Part IV-Psalm
Disc 2
1 - Introduction by André Francis (live 1965 at the Festival Mondial)
2 - A Love Supreme, Part 1: Acknowledgement (live 1965 at the Festival Mondial)
3 - A Love Supreme, Part 2: Resolution (live 1965 at the Festival Mondial)
4 - A Love Supreme, Part 3: Pursuance (live 1965 at the Festival Mondial)
5 - A Love Supreme, Part 4: Psalm (live 1965 at the Festival Mondial)
6 - A Love Supreme, Part II-Resolution (alternate take)
7 - A Love Supreme, Part 2: Resolution (alternate take)
8 - A Love Supreme, Part 1: Acknowledgement (Breakdown)
9 - A Love Supreme, Part 1: Acknowledgement (alternate take)

* John Coltrane
* Archie Shepp Tenor Saxophone (8, 9)
* McCoy Tyner Piano
* Art Davis Bass (8, 9)
* Jimmy Garrison Bass
* Elvin Jones Drums


Iron Butterfly - In-A-Gadda-Da-Vida (1968) (eac-log-cover)

Iron Butterfly - In-A-Gadda-Da-Vida (1968)
rock | 1cd | eac-flac-cue-log-cover | 365MB
With its endless, droning minor-key riff and mumbled vocals, "In-A-Gadda-Da-Vida" is arguably the most notorious song of the acid rock era. According to legend, the group was so stoned when they recorded the track that they could neither pronounce the title "In the Garden of Eden" or end the track, so it rambles on for a full 17 minutes, which to some listeners sounds like eternity. But that's the essence of its appeal -- it's the epitome of heavy psychedelic excess, encapsulating the most indulgent tendencies of the era. Iron Butterfly never matched the warped excesses of "In-A-Gadda-Da-Vida," either on their debut album of the same name or the rest of their catalog, yet they occasionally made some enjoyable fuzz guitar-driven psychedelia that works as a period piece. The five tracks that share space with their magnum opus on In-A-Gadda-Da-Vida qualify as good artifacts, and the entire record still stands as the group's definitive album, especially since this is the only place the full-length title track is available.

01-Most Anything You Want 3:44
02-Flowers And Beads 3:09
03-My Mirage 4:55
04-Termination 2:53
05-Are You Happy 4:29
06-In-A-Gadda-Da-Vida 17:05
07-In-A-Gadda-Da-Vida (live version) 16:51
08-In-A-Gadda-Da-Vida (single version) 2:53


Les McCann - Pump It Up (2002) (eac-log-cover)

Les McCann - Pump It Up (2002)
jazz | 1cd | eac-flac-cue-log-cover | 380MB
Still trying to recover from the effects of a devastating 1995 stroke, Les McCann relaxed and put out a playful jazz/funk album with a cast of dozens that in some ways harkens back to some of his Atlantic sides from the 1970s. Unlike his other post-stroke albums, he doesn't play any keyboards here, leaving them in the hands of Ricky Peterson, with an emphasis on the Hammond B3. Rather, McCann is content just to sing and rap -- again, a throwback and fallback to records made a quarter-century before. At 66, McCann sounds considerably different -- older and a little shakier on the ballads, but still sly and willing. The grooves are OK in a minimally updated '70s funk manner, but the material, coming from a variety of sources, is rather ordinary as a whole. The guest celebs come in profusion to help out: singer Dianne Reeves sits in on the ho-hum Bill Withers big ballad "You Just Can't Smile It Away," Billy Preston pumps some swampy rhythm from his Wurlitzer electric piano and B3 into the semi-autobiographical "Tryin' to Make It Real," and "Funk It" is dominated by Maceo Parker's staccato alto sax and the acrobatic bass of Marcus Miller. The most poignant passage comes when the elder McCann sings a new lyric over an LP dub of his younger self's piano trio recording "The Truth," from the Pacific Jazz days, with Preston's soulful B3 and Bonnie Raitt on hand to alternate on vocals. It's almost like they're sharing a private moment in McCann's living room.


01. Pump it Up
02. Buckshot & Lefonque
03. Let it Ride (the Train)
04. I Can't Stand It
05. So What
06. You Just Can't Smile It Away
07. Tryin' to Make It Real
08. The Truth
09. Daylight
10. Funk It (Let the Music Play
11. I Can't Stand It - Reprise


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