Friday, 8 October 2010
Adobe® Photoshop Elements 9.0.Multilingual (2.1GB)
Size: 2.1 GBIncl. Keygen
Photoshop Elements is a popular graphics editing program developed for home users. It is an affordable alternative to the full version of Photoshop and includes robust image-editing capabilities, but does not include some of Photoshop’s professional-grade features. Photoshop Elements supports layer-based editing, filters, and different color modes, and is a good choice for home users and photographers who want advanced image editing capabilities for graphics and digital photos.
The Photoshop Elements workspace is similar to Photoshop and provides users with toolbars, palettes, and an image editing canvas. Palettes can be hidden or displayed and snapped into place anywhere within the workspace. The image editing canvas may be edited using different tools, such as brushes, shapes, and touch-up tools.
Photoshop Elements includes several image-editing capabilities for modifying digital photos. Using color adjustments, filters, and lighting effects, users can easily reduce remove shadows and enhance picture foregrounds. A simple red-eye removal tool allows users to get rid of red-eye caused by a camera's flash. Users can also create seamless panoramic images using Photomerge technology, which combines multiple similar images together.
Photoshop Elements retains a history of image edits, which allows users to undo and redo operations during editing. Completed images may be saved in the standard .PSD format or may be exported to a variety of raster image formats. The "Save for Web" feature allows users to optimize images for image quality or file size.
Home users may benefit from Photoshop Elements’ Organizer, which helps manage and organize digital photos and videos. Groups of photos can be compiled into online albums, which can be published as Adobe Flash movies for sharing with friends and family. Scrapbookers may also use Photoshop Elements to produce materials for online Web pages or printouts for hand-made scrapbooks.
Photoshop Elements has been widely embraced by the home and personal user community. While most photographers and graphic designers prefer the full version of Photoshop, some professional users may find Photoshop Elements to be an adequate image editing solution as well.
Get everything you need for your photos and so much more. Enjoy a complete photo-editing solution that includes convenient access to how-tos, backup services, and photo extras with Adobe® Photoshop® Elements 9 Plus software.
Easily match a favorite photo style
Want to imitate a favorite photography style, like a dramatic high contrast or a beautiful color tone? Photomerge Style Match analyzes the stylistic qualities of any photo you choose and then automatically applies those qualities to another photo.
Instantly unclutter or repair photos
Is your photo cluttered with telephone wires, tourists, or passing cars? Make unwanted elements vanish with one stroke of the enhanced Spot Healing Brush, which beautifully blends even the most complex background. Also, instantly fix old or torn photos so you can make new prints
Quickly share photos and videos on Facebook
Conveniently share photos and videos on Facebook* directly from the Organizer, which automatically optimizes your media so it looks its best.
Create fuller panoramas
Easily create your best-looking panoramas yet. With its enhanced blending capabilities, Photomerge Panorama fills in jagged edges as it automatically stitches together multiple horizontal or vertical photos.
Create stunning photo effects
Easily create stunning effects that enhance your photos with professional style. New Guided Edits help you create pop art masterpieces, reflection effects, LOMO camera style photography effects†, and more.
Create the way you want
Make photo creations the way that works best for you thanks to Basic and Advanced design modes that let you choose your level of control.
Create richly layered photos
Bring new sophistication to your photos. Reveal one portion of a photo through another photo by using layer masks to control the transparency of specific areas.
Get creative inspiration
Bring your ideas to life with relevant tutorials that appear just when you need them.
Part 01: http://rapidshare.com/files/423753853/Photoshop_Elements_9.0.part01.rar
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Thursday, 7 October 2010
Various Artist - Some Assorted Songs Fom the 60's to Early 70's
Size: 142 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
No Artwork
Hard rock (or heavy rock) is a loosely defined genre of rock music which has its earliest roots in mid-1960s garage rock, blues rock and psychedelic rock. It is typified by a heavy use of distorted electric guitars, bass guitar, drums, and often accompanied with pianos, and keyboards.
Hard Rock developed into a major form of popular music in the 1970s, with bands like Led Zeppelin, Deep Purple, Aerosmith, AC/DC and Van Halen, and reached a commercial peak in the mid 1980s. The glam metal of bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses followed up with great success in the later part of that decade, before losing popularity in the face of grunge. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, and new hard rock bands that emerged from the garage rock and post punk revival.
Definitions
Hard rock is a form of loud, aggressive rock music. The electric guitar is often emphasised, used with distortion and other effects, both as a rhythm instrument using simple repetitive riffs, and as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis. The bass guitar works in conjunction with the drums, occasionally playing riffs, but usually providing a backing for the rhythm and lead guitars. Vocals are often growling, raspy, or involve screaming or wailing, sometimes in a high range, or even falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has historically been predominately performed and consumed by men: in the case of its audience, particularly white, working-class adolescents.
In the late 1960s the term heavy metal was used interchangeably with hard rock, but gradually began to be used to describe music played with even more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs often functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough in the early 1970s and from the 1980s it developed a number of sub-genres, often termed extreme metal, which were influenced by hardcore punk, and which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands frequently standing on the boundary of, or crossing between, the genres.
In the mid-1960s, American and in particular British rock bands began to modify rock and roll, adding to the standard genre greater blues influence, harder sounds, heavier guitar riffs, bombastic drumming and louder vocals. Early forms of hard rock can be heard in the Kingsmen's version of "Louie, Louie" (1963), which made it a garage rock standard,] and the songs of British Invasion acts, including "You Really Got Me" by The Kinks (1964), "My Generation" by The Who (1965) and "(I Can't Get No) Satisfaction" (1965) by the Rolling Stones. From the late 1960s it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most often derived from blues-rock and was played louder and with more intensity.
Blues-rock acts that pioneered the sound included Cream, Jimi Hendrix Experience and The Jeff Beck Group.[1] Cream, in songs like "I Feel Free" (1966) combined blues-rock with pop and psychedelia, particularly in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz, blues and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues-rock in the direction of heavy rock with his band, The Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of The Who, Hendrix, Clapton and Beck all pioneered the use of new guitar effects like phasing, feedback and distortion. Even The Beatles attempted to produce songs in the new hard rock style, trying to create a greater level of noise than The Who, from The Beatles (1968) (known as the White Album) onwards, beginning with "Helter Skelter". Some critics have written about its "proto-metal roar", but others have argued that "their attempts at the heavy style were without exception embarrassing".
Groups that emerged from the American psychedelic scene about the same time included Iron Butterfly, MC5, Blue Cheer and Vanilla Fudge. The San Francisco band Blue Cheer released a crude and distorted cover of Eddie Cochran's classic "Summertime Blues", from their debut album Vincebus Eruptum (1968), that outlined much of the later hard rock and heavy metal sound. The same month, Steppenwolf released its self-titled debut album (1968), including "Born to Be Wild", which contained the first lyrical reference to heavy metal and helped popularise the style when it was used in the film Easy Rider (1969). Iron Butterfly's In-A-Gadda-Da-Vida (1968), with its 17-minute-long title track, using organs and with a lengthy drum solo, also prefigured later elements of the sound.
At the end of the decade a distinct genre of hard rock was emerging with bands like Led Zeppelin, who mixed the music of early rock bands with a more hard-edged form of blues rock and acid rock on their first two albums Led Zeppelin (1969) and Led Zeppelin II (1969), and Deep Purple, who achieved their commercial breakthrough with their fourth and distinctively heavier album, In Rock (1970). Also significant was Black Sabbath's Paranoid (1970), which combined guitar riffs with dissonance and more explicit references to the occult and elements of Gothic horror. All three of these bands have been seen as pivotal in the development of heavy metal, but where metal further accentuated the intensity of the music, with bands like Judas Priest following Sabbath's lead into territory that was often "darker and more menacing", hard rock tended to continue to remain the more exuberant, good-time music.
In the early 1970s the Rolling Stones developed their hard rock sound with Exile on Main St. (1972). Initially receiving mixed reviews, according to critic Steve Earlewine it is now "generally regarded as the Rolling Stones' finest album". They continued to pursue the riff-heavy sound on albums including It's Only Rock 'n' Roll (1974) and Black and Blue (1976). Led Zeppelin began to mix elements of world and folk music into their hard rock from Led Zeppelin III (1970) and Led Zeppelin IV (1971). The latter included the track "Stairway to Heaven", which would become the most played song in the history of album-oriented radio. Deep Purple continued to define hard rock, particularly with their album Machine Head (1972), which included the tracks "Highway Star" and "Smoke on the Water". In 1975 guitarist Ritchie Blackmore left, going on to form Rainbow and after the break-up of the band the next year, vocalist David Coverdale formed Whitesnake. 1970 saw The Who release Live at Leeds, often seen as the archetypal hard rock live album, and the following year they released their highly-acclaimed album Who's Next, which mixed heavy rock with extensive use of synthesisers. Subsequent albums, including Quadrophenia (1973), built on this sound before Who Are You (1978), their last album before the death of pioneering rock drummer Keith Moon later that year.
Emerging British acts included Free, who released their signature song "All Right Now" (1970), which has received extensive radio airplay in both the UK and US. After the breakup of the band in 1973, vocalist Paul Rodgers joined supergroup Bad Company, whose eponymous first album (1974) was an international hit. Scottish band Nazareth released their self-titled début album in 1970, producing a blend of hard rock and pop that would culminate in their best selling, Hair of the Dog (1975), which contained the proto-power ballad "Love Hurts". The mixture of hard rock and progressive rock, evident in the works of Led Zeppelin and Deep Purple, was pursued more directly by bands like Uriah Heep and Argent. Having enjoyed some national success in the early 1970s, Queen, after the release of Sheer Heart Attack (1974) and A Night at the Opera (1975), gained international recognition with a sound that used layered vocals and guitars and mixed hard rock with glam rock, heavy metal, progressive rock, and even opera. The latter featured the single "Bohemian Rhapsody", which stayed at #1 in the UK charts for nine weeks.
In the United States, macabre-rock pioneer Alice Cooper achieved mainstream success with the top ten album School's Out (1972). In the following year blues rockers ZZ Top released their classic album Tres Hombres and Aerosmith produced their eponymous début, as did Southern rockers Lynyrd Skynyrd and proto-punk outfit New York Dolls, demonstrating the diverse directions being pursued in the genre.Montrose, including the instrumental talent of Ronnie Montrose and vocals of Sammy Hagar and arguably the first all American hard rock band to challenge the British dominance of the genre, released their first album in 1973. Kiss built on the theatrics of Alice Cooper and the look of the New York Dolls to produce a unique band persona, achieving their commercial breakthrough with the double live album Alive! in 1975 and helping to take hard rock into the stadium rock era. In the mid-1970s Aerosmith achieved their commercial and artistic breakthrough with Toys in the Attic (1975), which reached #11 in the American album chart and Rocks (1976) which peaked at #3.[34] Blue Öyster Cult, formed in the late 60s, picked up on some of the elements introduced by Black Sabbath with their breakthrough live gold album On Your Feet or on Your Knees (1975), followed by their first platinum album, Agents of Fortune (1976), containing the hit single "(Don't Fear) The Reaper", which reached #12 on the Billboard charts. Journey released their eponymous debut in 1975 and the next year Boston released their highly successful début album. In the same year, hard rock bands featuring women saw commercial success as Heart released Dreamboat Annie and The Runaways débuted with their self-titled album. While Heart had a more folk-oriented hard rock sound, the Runaways leaned more towards a mix of punk-influenced music and hard rock. The Amboy Dukes, having emerged from the Detroit garage rock scene and most famous for their Top 20 psychedelic hit "Journey to the Centre of the Mind" (1968), were dissolved by their guitarist Ted Nugent, who embarked on a solo career that resulted in four successive multi-platinum albums between Ted Nugent (1975) and his best selling Double Live Gonzo (1978).
From outside of Britain and the United States, the Canadian trio Rush released three distinctively hard rock albums in 1974–75 (Rush, Fly by Night, and Caress of Steel) before moving toward a more progressive sound. The Irish band Thin Lizzy, which had formed in the late 1960s, made their most substantial commercial breakthrough in 1976 with the hard rock album Jailbreak and their worldwide hit "The Boys Are Back in Town" which reached #8 in the UK, and #12 in the US. Their style, consisting of two duelling guitarists often playing leads in harmony, proved itself to be a large influence on later bands. They reached their commercial, and arguably their artistic peak with Black Rose: A Rock Legend (1979). The arrival of Scorpions from Germany marked the geographical expansion of the sub-genre. Australian-formed AC/DC, with a stripped back, riff heavy and abrasive style that also appealed to the punk generation, began to gain international attention from 1976, culminating in the release of their multi-platinum albums Let There Be Rock (1977) and Highway to Hell (1979). Also influenced by a punk ethos were heavy metal bands like Motörhead, while Judas Priest abandoned the remaining elements of the blues in their music, further differentiating the hard rock and heavy metal styles and helping to create the New Wave of British Heavy Metal which was pursued by bands like Iron Maiden, Saxon and Venom.
With the rise of disco in the U.S. and punk rock in the UK, hard rock's mainstream dominance was rivalled toward the later part of the decade. Disco appealed to a more diverse group of people and punk seemed to take over the rebellious role that hard rock once held. Early punk bands like The Ramones explicitly rebelled against the drum solos and extended guitar solos that characterised stadium rock, with almost all of their songs clocking in around two minutes with no guitar solos. However, new rock acts continued to emerge and record sales remained high into the 1980s. 1977 saw the début and rise to stardom of Foreigner, who went on to release several platinum albums through to the mid 1980's. Midwestern groups like Kansas, REO Speedwagon and Styx helped further cement heavy rock in the Midwest as a form of stadium rock. In 1978, Van Halen emerged from the Los Angeles music scene with a sound based around the skills of lead guitarist Eddie Van Halen. He popularised a guitar-playing technique of two-handed hammer-ons and pull-offs called tapping, showcased on the song "Eruption" from the album Van Halen, which was highly influential in restablishing hard rock as a popular genre after the punk and disco explosion, while also redefining and elevating the role of electric guitar.
01. Aerosmith - Back In The Saddle
02. The Men Army - Butter Queen
03. The Yardbirds - Too Much Monkey Business
04. The Stooges - Little Doll
05. Zalman Yanovsky - Raven in Cage
06. Thin Lizzy - Don't Believe a Word
07. Traffic - Dear Mr. Fantasy
08. Ufo - Boogie
09. Whistler - Help Me
10. Van Morrison - Wild Night
11. Uriah Heep - Stealin'
12. U-Boat - U-Boat
13. Wayne Fontana & The Mindbenders - She's Got The Power
14. The Who - I Can't Explain
15. Trapeze - Black Cloud
16. Warhorse - Vulture Blood
17. The Velvet Underground - Sunday Morning
18. Tucky Buzzard - Heartbreaker
19. Van Halen - Runnin' With The Devil
1. http://rapidshare.com/files/423729841/Various-Artist.rar
or
2. http://www.upload-drive.com/file/12343/Various-Artist-rar.html
or
3. http://www.megaupload.com/?d=HJ1FPZZB
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Various Artist - Singer-Songwriters At The BBC 1971-79 (Bootleg)
Size: 136 MBBitrate: 320
mp3
Found in DC++ World
Artwork Included
Compilation which unlocks the BBC vaults to explore the burgeoning singer-songwriter genre that exploded at the dawn of the 1970s and became one of the definining styles of that decade. Featuring classic songs from Elton John, James Taylor, Jimmy Webb, Bill Withers, Sandy Denny, Jackson Browne, , Joni Mitchell, Tim Hardin, Tom Waits, Neil Diamond, Joan Armatrading and Cat Stevens. Programme sources include the Old Grey Whistle Test, In Concert and Top of the Pops.
This was shown in the original 4:3 aspect and with no onscreen logo.
01. BBC Intro
02. Elton John - Your Song - TOTP 1971
03. James Taylor - Carolina In My Mind - In Concert 1970
04. Cat Stevens - Wild World - In Concert 1971
05. Harry Nilsson - Without Her - In Concert 1972
06. Sandy Denny - Late November - One In Ten 1971
07. Gilbert O'Sullivan - Nothing Rhymed - In Concert 1971
08. Steve Goodman - City Of New Orleans - OGWT 1972
09. Joni Mitchell - Chelsea Morning - In Concert 1970
10. Neil Young - Heart Of Gold - In Concert 1971
11. Judee Sill - The Pearl - OGWT 1973
12. Jimmy Webb - By The Time I Get To Phoenix - In Concert 1971
13. Bill Withers - Ain't No Sunshine - OGWT 1973
14. Terry Jacks - Seasons In The Sun - TOTP 1974
15. Neil Diamond - Sweet Caroline - Shirley Bassey Show 1974
16. Jackson Browne - Jamaica Say You Will - OGWT 1975
17. Tim Hardin - The Lady Came From Baltimore - Show Of The Week 1974
18. Joan Armatrading - Down To Zero - OGWT 1976
19. Tom Waits - Burma Shave - OGWT 1979
1. http://rapidshare.com/files/423713754/Various_Artist.rar
or
2. http://www.upload-drive.com/file/12342/Various-Artist-rar.html
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Grateful Dead - KQED Studios San Francisco 1970 (Bootleg)
Size: 65.7 MBBitrate: 320
mp3
Found in: DC++ World
No Artwork
Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's most beloved musical ambassadors as well as its most enduring survivors, spreading their message of peace, love, and mind-expansion across the globe throughout the better part of three decades. The object of adoration for popular music's most fervent and celebrated fan following — the Deadheads, their numbers and devotion legendary in their own right — they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries.
The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a longtime bluegrass enthusiast who began playing the guitar at age 15. Upon relocating to Palo Alto, CA, in 1960, he soon befriended Robert Hunter, whose lyrics later graced many of Garcia's most famous melodies; in time, he also came into contact with aspiring electronic music composer Phil Lesh. By 1962, Garcia was playing banjo in a variety of local folk and bluegrass outfits, two years later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks, their lineup now additionally including Lesh on bass as well as Bill Kreutzmann on drums.
The Warlocks made their electric debut that July; Ken Kesey soon tapped them to become the house band at his notorious Acid Tests, a series of now-legendary public LSD parties and multimedia "happenings" mounted prior to the drug's criminalization. As 1965 drew to its close, the Warlocks rechristened themselves the Grateful Dead, the name taken from a folk tale discovered in a dictionary by Garcia; bankrolled by chemist/LSD manufacturer Owsley Stanley, the band members soon moved into a communal house situated at 710 Ashbury Street in San Francisco, becoming a fixture on the local music scene and building a large fan base on the strength of their many free concerts. Signing to MGM, in 1966 the Dead also recorded their first demos; the sessions proved disastrous, and the label dropped the group a short time later.
As 1967 mutated into the Summer of Love, the Dead emerged as one of the top draws on the Bay Area music scene, honing an eclectic repertoire influenced by folk, country, and the blues while regularly appearing at top local venues including the Fillmore Auditorium, the Avalon Ballroom, and the Carousel. In March of 1967 the Dead issued their self-titled Warner Bros. debut LP, a disappointing effort which failed to recapture the cosmic sprawl of their live appearances; after performing at the Monterey Pop Festival, the group expanded to a six-piece with the addition of second drummer Mickey Hart. Their follow-up, 1968's Anthem of the Sun, fared better in documenting the free-form jam aesthetic of their concerts, but after completing 1969's Aoxomoxoa, their penchant for time-consuming studio experimentation left them over 100,000 dollars in debt to the label.
The Dead's response to the situation was to bow to the demands of fans and record their first live album, 1969's Live/Dead; highlighted by a rendition of Garcia's "Dark Star" clocking in at over 23 minutes, the LP succeeded where its studio predecessors failed in capturing the true essence of the group in all of their improvisational, psychedelicized glory. It was followed by a pair of classic 1970 studio efforts, Workingman's Dead and American Beauty; recorded in homage to the group's country and folk roots, the two albums remained the cornerstone of the Dead's live repertoire for years to follow, with its most popular songs — "Uncle John's Band," "Casey Jones," "Sugar Magnolia," and "Truckin'" among them — becoming major favorites on FM radio.
Despite increasing radio airplay and respectable album sales, the Dead remained first and foremost a live act, and as their popularity grew across the world they expanded their touring schedule, taking to the road for much of each year. As more and more of their psychedelic-era contemporaries ceased to exist, the group continued attracting greater numbers of fans to their shows, many of them following the Dead across the country; dubbed "Deadheads," these fans became notorious for their adherence to tie-dyed fashions and excessive drug use, their traveling circus ultimately becoming as much the focal point of concert dates as the music itself. Shows were also extensively bootlegged, and not surprisingly the Dead closed out their Warners contract with back-to-back concert LPs — a 1971 eponymous effort and 1972's Europe '72.
The latter release was the final Dead album to feature Pigpen McKernan, a heavy drinker who died of liver failure on March 8, 1973; his replacement was keyboardist Keith Godchaux, who brought with him wife Donna Jean to sing backing vocals. 1973's Wake of the Flood was the first release on the new Grateful Dead Records imprint; around the time of its follow-up, 1974's Grateful Dead From the Mars Hotel, the group took a hiatus from the road to allow its members the opportunity to pursue solo projects. After returning to the live arena with a 1976 tour, the Dead signed to Arista to release Terrapin Station, the first in a series of misguided studio efforts that culminated in 1980's Go to Heaven, widely considered the weakest record in the group's catalog — so weak, in fact, that they did not re-enter the studio for another seven years.
The early '80s was a time of considerable upheaval for the Dead — the Godchauxs had been dismissed from the lineup in 1979, with Keith dying in a car crash on July 23, 1980. (His replacement was keyboardist Brent Mydland.) After a pair of 1981 live LPs, Reckoning and Dead Set, the group released no new recordings until 1987, focusing instead on their touring schedule — despite the dearth of new releases, the Dead continued selling out live dates, now playing to audiences which spanned generations. As much a cottage industry as a band, they traveled not only with an enormous road crew but also dozens of friends and family members, many of them Dead staffers complete with health insurance and other benefits.
Still, the Dead were widely regarded as little more than an enduring cult phenomenon prior to the release of 1987's In the Dark; their first studio LP since Go to Heaven, it became the year's most unlikely hit when the single "Touch of Grey" became the first-ever Dead track to reach the Top Ten on the pop charts. Suddenly their videos were in regular rotation on MTV, and virtually overnight the ranks of the Deadheads grew exponentially, with countless new fans flocking to the group's shows. Not only did concert tickets become increasingly tough to come by for longtime followers, but there were also more serious repercussions — the influx of new fans shifted the crowd dynamic considerably, and once-mellow audiences became infamous not only for their excessive drug habits but also for their violent encounters with police.
Other troubles plagued the Dead as well: in July 1986, Garcia — a year removed from a drug treatment program — lapsed into near-fatal diabetic coma brought on by his continued substance abuse problems, regaining consciousness five days later. His health remained an issue in the years which followed, but the Dead spent more time on tour than ever, with a series of dates with Bob Dylan yielding the live album Dylan & the Dead. Their final studio effort, Built to Last, followed in 1989. Tragedy struck in October of that year when a fan died after breaking his neck outside of a show at the New Jersey Meadowlands; two months later, a 19-year-old fan on LSD also died while in police custody at the Los Angeles Forum.
As ever, the Dead themselves were also not immune to tragedy — on July 26, 1990, Mydland suffered a fatal drug overdose, the third keyboardist in group history to perish; he was replaced not only by ex-Tubes keyboardist Vince Welnick but also by satellite member Bruce Hornsby, a longtime fan who frequently toured with the group. In the autumn of 1992 Garcia was again hospitalized with diabetes and an enlarged heart, forcing the Dead to postpone their upcoming tour until the year's end; he eventually returned to action looking more fit than he had in years. Still, few were surprised when it was announced on August 9, 1995, that Garcia had been found dead in his room at a substance abuse treatment facility in Forest Knolls, CA; the 53 year old's death was attributed to a heart attack.
While Garcia's death spelled the end of the Dead as a continuing creative entity, the story was far from over. As the surviving members disbanded to plot their next move, the band's merchandising arm went into overdrive — in addition to Dick's Picks, a series of archival releases of classic live material, licensed products ranging from Dead T-shirts to sporting goods to toys flooded the market. Plans were also announced to build Terrapin Station, an interactive museum site. In 1996, Weir and Hart mounted the first Furthur Festival, a summer tour headlined by their respective bands RatDog and Mystery Box; in 1998, they also reunited with Lesh and Hornsby to tour as the Other Ones. In spirit if not in name, the Grateful Dead's trip continued on
Grateful Dead
KQED Studios
San Francisco, CA
8/30/70
01. ... Easy Wind [7:08]
02. Candyman [7:18]
03. Casey Jones [4:49]
04. Brokedown Palace [3:44]
05. Uncle John's Band [5:43]
1. http://rapidshare.com/files/423707346/Grateful_Dead.rar
or
2. http://www.megaupload.com/?d=G721CMCB
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Big Brother & The Holding Company - Be A Brother (1970) + How Hard It Is (1971)
Size: 137 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Whether Big Brother & the Holding Company would have made any waves at all in the late-'60s San Francisco music scene sans Janis Joplin could be argued. Be A Brother is a good indicator of what they would have sounded like without her amazing voice. Recorded in 1970, guitarist David Schallock and singer/songwriter/producer Nick Gravenites were added to help fill the space created with the absence of Joplin. These ten original compositions include "Home on the Strange," "Mr. Natural," "Funkie Jim," and "I'll Change Your Flat Tire, Merle" dedicated to Merle Haggard. This is a decent blues-based session similar to early Butterfield Blues Band records, which isn't a bad thing at all.
The second and final of the post-Janis Joplin Big Brother albums for Columbia looks and sounds like the closing of a chapter. A picture of Big Brother inside the gatefold has the band glowing with heavenly light; the cover photo is more telling, with faceless men standing in the shadows. To realize how good a Big Brother & the Holding Company album this is, all one has to do is play it next to Do What You Love, the group's release from 1998. On that disc, Lisa Battle is a commendable vocalist, but Do What You Love feels strained in both songwriting and performance. How Hard It Is, on the other hand, from 27 years earlier, is right on target. The title track feels like vintage Big Brother. Kathy McDonald is credited as a guest artist on "Black Widow Spider"; she co-sings the lead, but it sure sounds like her on "How Hard It Is" and "House on Fire" as well and, eerily, it is much like when Janis sang in unison with the band.
The major difference is that they can play their instruments better here, four years after the Monterey Pop Festival brought them to the attention of Clive Davis. Nick Gravenites and McDonald were the perfect choices to step in, Gravenites having written two tracks on Joplin's Kozmic Blues LP and also having performed with her on Joplin in Concert. McDonald has sweetness, but can reach in and find some gravel to complement Gravenites. Everything on this album is listenable, and the three instrumentals — "Last Band on Side One," "Maui," and "Promise Her Anything, But Give Her Arpeggio" — are statements that the band members are real musicians, journeymen with vision. The loss of more recorded music by this group from this point in time is a tragedy. The Gravenites version of "Buried Alive in the Blues," the song he wrote for Joplin's Pearl album, is chilling; her death happened hours before the scheduled session when she was to sing on the Full Tilt Boogie Band's recording. Sony would be wise to include Big Brother's rendition on future copies of Pearl: It completes the circle. Big Brother would do well to continue in the more bluesy direction this album pointed to rather than perform Janis Joplin's hits in small clubs. The instrumental "Maui" and the song "Shine On" are as good as anything Moby Grape and Quicksilver Messenger Service could conjure up.
Sam Andrew, James Gurley, Peter Albin, and David Getz cover music from all three phases of Joplin's career. The first song on side two, "Nu Boogaloo Jam," is pure Kozmic Blues Band, which Sam Andrew was part of at the beginning; the aforementioned "Buried Alive in the Blues," as stated, was recorded by the Full Tilt Boogie Band for Pearl. This album covers the gamut of styles that Joplin would bring to the world between 1968 and 1970. It's a catastrophe that this band was waiting for its lead singer to come home for the inevitable reunion; Joplin's death affected many lives and the body of work this band could have amassed. Where the Doors went off into a brief and spirited rock-jazz journey for two albums — Jim Morrison's band experimenting with ideas they couldn't attempt as a superstar pop group — Big Brother had lost its Morrison and was lost without its focal point. How Hard It Is and the album that preceded it, Be a Brother, are very musical and very good albums, but they just don't have the electric majesty of Cheap Thrills, an album that took their wildness and used it as an incredible bed for Joplin's truly cosmic vocal work and emotion. If allowed to record as the Grateful Dead and the Jefferson Airplane had despite those bands' personnel changes, there would now be a deep catalog of San Francisco rock from this essential psychedelic/experimental ensemble. Although Janis Joplin had a guest vocal on Be a Brother, her only participation here consists of photos inside the album jacket, a family tree of sorts. This is a striking record by an important band, but Joplin's contributions were so overwhelming that the integrity in these grooves never got the chance to reach a wider audience when it was first released.
Be a Brother 1970:
01. Keep On (Albin/Andrew/Getzl/Gurley/Shallock) - 4:20
02. Joseph's Coat (Cipollina/Gravenites) - 3:10
03. Home on the Strange - 2:14
04. Someday (Andrew) - 2:17
05. Heartache People (Gravenites) - 6:36
06. Sunshine Baby (Albin/Andrew/Getz/Gurley) - 3:29
07. Mr. Natural (Andrew) - 3:31
08. Funkie Jim (Albin/Andrew/Getz/Gurley) - 3:46
09. I'll Change Your Flat Tire, Merle (Gravenites) - 3:14
10. Be a Brother (Gravenites) - 3:03
How Hard it Is 1971:
01. How Hard It Is (Andrew S./Getz) - 4:21
02. You've Been Talkin' Bout Me, Baby (Garnet/Hirsch/Rivera) - 3:27
03. House on Fire (Getz/Rappaport) - 3:56
04. Black Widow Spider (Andrew) - 3:32
05. Last Band on Side One (Andrew/Roscoe) - 1:57
06. Nu Boogaloo Jam (Andrew/Nudelman) - 3:24
07. Maui (Andrew/Roscoe) - 3:26
08. Shine On (Albin/Andrew/Getz) - 5:25
09. Buried Alive in the Blues (Gravenites) - 3:59
10. Promise Her Anything But Give Her Arpeggio (Schallock) - 3:55
1. http://rapidshare.com/files/423697511/Big_Brother.rar
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David Bowie - The Remains From The Rise Of Ziggy Stardust (Bootleg)
Size: 278 MBBitrate: 320
mp3
Found in DC++ World
Artwork Included
The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust) is a 1972 concept album by English rock musician David Bowie. It peaked at number five in the United Kingdom and number 75 in the United States on the Billboard Music Charts. A concert film of the same name directed by D.A. Pennebaker was released in 1973.
Conception and inspiration
The album presents, albeit vaguely, the story of "Ziggy Stardust", the human manifestation of an alien being who is attempting to present humanity with a message of hope in the last five years of its existence. Ziggy Stardust is the definitive rock star: sexually promiscuous, wild in drug intake and with a message, ultimately, of peace and love; but he is destroyed both by his own excesses of drugs and sex, and by the fans he inspired.
In interviews, Bowie has said that the real-life inspiration for Ziggy was chiefly Vince Taylor, though the lyrics hint at Jimi Hendrix ("played it left hand ... jiving us that we were voodoo") and the character was likely a composite. Bowie claimed that the name came from a tailor's shop in London called Ziggy's. He later told Rolling Stone it was "one of the few Christian names I could find beginning with the letter 'Z'". "Stardust" comes from one of Bowie's labelmates, a country singer named Norman Carl Odam, The Legendary Stardust Cowboy. Bowie covered a Legendary Stardust Cowboy song, "I Took a Trip (On a Gemini Spaceship)" thirty years later on Heathen.
Production
The Ziggy Stardust sessions began just a few weeks after Hunky Dory was released. The first song recorded for the album, the cover "It Ain't Easy", was recorded in September 1971. The first session in November produced "Hang on to Yourself", "Ziggy Stardust", "Rock 'n' Roll Star" (later shortened to "Star"), "Moonage Daydream", "Soul Love", "Lady Stardust", and "Five Years".
Also recorded during the November Ziggy Sessions were two more cover songs intended for the as-yet untitled album. They were Chuck Berry's "Around and Around" (re-titled "Round and Round") and Jacques Brel's "Amsterdam" (re-titled "Port of Amsterdam"). A re-recording of "Holy Holy" (first recorded in 1970 and released as a single, to poor sales, in January 1971) was initially slated for Ziggy, but was dropped in favour of "Rock 'n' Roll Suicide". "Round and Round" was replaced by "Starman" and "It Ain't Easy" replaced "Amsterdam" on the album's final running order. All three were eventually released as b-sides.
"Velvet Goldmine", first recorded during the Hunky Dory sessions, was also intended for Ziggy, but was replaced by "Suffragette City". RCA released it in 1975 as the b-side to the UK re-release of "Space Oddity" after having it remixed and mastered without Bowie's approval.
After recording some of the new songs for Sounds of the 70s with Bob Harris (which appear on Bowie at the Beeb) as the newly-dubbed Spiders from Mars in January-February 1972, the band returned to Trident. They recorded "Starman", "Suffragette City", and "Rock 'n' Roll Suicide" by the end of the month.
"Starman", released as a single in April (and not intended for the final album at first), has never appeared in its original "loud" mix on CD. It differs somewhat in that it "features a subdued 'morse code' section between the verse and the chorus" compared to the original released in 1972. "Starman"'s b-side, "Suffragette City", was mastered for the album with a three-note coda leading in from "Ziggy Stardust" to make the songs sound linked. They were never played as such by Bowie in concert.
Recorded and released during the ensuing Ziggy tour were two other songs. The first, "John, I'm Only Dancing", was recorded at Trident in late June and released (in the UK only) in September. "The Jean Genie", recorded at RCA Studios in New York in early October at the start of the American tour, was released in the US in November. The song was remixed for Aladdin Sane.
Rock keyboardist Rick Wakeman was given the opportunity to play keyboards on the album but Rick opted to join the progressive rock group Yes instead.
Plot
The album was intended by Bowie to serve as the soundtrack and musical basis for a stage show and/or television production telling the story of Ziggy Stardust. As well as the songs on the album, Bowie also intended songs such as "All the Young Dudes", "Rebel Rebel" and "Rock 'n' Roll With Me" (the latter two later recorded for Diamond Dogs) for this realisation of the Ziggy story. In a Rolling Stone interview with William S. Burroughs, Bowie outlined the full plot of the Ziggy Stardust story:
The time is five years to go before the end of the earth. It has been announced that the world will end because of lack of natural resources. Ziggy is in a position where all the kids have access to things that they thought they wanted. The older people have lost all touch with reality and the kids are left on their own to plunder anything. Ziggy was in a rock-and-roll band and the kids no longer want rock-and-roll. There's no electricity to play it. Ziggy's adviser tells him to collect news and sing it, 'cause there is no news. So Ziggy does this and there is terrible news. 'All the young dudes' is a song about this news. It's no hymn to the youth as people thought. It is completely the opposite. [...]
The end comes when the infinites arrive. They really are a black hole, but I've made them people because it would be very hard to explain a black hole on stage. [...]
Ziggy is advised in a dream by the infinites to write the coming of a Starman, so he writes 'Starman', which is the first news of hope that the people have heard. So they latch onto it immediately...The starmen that he is talking about are called the infinites, and they are black-hole jumpers. Ziggy has been talking about this amazing spaceman who will be coming down to save the earth. They arrive somewhere in Greenwich Village. They don't have a care in the world and are of no possible use to us. They just happened to stumble into our universe by black hole jumping. Their whole life is travelling from universe to universe. In the stage show, one of them resembles Brando, another one is a Black New Yorker. I even have one called Queenie, the Infinite Fox...Now Ziggy starts to believe in all this himself and thinks himself a prophet of the future starmen. He takes himself up to the incredible spiritual heights and is kept alive by his disciples. When the infinites arrive, they take bits of Ziggy to make them real because in their original state they are anti-matter and cannot exist in our world. And they tear him to pieces on stage during the song 'Rock 'n' roll suicide'. As soon as Ziggy dies on stage the infinites take his elements and make themselves visible.
The more generally acknowledged story, however, has Ziggy Stardust himself being the "starman", from Mars, who has come to save the Earth with messages of love and peace, and Bowie has referred to Ziggy as a "Martian" in several interviews.
Styles and themes
Simple two-syllable phrases provide the spine for "Suffragette City" ("hey man"), "Hang on to Yourself" ("come on"), "Lady Stardust" ("all right"), and "Five Years" ("five years").[9]
"Starman", the album's single, has been described as a cross between mod and "Somewhere Over the Rainbow".
Upon its release on 6 June 1972, Ziggy Stardust reached number five in the UK and number seventy-five in the US. The album was eventually certified platinum and gold in the UK and US respectively.[18][19] The only single from the record, "Starman", charted at number ten in the UK while peaking at the sixty-fifth spot in the US.
In the issue of Rolling Stone from 20 July 1972, writer Richard Cromelin gave the album a favourable review of "at least a 99" (assumed out of 100), the review was written in a way that even though he thought it was a good album he did not believe in the lasting power of it or the style in general. In his review Cromelin writes "we should all say a brief prayer that his fortunes are made to rise and fall with the fate of the "drag-rock" sundrome".[20]
In 1997, Ziggy Stardust was named the 20th greatest album of all time in a Music of the Millennium poll conducted in the United Kingdom by HMV Group, Channel 4, The Guardian and Classic FM. In 1998, Q magazine readers placed it at number 24 and Virgin All-time Top 1000 Albums ranked it at number 11, while in 2003 the TV network VH1 placed it at number 48. It was named the 35th best album ever made by Rolling Stone on their list of the 500 Greatest Albums of All Time. In 2000 Q placed it at number 25 in its list of the 100 Greatest British Albums Ever. In 2004 it was placed at number 81 in Pitchfork Media's Top 100 Albums of the 1970s. In his 1995 book, "The Alternative Music Almanac", Alan Cross placed the album in the #3 spot on the list of '10 Classic Alternative Albums'. In 2006, the album was chosen by TIME magazine as one of the 100 best albums of all time.
In 2005, Seu Jorge did a cover album of 14 Bowie songs, many of them from Ziggy Stardust, as a soundtrack for the movie The Life Aquatic with Steve Zissou called The Life Aquatic Studio Sessions. The translation into Portuguese is not always exact, as Seu Jorge maintains the melodies and styles, but often varies the lyrics. Musician Saul Williams named his 2007, Trent Reznor produced album The Inevitable Rise and Liberation of NiggyTardust!. In 2009, Techno Cowboy covered the entire album from start to finish using just the Omnichord called "The Ziggy Stardust Omnichord Album".
Cover
The cover photograph was taken outside furriers, K. West, at 23 Heddon Street, London, W1. The rear cover of the original vinyl album bore the instruction "TO BE PLAYED AT MAXIMUM VOLUME", however this was omitted from the EMI 1999 re-release.
The album cover was among the ten chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.
Disc 1:
01. Love You Till Tuesday
02. When I Live My Dream
03. Little Bombardier
04. Silly Boy Blue
05. In The Heat Of The Morning
06. When I'm Five
07. Unwashed & Somewhat Slightly
08. Buzz The Fuzz.
09. Karma Man
10. London Bye Ta-Ta
11. An Occasional Dream
12. Janine
13. The Wild-Eyed Boy From Freecloud
14. Fill Your Heart
15. The Prettiest Star
16. I'm Waiting For The Man
17. The Width Of A Circle
18. The Supermen
Disc 2:
01. Queen Bitch
02. The Supermen
03. Song For Bob Dylan (Featuring George Underwood)
04. Andy Warhol (Featuring Dana Gillespie)
05. Oh! You Pretty Things
06. Kooks
07. Fill Your Heart
08. Port Of Amsterdam
09. Andy Warhol
10. Ziggy Stardust
11. Queen Bitch
12. I'm Waiting For The Man
13. Lady Stardust
14. White Light White Heat
15. John, I'm Only Dancing
16. Lady Stardust
17. Star
Part 1: http://rapidshare.com/files/423680273/David_Bowie.part1.rar
Part 2: http://rapidshare.com/files/423679971/David_Bowie.part2.rar
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Part 1: http://www.upload-drive.com/file/12337/David-Bowie-part1-rar.html
Part 2: http://www.upload-drive.com/file/12336/David-Bowie-part2-rar.html
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Brunning Sunflower Blues Band - Bullen Street Blues & Trackside Blues (UK Blues 1968-69)
Size: 142 MBBitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
UK reissue of two of the British blues act's original albums on one CD, 'Bullen Street Blues' (1968) and 'Trackside Blues' (1969). Digitally remastered. 23 tracks, over 70 minutes of music. Includes one previously unreleased track 'Uranus (Take 2)'. Featuring former members of Fleetwood Mac and Savoy Brown.
01. Gone Back Home
02. Hit That Wine
03. Bullen Street Blues
04. No Idea
05. Shout Your Name and Call It
06. Take Your Hands off Me
07. 'Fore Time Began
08. Something Tells Me
09. Big Belly Blues
10. Sunflower Boogie
11. Rockin' Chair
12. Ride With Your Daddy Tonight
13. Tube Train Blues
14. Sunflower Shuffle
15. Simple Simon
16. I Met This Bird In Playboy
17. Ah! Soul (AKA Uranus Pt 1)
18. It Takes Time
19. Baby You're the Real Thing
20. If You Let Me Love You
21. North Star
22. Closing Hours
23. Uranus [Take 2]
1. http://rapidshare.com/files/423670678/Brunning.rar
or
2. http://www.upload-drive.com/file/12333/Brunning-rar.html
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Badfinger - Apple Demos 1970-72 (Bootleg)
Size: 104 MBBitrate: 320
mp3
Found in DC++ World (our Internet Police WANNABE stalker can't get in to this world, lol :-)
Artwork Included
The tape originated from Bell Sound Studios in New York City and was given by Hilary Gerrard from the Apple Office on 54 St. James's Street in London to WNEW-FM in New York City as an advanced promo for Badfinger's next LP. It appears that the tape was never played.
On March 2, 1971 a rough mix of the entire proposed new LP was prepared in England, then Badfinger travelled to the U.S. for their 2nd tour. This tape contains the mixes that were intended for side 2 of the original Straight Up album, except that Mike's song "Loving You" is missing and a slightly different mix of "Perfection" is included instead. The alternate mix of "Perfection" fades out earlier and the synthesizer is dropped from the mix earlier and the harmonica overdub is brought in sooner than on the final mix.
It wasn't until 9 months later that the final Straight Up LP would be released in the U.S.A. 4 of these songs were released in 1993 as bonus tracks on the "Straight Up" CD release.
Publisher: Cannonball
Reference :CA-2003010
Date :2003
Made In :
Quality :EX++
Booklet & packaging :
Total duration: 44:29
01. No Good At All
02. Sweet Tuesday Morning
03. Suitcase
04. I'll Be The One
05. Baby Please
06. Mean Mean Jemima
07. Loving You
08. Name Of The Game
09. Money
10. Flying
11. Sing For The Song
12. Perfection (2nd version)
13. Perfection (preliminary)
1. http://rapidshare.com/files/423666475/Badfinger.rar
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2. http://www.upload-drive.com/file/12332/Badfinger-rar.html
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Metallica - Selftitled (Classic Album US 1991)
Size: 205 MBBitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Metallica (also known as The Black Album) is the eponymous fifth studio album by the American heavy metal band Metallica. It was released on August 13, 1991 through Elektra Records. The album features songs that are considered today among Metallica's most well-known songs, with songs such as "Enter Sandman", "The Unforgiven", "Nothing Else Matters", "Wherever I May Roam" and "Sad but True".
It spent four consecutive weeks at number one on Billboard 200. Metallica is the band's best-selling album to date, with over 15 million copies sold in the United States. It is the best-selling album of the SoundScan era. The album was certified 15x Platinum (Diamond) by the RIAA on November 13, 2009.
The album cover features the band's logo, angled against the upper left corner, and a coiled snake (derived from the Gadsden flag) on the bottom right corner, both in a dark shade of gray in order to be made out against the black background. The motto of the Gadsden flag, "Don't Tread on Me", is also the title of a song on the album.
The cover is reminiscent of Spinal Tap's Smell the Glove album, something the band jokingly acknowledged themselves in their A Year and a Half in the Life of Metallica documentary (where members of Spinal Tap appeared and asked them about it).
The album and the band were critically acclaimed and commercially successful. The band changed their sound from previous albums. Metallica presented a more commercially accessible Metallica. Following the success of "One", the breakaway single from their album ...And Justice for All, five videos were released from Metallica ("Enter Sandman", "Nothing Else Matters", "Sad but True", "Wherever I May Roam" and "The Unforgiven").
The lyrics of Metallica, written by James Hetfield, were more personal and introspective in nature than previous Metallica albums. "The God That Failed" dealt with Hetfield's mother's death from cancer and her Christian Science beliefs which kept her from seeking medical treatment. Another example is "Nothing Else Matters", which was a love song Hetfield wrote about missing his girlfriend while on tours. The album ended Metallica's tradition of including a lengthy instrumental track on each album until their 2008 album Death Magnetic.
Metallica was produced by Bob Rock, who was asked to mix the album as the band was impressed with his work as producer on the Mötley Crüe album, Dr. Feelgood. Initially, the band was not interested in having Rock produce their album, but changed their minds as Ulrich stated "We felt that we still had our best record in us and Bob Rock could help us make it."
Rock altered the band's working schedule and routine so much that they swore never to work with him again. The animosity and tension between band and producer was documented in the documentaries A Year and a Half in the Life of Metallica and Classic Albums: Metallica – Metallica. Both explore and document the intense recording process that resulted in Metallica. Despite the controversies between the band and Rock, he continued to work with the band through the 2003 album St. Anger.
Disc 1:
01. "Enter Sandman" James Hetfield, Lars Ulrich, Kirk Hammett 5:29
02. "Sad but True" Hetfield, Ulrich 5:24
03. "Holier Than Thou" Hetfield, Ulrich 3:47
04. "The Unforgiven" Hetfield, Ulrich, Hammett 6:26
05. "Wherever I May Roam" Hetfield, Ulrich 6:42
06. "Don't Tread on Me" Hetfield, Ulrich 3:59
07. "Through the Never" Hetfield, Ulrich, Hammett 4:01
08. "Nothing Else Matters" Hetfield, Ulrich 6:29
09. "Of Wolf and Man" Hetfield, Ulrich, Hammett 4:16
10. "The God That Failed" Hetfield, Ulrich 5:05
11. "My Friend of Misery" Hetfield, Ulrich, Jason Newsted 6:47
12. "The Struggle Within" Hetfield, Ulrich 3:51
Japanese bonus
13. "So What?" Nick "Animal" Kulmer, Chris "Magoo" Exall, Clive "Winston" Blake 3:09
Disc 2: Rare Live Bonus:
01. "Creeping Death"
02. "For Whom The Bell Tolls"
03. "Wherever I May Roam"
04. "MetallicEnter Sandman"
05. "Nothing Else Matters
Part 1: http://rapidshare.com/files/423626177/Metallica.part1.rar
Part 2: http://rapidshare.com/files/423626237/Metallica.part2.rar
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Deep Purple - MK III The Final Concerts (Rare Live UK 1975)
Size: 229 MBBitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
MK III: The Final Concerts, alternatively entitled Archive Alive, is a live album released by Deep Purple, recorded during the band's 1975 European tour in support of Stormbringer. It was released in 1996.
This double CD release is culled from the very last performances from Deep Purple MK III featuring Ritchie Blackmore before he left to launch his new band Rainbow with singer Ronnie James Dio. The album features for the most part material from the last concert of the tour held at the Palais des Sports in Paris on April 7, 1975, with a few tracks taken from two shows in Graz, Austria, April 3 and 4.
At the time of the taping of the shows, the rest of the band was unaware of Blackmore's decision to leave the band by tour's end. Managers decided to tape the last 4 shows (Paris, Graz and Saarbrücken) in order to have some product available for release in the event of the band splitting up.
After the end of the tour, and facing the prospect of the end of the band, Jon Lord mentioned to the press the upcoming release of a double live set consisting of performances from the last European tour. However, as the band decided to carry on, the plans for the release were scrapped.
In 1976, after the definitive breakup of the band, the single disc Made in Europe live album was released, using some of the material previously mentioned by Lord (from the Saarbrücken show), but apparently none of the material included on this release. Made in Europe was met with mixed reactions, as some argued that it failed to capture the energy that the band displayed live. Additionally, some resented what they felt was a healthy amount of studio editing.
Blackmore's lack of enthusiasm, as well as band tension onstage, are fairly evident on some of the tracks: Blackmore unexpectedly loses his way on the intro for "Mistreated" and he seems totally surprised by Lord's solo on "Lady Double Dealer" (the studio version of this song lacks a keyboard solo).
The alternate takes of "Mistreated" and "You Fool No One" on disc two are from the Graz shows, and although the liner notes mention "technical problems" on the Paris tapes as the justification for their inclusion, it is more likely that their inclusion has more to do with mistakes by the band.
Strangely, the alternate take of "You Fool No One" lacks Ian Paice's trademark drum solo, even after being announced by David Coverdale.
During the intro jam for "You Fool No One" Blackmore played riffs which he would later use on the songs "Still I'm Sad" and "Man On The Silver Mountain" from Rainbow's first LP Ritchie Blackmore's Rainbow, which was already recorded only weeks before these shows.
Disc one
01."Burn" (Ritchie Blackmore, David Coverdale, Jon Lord, Ian Paice) – 7:33
02."Stormbringer" (Blackmore, Coverdale) – 4:38
03."The Gypsy" (Blackmore, Coverdale, Glenn Hughes, Lord, Paice - 5:40
04."Mistreated" (Blackmore, Coverdale) - 12:38
05."Lady Double Dealer" (Blackmore, Coverdale) – 4:15
06."Smoke on the Water" (Blackmore, Ian Gillan, Roger Glover, Lord, Paice) - 10:17
07."You Fool No One" (Blackmore, Coverdale, Lord, Paice) – 13:24
Disc two
01."Space Truckin'" (Blackmore, Gillan, Glover, Lord, Paice) - 19:41
02."Going Down" / "Highway Star" (Don Nix) /(Blackmore, Gillan, Glover, Lord, Paice) - 15:13
03."Mistreated" (Blackmore, Coverdale) – 14:13
04."You Fool No One" (Blackmore, Coverdale, Lord, Paice) – 12:43
Tracks 1, 2, 10 and 11 are from Graz show, all others from Paris show.
Part 1: http://rapidshare.com/files/423615436/Deep_Purple.part1.rar
Part 2: http://rapidshare.com/files/423615449/Deep_Purple.part2.rar
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Bad Company - Selftitled (1st Album UK 1974)
Size: 71.1 MBBitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Bad Company is the eponymous debut album by hard rock band Bad Company.
The album was recorded in less than 10 days at Headley Grange with Ronnie Lane's Mobile Studio in November 1973.
The album peaked at #1 on the Billboard's Pop Albums chart (North America). Since then the album has sold in excess of five million copies and has become the 46th best selling album of the 70'sRIAA.
The singles "Can't Get Enough" (which was to feature in an advertisement for Levi's jeans in 1999) and "Movin' On" peaked at #5 and #19 respectively. "Rock Steady", "Bad Company" and "Ready for Love" (the latter originally recorded by BadCo guitarist Mick Ralphs during his tenure with Mott the Hoople) are also "classic rock" radio staples.
In 2006 a limited edition CD of 24K Gold was released. It had taken over a year to find the original master tapes, then the analog masters were put through proprietary A/D converter. Another remaster was previously released in 1994.
Bad Company's 1974 self-titled release stands as one of the most important and accomplished debut hard rock albums from the '70s. Though hardly visionary, it was one of the most successful steps in the continuing evolution of rock & roll, riding on the coattails of achievement from artists like the Eagles and Crosby, Stills, Nash and Young. From the simple electric guitar lick on "Can't Get Enough" to the haunting bassline in "Bad Company" and the fast beats of "Movin' On," Bad Company exemplified raw rock & roll at its best. Erupting out of an experimental period created by the likes of Pink Floyd, Bad Company signified a return to more primal, stripped-down rock & roll. Even while labelmates Led Zeppelin's Houses of the Holy and IV featured highly acclaimed, colorful album artwork, Bad Company's austere black and white record cover stood out in stark contrast. Six years later, AC/DC used the same idea on their smash Back in Black. Throughout the 35-minute album, Paul Rodgers' mesmerizing and gritty vocals hardly vary in tonal quality, offering a perfect complement to Mick Ralphs' blues-based guitar work. Several songs include three-chord verses offset by unembellished, distorted choruses, filled rich with Rodgers' cries. Bad Company is an essential addition to the rock & roll library; clearly influential to '70s and '80s hard rock bands like Tom Petty, Lynyrd Skynyrd, and Boston.
01."Can't Get Enough" (Mick Ralphs) - 4:16
02."Rock Steady" (Paul Rodgers) - 3:46
03."Ready for Love" (Ralphs) - 5:01
04."Don't Let Me Down" (Rodgers, Ralphs) - 4:22
05."Bad Company" (Rodgers, Simon Kirke) - 4:50
06."The Way I Choose" (Rodgers) - 5:05
07."Movin' On" (Ralphs) - 3:21
08."Seagull" (Rodgers, Ralphs) - 4:06
1. http://rapidshare.com/files/423609895/Bad-Company.rar
or
2. http://www.upload-drive.com/file/12329/Bad-Company-rar.html
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Chuck Berry - Fresh Berry's (Rare Album US 1965)
Size: 107 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Fresh Berry's is a Chuck Berry album which was released in 1965 by Chess Records. This would be Berry's last album of new material for Chess until the release of Back Home in 1970; in the interim, Berry would move to Mercury Records.
Chuck Berry's last album for Chess, for the next four years, has him back in the U.S., and running smack into the mid-'60s blues revival, playing with the likes of Paul Butterfield and Mike Bloomfield (who were beginning a brief but productive association with Muddy Waters around this time). The material varies from first-rate songs ("It Wasn't Me," "My Mustang Ford," "Ain't That Just Like a Woman") that sound utterly contemporary, to fascinating experiments ("One for My Baby") and filler like "Everyday We Rock and Roll" and "Merrily We Rock and Roll." He still rocks out, and sounds like he's having a great time playing blues with Bloomfield and Butterfield ("Sad Day-Long Night" etc.), sounding like an old Chicago bluesman, which, ironically, was the direction he chose to go in during his subsequent four-year stint with Mercury Records. He still does some straight rock & roll — "It's My Own Business" is a great teen rebellion number — and occasionally indulges his taste for music from the islands ("Run Joe"), in what was essentially an era-closing album, and his last attempt at making a contemporary album with his established sound. Berry's next step was four years of neglect, followed by his rediscovery as an "oldies" act.
01."It Wasn't Me" (Berry)
02."Run Joe" (Berry)
03."Every Day We Rock and Roll" (Berry)
04."One for My Baby (And One More for the Road)" (Arlen/Mercer)
05."Welcome Back Pretty Baby"
06."It's My Own Business" (Berry)
07."Right Off Rampart Street"
08."Vaya con Dios"
09."Merrily We Rock and Roll" (Berry)
10."My Mustang Ford" (Berry)
11."Ain't That Just Like a Woman" (Demetrius/Moore)
12."Wee Hour Blues" (Berry)
+ 8 Bonus Tracks
1. http://rapidshare.com/files/423605496/Chuck-Berry.rar
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2. http://www.upload-drive.com/file/12328/Chuck-Berry-rar.html
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Heya Folks
.
Hi all.
As you know i like to read your reviews about the albums in comment section so come on and write!! :-))
//ChrisGoesRock
Hi all.
As you know i like to read your reviews about the albums in comment section so come on and write!! :-))
//ChrisGoesRock
Dave Mason - Alone Together (Classic Album UK 1970)
Size: 75.2 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Alone Together was the debut solo album by former Traffic member Dave Mason. Performing with Mason was a roster of guest musicians, including Delaney and Bonnie Bramlett, Leon Russell, Jim Capaldi, Rita Coolidge, Carl Radle and Jim Gordon.
The song, "Only You Know and I Know", which received a good deal of album-oriented rock radio airplay, was the record's major commercial success. Other standout tracks are "Shouldn't Have Took More Than You Gave", "Sad and Deep as You", "World in Changes", and "Look at You, Look at Me".
The LP record itself was not the traditional black vinyl, about 30% of the albums were a swirled mix of pink, brown and beige which attracted considerable attention.
Dave Mason's first solo album was one of several recordings to come out of the Leon Russell/Delaney & Bonnie axis in 1970. (Other notables included Eric Clapton's solo debut and Joe Cocker's Mad Dogs & Englishmen.) Alone Together contains an excellent batch of melodically pleasing songs, built on a fat bed of strumming acoustic guitars with tasteful electric guitar accents and leads. Mason's vocals are embellished with harmonies from Rita Coolidge, Claudia Lennear, and Delaney & Bonnie. Besides the well-known semi-hit "Only You Know and I Know," and which was also a number 20 hit for Delaney & Bonnie, highlights include the bouncy gospel-inflected "Waitin' on You" and the banjo-bejeweled "Just a Song." "Look at You Look at Me" and the wonderfully wah-wahed "Shouldn't Have Took More Than You Gave" are reminiscent of Mason's former band, Traffic, whose drummer, Jim Capaldi is among the all-star cast assembled here. Alone Together represents Dave Mason at his peak. Later releases would betray lyrical shallowness, forced rhymes, and clichéd guitar licks. But here, everything comes together perfectly. The original vinyl release of Alone Together was also noteworthy for the marble grain of the record itself — as the record played on the turntable, the tone arm appeared to be floating through the clouds.
01."Only You Know and I Know" - 4:05
02."Can't Stop Worrying, Can't Stop Loving" - 3:02
03."Waitin' On You" - 3:05
04."Shouldn't Have Took More Than You Gave" - 6:00
05."World in Changes" - 4:30
06."Sad and Deep as You" - 3:35
07."Just a Song" - 2:59
08."Look at You Look at Me" (Mason, Jim Capaldi) - 7:22
1. http://rapidshare.com/files/423601326/Dave_Mason.rar
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2. http://www.upload-drive.com/file/12327/Dave-Mason-rar.html
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Marc Ellington - Marc Time (Rare Folkrock Album UK 1975)
Size: 74.4 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Korean 24-Bit Remaster
Marc Ellington is a Scottish folksinger and multi-instrumentalist who has guested with Fairport Convention on the latter group's recordings, starting with providing some vocal support on the Unhalfbricking album in 1969. Additionally, he worked with Matthews Southern Comfort on their self-titled 1969 LP, playing percussion, and recorded his debut album that same year, which featured his singing, guitar work, and bagpipes.
The latter album, recorded on the Ampex label, also included contributions from Fairport alumni Simon Nicol and Richard Thompson. Ellington subsequently contributed to several of Thompson's recordings, and sang on Linda Thompson's 1996 Dreams Fly Away. He has appeared at the Cropedy Festival organized around Fairport, and as of 2007 was the Deputy Lieutenant of Aberdeenshire and a member of the Heritage Lottery Fund Committee for Scotland.
01. Wild About My Lovin'
02. The Answer Is You
03. Stealin'
04. Streets Of Baltimore
05. Ad Man
06. I Miss The Mississippi And You
07. Shady Lies
08. Borrowing Time
09. Close The Door
10. You Just Can't Believe What You See
11. Anyday Woman
12. Peggy Gordon (Bonus Track)
1. http://rapidshare.com/files/423584556/Ellington_Marc.rar
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2. http://www.upload-drive.com/file/12325/Ellington-Marc-rar.html
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Wednesday, 6 October 2010
Marc Ellington - Selftitled (Great Folkrock UK 1969)
Size: 105 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Korean 24-Bit Remaster
Marc Ellington's debut album on Philips in 1969.
A Scottish folksinger and multi-instrumentalist who has guested with Fairport Convention on the latter group's recordings, starting with providing some vocal support on the Unhalfbricking album in 1969. Additionally, he worked with Matthews Southern Comfort on their self-titled 1969 LP, playing percussion, and recorded his debut album that same year, which featured his singing, guitar work, and bagpipes. The latter album, recorded on the Ampex label, also included contributions from Fairport alumni Simon Nicol and Richard Thompson. Ellington subsequently contributed to several of Thompson's recordings, and sang on Linda Thompson's 1996 Dreams Fly Away. He has appeared at the Cropedy Festival organized around Fairport, and as of 2007 was the Deputy Lieutenant of Aberdeenshire and a member of the Heritage Lottery Fund Committee for Scotland.
Marc Ellington is a Scottish folksinger and multi-instrumentalist who has guested with Fairport Convention on the latter group's recordings, starting with providing some vocal support on the Unhalfbricking album in 1969. Additionally, he worked with Matthews Southern Comfort on their self-titled 1969 LP, playing percussion, and recorded his debut album that same year, which featured his singing, guitar work, and bagpipes. The latter album, recorded on the Ampex label, also included contributions from Fairport alumni Simon Nicol and Richard Thompson. Ellington subsequently contributed to several of Thompson's recordings, and sang on Linda Thompson's 1996 Dreams Fly Away. He has appeared at the Cropedy Festival organized around Fairport, and as of 2007 was the Deputy Lieutenant of Aberdeenshire and a member of the Heritage Lottery Fund Committee for Scotland.
01. In Brooklyn
02. Fairy Tale Lullaby
03. Reason To Believe
04. Caledonian Mission
05. Fair And Tender Ladies
06. Changes
07. Tears of Rage
08. Four In The Morning
09. Will The Circle Be Unbroken
10. I Shall Be Released
11. Bless The Executioner
12. Love City
13. Desolation Row
14. Nanna's Song
1. http://rapidshare.com/files/423382226/M_Ellington.rar
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2. http://www.upload-drive.com/file/12262/M-Ellington-rar.html
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Monday, 4 October 2010
Marc Ellington - Restoration (Great Folkrock UK 1972)
Size: 63.6 MBBitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Korean 24-Bit Remaster
MARC ELLINGTON Restoration (Very rare original 1973 UK Philips label 10-track vinyl LP featuring contributions from Fairport Convention's Dave Mattacks, Simon Nicol and Jerry Donahue, Dolly Collins, Zoot Money and Ray Warleigh, plus some of the UK's top session players including Dave Peacock, Barry D'Souza and Dave Richards.
Marc Ellington is a Scottish folksinger and multi-instrumentalist who has guested with Fairport Convention on the latter group's recordings, starting with providing some vocal support on the Unhalfbricking album in 1969. Additionally, he worked with Matthews Southern Comfort on their self-titled 1969 LP, playing percussion, and recorded his debut album that same year, which featured his singing, guitar work, and bagpipes. The latter album, recorded on the Ampex label, also included contributions from Fairport alumni Simon Nicol and Richard Thompson. Ellington subsequently contributed to several of Thompson's recordings, and sang on Linda Thompson's 1996 Dreams Fly Away. He has appeared at the Cropedy Festival organized around Fairport, and as of 2007 was the Deputy Lieutenant of Aberdeenshire and a member of the Heritage Lottery Fund Committee for Scotland.
01. A Good Love Is Like A Good Song
02. It's Love That You Need
03. Coal Tattoo
04. Try
05. You Ain't Going Nowhere
06. Let The Music Bring You Back
07. Break A Window (Break A Heart)
08. Along Comes Mary
09. Younger Girl
10. Wild Mountain Thyme
1. http://rapidshare.com/files/422998266/Marc_Ellington.rar
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2. http://www.megaupload.com/?d=RLNI9HF3
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Sunday, 3 October 2010
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