Collection – Lossless Music Download

Frank Zappa & The Mothers Of Invention – 29 Albums Collection [UMe Remasters] (2012) [FLAC]

29 Albums | 32 CD | 2012 | 9,26 GB | FLAC (tracks+.cue,.log)
Genre: Progressive Rock, Experimental Rock, Jazz Rock, singer-songwriter
Label: UMe / ZFT

Tracklist:

Absolutely Free 1967
01. Plastic People
02. The Duke Of Prunes
03. Amnesia Vivace
04. The Duke Regains His Chops
05. Call Any Vegetable
06. Invocation & Ritual Dance Of The Young Pumpkin
07. Soft Cell Conclusion
08. Big Leg Emma
09. Why Don’tcha Do Me Right
10. America Drinks
11. Status Back Baby
12. Uncle Bernie’s Farm
13. Son Of Suzy Creamcheese
14. Brown Shoes Don’t Make It
15. America Drinks & Goes Home
SOURCE: Original 1967 Analog Master
RELEASE DATE: 7/31/12

Freak Out! 1966
01. Hungry Freaks, Daddy
02. I Ain’t Got No Heart
03. Who Are The Brain Police?
04. Go Cry On Somebody Else’s Shoulder
05. Motherly Love
06. How Could I Be Such A Fool?
07. Wowie Zowie
08. You Didn’t Try To Call Me
09. Any Way The Wind Blows
10. I’m Not Satsified
11. You’re Probably Wondering Why I’m Here
12. Trouble Every Day
13. Help, I’m A Rock
14. It Can’t Happen Here
15. The Return Of The Son Of The Monster Magnet
SOURCE: 1987 1630 Digital Master (Remix)
RELEASE DATE: 7/31/12

Cruising With Ruben & The Jets (1968)
01. Cheap Thrills
02. Love Of My Life
03. How Could I Be Such A Fool
04. Deseri
05. I’m Not Satisfied
06. Jelly Roll Gum Drop
07. Anything
08. Later That Night
09. You Didn’t Try To Call Me
10. Fountain Of Love
11. No. No. No.
12. Anyway The Wind Blows
13. Stuff Up The Cracks
SOURCE: 1987 1630 Digital Master (Remix)
RELEASE DATE: 7/31/12

Uncle Meat (1969)
CD1
01. Uncle Meat – Main Title Theme
02. The Voice Of Cheese
03. Nine Types Of Industrial Pollution
04. Zolar Czakl
05. Dog Breath, In The Year Of The Plague
06. The Legend Of The Golden Arches
07. Louie Louie (Live At The Royal Albert Hall in London)
08. The Dog Breath Variations
09. Sleeping In A Jar
10. Our Bizarre Relationship
11. The Uncle Meat Variations
12. Electric Aunt Jemima
13. Prelude To King Kong
14. God Bless America (Live At The Whiskey A Go Go)
15. A Piound For A Brown On The Bus
16. Ian Underwood Whips It Out (Live on Stage In Copenhagen)
17. Mr. Green Genes
18. We Can Shoot You
19. “If We’d Been Living In California…”
20. The Air
21. Project X
22. Cruising For Burgers
CD2
01. Uncle Meat Film Excerpt, Pt. 1
02. Tengo Na Minchia Tanta
03. Uncle Meat Film Excerpt, Pt. 2
04. King Kong Itself
05. King Kong II
06. King Kong III
07. King Kong IV
08. King Kong V
09. King Kong VI
SOURCE: 1993 1630 Digital Master (Remix)
RELEASE DATE: 7/31/12

Hot Rats (1969)
01. Peaches En Regalia
02. Willie The Pimp
03. Son Of Mr. Green Genes
04. Little Umbrellas
05. The Gumbo Variations
06. It Must Be A Camel
SOURCE: Original 1969 Analog Master
RELEASE DATE: 7/31/12

Burnt Weeny Sandwich (1969)
01. WPLJ
02. Igor’s Boogie, Phase One
03. Overture To A Holiday In Berlin
04. Theme From Burnt Weeny Sandwich
05. Igor’s Boogies, Phase Two
06. Holiday In Berlin, Full-Blown
07. Aybe Sea
08. The Little House I Used To Live In
09. Valarie
SOURCE: Original 1969 Analog Master
RELEASE DATE: 7/31/12

Frank Zappa – Lumpy Gravy (1968)
01. Lumpy Gravy Part One
02. Lumpy Gravy Part Two
SOURCE: 1993 1630 Digital Master (Original Mix)
RELEASE DATE: 7/31/12

We’re Only In It For The Money (1968)
01. Are You Hung Up
02. Who Needs The Peace Corps
03. Concentration Moon
04. Mom & Dad
05. Telephone Conversation
06. Bow Tie Daddy
07. Harry, You’re A Beast
08. What’s The Ugliest Part Of Your Body?
09. Absolutely Free
10. Flower Punk
11. Hot Poop
12. Nasal Retentive Calliope Music
13. Let’s Make The Water Turn Black
14. The Idiot Bastard Son
15. Lonely Little Girl
16. Take Your Clothes Off When You Dance
17. What’s The Ugliest Part Of Your Body? (Reprise)
18. Mother People
19. The Chrome Plated Megaphone Of Destiny
SOURCE: 1993 1630 Digital Master (Original Mix)
RELEASE DATE: 7/31/12

New Albums
Weasels Ripped My Flesh (1970)
01. Didja Get Any Onya?
02. Directly From My Heart To You
03. Prelude To the Afternoon Of A Sexually Aroused Gas Mask
04. Toads Of The Short Forest
05. Get A Little
06. The Eric Dolphy Memorial Barbecue
07. Dwarf Nebula Processional March and Dwarf Nebula
08. My Guitar Wants To Kill Your Mama
09. Oh No
10. The Orange County Lumber Truck
11. Weasels Ripped My Flesh
SOURCE: Original 1970 Analog Master
RELEASE DATE: 7/31/12

Chunga’s Revenge (1970)
01. Transylvania Boogie
02. Road Ladies
03. Twenty Small Cigars
04. The Nancy & Mary Music
05. Tell Me You Love Me
06. Would You Go All The Way?
07. Chunga’s Revenge
08. The Clap
09. Rudy Wants To Buy Yez A Drink
10. Sharleena
SOURCE: Original 1970 Analog Master
RELEASE DATE: 7/31/12

New Albums -2
Fillmore East June 1971 (1971)
01. Little House I Used To Live In
02. The Mud Shark
03. What Kind Of Girl Do You Think We Are?
04. Bwana Dik
05. Latex Solar Beef
06. Willie The Pimp Pt. 1
07. Willie The Pimp Pt. 2
08. Do You Like My New Car?
09. Happy Together
10. Lonesome Electric Turkey
11. Peaches En Regalia
12. Tears Began To Fall
SOURCE: Original 1971 Analog Master
RELEASE DATE: 7/31/12

Just Another Band From L.A. (1972)
01. Billy The Mountain
02. Call Any Vegtable
03. Eddie, Are You Kidding?
04. Magdalena
05. Dog Breath
SOURCE: Original 1972 Analog Master
RELEASE DATE: 7/31/12

New Albums -3
Waka/Jawaka (1972)
01. Big Swifty
02. Your Mouth
03. It Just Might Be A One-Shot Deal
04. Waka/Jawaka
SOURCE: Original 1972 Analog Master
RELEASE DATE: 8/28/12

The Grand Wazoo (1972)
01. The Grand Wazoo
02. For Calvin (And His Next Two Hitch-hikers)
03. Cletus Awreetus-Awrightus
04. Eat The Question
05. Blessed Relief
SOURCE: Original 1972 Analog Master
RELEASE DATE: 8/28/12

New Albums -4
Over-nite Sensation (1973)
01. Camarillo Brillo
02. I’m The Slime
03. Dirty Love
04. Fifty-Fifty
05. Zomby Woof
06. Dinah Moe-Humm
07. Montana
SOURCE: Original 1973 Analog Master
RELEASE DATE: 8/28/12

Apostrophe (‘) (1974)
01. Don’t Eat The Yellow Snow
02. Nanook Rubs It
03. St. Alfonzo’s Pancake Breakfast
04. Father O’Blivion
05. Cosmik Debris
06. Excentrifugal Forz
07. Apostrophe’
08. Uncle Remus
09. Stinkfoot
SOURCE: Original 1974 Analog Master
RELEASE DATE: 8/28/12

New Albums -5
Roxy & Elsewhere (1974)
01. Penguin In Bondage
02. Pygmy Twylyte
03. Dummy Up
04. Village Of The Sun
05. Echidna’s Arf (Of You)
06. Don’t You Ever Wash That Thing?
07. Cheepnis
08. Son Of Orange County
09. More Trouble Every Day
10. Be-Bop Tango (Of The Old Jazzmen’s Church)
SOURCE: 1992 1630 Digital Master
RELEASE DATE: 8/28/12

One Size Fits All (1975)
01. Inca Roads
02. Can’t Afford No Shoes
03. Sofa No. 1
04. Po-Jama People
05. Florentine Pogen
06. Evelyn, A Modified Dog
07. San Ber’dino
08. Andy
09. Sofa No. 2
SOURCE: Original 1975 Analog Master
RELEASE DATE: 8/28/12

New Albums -6
Bongo Fury (1975)
01. Debra Kadabra
02. Carolina Hard-core Ecstasy
03. Sam With The Showing Scalp Flat Top
04. Poofter’s Froth Wyoming Plans Ahead
05. 200 Years Old
06. Cucamonga
07. Advance Romance
08. Man With The Woman Head
09. Muffin Man
SOURCE: Original 1975 Analog Master
RELEASE DATE: 8/28/12

Zoot Allures (1976)
01. Wind Up Workin’ In A Gas Station
02. Black Napkins
03. The Torture Never Stops
04. Ms. Pinky
05. Find Her Finer
06. Friendly Little Finger
07. Wonderful Wino
08. Zoot Allures
09. Disco Boy
SOURCE: Original 1976 Analog Master
RELEASE DATE: 8/28/12

New Albums -7
Zappa In New York (1977)
CD1
01. Titties & Beer
02. Cruisin’ For Burgers
03. I Promise Not To Come In Your Mouth
04. Punky’s Whips
05. Honey, Don’t You Want A Man Like Me?
06. The Illinois Enema Bandit
CD2
01. I’m The Slime
02. Pound For A Brown
03. Manx Needs Women
04. The Black Page Drum Solo/Black Page #1
05. Big Leg Emma
06. Sofa
07. Black Page #2
08. The Torture Never Stops
09. The Purple Lagoon/Approximate
SOURCE: 1993 1630 Digital Master
RELEASE DATE: 8/28/12

Studio Tan (1978)
01. The Adventures Of Greggery Peccary
02. Lemme Take You To The Beach
03. Revised Music For Guitar & Low Budget Orchestra
04. RDNZL
SOURCE: Original 1977 Analog Master
RELEASE DATE: 8/28/12

New Albums -8
Sleep Dirt (1979)
01. Filthy Habits
02. Flambay
03. Spider Of Destiny
04. Regyptian Strut
05. Time Is Money
06. Sleep Dirt
07. The Ocean Is The Ultimate Solution
SOURCE: Original 1977 Analog Master
RELEASE DATE: 8/28/12

Sheik Yerbouti (1979)
01. I Have Been In You
02. Flakes
03. Broken Hearts Are For Assholes
04. I’m So Cute
05. Jones Crusher
06. What Ever Happened To All The Fun In The World
07. Rat Tomago
08. Wait A Minute
09. Bobby Brown
10. Rubber Shirt
11. The Sheik Yerbouti Tango
12. Baby Snakes
13. Tryin’ To Grow A Chin
14. City Of Tiny Lites
15. Dancin’ Fool
16. Jewish Princess
17. Wild Love
18. Yo’ Mama
SOURCE: Original 1978 Analog Master
RELEASE DATE: 8/28/12

New Album -9
Make A Jazz Noise Here (1991)
CD1
01. Stinkfoot
02. When Yuppies Go To Hell
03. Fire bAnd Chains
04. Let’s Make The Water Turn Black
05. Harry, Yuo’re A Beast
06. The Orange County Lumber Truck
07. Oh No
08. Theme From Lumpy Gravy
09. Eat That Question
10. Black Napkins
11. Big Swifty
12. King Kong
13. Star Wars Won’t Work
CD2
01. The Black Page (new oge version)
02. T’Mershi Duween
03. Dupree’s Paradise
04. City Of Tiny Lights
05. Sinister Footwear
06. Stevie’s Spanking
07. Alien Orifice
08. Cruisin’ For Burgers
09. Advance Romance
10. Strictly Genteel
© 2012 UMe / ZFT | ZR 3883

New Album -10
You Are What You Is (1981)
01. Teen-Age Wind
02. Harder Than Your Husband
03. Doreen
04. Goblin Girl
05. Theme from the 3rd Movement of Sinister Footwear
06. Society Pages
07. I’m a Beautiful Guy
08. Beauty Knows No Pain
09. Charlie’s Enormous Mouth
10. Any Downers?
11. Conehead
12. You Are What You Is
13. Mudd Club
14. The Meek Shall Inherit Nothing
15. Dumb All Over
16. Heavenly Bank Account
17. Suicide Chump
18. Jumbo Go Away
19. If Only She Woulda
20. Drafted Again
© 2012 UMe / ZFT | ZR 3864

New Album -11
Broadway The Hard Way (1988)
01. Elvis Has Just Left The Building
02. Planet Of The Baritone Women
03. Any Kind Of Pain
04. Dickie’s Such an Asshole
05. When The Lie’s So Big
06. Rhymin’ Man
07. Promiscuous
08. The Untouchables
09. Why Don’t You Like Me?
10. Bacon Fat
11. Stolen Moments
12. Murder By Numbers
13. Jezebel Boy
14. Outside Now
15. Hot Plate Heaven At The Green Hotel
16. What Kind Of Girl?
17. Jesus Thinks You’re a Jerk
© 2012 UMe / ZFT | ZR 3879

New Albums -12
Jazz From Hell (1986)
01. Night School
02. The Beltway Bandits
03. While You Were Art II
04. Jazz From Hell
05. G-Spot Tornado
06. Damp Ankles
07. St. Etienne
08. Massaggio Galore
© 2012 UMe / ZFT | ZR 3875

Boulez Conducts Zappa: The Perfect Stranger (1984)
01. The Perfect Stranger
02. Naval Aviation in Art?
03. The Girl in the Magnesium Dress
04. Dupree’s Paradise
05. Love Story
06. Outside Now Again
07. Jonestown
© 2012 UMe / ZFT | ZR 3869

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Margie Joseph – Albums Collection 1973-1984 (6CD) (Reissue 2007) [FLAC]

Collection includes: Margie Joseph (1973); Sweet Surrender (1974); Margie (1975); Hear the Words, Feel the Feeling (1976); Feeling My Way (1978); Ready For The Night (1984).

Frequently compared to Aretha Franklin, singer Margie Joseph earned neither the fame nor the critical success lavished upon the Queen of Soul, but a series of excellent records for Atlantic during the 1970s nevertheless won her a spot in the pantheon of soul cult favorites. Margaret Marie Joseph was born in Pascagoula, MS, in 1950 — she got her start in the church choir, and began pursuing a professional singing career while a student at New Orleans’ Dillard University. In 1967, Joseph made her first demo recordings at the famed Muscle Shoals Sound Studios, soon after signing to the Okeh label — her debut, “Why Does a Man Have to Lie?,” had the misfortune of seeing release around the same time parent label Columbia decided to close Okeh’s doors, and promptly sank without a trace. Two years later Joseph signed with the Stax subsidiary Volt, and with New Orleans soul legend Willie Tee assuming production duties, she released the underground favorite “One More Chance.”

Producer Freddy Briggs took the helm for Joseph’s next effort, “Your Sweet Loving”; released in the summer of 1970, the single proved a minor R&B chart hit. The following year, she cracked the R&B Top 40 with a cover of the Supremes’ classic “Stop! In the Name of Love,” boosting sales of her fine debut LP, Margie Joseph Makes a New Impression, in the process. Another Supremes cover, “My World Is Empty Without You,” formed the centerpiece of her 1972 follow-up, Phase II, but neither the single nor the album attracted much attention, and she soon signed to Atlantic to begin work with famed producer Arif Mardin, perhaps best-known for his earlier work with Aretha; indeed, Joseph’s self-titled Atlantic debut was often criticized for its similarities to Franklin’s classic work, although her sweetly plaintive vocals and more supple delivery were actually far more distinctive than detractors gave credit for. Joseph nevertheless scored an R&B hit in the spring of 1973 with her reading of the Al Green classic “Let’s Stay Together,” reaching her commercial zenith later that year when her second Atlantic album, Sweet Surrender, launched two more hit covers: “Come Lay Some Lovin’ on Me” (more successful for Joseph than for the song’s author, Paul Kelly) and “My Love” (a reading of the Paul McCartney & Wings smash that became her lone Top Ten R&B hit and pop Top 75 entry).

The 1975 album Margie is generally regarded by fans as the creative peak of Joseph’s recording career — the singles “Words (Are Impossible)” and “I Can’t Move No Mountains” are both superb, and with the lovely hit “Stay Still,” she earned a rare co-writing credit. A March 1976 live date in Jamaica introduced Joseph to the vocal group Blue Magic, and they agreed to record a duet — included on the 13 Blue Magic Lane album, “What’s Come Over Me” would prove her second-biggest R&B chart hit. She moved to the Atlantic subsidiary Cotillion for 1976′s Hear the Words, Feel the Feeling, produced by Motown legend Lamont Dozier — the title cut reached the R&B Top 20, and the sessions also yielded the wonderful disco-era seasonal cut “Christmas Gift,” included on the Funky Christmas compilation. Joseph returned to the Atlantic mothership for the Johnny Bristol-produced Feeling My Way, but when the singles “Come on Back to Me, Lover” and “I Feel His Love Getting Stronger” failed to generate much airplay, the label released her from her contract.

Joseph landed at the Philadelphia-based WMOT Records, recording an entire LP under the auspices of producer Dexter Wansel that was shelved after the company went belly-up; at this point, a frustrated Joseph quit the music business, turning to a teaching career. She returned to performing in 1982, cutting “Knockout” for the tiny HCRC label; the single was a surprise R&B hit, but HCRC went out of business as well, although the setback did allow Joseph to re-sign with Cotillion, where Narada Michael Walden agreed to produce her 1984 comeback album, Ready for the Night; the title cut was a minor hit, but again the label terminated her contract. Four years later, she signed with Ichiban to release Stay, her last new material to date, although much of her vintage Stax and Atlantic work has since been reissued on CD.

Biography by Jason Ankeny, Allmusic.com

Margie Joseph (1973) Reissue 2007

Margie Joseph was never a huge name in soul — she never became as famous as Aretha Franklin, Gladys Knight, Chaka Khan, or Tina Turner. But she is a talented, charming singer with a recognizable delivery; although greatly influenced by Franklin, Joseph has a softer, more girlish delivery. Unfortunately, she has rarely enjoyed the sort of promotion she deserves — not at Stax, not at Atlantic. Joseph moved from Stax to Atlantic in 1972, recording this self-titled LP the following year. Produced by Arif Mardin, Margie Joseph offers an enjoyable mix of Northern and Southern soul styles. Much of the album is devoted to covers, and the songs that Joseph embraces range from Ellington Jordan’s “I’d Rather Go Blind” and Al Green’s “Let’s Stay Together” to Brook Benton’s “I’ll Take Care of You.” Joseph also picks a Dolly Parton song, putting a soul spin on “Touch Your Woman.” Some people might be surprised to learn that Joseph recorded a tune by a country star, but then, a lot of country was very pop-minded in the early ’70s. And besides, Parton is very much a crossover artist, not a hardcore honky-tonker a la Kitty Wells. This decent, if imperfect, LP has been out of print since the 1970s, but it’s worth obtaining if you can track down a copy.

Review by Alex Henderson, Allmusic.com

Tracklist:
01. I Been Down (03:14)
02. Make Me Believe You’ll Stay (04:27)
03. Let’s Stay Together (03:27)
04. Turn Around And Love You (03:34)
05. I’m Only A Woman (04:36)
06. Let’s Go Somewhere And Love (02:58)
07. You Better Know It (03:14)
08. Touch Your Woman (03:13)
09. I’ll Take Care Of You (03:39)
10. I’m So Glad I’m Your Woman (03:53)
11. How Do You Spell Love (03:52)
12. I’d Rather Go Blind (05:49)

Sweet Surrender (1974) Reissue 2007

After a three year hiatus Margie Joseph surfaced on Atlantic Records smoother and more homogenized than she was at Stax. Her vocal style is similar to ex-labelmate Carla Thomas’ without the nasal sound. “Come Lay Some Lovin’ on Me” is a sweet soul strutter song in Joseph’s most enticing voice. What man could resist her request? Remakes of Wings’ “My Love,” and Breads’ “Baby I’m-A-Want You” are stunners. Joseph never oversings, or become hysterical. “Sweet Surrender” rivals the starkness of her Stax sides vocally but the trappings are fancier. The songs are good, but as with Stax, the promotion for Margie’s product wasn’t the best. Quality songs like “(Strange) I Still Love You,” written by Jerry Butler, Norman Harris, and Mikki Farrow had flava but Atlantic failed to deliver.

Review by Andrew Hamilton, Allmusic.com

Tracklist:
01. Come Lay Some Lovin’ On Me (03:55)
02. [Strange] I Still Love You (03:36)
03. Come With Me (03:16)
04. Baby I’m-A Want You (03:03)
05. To Know You Is To Love You (03:34)
06. If I’m Still Around Tommorrow (03:08)
07. My Love (04:00)
08. Ridin’ High (03:22)
09. He’s Got A Way (03:50)
10. Sweet Surrender (02:53)

Margie (1975) Reissue 2007

In 1975, Margie Joseph enjoyed one of her greatest triumphs when she teamed up with Blue Magic for a spectacular remake of the Philadelphia soul ballad “What’s Come Over Me.” That hit, which Blue Magic originally recorded in 1974, was included on the group’s third LP, 13 Blue Magic Lane, but it wasn’t included on Joseph’s own 1975 LP, Margie. Unfortunately for Joseph, the success of the “What’s Come Over Me” remake did little to help this modest-selling album — some R&B experts felt that Atlantic really blew it by not including that gem on Margie. But while Margie didn’t do nearly as well as it should have, it’s solid and pleasing. With Arif Mardin serving as producer/arranger, Joseph generally has strong material to work with — and that includes a few Carole King tunes (“Believe in Humanity” and “After All This Time”), as well as Bill Withers’ bluesy “The Same Love That Made Me Laugh.” Equally respectable are two songs that Joseph co-wrote with Mardin: the funky “Sign of the Times” and the lush “Stay Still” (which has so much quiet storm appeal that it was an obvious choice when saxman Ronnie Laws recorded his Fever album in 1976). Although Margie falls short of perfect, it is one of the singer’s more consistent Atlantic dates and deserved a lot more attention than it received.

Review by Alex Henderson, Allmusic.com

Tracklist:
01. Sign Of The Times (03:04)
02. Believe In Humanity (02:41)
03. The Same Love That Made Me Laugh (04:43)
04. Who Gets Your Love (03:12)
05. Promise Me Your Love (04:26)
06. If You Walked Away (03:56)
07. Stay Still (05:01)
08. After All This Time (03:56)
09. Words (Are Impossible) (03:39)
10. Just As Soon As The Feeling’s Over (04:08)
11. I Can’t Move No Mountains (02:46)

Hear the Words, Feel the Feeling (1976) Reissue 2007

Joseph, an often-underrated singer, first reached success on Volt Records. At the time of this release she was best known for her time with Atlantic Records. Her early- to mid-’70s efforts were produced by Arif Mardin in a style identified with Aretha Franklin’s productions of the time. Hear the Words, Feel the Feeling represents a label switch and a more definitive direction, courtesy of famed producer/writer Lamont Dozier. Those expecting a Motown-styled update of the girl group blithe attitude won’t find it here. What is here is Joseph asserting her own pragmatic personality, doing rawer vocals and having great chemistry with producer Dozier. Hear the Words, Feel the Feeling often takes an almost too realistic look at relationships and the lack thereof. All of this is made better by Dozier’s strong and confident production. The taunting “Didn’t I Tell You” and “Why’d You Lie” mine the same problematic love terrain, with the production polish only matched by Joseph’s emotive and pointed vocals. The album’s best track, “Prophecy,” has Joseph and Dozier again examining bleak interiors. The brilliantly arranged track has great subtle horn arrangement and impeccable rhythm guitar. Hear the Words, Feel the Feeling also has a fair amount of ballads. “All Cried Out” and “Feeling My Way” are hooky and idiosyncratic, as Joseph gives emotive and cogent performances. This album is prime and classy R&B/pop and features such esteemed players as Ray Parker, Jr. and Lee Ritenour, as well as arrangers McKinley Jackson and David Blumberg. But the star is Joseph, and she does great work here.

Review by Jason Elias, Allmusic.com

Tracklist:
01. Hear The Words, Feel The Feeling (04:31)
02. Didn’t I Tell You (03:04)
03. Why’d You Lie (05:36)
04. Prophecy (05:26)
05. All Cried Out (05:41)
06. Something To Fall Back On (04:00)
07. Don’t Turn The Lights Off (04:37)
08. Feeling My Way (06:23)
09. I Get Carried Away (03:40)

Feeling My Way (1978) Reissue 2007

Tracklist:
01. I Feel His Love Getting Stronger (03:42)
02. Come On Back To Me Lover (03:32)
03. You Turned Me On To Love (03:58)
04. Love Talking ‘Bout Baby (03:51)
05. He Came Into My Life (03:41)
06. Picture Of A Clown (03:06)
07. How Will I Know (04:01)
08. Love Takes Tears (03:25)
09. All Good Byes Aren’t Gone (03:04)
10. Discover Me (And You Will Discover Love) (03:08)

Ready For The Night (1984) Reissue 2007

Tracklist:
01. Ready For The Night (05:17)
02. Midnight Lover (04:42)
03. Take Me Away Tonight (04:43)
04. Big Strong Man (06:11)
05. Tell Me (04:49)
06. Is It Gonna Be Me & You (04:57)
07. I Wants Mo’ Stuff (05:29)
08. Adonai (05:25)

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The Bangles – Albums Collection 1984-2003 (5CD Japanese releases) [FLAC]

EAC | FLAC | Image (Cue&Log) ~ 1.84 Gb (incl 5%) | Scans included
Genre: Rock, Pop Rock, Jungle Pop, New Wave, Paisley Underground | Time: 04:03:06

Collection includes: All Over The Place (1984); Different Light (1985); Everything (1988); Greatest Hits (1990) and Doll Revolution (2003).

The Bangles combined the chiming riffs and catchy melodies of British Invasion guitar pop with a hint of the energy of new wave. In the process, they became one of the handful of all-female bands of the ’80s to win both critical and commercial success. The critical success came first — with their self-titled debut EP and full-length album, All Over the Place — and popular success arrived once they polished their sound, added some synthesizers, and deviated slightly from their trademark jangling guitar hooks. Once they were selling at the platinum level, The Bangles didn’t stay together long, but they left several pop gems behind them.

The group’s original lineup formed in 1981, when guitarist/vocalist Vicki Peterson and drummer/vocalist Debbi Peterson responded to an advertisement that guitarist/vocalist Susanna Hoffs had placed in a local Los Angeles paper, The Recycler. Taking the name The Bangs, the girls rounded out their ranks with bassist Annette Zilinskas and released an EP, Getting Out of Hand, on their own independent label, Downkiddie. They had to change their name early the following year to The Bangles, since there was already a New York-based group called The Bangs. After an appearance on a Rodney on the ROQ compilation and a series of local concerts, Miles Copeland signed The Bangles to the IRS subsidiary Faulty Products and landed them an opening spot for The English Beat. That summer, The Bangles released a self-titled EP on Faulty Products.

In early 1983, The Bangles signed with CBS Records and Zilinskas left the band to join Blood on the Saddle. She was replaced by bassist/vocalist Michael Steele, a former member of the proto-punk hard rock group The Runaways. The group released its first full-length album, All Over the Place, in the summer of 1984. While it didn’t feature any charting singles, the record managed to climb to number 80 on the American charts, a feat that owed equally to college radio, MTV, and strong reviews. In particular, a cover of Katrina & the Waves’ “Goin’ Down to Liverpool” and the original “Hero Takes a Fall” received heavy airplay on college stations across the country.

The Bangles released their second album, Different Light, during the spring of 1986. It was preceded by the colorful, neo-psychedelic single “Manic Monday,” which was written by Prince under the pseudonym Christopher. “Manic Monday” became a number two hit in both America and Britain, sending Different Light into the Top Five as well. A cover of Jules Shear’s “If She Knew What She Wants” was a relative commercial disappointment, stalling at number 29 on the U.S. charts, but the third single from Different Light, “Walk Like an Egyptian,” was another major hit, spending four weeks at number one in America. It also peaked at number three in Britain. After The Bangles completed a summer tour, Hoffs starred in the movie The Allnighter, which was directed by her mother, Tamara. The film was released during the summer of 1987 and bombed at the box office, putting a fast stop to Hoffs’ potential acting career. Meanwhile, “Walking Down Your Street,” the final single pulled from Different Light, was released in early 1987 and peaked at number 11.

Later that year, The Bangles recorded a hard-rocking version of Paul Simon’s “Hazy Shade of Winter” for the Less Than Zero soundtrack. The single peaked at number two in early 1988, and the band’s third album, Everything, was released that fall. Everything was a slicker affair than either of band’s previous records, but it didn’t perform quite as well as Different Light. “In Your Room,” the album’s lead single, made it to number five, and the ballad “Eternal Flame” became the group’s second number one single in early 1989. Even so, the record ran out of steam shortly after the release of its third single, “Be with You,” which never made it past number 30. After a brief summer tour, the group disbanded and Hoffs began a solo career with 1991′s When You’re a Boy. The album never made it past number 83, though, and the single “My Side of the Bed” stalled at number 30. While in the midst of recording her second album, Hoffs was dropped from Columbia’s roster.

Meanwhile, Vicki Peterson toured as a member of the Go-Go’s (replacing the pregnant Charlotte Caffey from 1994 to 1995) and joined the Continental Drifters alongside future sister-in-law Susan Cowsill. Debbi Peterson teamed up with Siobhan Maher to form the duo Kindred Spirit, and Steele played in several short-lived bands after failing to land a solo deal. In 1998, the bandmembers began to drift back together, teaming up for the first time in nearly a decade to record a song for the second Austin Powers film. A tour followed in 2000. For the next two years, the reunited Bangles worked on Doll Revolution, which appeared in 2003 and marked Steele’s final performance with the band. She left in early 2004, reportedly frustrated with the band’s inability to tour a sufficient amount behind the album. The Bangles continued playing in her absence, with hired gun Abby Travis handling bass duties during the group’s smattering of tour dates.

During the decade’s second half, Hoffs recorded a pair of cover albums with Matthew Sweet. Both albums were produced by Sweet himself, and when it came time to find a producer for The Bangles’ fifth record, Hoffs didn’t have far to look. The result, Sweetheart of the Sun, was released in September 2011.

Biography by Stephen Thomas Erlewine, Allmusic.com

All Over The Place (1984) 2009 Mini-LP sleeve, Remastered

While the Bangles would later embrace a radio-friendly pop production style (and enjoy attendant commercial success) that separated them from their early peers, they were the only figures from the L.A. paisley underground scene who would go on to become genuine multi-platinum rock stars, and while their first full-length album, 1984′s All Over the Place, showed that some of their rough edges were already being buffed away, of their major-label output it’s the record that most openly embraces the folk-rock and garage rock influences that fueled their earliest music. Vicki Peterson’s lead guitar and the band’s stellar harmonies are the vehicles that drive these 11 songs, and if producer David Kahne was already pushing the group in a more commercially ambitious direction, there’s no disguising the psychedelic guitar figures on “Dover Beach” or the Byrds-meets-Raiders jangle of “Tell Me,” and the choice of the Merry-Go-Round’s “Live” as a cover is especially telling. All Over the Place is also the Bangles’ most unified full-length album; Susanna Hoffs hadn’t yet been singled out as the star of the show, and the round-robin lead vocals, stellar harmonies, and tight, concise arrangements make them sound like a real-deal rock band, and the set’s gentle but insistent sway from British Invasion-styled rock and West Coast pop feels natural, unforced, and effective. And when drummer Debbie Peterson and bassist Michael Steele feel like rocking out, the Bangles generate a lot more heat than they’re usually given credit for, most notably on “Silent Treatment.” the Bangles’ second full album, Different Light, would sell a lot more copies, but All Over the Place is easily their best and most satisfying LP.

Review by Mark Deming, Allmusic.com

Tracklist:
01. Hero Takes a Fall (02:53)
02. Live (02:36)
03. James (02:34)
04. All About You (02:26)
05. Dover Beach (03:46)
06. Tell Me (02:14)
07. Restless (02:41)
08. Going Down to Liverpool (03:41)
09. He’s Got a Secret (02:42)
10. Silent Treatment (02:07)
11. More Than Meets the Eye (03:20)

Different Light (1985) 2009 Mini-LP sleeve, Remastered

The Bangles’ first album, All Over the Place, may have earned them a smattering of radio and MTV airplay, but it’s clear that with Different Light they were aiming for much higher stakes, especially when Prince — who was reportedly infatuated with Susanna Hoffs — offered to write a song for them. “Manic Monday”‘s baroque, keyboard-dominated sound was a far cry from anything The Bangles had recorded before, and while Hoffs’ breathy voice and her bandmates’ fine harmonies fit the song like a glove, it also sent the group down a path that led them away from the ’60s-influenced pop/rock that was their strongest suit, and though Vicki Peterson does get to show off her guitar work on a few songs here, the differences between Different Light and All Over the Place are telling and a bit sad. The drum machines that dominate “Walk Like an Egyptian” and “Walking Down Your Street” rob the performances of the organic feel of this group’s best music, the funky accents of “Standing in the Hallway” are simply out of place, and while covering Big Star (“September Gurls”) and Jules Shear (“If She Knew What She Wants”) may have sounded good on paper, neither performance captures what makes each song special. And while the album struggles to rally in the last innings with the more personal air of “Following” and “Not Like You,” most of the songs struggle to stand up under David Kahne’s overly slick production and the layers of gingerbread added by a handful of guest musicians. Different Light turned The Bangles into bona fide pop stars, but it also transformed a spunky and distinctive band into a comparatively faceless vehicle for a hit-seeking producer; the group tries to let its personality shine through despite it all, but the effort fails most of the time.

Review by Mark Deming, Allmusic.com

Tracklist:
01. Manic Monday (03:04)
02. In A Different Light (02:51)
03. Walking Down Your Street (03:03)
04. Walk Like An Egyptian (03:23)
05. Standing In The Hallway (02:55)
06. Return Post (04:21)
07. If She Knew What She Wants (03:49)
08. Let It Go (02:30)
09. September Gurls (02:44)
10. Angels Don’t Fall In Love (03:22)
11. Following (03:20)
12. Not Like You (03:06)
13. Manic Monday (extended version) (04:38)

Everything (1988) 2009 Mini-LP sleeve, Remastered

Released in 1985, Different Light elevated the Bangles to pop stardom, but at a price — it was a significantly less interesting and cohesive album than their debut, All Over the Place, and the production as well as the addition of outside musicians and songwriters robbed the group of a great deal of its fire and personality. In many respects, 1988′s Everything was more of the same, but success seems to have emboldened the Bangles just a bit — while producer Davitt Sigerson still keeps the sound slick and radio-ready and a flock of guest musicians were brought in for the sessions, the album’s approach seems less inclined to smother the group’s identity, and the West Coast garage and folk-rock accents of their earlier work come back into the picture, albeit in muted form. A number of outside songwriters were brought in to work up material for Everything, but each of them collaborated with at least one member of the group, and while it’s anyone’s guess how Vinnie Vincent was tapped for this project, the songs suit the group better than, say, “Manic Monday” or “Walk Like an Egyptian.” “Complicated Girl,” “Be with You,” and “Some Dreams Come True” are fine songs and strong performances if you can look past the studio gingerbread, and while Susanna Hoffs was positioned front and center on the album’s two singles, “Eternal Flame” and “In Your Room,” they at least suited her vocal style and the latter is an irresistibly hooky rocker. “Glitter Years” is a fun and high-kicking salute by Michael Steele to her days in the Runaways, and if the Bangles had to have another guitarist imposed upon them, David Lindley was a far better match than most. In many respects, Everything is a work dominated by compromises, but at the very least it allowed the Bangles a shade more freedom and autonomy than Different Light, and of the two it’s easily the better album, though it still falls well short of the promise of their first recordings.

Review by Mark Deming, Allmusic.com

Tracklist:
01. In Your Room (03:28)
02. Complicated Girl (03:38)
03. Bell Jar (03:21)
04. Something To Believe In (04:02)
05. Eternal Flame (03:56)
06. Be With You (03:02)
07. Glitter Years (03:41)
08. I’ll Set You Free (04:28)
09. Watching The Sky (04:12)
10. Some Dreams Come True (03:26)
11. Make A Play For Her Now (03:46)
12. Waiting For You (03:36)
13. Crash And Burn (02:37)
14. In Your Room (12′ Remix) (05:13)

Greatest Hits (1990) Reissue 2004

Weighing in at 14 tracks, Greatest Hits is a good, basic collection of the Bangles’ biggest singles, containing all the hits, including the previously non-LP “Hazy Shade of Winter,” plus a couple of album tracks and, for the dedicated, a new cover of the Grass Roots’ “Where Were You When I Needed You.” It may be easy to carp about fine album tracks from All Over the Place and Different Light that should have been included, yet this is a fine sampler/introduction that might not necessarily capture the Bangles’ best — in this context, their ties to the Paisley Underground and college rock seem nonexistent — but still finds them as masters of irresistible pop singles.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Hero Takes a Fall (02:53)
02. Going Down to Liverpool (03:39)
03. Manic Monday (03:04)
04. If She Knew What She Wants (03:48)
05. Walk Like an Egyptian (03:22)
06. Walking Down Your Street (03:15)
07. Following (03:19)
08. Hazy Shade of Winter (02:46)
09. In Your Room (03:28)
10. Eternal Flame (03:56)
11. Be With You (03:01)
12. I’ll Set You Free (04:51)
13. Everything I Wanted (03:36)
14. Where Were You When I Needed You (03:05)
15. What I Meant to Say (03:21)

Doll Revolution (2003) Japan Bonus track Edition

The Bangles were once upon a time a great band. When they first started out as fresh-faced kids back in the mid-’80s, they captured the jangle of the Byrds, the melody of the Left Banke, the attitude of the Shangri-Las, and the rich harmonies of the Mamas & the Papas (without the Papas, of course) and wrapped them all up in a sweet and catchy package. Their first album was a bright, shiny pop album full of all kinds of promise, which they thereafter either fulfilled or wasted depending on where you stood. Having a hit with the Billy Steinberg-penned novelty song “Walk Like an Egyptian,” doing Prince songs (even though “Manic Monday” is a song that deserves its pop classic standing), hiring faceless session musicians to make the second album sound more in tune with the times: these all deserve votes for wasted. The rest of their career was strewn with one landmine after another, like Susanna Hoffs being picked out as the focus of the band because she was “glamorous,” the terrible power ballad (and number one hit) “Eternal Flame,” more cover songs as singles (even though “Hazy Shade of Winter” was pretty darn good) and finally, the bitter breakup. So far it is not a story unique to The Bangles. Nor is the eventual, inevitable reunion. Doll Revolution is the result of The Bangles’ re-formation. It would be nice to tell you that it was a triumphant return. It would be nice to tell you it was an interesting return. Sadly, it is neither. It is a bland, overproduced, and safe-sounding record that fails to leave much of an impression at all. Sure, all the things one would expect from a good Bangles album are here — jangling guitars; full, sweet harmonies; and earnest, emotional lead vocals. All that is lacking are songs. There are a couple that are decent, like “Ask Me No Questions,” a sweet Debbi Peterson sung ballad, and “Ride the Ride,” a catchy Hoffs folk rocker, but mostly they are forgettable or worse. Picking Elvis Costello’s recent self-derivative song “Tear Off Your Own Head (It’s a Doll Revolution) to cover as the lead track was a mistake. Michael Steele’s songs sound like they should be on a different band’s record, the dark lyrical themes and clunky music drag Doll Revolution down. As do Hoffs’ MOR soul “Something You Said” and her weak power ballad “I Will Take Care of You,” which sounds like an attempt to duplicate the success of “Eternal Flame.” The rest of it sounds like a solid attempt at a Sheryl Crow record, and that is something the pop world did not need from The Bangles. Doll Revolution won’t add much to The Bangles’ legacy. It won’t do much to ruin it, either, perhaps that is the most fans of the band should have hoped for.

Review by Tim Sendra, Allmusic.com

Tracklist:
01. Tear Off Your Own Head (It’s A Doll Revolution) (03:57)
02. Stealing Rosemary (03:32)
03. Something That You Said (04:33)
04. Ask Me No Questions (03:26)
05. The Rain Song (03:41)
06. Nickel Romeo (04:57)
07. Ride The Ride (04:45)
08. I Will Take Care Off You (03:50)
09. Here Right Now (03:25)
10. Single By Choice (03:40)
11. Lost At Sea (03:55)
12. Song For A Good Son (04:01)
13. Mixed Messages (03:19)
14. Between The Two (03:42)
15. Grateful (05:00)
16. Getting Out Of Hand (02:17)
17. Call On Me (01:33)

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The Decemberists – Albums Collection 2002-2011 (9CD) [FLAC]

EAC | FLAC | Tracks (Cue&Log) ~ 2.53 Gb (incl 5%) | Complete Scans
Genre: Indie Rock, Indie Folk, Alternative Rock | Time: 06:08:53

A collection of 9 CD, which includes all the studio albums by The Decemberists at the moment, also 2 EP and one single.

Led by Montana native Colin Meloy, the Decemberists craft theatrical, hyper-literate pop songs that draw heavily from late-’60s British folk acts like Fairport Convention and Pentangle and the early-’80s college rock grandeur of the Waterboys and R.E.M. The band’s initial lineup also included drummer Ezra Holbrook, bassist Nate Query, keyboardist/accordionist Jenny Conlee, and multi-instrumentalist Chris Funk. Frontman Meloy had previously devoted some time to an alternative country group before breaking off to pursue his craft as a singer/songwriter in the city of Portland, a move that eventually led to the Decemberists’ formation. Drawing influence from his degree in creative writing, he began fashioning a hybrid of literate lyrics and wide-ranging pop music, touching upon everything from Sandy Denny to Morrissey in the process.

Before Hush Records released the band’s debut album in 2002, the Decemberists baited their initial fans with a five-track EP. Their full-length debut, Castaways and Cutouts, was re-released that same year on the Kill Rock Stars label, and the band began to accumulate a serious fan base. After adding organist and keyboardist Rachel Blumberg to the group, in 2003 the Decemberists released Her Majesty, another fine collection of theatrical indie pop with pastoral sensibilities that further cemented their growing reputation. One year later, a five-part epic EP entitled The Tain — based on the eighth century Irish poem of the same name — appeared, followed by the full-length Picaresque in 2005.

The group, which at this point consisted of Meloy, Conlee, Query, Funk, and drummer John Moen, made the move to the major leagues by signing with Capitol Records in advance of 2006′s The Crane Wife, which managed to hit number 35 on the Billboard 200. The album also grabbed the attention of comedian/actor Stephen Colbert, who challenged Funk to a guitar solo competition during a live taping of his show, The Colbert Report. For their next project, the Decemberists tackled one of Meloy’s most ambitious ideas to date: an honest to God rock opera. The Hazards of Love appeared in 2009, featuring a fantasy-filled story line as well as cameos from My Morning Jacket’s Jim James, Lavender Diamond’s Becky Stark, and My Brightest Diamond’s Shara Worden. In January 2011, the band unexpectedly topped the charts with The King Is Dead, a concise and rustic country-pop collection that featured guest appearances by Peter Buck and Gillian Welch.

Biography by Linda Seida, Allmusic.com

Castaways and Cutouts (2002)

Colin Meloy’s dynamic vocals lead the way on Castaways and Cutouts, the impressive 2003 effort by Portland, OR, quintet the Decemberists. Throughout the disc, Meloy’s songs tell tales of life’s castaways, including Spanish gypsies and Turkish prostitutes, painting glorious pictures with supposedly suspicious characters. After opening the album with two subdued tracks, “July, July!” is a lively anthem, setting a gloriously quirky pace for the rest of the disc. “A Cautionary Song” centers around Jenny Conlee’s accordion, as acoustic guitar swirls around Meloy’s narrative. “Odalisque” is quite possibly the highlight of the album, carrying the listener through peaks and valleys led by Conlee’s juiced-up organ and Meloy’s grittiest vocals of the disc. “Cocoon” calms the mood back down, with gentle piano and guitar serving as the song’s backbone. On “The Legionnaire’s Lament,” the band’s effortless folk is at its best, with choppy guitars and enchanting organ swirling behind Meloy’s relentlessly thrilling storytelling. Yet again, the disc continues a rise-and-fall approach as the restrained and engaging “Clementine” is next, followed by the beautiful “California One,” which features some jaw-dropping upright bass by Nate Query. That song makes a seamless transition into the closer, “Youth and Beauty Brigade,” a carefully crafted epic full of witticisms and reserved style. Meloy’s vocals are their most engaging by now, and while the last track might not be the standout song of the disc, it’s perfectly positioned on the disc for maximum effect. The song’s rising intensity and lyrical imagery add up for a stunning finish, leaving the listener clamoring for more, as all great albums do. Chris Funk adds guitar and theremin, and drummer Ezra Holbrook rounds out the five-piece band. Originally released in 2002 on Hush Records, Kill Rock Stars Records released Castaways and Cutouts in May 2003.

Review by Stephen Cramer, Allmusic.com

Tracklist:
01. Leslie Anne Levine – 4:13
02. Here I Dreamt I Was an Architect – 4:29
03. July, July! – 2:53
04. A Cautionary Song – 3:09
05. Odalisque – 5:21
06. Cocoon – 6:49
07. Grace Cathedral Hill – 4:29
08. The Legionnaire’s Lament – 4:45
09. Clementine – 4:07
10. California One Youth and Beauty Brigade – 9:51

5 Songs (2003) EP

5 Songs is a six-track EP by The Decemberists initially self-released by the band in 2001. The misleading title is because the final track, “Apology Song” (originally sung into the answering machine of a friend named Steven as a legitimate apology for the loss of a beloved bicycle named Madeline), was written after the original self-produced CD was released. Lead singer Colin Meloy liked it so much that it was added to the album when it was re-released by Hush Records in 2003. The album cover was made by Portland artist Carson Ellis, long-time girlfriend (and now wife) of Colin Meloy, who has created artwork for each of their albums.

Tracklist:
01. Oceanside – 3:29
02. Shiny – 5:12
03. My Mother Was a Chinese Trapeze Artist – 4:42
04. Angel, Won’t You Call Me? – 2:40
05. I Don’t Mind – 4:40
06. Apology Song – 3:12

Her Majesty (2003)

On Her Majesty, the Decemberists’ follow-up to their excellent debut, Castaways and Cutouts, the group cements its reputation as a seafaring Belle & Sebastian or a more grounded Neutral Milk Hotel. Tying together sweet symphonic pop with a ragtag theatricality, this album is more ambitious and more scattered than Castaways and Cutouts, making it an initially less accessible and more difficult listen. However, many of Her Majesty’s most indulgent moments are among its best, including the high drama of the album opener, “Shanty for the Aretheusa,” an epic that runs with the dark beauty that haunted the corners of the Decemberists’ debut and gives it a wild, rambling edge. Likewise, “The Gymnast, High Above the Ground” also displays the band’s expertise at creating subtle but palpable drama and swooning romanticism with just a few musical brush strokes. The wonderfully named “I Was Meant for the Stage,” a triumphantly bittersweet song for the inner drama queen in everyone, shows off Colin Meloy’s uniquely expressive voice: at one moment he’s lispingly fey; the next, he’s sneering self-deprecatingly. These beautiful, challenging songs make the band’s occasional dips into treacle, such as the cloying “Billy Liar,” forgivable, but what makes Her Majesty such a solid album is the consistent quality of the songs pitched between its high and low points. “Los Angeles, I’m Yours” flirts with soft rock, coming across as a latter-day single from Al Stewart; “Your Red Right Ankle” is an intimately and creatively detailed love song; and “Song for Myla Goldberg” has a sunny, winning appeal. Even though Her Majesty isn’t quite as striking and full-formed as Castaways and Cutouts, it’s still a consistently charming album that finds the band coming into its own.

Review by Heather Phares, Allmusic.com

Tracklist:
01. Shanty for the Arethusa – 5:38
02. Billy Liar – 4:08
03. Los Angeles, I’m Yours – 4:18
04. The Gymnast, High Above the Ground – 7:13
05. The Bachelor and the Bride – 4:13
06. Song for Myla Goldberg – 3:34
07. The Soldiering Life – 3:48
08. Red Right Ankle – 3:29
09. The Chimbley Sweep – 2:54
10. I Was Meant for the Stage – 7:02
11. As I Rise – 2:14

The Tain (2004) EP

After releasing two solid albums of British folk-inspired library-pop, it’s only fitting that the Oregon-based collective the Decemberists would construct a nearly 20-minute EP based on an epic tale concerning a violent cattle raid in pre-Christian Ireland. If anything, Tain is the indie rock generation’s “Court of the Crimson King,” a narrative that’s as isolating as it is compelling, especially when filtered through the surprisingly Black Sabbath-inspired song cycle. Composed of five movements, parts one and two roll in like an outtake from Deep Purple’s Machine Head, part three brings together some of the more melodious and mournful moments of Pink Floyd’s The Wall, part four introduces some delectable balladry from drummer Rachel Blumberg and part five brings back the Hammond B3 for a true progressive rock encore, all bookended by the musings of a character known simply as “The Crone.” While not as Dio as it sounds, there is a certain lust for tall tales and gentry high-speak needed to become fully immersed. For all of it’s bombast and esoteric subject matter, Tain is raw, engaging, and bristling with an electricity that’s been missing from this enigmatic collective of bibliophiles’ previous releases.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. The Tain, Pts. 1-5 – 18:35

Billy Liar (2004) Single

“Billy Liar” is the first single released by The Decemberists. Deriving its title from the English novel Billy Liar, the song also references “Nogood Boyo” of Dylan Thomas’ Under Milk Wood, and appears to generally talk about a young man’s boredom during long summer days. Musically, it has an upbeat, somewhat piano-driven, rather poppy sound.

Tracklist:
01. Billy Liar – 4:09
02. Los Angeles, I’m Yours – 4:17
03. Everything I Try to Do, Nothing Seems to Turn Out Right – 4:03
04. Sunshine – 2:23

Picaresque (2005)

“The Infanta,” the thunderous opening track on the Decemberists’ fluid and predictably studious Picaresque, rolls in like a ghost ship at 40 knots in a hail of cannon fire with a mad English professor at the wheel. Colin Meloy and his esteemed West Coast colleagues have no qualms about beginning their third full-length record with a processional about a child monarch, and it’s a testimony to their talents as orators and interpreters of both the absurd and the mundane that they continue to assimilate more fans than they alienate. While Picaresque follows its predecessor’s — the treacly Her Majesty — predilection for seafaring and mythology, its boot-covered feet are more firmly planted in the present, resulting in the group’s most accessible — and decidedly upbeat — product to date. The rollicking “16 Military Wives,” the aforementioned “Infanta,” and “The Sporting Live” (which comes dangerously close to Belle & Sebastian’s “Stars of Track and Field”) help balance the spooky atmospherics of more reserved cuts like “From My Own True Love (Lost at Sea)” and “Eli, the Barrow Boy.” The Decemberists have always excelled at midtempo British folk-inspired dream pop, and Picaresque is no exception, as the brooding “We Both Go Down Together,” which sounds like a mist-drenched Pacific Northwest rendering of R.E.M.’s “Losing My Religion,” and the wistful “Engine Driver” rank among the group’s finest offerings. The album concludes with the diabolical “Mariner’s Revenge Song,” a Tin Pan Alley dirge/operetta reminiscent of Kurt Weill’s “The Black Freighter,” and the brief but intoxicating “Of Angels and Angles,” a solo Meloy ballad celebrating the holy trinity of nautical lore: love, drowning, and death.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. The Infanta – 5:08
02. We Both Go Down Together – 3:04
03. Eli, the Barrow Boy – 3:11
04. The Sporting Life – 4:38
05. The Bagman’s Gambit – 7:02
06. From My Own True Love (Lost at Sea) – 3:42
07. 16 Military Wives – 4:53
08. The Engine Driver – 4:15
09. On the Bus Mall – 6:04
10. The Mariner’s Revenge Song – 8:46
11. Of Angels and Angles – 2:28

The Crane Wife (2006)

Colin Meloy and his brave Decemberists made the unlikely jump to a major label after 2005′s excellent Picaresque, a move that surprised both longtime fans and detractors of the band. While it is difficult to imagine the suits at Capitol seeing dollar signs in the eyes of an accordion- and bouzouki-wielding, British folk-inspired collective from Portland, OR, that dresses in period Civil War outfits and has been known to cover Morrissey, it’s hard to argue with what the Decemberists have wrought from their bounty. The Crane Wife is loosely based on a Japanese folk tale that concerns a crane, an arrow, a beautiful woman, and a whole lot of clandestine weaving. The record’s spirited opener and namesake picks off almost exactly where Picaresque left off, building slowly off a simple folk melody before exploding into some serious Who power chords. This is the first indication that the band itself was ready to take the loosely ornate, reverb-heavy Decemberists sound to a new sonic level, or rather that producers Tucker Martine and Chris Walla were. On first listen, the tight, dry, and compressed production style sounds more like Queens of the Stone Age than Fairport Convention, but as The Crane Wife develops over its 60-plus minutes, a bigger picture appears. Meloy, who along with Destroyer’s Dan Bejar has mastered the art of the North American English accent, has given himself over to early-’70s progressive rock with gleeful abandon, and while many of the tracks pale in comparison to those on Picaresque, the ones that succeed do so in the grandest of fashions. Fans of the group’s Tain EP will find themselves drawn to “Island: Come and See/The Landlord’s Daughter/You’ll Not Feel the Drowning” and “The Crane Wife, Pts. 1 & 2,” both of which are well over ten minutes long and feature some truly inspired moments that echo everyone from the Waterboys and R.E.M. to Deep Purple and Emerson, Lake & Palmer, while those who embrace the band’s poppier side will flock around the winsome “Yankee Bayonet (I Will Be Home Then),” which relies heavily on the breathy delivery of Seattle singer/songwriter and part-time Decemberist Laura Veirs. Some cuts, like the English murder ballad “Shankill Butchers” and “Summersong” (the latter eerily reminiscent of Edie Brickell’s “What I Am”), sound like outtakes from previous records, but by the time the listener arrives at the Donovan-esque (in a good way) closer, “Sons & Daughters,” the less tasty bits of The Crane Wife seem a wee bit sweeter.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. The Crane Wife, Pt. 3 – 4:18
02. The Island:- Come and See – The Landlord’s Daughter – You’ll Not Feel the Drowning – 12:26
03. Yankee Bayonet (I Will Be Home Then) – 4:19
04. O Valencia! – 3:48
05. The Perfect Crime No. 2 – 5:33
06. When the War Came – 5:06
07. Shankill Butchers – 4:40
08. Summersong – 3:31
09. The Crane Wife, Pts. 1 & 2 – 11:20
10. Sons & Daughters – 5:14

The Hazards of Love (2009)

King Decemberist Colin Meloy’s love for the heydays of British folk-rock has always served as the foundation on which he builds his crafty, idiosyncratic chamber pop, but on Hazards of Love he’s taken that bedrock and built his own version of Stonehenge. A 17-song suite (think one continuous song with track ID’s peppered throughout for sanity’s sake) about a girl named Margaret, shapeshifters, forest queens, and fairytale treachery, Hazards of Love is ambitious, pretentious, obtuse, often impenetrable, and altogether pretty great. Harking back to the late-’60s/early-’70s offerings from bands like Pentangle, Horslips, ELP, Steeleye Span, and the Incredible String Band, it makes no apologies for its nerdy, prog rock musicality, and convoluted narrative. Meloy, who often cites Shirley Collins, Nic Jones, and Anne Briggs as influences — Hazards is named after a Briggs’ EP which featured no such song — must have had a vast hard rock/power metal collection to draw from as well, as one can glean melodic cues and structures from Iron Maiden and Rush as easily as they can Fairport Convention and Jethro Tull. On a record with no obvious single (the first instance of the title track comes the closest), it’s the album as a whole that needs to engage, and for the most part, the Decemberists have succeeded. The inclusion of guest vocalists Becky Stark (Lavender Diamond) and Shara Worden (My Brightest Diamond), who bring some Little Queen-era Heart to the table, as well as bit parts from Jim James (My Morning Jacket), Rebecca Gates (Spinanes), and Robyn Hitchcock help keep the focus off Meloy’s affected vocals, but it’s the music that drives this beast into the forest. Producer Tucker Martine has beefed up the band’s sound even more than he did with Christopher Walla on 2006′s Crane Wife, channeling more reverb into the acoustics and a whole lot more brimstone into the electrics, resulting in what is easily the band’s best sounding record to date. Hazards of Love won’t convert anybody who already wrote the band off as overly precious bookworms with a Morrissey/Victorian ghost story fetish, but fans who have dutifully followed the Decemberists since their 2002 debut get to take home bragging rights this time around.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. Prelude – 3:04
02. The Hazards of Love 1 (The Prettiest Whistles Won’t Wrestle the Thistles Undone) – 4:19
03. A Bower Scene – 2:09
04. Won’t Want for Love (Margaret in the Taiga) – 4:07
05. The Hazards of Love 2 (Wager All) – 4:25
06. The Queen’s Approach – 0:29
07. Isn’t It a Lovely Night? – 3:39
08. The Wanting Comes in Waves/Repaid – 6:26
09. An Interlude – 1:40
10. The Rake’s Song – 3:16
11. The Abduction of Margaret – 2:07
12. The Queen’s Rebuke/The Crossing – 3:56
13. Annan Water – 5:11
14. Margaret in Captivity – 3:08
15. The Hazards of Love 3 (Revenge!) – 3:22
16. The Wanting Comes in Waves (Reprise) – 1:31
17. The Hazards of Love 4 (The Drowned) – 5:57

The King Is Dead (2011)

The Decemberists’ sixth, full-length studio outing finds the Portland, OR-based indie rock collective exploring a region that has thus far eluded them. Raised on a steady diet of Morrissey, Robyn Hitchcock, Shirley Collins, and Fairport Convention, The King Is Dead represents frontman Colin Meloy’s first foray into the musical traditions of his homeland, or more specifically, it proves that he really, really likes R.E.M. “Calamity Song,” which is one of three tracks to feature guitar work from Peter Buck, threatens to break into “Pretty Persuasion” or “So. Central Rain (I’m Sorry)” at any moment, and first single “Down by the River” flirts with “The One I Love” hard enough to take it on a long weekend, though Meloy has stated that the track “started out as more of a paean to R.E.M. than I think any of us really wanted it to.” David Rawlings and Gillian Welch also join the party on a number of tracks, lending their instantly recognizable voices to two of the album’s finest moments, the Wildflowers-era, Tom Petty-inspired “Don’t Carry It All” and the lovely, Paul Simon-esque “June Hymn” — Meloy and Welch, the former a Montana-born Anglophile and the latter a California girl with a fetish for dust bowl Appalachia — harmonize nicely, canceling out each other’s vocal affectations. It’s by far the clearest and most commercial collection of tunes the band has amassed to date, but it’s also the least interesting. It may sound like a cross between Camper Van Beethoven’s Key Lime Pie and R.E.M.’s Automatic for the People, but none of the tracks have the gravitas or potential staying power of a song like “Sweethearts” (CVP) or “Find the River” (R.E.M.). That said, it’s a refreshing change from the usual compilation of bibliophile, sea shanty/murder ballad, and while the Led Zeppelin III-style rural overhauling may isolate fans who prefer the serpentine, progressive art rock of albums like The Crane Wife and Hazards of Love, it opens up a whole new continent for the band to explore.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. Don’t Carry It All – 4:17
02. Calamity Song – 3:50
03. Rise To Me – 4:59
04. Rox In the Box – 3:10
05. January Hymn – 3:13
06. Down By the Water – 3:42
07. All Arise! – 3:09
08. June Hymn – 3:58
09. This is Why We Fight – 5:30
10. Dear Avery – 4:52

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Brand X – Studio Albums 1976-1980 (6CD Virgin Charisma Paper Sleeve Series Reissue 2006) [FLAC]

Brand X was a jazz fusion band active 1975–1980 and 1992–1999. Noted members included Phil Collins (drums), Percy Jones (bass), John Goodsall (guitar) and Robin Lumley (keyboards). In 1992, original members Goodsall and Jones formed a new trio version of Brand X, with drummer Frank Katz.

Brand X were a British jazz-rock fusion outfit formed by Genesis drummer Phil Collins and Atomic Rooster guitarist John Goodsall as a side project from their regular groups. Their initial lineup also included keyboardist Robin Lumley and bassist Percy Jones (the Liverpool Scene, the Scaffold). Brand X’s debut album, Unorthodox Behaviour, was released in 1976; a live album, Livestock, and the studio effort Moroccan Roll followed in 1977. Collins left the group to concentrate on Genesis, and for 1978′s Masques, he was replaced by Al Di Meola drummer Chuck Burgi, as well as additional keyboardist Peter Robinson, who had played with Stanley Clarke. Three further albums — 1979′s Product, 1980′s Do They Hurt?, and 1982′s Is There Anything About? — followed before the group disbanded. In the mid-’90s, Lumley, Goodsall, and Jones reunited, issuing several live collections in the years to follow.

Biography by Steve Huey, Allmusic.com

Unorthodox Behaviour (1976) Virgin Charisma Paper Sleeve Series Reissue 2006

Phil Collins’ seemingly endless well of energy afforded him two careers: one as the drummer/vocalist in Genesis, and a second as a prolific session musician. It was in this second scenario that Collins hooked up with Percy Jones, John Goodsall, and Robin Lumley during sessions for Brian Eno, Eddie Howell, and Jack Lancaster. The quartet soon formed Brand X, a fusion jazz band that matched the prodigious rhythms of Collins and fretless bassist Jones with the atmospheric melodies of Goodsall and Lumley. Unorthodox Behaviour sets the stage for what would follow: music that plies the same sonic territory as Weather Report, Mahavishnu Orchestra, and the like, punctuated by the distinctive styles of individual members. The songs, though credited to the band, reveal two factions at work, with Jones and Collins teaming for percussive sections and Goodsall and Lumley handling the lyrical passages. When Jones and Collins take the lead, as on the opening “Nuclear Burn” and sections of “Unorthodox Behaviour” and “Running on Three,” the music takes a frenetic, mathematical tack. Goodsall and Lumley generally provide the mood, the dominant trait on “Euthanasia Waltz” and “Touch Wood.” Middle ground is found on the funky “Born Ugly” and “Smacks of Euphoric Hysteria,” true fusions of rock and jazz. Unorthodox Behaviour samples a variety of styles: from melodic to energetic, ethereal to mathematical. Without a standout soloist like John McLaughlin or Wayne Shorter, Brand X does run the risk of sounding like a generic fusion jazz outfit, but their compositional skills pick up the slack nicely. Those interested in the band may do well to start with this album, although their next three records are just as good in terms of quality.

Review by Dave Connolly, Allmusic.com

Tracklist:
1. Nuclear Burn (6:20)
2. Euthanasia Waltz (5:39)
3. Born Ugly (8:13)
4. Smacks of Euphoric Hysteria (4:26)
5. Unorthadox Behaviour (8:25)
6. Running on Three (4:37)
7. Touch Wood (3:03)

Morrocan Roll (1977) Virgin Charisma Paper Sleeve Series Reissue 2006

Morrocan Roll is not a step toward the rock & roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures that trades in the thunderstorms of their debut for rhythmically rich siroccos. Expanded to a quintet with the addition of percussionist Morris Pert, Brand X balances their arrangements with more equanimity, resulting in a subdued sound that is mesmerizing rather than arresting. The songs are written by individual members (their debut credited the band), but this doesn’t yield the results you might expect: while Percy Jones’ “Orbits” is essentially a showcase for the fretless bass, Lumley’s “Disco Suicide” shares more with Frank Zappa than the artist’s typically dreamy tones, and it’s Phil Collins’ “Why Should I Lend You Mine” that sounds most like the work of Lumley. The better compositions come from John Goodsall, including the opening “Sun in the Night” (featuring sitar and a smattering of vocals from Collins), the parched-sounding “Hate Zone,” and the album-ending “Macrocosm.” Jones’ “Malaga Virgen” is another highlight, led by the artist’s popping bass, delivered with a unique mix of restraint and explosive energy. Morrocan Roll is notable for a heightened sense of humor, from lighthearted liner notes to its everything but the kitchen sink ending. If the music is more spiritually informed than their flashy debut, the contemplative listener will find this brand of subdued fusion jazz equally rewarding.

Review by Dave Connolly, Allmusic.com

Tracklist:
1. Sun In The Night (4:25)
2. Why Should I Lend You Mine (11:16)
3. …Maybe I’ll Lend You Mine After All (2:10)
4. Hate Zone (4:41)
5. Collapsar (1:35)
6. Disco Suicide (7:55)
7. Orbits (1:38)
8. Malaga Virgin (8:28)
9. Macrocosm (7:24)

Livestock (1977) Virgin Charisma Paper Sleeve Series Reissue 2006

Lest the momentum of Moroccan Roll and its relative chart success go to waste, Brand X released a stopgap solution with Livestock, featuring three recent live tracks and two stockpiled studio tracks that actually predate the Moroccan Roll sessions by two months. As might be expected, it’s not their most enduring work, although the inclusion of three new originals and the clean recording obtained from the Hammersmith Odeon and Marquee Club performances produce respectable results. Two of the three live tracks feature drummer Kenwood Dennard, who lends his superlative skins to the smooth fusion of “Nightmare Patrol” and a frenzied reading of the popular “Malaga Virgen.” (Genesis had finished their tour that same year, so you can’t begrudge Phil Collins the holiday.) Collins’ lone live appearance occurs on the two-part “Isis Mourning,” which begins as an atmospheric piece punctuated by Pert’s percussion and Percy’s popping bass before stabilizing in the second part under Collins’ steady rhythm. The two studio tracks are “-Ish,” a hazy and occasionally funky jam that initially borrows the bassline better known from “Malaga Virgen,” and an alternate version of “Euthanasia Waltz” that skips lightly over familiar terrain. The drum section remained in flux for their next album, as Collins took a brief hiatus from the band and Dennard continued to build his jazz resume on albums by Jaco Pastorius, Larry Coryell, Miles Davis, and Sting. While Livestock is arguably the least essential of their first seven albums, fans shouldn’t be discouraged from picking this one up.

Review by Dave Connolly, Allmusic.com

Tracklist:
1. Nightmare Patrol (7:50)
2. -Ish (8:20)
3. Euthanasia Waltz (5:30)
4. Isis Mourning (part one) (5:30)
5. Isis Mourning (part two) (4:45)
6. Malaga Virgin (9:35)

Masques (1978) Virgin Charisma Paper Sleeve Series Reissue 2006

Without the drumming of Phil Collins, who does appear on some of Brand X’s albums, Masques still maintains a snug, jazzy-prog milieu and comes off clean and tight. Each song has a different beat, speed, and tempo with a satisfying assortment of keyboards and percussion instruments to keep the entire album afloat. Resounding xylophone and chimes outline the music on the seven tracks, with “Earth Dance” and “The Poke” coming up a little bit stronger than the rest. Most notably is the superb musical interplay of all the instruments used, and the way in which they enhance and benefit one another. The progressive rock sound does evolve by way of lengthy guitar passages from John Goodsall and accelerated keyboard fingering from Morris Pert, adding spice and vivaciousness while popping up when least expected. Masques is a firm studio album, and will keep listeners fascinated with the band.

Review by Mike DeGagne, Allmusic.com

Tracklist:
1. The Poke (5:06)
2. Masques (3:17)
3. Black Moon (4:48)
4. Deadly Nightshade (10:54)
5. Earthdance (6:10)
6. Access to Data (8:04)
7. The Ghost of Mayfield Lodge (10:08)

Product (1979) Virgin Charisma Paper Sleeve Series Reissue 2006

Brand X’s most eclectic album to date, Product is perhaps most notable for its attempts at a pop crossover in the Phil Collins-sung “Don’t Make Waves” and “Soho.” The range of styles presented here — hard and soft fusion, pop, progressive rock — results from the now-interchangeable nature of the Brand X lineup, which, in addition to the returning Collins and Robin Lumley, is expanded to include bassist John Giblin and drummer Mike Clarke (Chuck Burgi having left after Masques). While the pop songs have a tart, new wave sound to them that is oddly ingratiating, they’re likely to leave longtime fans scratching their heads. (Genesis fans may hear in “Soho” the musical inspiration for “Illegal Alien,” and in Percy Jones’ “Dance of the Illegal Aliens” its titular inspiration.) Despite the presence of the original quartet — Collins, Goodsall, Lumley, Jones — the four don’t appear together on Product, although Goodsall is present for all but one song (the lone pairing of fretless bassists Percy Jones and John Giblin on “Wal to Wal”). Many of this album’s tracks have found a place in the band’s career retrospectives, including the airy fusion of “Dance of the Illegal Aliens” and the engaging “Algon.” While Mike Clarke’s impact on the music often goes unnoticed, John Giblin adds a new dimension to the band’s sound with two soft, evocative songs: “Rhesus Perplexus” (in which Goodsall’s acoustic guitar crosses into Pat Metheny territory) and “April.” The remaining tracks, “Not Good Enough — See Me!” and “…And So to F…,” are pleasant instrumentals with a more prominent role for the percussion; Collins thought enough of the latter to include a live version of it on a couple of 12″ singles from his subsequent solo career. By nearly doubling the band’s size, Product is able to indulge in an interesting game of musical chairs that occasionally overshadows the music itself. The band clearly has talent to spare, but can’t seem to agree where to strike.

Review by Dave Connolly, Allmusic.com

Tracklist:
1. Don’t Make Waves (5:08)
2. Dance of the Illegal Aliens (6:52)
3. Soho (3:47)
4. Not Good Enough- See Me! (7:27)
5. Algon (where an ordinary cup of drinking chocolate costs .£8.000.000.000) (6:07)
6. Rhesus Perplexus (4:06)
7. Wal to Wal (3:09)
8. …And So To F… (6:34)
9. April (2:40)

Do They Hurt? (1980) Virgin Charisma Paper Sleeve Series Reissue 2006

Brand X is guilty of going through the motions on Do They Hurt? At this juncture in Brand X’s career, John Goodsall and Percy Jones are the principal forces, with Phil Collins, Morris Pert, and Robin Lumley reduced to a couple of cameos. Peter Robinson, who adopts Lumley’s role of providing dreamy keyboards, and drummer Mike Clarke pick up the slack well enough, though John Giblin appears only on one track (the solid if predictably Goodsallian “Voidarama”). The album’s strongest track is Goodsall’s “Cambodia,” which features his mesmerizing arpeggios and heroic guitar leads in a solid progressive rock instrumental. Little else on Do They Hurt? sounds better than outtakes from previous efforts, however. “Noddy Goes to Sweden” and “Triumphant Limp” are under-inspired efforts from Percy Jones; “Fragile!” (cowritten by Jones and Robinson) lacks the marimba-laden magic that made “Disco Suicide” so interesting. The album’s most intriguing, and in many ways frustrating, track is “Act of Will,” another attempt at a pop crossover from Goodsall that squanders a good melody by employing heavily treated (and barely intelligible) vocals from the guitarist. The record’s final song, “D.M.Z.,” is little more than a case of noodling around in a familiar environment. Over the years, Goodsall and Jones have developed unique compositional styles — one listen will reveal who wrote what. But it’s all been done better on earlier albums; without the eclectic approach of Product, Do They Hurt? reveals itself to be little more than a retread of earlier ideas. Of minor interest, Monty Python alumnus Michael Palin provides mildly amusing liner notes.

Review by Dave Connolly, Allmusic.com

Tracklist:
1. Noddy Goes To Sweden (4:30)
2. Voidarama (4:25)
3. Act of Will (4:44)
4. Fragile! (5:26)
5. Cambodia (4:30)
6. Triumphant Limp (7:28)
7. D.M.Z. (8:37)

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Broken Social Scene – Studio Albums 2001-2010 (7CD) [FLAC]

EAC | FLAC | Tracks (Cue&Log)+Scans | 2.61 Gb
Genre: Indie rock, Art rock, Dream pop, Post-rock, Experimental | Time: 06:44:51

A collection of 7 CD, which includes all the studio albums by Broken Social Scene at the moment, also 2 solo albums founders of the band.

Broken Social Scene materialized in 1999 when K.C. Accidental’s Kevin Drew and Brendan Canning, formerly of By Divine Right, bonded their friendship into a band. They spent the next few years honing an atmospheric rock sound in their native Toronto and the dynamic was great. Feel Good Lost marked their debut album in 2001 and introduced a revolving cast of Canadian indie musicians. Drew’s fellow mate from Do Make Say Think, Charles Spearin, was added to the band, as well as Evan Cranley (Stars), James Shaw, and Emily Haines (Metric). By the time their guitar-fueled sophomore effort, You Forgot It in People, was released in fall 2002, Broken Social Scene had become an 11-piece collective. Jason Collett, Andrew Whiteman, Justin Peroff, and Leslie Feist fulfilled the band’s bombastic, orchestrated sound, and critics loved it. You Forgot It in People was a buzz among indie cohorts, and plans for a stateside release on Arts & Crafts was slated for the following summer. A surprise, however, coincided with those plans in spring 2003 when Broken Social Scene won a Juno for Alternative Album of the Year for You Forgot It in People.
In order to maintain praise from critics, the band issued its first ever B-sides and rarities collection, Bee Hives, in spring 2004. For the band’s 2005 self-titled studio album, Broken Social Scene once again joined producer David Newfeld. Additional contributions by select members of Stars, Metric, Do Make Say Think, Raising the Fawn, the Dears, and others contributed to the ambitious sounds of Broken Social Scene. A joint North American tour with Feist followed its release. In 2007, Kevin Drew released the first installment in a series of “Broken Social Scene Presents” solo outings called Spirit If…, followed in 2008 by Brendan Canning’s Something for All of Us…, both of which featured appearances from nearly all the other members of the band. The group’s fifth full-length offering, Forgiveness Rock Record, arrived in May 2010.

Feel Good Lost (2001)

Broken Social Scene cast an abstract web of dream pop, shoegaze, and indie rock for their debut album, Feel Good Lost. Essentially, it’s an album of instrumentals. The title itself hints at the collective’s effort in composing a lush soundscape of strings, brass, guitars, and pianos with an added dash of electronic beats. Songs such as “Guilty Cubicles” and “Blues for Uncle Gibb” alone showcase the band’s well-crafted mind trip. For a first album, though, Broken Social Scene’s care in allowing each song to breathe without the constructs of fancy production and contrived lyrics is what makes the dozen-track selection so impressive. It’s expressive without expressing too much. Broken Social Scene leave it up to the mixture of instruments to draw upon some kind of palette. From the layered warbling of “Stomach Song” to the majestic horn arrangements of the gossamer “Passport Radio,” the intricacies of Feel Good Lost find a band focused on creating an inventive style of music as well as a group that is insanely ambitious. It might not catch on with indie rock fans right away and it will most likely be an overlooked debut, but its breadth shows promise.

Review by MacKenzie Wilson, Allmusic.com

Tracklist:
01. I Slept with Bonhomme at the CBC – 5:26
02. Guilty Cubicles – 3:04
03. Love and Mathematics – 5:45
04. Passport Radio – 5:45
05. Alive in 85 – 5:15
06. Prison Province – 1:43
07. Blues for Uncle Gibb – 6:59
08. Stomach Song – 4:30
09. Mossbraker – 5:33
10. Feel Good Lost – 1:52
11. Last Place – 8:26
12. Cranley’s Gonna Make It – 5:27

You Forgot It in People (2002)

After the release of Feel Good Lost, Broken Social Scene became a bit more collective, swelling from two members to ten (plus guests) and dropping their ambient instrumental approach in favor of full-blown rock songs. As you’d expect with such a dramatic rise in membership, there’s a lot more variety this time out. The first two tracks mirror the band’s transformation perfectly; in fact, the first is a fairly airy instrumental number with a Mark Isham-like feel, while the second slams it off the rails with a driving beat and wailing guitars. Main members Brendan Canning and Kevin Drew even sing this time around, while Leslie Feist and Emily Haines — both of whom became Canadian stars after this release, which effectively fueled interest in Feist’s solo albums and Haines’ work with Metric — assume lead vocals on other tracks. According to one of the members of this incarnation of the group, trying to determine “who did what” on this album would warrant an entire review in itself, as everyone took turns playing different instruments and the whole project was built from the ground up in a very collective fashion. Listeners who prefer the ambient pop of Feel Good Lost may be put off by the all-over-the-map approach, but You Forgot It in People is a more accessible release overall, and it helped set the stage for Broken Social Scene’s international breakthrough in 2005.

Review by Sean Carruthers, Allmusic.com

Tracklist:
01. Capture the Flag – 2:09
02. KC Accidental – 3:15
03. Stars and Sons – 5:09
04. Almost Crimes [Radio Kills Remix] – 4:23
05. Looks Just Like the Sun – 4:23
06. Pacific Theme – 5:09
07. Anthems for a Seventeen-Year-Old Girl – 4:36
08. Cause=Time – 5:31
09. Late Nineties Bedroom Rock for the Missionaries – 3:47
10. Shampoo Suicide – 4:05
11. Lover’s Spit – 6:22
12. I’m Still Your Fag – 4:24
13. Pitter Patter Goes My Heart – 2:24

Bee Hives (2004)

It wasn’t until Toronto’s Arts & Crafts label released Broken Social Scene’s You Forgot It in People in early summer 2003 that the band’s experimental indie pop caught on in America. A Juno Award for best alternative album and a successful North American tour later, Broken Social Scene issue a delightful collection of B-sides, Bee Hives. Recorded for their friends, the nine-song selection is essentially an album of instrumentals; however, it captures different shades and moods of the band’s thus-far five-year career quite nicely. The twangy banjo licks of “Backyards” were specially recorded as a project for one of Broken Social Scene’s friends in art school. Brendan Canning, Charles Spearin, Kevin Drew, and the wispy vocals of Emily Haines had to have helped their friend earn a top grade, for the dreamy soundscape that is “Backyards” is surely a standout in the band’s catalog. Dressed in a hushing mix of guitars, organs, and synth beats, “hHallmark” and “Ambulance for the Ambience” are two charming tracks recorded in between Feel Good Lost and You Forgot It in People. The listener should sense Broken Social Scene’s earnest approach in experimenting with their lo-fi-induced style of sound throughout Bee Hives; therefore, the distinctive arrangement of each song will be as interesting as each one unfolds. “Time = Cause,” which coincided with the U.K. single for “Stars and Sons,” is a song like that. It explores more of a dark-colored side to the band’s typically glossy pop. Backing vocals are ghostly while strings and electronic rhythms are nearly colorless. That’s not to say Bee Hives is mostly unspirited; there’s a calmer spirit lingering around Broken Social Scene. The lush version of “Lover’s Spit” that’s included on You Forgot It In People is stripped down to just a piano. It hurts so much more, mostly due to the beautifully aching lead vocals from Leslie Feist, but in the way that’s positively affecting. If you want to single out one stunning moment, that’s the one. It cushions Bee Hives for the wonder that it is.

Review by MacKenzie Wilson, Allmusic.com

Tracklist:
01. [Untitled Track] – 0:37
02. Market Fresh – 3:57
03. Weddings – 7:03
04. hHallmark – 3:54
05. Backyards – 8:15
06. Da Da Da – 7:10
07. Ambulance for the Ambience – 5:19
08. Time = Cause – 5:07
09. Lover’s Spit – 7:35

Broken Social Scene (2005)

In Canada, Broken Social Scene is somewhat of a phenomenon. Since wooing fans and critics alike with their 2003 Juno Award-winning album You Forgot It in People, the band’s peculiar popularity has made them stars. The community that surrounds the 15-member-plus band is a family-like atmosphere with its many Canadian artists and musicians. When listening to Broken Social Scene, you also get the individual sounds of Feist, Stars, Memphis, Metric, and Apostle of Hustle, among others. It’s camaraderie and education combined. The lush dynamic that carries Broken Social Scene’s self-titled third effort is definitely built upon that. The 14-song set is as bright and moving as the band’s previous efforts, but Broken Social Scene holds more charisma, more depth, and surely more complexities. The mix isn’t messy in conventional terms. It’s artistically untidy without production boundaries. Album opener “Our Faces Split the Coast in Half,” which features the Dears’ Murray Lightburn, makes a grand entrance with its polished horn arrangements, tight guitar riffs, and hypnotic harmonies. Additional standouts include indie rock moments such as “7/4 (Shoreline)” and the nervy “Fire Eye’d Boy.” Handclaps and crowd chatter dosie-do with a sharp rock aesthetic on “Windsurfing Nation,” which was the original title. Here, Toronto rapper K-Os and Feist vocally find their way through this majestic cinematic backdrop for one of its finest songs. From here, Broken Social Scene is a simply a rush of mini epics: “Handjobs for the Holidays,” “Superconnected,” and album closer “It’s All Gonna Break” (this could have been a Nada Surf song) showcase how smart, creative, and brilliant this band truly is. Broken Social Scene are more than a collective; they’re an orchestra for both the slacker generation and the literati.

Review by MacKenzie Wilson, Allmusic.com

Tracklist:
01. Our Faces Split the Coast in Half – 3:42
02. Ibi Dreams of Pavement (A Better Day) – 4:28
03. 7/4 (Shoreline) – 4:54
04. Finish Your Collapse and Stay for Breakfast – 1:24
05. Major Label Debut – 4:28
06. Fire Eye’d Boy – 3:59
07. Windsurfing Nation – 4:36
08. Swimmers – 2:56
09. Hotel – 4:36
10. Handjobs for the Holidays – 4:39
11. Superconnected – 5:40
12. Bandwitch – 6:59
13. Tremoloa Debut – 0:59
14. It’s All Gonna Break – 9:55

Broken Social Scene Presents Kevin Drew – Spirit If… (2007)

Although Spirit If… is officially a Kevin Drew release, based on the number of Broken Social Scene members, associates, and friends who appear on it, the fact that the song “TBTF” appears on BSS’s MySpace site, and that the actual album cover itself reads “Broken Social Scene Presents: Kevin Drew,” it’s pretty easy to believe the lead singer and co-founder is just acting as a front for the entire band. Not that anyone in the Toronto-based collective has ever shunned the idea of collaborations: even on more traditional “solo” work, there’s always been the idea that guest artists, those who make up the group, can bring immeasurable advantages with their own personal expertise and ideas. So such is the attitude behind Spirit If…, an album that, while it certainly doesn’t break from the subtly ornate, orchestral lushness that Broken Social Scene does so well, is able to play a little more with sparseness, with the meaning behind rests and pauses. “Broke Me Up” has a nice indie country feel, complete with slide guitar and a piano that does more than simply add depth and layers to the background, but actually takes something that resembles a solo, as Drew sings in a sad whisper. The vocals, too, are mixed at a level that allows comprehension, even if the words themselves aren’t always understood. But Drew is more about overall effect and atmosphere than the significance found in individual songs and phrases — which excuses the fact that a lot of things he says don’t make a lot of sense — and also means that Spirit If… is the kind of album that takes some time to set in, whose melodies and acoustic guitar backgrounds and occasional burst of anger need the luxury of distance and reflection to truly find their place. This doesn’t mean that there aren’t some great moments here — the dark, pulsating Greg Dulli-inspired “Frightening Lives,” the wonderful chamber pop of “Bodhi Sappy Weekend,” which features the background vocal talents of Feist — but the record is focused more on the future, on creating an impression, than on immediate satisfaction, giving it an appeal that only strengthens as time goes on, and making Spirit If… another impressive, affective release in the ever-growing Broken Social Scene catalog.

Review by Marisa Brown, Allmusic.com

Tracklist:
01. Farewell to the Pressure Kids – 5:50
02. TBTF – 3:52
03. F–Ked Up Kid – 5:09
04. Safety Bricks – 4:28
05. Lucky Ones – 6:44
06. Broke Me Up – 4:25
07. Gang Bang Suicide – 6:22
08. Frightening Lives – 6:12
09. Underneath the Skin – 0:46
10. Big Love – 3:19
11. Backed out on the… – 4:16
12. Agng Faces/Losing Places – 4:31
13. Bodhi Sappy Weekend – 4:29
14. When It Begins – 5:02

Broken Social Scene Presents Brendan Canning – Something For All Of Us (2008)

Brendan Canning, the bearded and bespectacled bassist (hooray for alliteration!) and co-founder of Canadian indie rock superheroes Broken Social Scene tossed his hat into the BSS side project machine with the aptly-titled Something for All of Us…, a loose collection of singalongs, lo- and hi-fi rockers, groove-oriented toe-tappers and fuzzed-out, psych-folk laments that echo the 2007 “Broken Social Scene Presents” offering Spirit If… put forth by bandmate Kevin Drew. Vocally, Canning is the Elliott Smith of the group, but without all of the gut-twisting, black hole despair, and while his compositions may lack Drew’s lyrical, classic-pop conciseness, they revel in the meandering, post-rock inclusiveness that has marked some BSS’ most epic tracks. From the feedback-laden intro of the album’s namesake through the warm and contemplative Dennis Wilson-esque closer “Take Care, Look Up,” Canning positions himself as more of a conductor than a front man, allowing the small army of friends and BSS’ alumni the room to throw around their collective weight. At its best, like on the string-swollen “Chameleon” and the twinkling, dub-lite instrumental “All the Best Wooden Toys Come from Germany,” Something for All of Us… manages to connect without really saying much, which is tough to pull off, even for a veteran of one of the underground rock league’s most beloved teams. And while concern for the fate of the band may increase with each new solo project, fans would be hard to pressed to find a better, more satisfying set of tribute records than those put forth by Drew, Jason Collett, Andrew Whiteman, Leslie Feist, and now, Brendan Canning.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. Something for All of Us – 5:34
02. Chameleon – 4:52
03. Hit the Wall – 4:50
04. Snowballs & Icicles – 2:49
05. Churches Under the Stairs – 4:20
06. Love Is New – 4:06
07. Antique Bull – 3:43
08. All the Best Wooden Toys Come from Germany – 2:53
09. Possible Grenade – 4:40
10. Been at It So Long – 5:09
11. Take Care, Look Up – 5:17

Forgiveness Rock Record (2010)

As the founding fathers, mothers, brothers, and sisters of the “indie rock collective” phenomenon, Broken Social Scene sure have spread their seeds since their eponymous third album in 2005. Between the commercial success of Leslie Feist and the myriad “Broken Social Scene Presents” solo outings, some feared that the Canadian supergroup’s next outing would be a lackluster collection of stitched-together notebook ramblings and half-hearted demos swept up from the studio floor of previous sessions. Luckily, the endlessly creative and surprisingly fluid Forgiveness Rock Record dispels any notion of opportunism by sticking to what the group does best: crafting clever, ramshackle, occasionally soaring bedroom pop songs (listen close for sirens) in a big expensive studio. Bolstered by a handful of evenly spaced, arena-sized rockers like “World Sick,” “Forced to Love,” “Ungrateful Little Father,” and “Water in Hell,” the remaining ten tracks flip through genres like a picture book, pausing only to pencil in the occasional instrumental, one of which (“Meet Me in the Basement,” with its huge strings and “guitarmonies”) elicits bigger goose bumps than some of the singalongs. That’s not to say that the guts of the record are filler, as some of the best moments are its most nuanced (Emily Haines, Leslie Feist, and Amy Millan’s breezy, instantly engaging “Sentimental X,” the easy, dusty “Highway Slipper Jam”), proving once again that an army can make a cohesive album if everyone follows the rules of engagement. The core members may be down to nine, with an emphasis on founders Kevin Drew and Brendan Canning, but the “additional members” and “guests” involved (31 strong, when all is said and done) are what make Forgiveness Rock Record unique, especially in an era where bloated membership is so often used as a gimmick.

Review by James Christopher Monger, Allmusic.com

Tracklist:
01. World Sick – 6:48
02. Chase Scene – 3:31
03. Texico Bitches – 3:50
04. Forced to Love – 3:35
05. All to All – 4:50
06. Art House Director – 3:32
07. Highway Slipper Jam – 4:27
08. Ungrateful Little Father – 6:42
09. Meet Me in the Basement – 3:44
10. Sentimental X’s – 5:40
11. Sweetest Kill – 5:09
12. Romance to the Grave – 4:48
13. Water in Hell – 4:25
14. Me and My Hand – 2:05

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Diana Ross & The Supremes – Motown Albums 1964-1969 (10CD) (Japanese Mini-LP SHM-CD Remastered Reissue 2012) [FLAC]

Cardboard sleeve (mini LP) reissue from Diana Ross & The Supremes featuring the high-fidelity SHM-CD format. Part of a ten-album Diana Ross & The Supremes SHM-CD cardboard sleeve reissue series featuring albums “Where Did Our Love Go”, “More Hits By The Supremes”, “I Hear A Symphony”, “The Supremes A Go Go”, “Sing Holland Dozier Holland”, “Reflections”, “Join The Temptaions”, “Love Child”, “Let The Sunshine In”, and “Cream Of The Crop”.

The most successful American performers of the 1960s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes’ accomplishments, categorizing their work as more lightweight than the best soul stars (or even the best Motown stars), and viewing them as a tool for Berry Gordy’s crossover aspirations. There’s no question that there was about as much pop as soul in the Supremes’ hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn’t diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.

the Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes — Diana Ross, Mary Wilson, and Florence Ballard — met in the late ’50s in Detroit’s Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.

the Supremes’ first Motown recordings were much more girl group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown’s biggest. By the time they finally did get their first Top 40 hit, “When the Lovelight Starts Shining Through His Eyes,” in late 1963, Ross had taken over the lead singing for good.

Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy’s patience and attention paid off in mid-1964, when “Where Did Our Love Go” went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number-one hits in 1964-1965 (also including “Baby Love,” “Stop! In the Name of Love,” “Come See About Me,” and “Back in My Arms Again”). Ross’ cooing vocals would front the Supremes’ decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes’ hits through the end of 1967.

Not all of the Supremes’ singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) “You Keep Me Hangin’ On” was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock’s greatest tragedies, eventually ending up on welfare, and dying in 1976.

After Ballard’s exit, the group would be billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. the Supremes had a big year in 1967, even incorporating some mild psychedelic influences into “Reflections.” Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes’ records suffered accordingly (as did the Motown organization as a whole). the Supremes were still superstars, but as a unit, they were disintegrating; it’s been reported that Wilson and Birdsong didn’t even sing on their final hits, a couple of which (“Love Child” and “Someday We’ll Be Together”) were among their best.

In November 1969, Ross’ imminent departure for a solo career was announced, although she played a few more dates with them, the last in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly “Stoned Love,” “Nathan Jones,” and the Supremes-Four Tops duet “River Deep — Mountain High.” Few groups have been able to rise to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts after 1972. It is the Diana Ross-led era of the 1960s for which they’ll be remembered.

Biography by Richie Unterberger, Allmusic.com

The Supremes – Where Did Our Love Go (1964) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Even though this long-player was the second collection to have featured the original Supremes lineup with Mary Wilson, Florence Ballard and Diana Ross, Where Did Our Love Go (1964) was the first to significantly impact the radio-listening and record-buying public. It effectively turned the trio — who were called the ‘No-Hit Supremes’ by Motown insiders — into one of the label’s most substantial acts of the 1960s. Undoubtedly, their success was at least in part due to an influx of fresh material from the formidable composing/production team of Brian Holland, Lamont Dozier and Eddie Holland (HDH). They had already proven themselves by presenting “(Your Love Is Like A) Heatwave” to Martha & the Vandellas and providing Marvin Gaye with “Can I Get a Witness.” Motown-head Berry Gordy hoped HDH could once again strike gold — and boy, did they ever. Equally as impressive is that the Supremes were among the handful of domestic acts countering the initial onslaught of the mid-’60s British Invasion with a rapid succession of four Top 40 sides. Better still, “Where Did Our Love Go,” “Baby Love” and “Come See About Me” made it all the way to the top, while “When the Lovelight Starts Shining Through His Eyes” (number 23), “Run, Run, Run” (number 93) and “A Breath Taking Guy” (number 75) were able to garner enough airplay and sales to make it into the Top 100 Pop Singles survey. HDH weren’t the only contributors to the effort, as William “Smokey” Robinson supplied the catchy doo wop influenced “Long Gone Lover,” as well as the aforementioned “Breath Taking Guy.” Norman Whitfield penned the mid-tempo ballad “He Means The World to Me,” and former Moonglow Harvey Fuqua co-wrote “Your Kiss of Fire.” With such a considerable track list, it is no wonder Where Did Our Love Go landed in the penultimate spot on the Pop Album chart for four consecutive weeks in September of ’64 — making it the best received LP from Motown to date. In 2004, the internet-based Hip-O Select issued the double-disc Where Did Our Love Go [Expanded 40th Anniversary Edition] in a limited pressing of 10,000 copies. The package included the monaural and stereo mixes, plus a never before available seven-song vintage live set from the Twenty Grand Club in Detroit and another 17 unreleased studio cuts documented around the same time.

Review by Lindsay Planer, Allmusic.com

Tracklist:
01. Where Did Our Love Go? (02:33)
02. Run, Run, Run (02:16)
03. Baby Love (02:37)
04. When The Love Light Starts Shining Through His Eyes (03:05)
05. Come See About Me (02:44)
06. Long Gone Lover (02:25)
07. I’m Giving You Your Freedom (02:39)
08. A Breath Taking Guy (02:24)
09. He Means The World To Me (01:59)
10. Standing At The Crossroads Of Love (02:28)
11. Your Kiss Of Fire (02:47)
12. Ask Any Girl (03:00)

The Supremes – More Hits By The Supremes (1965) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Its title might lead one to think this was a compilation, but it wasn’t — rather, More Hits by the Supremes is merely a valid presumption of its worth. It was also the original group’s third highest charting album of their five years on Motown, and came not a moment too soon. The Supremes were doing incredibly well as a singles act, but not since Where Did Our Love Go had any of their LPs done particularly well on the pop charts; even a well-intentioned Sam Cooke-tribute album recorded early in 1965, which ought to have done better, had only reached number 75 (though it had gotten to number five on the R&B LP charts). “Stop! In the Name of Love” and “Back in My Arms Again” helped drive the sales, but those singles had been out six and three months earlier at the time this album surfaced — listeners were delighted to find those singles surrounded by their ethereal rendition of the ballad “Whisper You Love Me Boy” with its exquisitely harmonized middle chorus; the gently soulful, sing-song-y “The Only Time I’m Happy”; and the sweetly dramatic “He Holds His Own” (with a gorgeous and very prominent piano accompaniment). The material dated across six months of work, from late 1964 through the spring of 1965 (apart from “Ask Any Girl,” the B-side of “Baby Love,” which was cut in the spring of 1964), and showed that Motown could put a Supremes album together piecemeal around the Holland-Dozier-Holland songwriting team and place the trio right up at the top reaches of the charts, in the company of the Beatles, the Rolling Stones, et al. Its release also opened a floodgate of killer albums by the trio — overlooking their 1965 LP of Christmas songs, they were destined to issue three more long-players that delighted audiences a dozen songs at a time over the next two years, which was a lot of good work.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Ask Any Girl (02:46)
02. Nothing But Heartaches (02:59)
03. Mother Dear (02:45)
04. Stop! In The Name Of Love (02:54)
05. Honey Boy (02:35)
06. Back In My Arms Again (02:54)
07. Whisper You Love Me Boy (02:37)
08. Only Time I’m Happy (02:32)
09. He Holds His Own (02:32)
10. Who Could Ever Doubt My Love (02:43)
11. (I’m So Glad) Heartaches Don’t Last Always (02:58)
12. I’m In Love Again (02:19)

The Supremes – I Hear A Symphony (1966) Japanese Mini-LP SHM-CD Remastered Reissue 2012

I Hear a Symphony has some great soul numbers on it, mostly by the Holland-Dozier-Holland songwriting team, including not only the title track but also “Any Girl in Love (Knows What I’m Going Through),” “My World Is Empty Without You,” and “He’s All I Got” — the latter is one of the greatest album tracks the group ever recorded, with stunning vocals by Mary Wilson and Florence Ballard behind Diana Ross, showing the trio in just about its peak form. Other parts of I Hear a Symphony seem to take its title track almost literally, with the inclusion of the majestic “Unchained Melody” and the Bach-based “A Lover’s Concerto”; the latter, in particular, is a Diana Ross tour de force, with very sweetly understated accompaniment by Wilson and Ballard. And elsewhere, Berry Gordy was pushing his vision of the Supremes as a mainstream pop trio, covering “A Stranger in Paradise,” “With a Song in My Heart,” “Without a Song,” and “Wonderful, Wonderful.” None of these are bad, but neither are they terribly distinguished — the group even adds a certain fresh sparkle to “Wonderful, Wonderful,” but realistically, people were paying their money for the Holland-Dozier-Holland and Eddie Holland-authored songs, any of which would have made about as fine singles as anything the trio ever put out, and all of which are still a chunk of the best part of the group’s legacy.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Stranger In Paradise (03:05)
02. Yesterday (02:30)
03. I Hear A Symphony (02:43)
04. Unchained Melody (03:49)
05. With A Song In My Heart (02:04)
06. Without A Song (03:00)
07. My World Is Empty Without You (02:36)
08. A Lover’s Concerto (02:37)
09. Any Girl In Love (Knows What I’m Going Through) (03:00)
10. Wonderful, Wonderful (02:52)
11. Everything Is Good About You (03:01)
12. He’s All I Got (02:46)

The Supremes – A’ Go-Go (1966) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Supremes A’ Go-Go was the group’s first number one pop album, propelled to that place with help from a chart-topping single (“You Can’t Hurry Love”) and a marketing ploy that generated an irresistible song lineup. And along with The Supremes Sing Holland-Dozier-Holland, Supremes A’ Go-Go has held its value better than almost any of the trio’s most successful albums (which excludes We Remember Sam Cooke) — in fact, back in the days when vinyl was the only game in town, used copies of this record sold faster and better than any of their other common ’60s LPs, and for good reason. Various hits compilations had skimmed the most familiar songs off of Where Did Our Love Go, I Hear a Symphony, etc., but the very concept behind Supremes A’ Go-Go — getting the group to cover some of the top hits of other (mostly Motown) acts — dictated that every song on this album was familiar in name, and only “You Can’t Hurry Love” was culled for any hits packages. There was a lot to recommend it musically, including the trio soaring rendition of “Shake Me, Wake Me” and a version of “Get Ready,” which, even if it was no threat to the Temptations, still could have been a hit. Similarly, “Baby I Need Your Lovin’” and “I Can’t Help Myself” will always belong to the Four Tops, but Diana Ross, Mary Wilson, and Florence Ballard throw themselves into both (in a less weighty version of the former) with enough spirit to make them work as album cuts; “Money” is diverting if less successful, and “Come and Get These Memories” is worth checking out just to hear Florence Ballard and Mary Wilson step forward. And even the non-Motown covers, like “These Boot Are Made for Walkin’” and “Hang on Sloopy,” make worthwhile listening, with Ross turning in a surprisingly strong, passionate performance on the latter. A number one album in its time on the pop and R&B charts, Supremes A’ Go-Go also benefited from the fact that there were no pop standards or slow ballads here, just solid R&B dance numbers.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Love Is Like An Itching In My Heart (02:56)
02. This Old Heart Of Mine (Is Weak For You) (02:37)
03. You Can’t Hurry Love (02:48)
04. Shake Me, Wake Me (When It’s Over) (02:48)
05. Baby I Need Your Loving (03:01)
06. These Boots Are Made For Walking (02:32)
07. I Can’t Help Myself (02:38)
08. Get Ready (02:45)
09. Put Yourself In My Place (02:21)
10. Money (That’s What I Want) (02:28)
11. Come And Get These Memories (02:20)
12. Hang On Sloopy (02:42)

The Supremes – Sing Holland-Dozier-Holland (1967) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Anchored by two of their most popular recordings, “You Keep Me Hanging On,” and “Love Is Here and Now You’re Gone,” this LP features Holland, Dozier & Holland (HDH) compositions and productions, and it ranks among their best. The Supremes’ renditions of songs popularized by label mates illustrate the interchangeability of HDH’s songs. Ross’s soprano may not have the bite of Ron Isley’s tenor, but she still does a better than average job on “I Guess I Always Love.” Two Four Tops’ remakes, ‘I’ll Turn to Stone,” and “The Same Old Song,” are just as groovy as the originals. An update of Martha & Vandellas’ “Love Is Like a Heat Wave” fails to live up to the dynamics of the original. The Vandellas’ version was special, while this one comes off like another song for the session. “Mother You, Smother You” is too formulaic, but the singing and lyrics places it well above what other girl groups were releasing at the time. Ditto for “Going Down for the Third Time.” A Supremes’ album track would be an A-side for most artists. The prolific writers did an excellent job on their namesake LP, which turned out to be the last of the great Supremes albums.

Review by Andrew Hamilton, Allmusic.com

Tracklist:
01. You Keep Me Hangin’ On (02:44)
02. (You’re Gone But) Always In My Heart (02:38)
03. Love Is Here And Now You’re Gone (02:49)
04. Mother You, Smother You (02:36)
05. I Guess I’ll Always Love You (02:41)
06. I’ll Turn To Stone (02:24)
07. It’s The Same Old Song (02:31)
08. Going Down For The Third Time (02:36)
09. Love Is In Our Hearts (02:09)
10. Remove This Doubt (02:54)
11. There’s No Stopping Us Now (03:00)
12. (Love Is Like A) Heat Wave (02:36)

Diana Ross & The Supremes – Reflections (1968) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Their last album with Holland-Doizer-Holland at the creative helm, it was apparent that both parties were battling creative fatigue and were exhibiting the appropriate scars at the time. But aside from the then-innovative title song and the jazzy “In and Out of Love,” there’s nothing much to get excited about. (Note: the CD version contains two extra tracks, one being a lackluster rendition of “Stay in My Lonely Arms” that pales next to the Elgins’ original).

Review by John Lowe, Allmusic.com

Tracklist:
01. Reflections (02:52)
02. I’m Gonna Make You Love Me (02:49)
03. Forever Came Today (03:15)
04. I Can’t Make It ALone (03:15)
05. In And Out Of Love (02:42)
06. Bah-Bah-Bah (03:20)
07. What The World Needs Now Is Love (02:53)
08. Up, Up And Away (02:32)
09. Love (Makes Me Do Foolish Things) (02:55)
10. Then (02:10)
11. Misery Makes It’s Home In My Heart (02:55)
12. Ode To Billie Joe (04:56)
13. Stay In My Lonely Arms (03:18)
14. All I Know About You (01:56)

Diana Ross & The Supremes – Join The Temptaions (1968) Japanese Mini-LP SHM-CD Remastered Reissue 2012

What more could you want, two great groups, 11 great songs, and classic Motown productions. Contains the super groups’ big hit “I’m Gonna Make You Love Me” and the equally effervescent “I’ll Try Something New.” But the goodies don’t stop there: Check “Try It Baby,” a remake of Marvin Gaye’s hit, done this time with bass Melvin Franklin groaning lead lines to Diana Ross’ soprano; Diana and Dennis Edwards recreate Marvin and Tammi on a rousing version of “Ain’t No Mountain High Enough”; smooth tenor-singing Otis Williams does a silky rendition of “This Guy’s in Love With You”; and Paul Williams is forever Paul as the prominent voice on “Then,” an old Four Tops album cut. Originally released in 1969, this is a CD every Temptations, Diana Ross & the Supremes, and Motown fan should have. A Holland import combines this and a following album by both groups on one CD — 21 tracks of these delicacies.

Review by Andrew Hamilton, Allmusic.com

Tracklist:
01. Try It Baby (03:45)
02. I Second That Emotion (02:22)
03. Ain’t No Mountain High Enough (02:17)
04. I’m Gonna Make You Love Me (03:09)
05. This Guy’s In Love With You (03:47)
06. Funky Broadway (02:35)
07. I’ll Try Something New (02:22)
08. Place In The Sun (03:31)
09. Sweet Inspiration (02:58)
10. Then (02:15)
11. To Dream The Impossible Dream (04:47)

Diana Ross & The Supremes – Love Child (1968) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Through 1964 to 1967 the Supremes were Motown’s biggest act. Singles like “Where Did Our Love Go,” “Back in My Arms Again,” and “You Keep Me Hanging On” defined the label’s pop prowess and the quirky appeal of talented lead singer Diana Ross. By 1968, the group not only lost member Florence Ballard, but also Holland-Dozier-Holland who had written and produced all of their big singles. Cindy Birdsong joins Mary Wilson and Ross for this 1968 effort and the group name was officially changed. Although it’s always fun to hear Ross and the Supremes, the most interesting thing about this effort is its production. With a lack of consistently great songs, Love Child had to rely on hooks, choruses, and production values rather than magical songs. The well-produced and controversial title track proved how good Ross is with melodrama. “How Long Has That Evening Train Been Gone” has a great bassline from James Jamerson and Ross oddly having a lot of fun with her supposedly dire romantic prospects. The warm cover of Bobby Taylor and the Vancouvers’ classic “Does Your Mamma Know About Me” sticks close to the original with good results. Ashford and Simpson offer two of their early tracks, the album’s first single “Some Things You Never Get Used To,” and the graceful “You Ain’t Livin’ Until You’re Lovin’.” For the most part, Love Child’s tracks seem to run together but this offers the late-’60s Motown sound without gimmicks and is more than recommended.

Review by Jason Elias, Allmusic.com

Tracklist:
01. Love Child (02:58)
02. Keep an Eye (03:08)
03. How Long Has That Evening Train Been Gone (02:48)
04. Does Your Mama Know About Me (02:54)
05. Honey Bee (Keep On Stinging Me) (02:22)
06. Some Things You Never Get Used To (02:25)
07. He’s My Sunner Boy (02:22)
08. You’ve Been So Wonderful To Me (02:34)
09. (Don’t Break These) Chains of Love (02:25)
10. You Ain’t Livin’ Till You’re Lovin’ (02:44)
11. I’ll Set You Free (02:40)
12. Can’t Shake It Loose (02:07)

Diana Ross & The Supremes – Let The Sunshine In (1969) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Let the Sunshine In appeared deceptively late, given some of its content in the history of Diana Ross & the Supremes. Released in the spring of 1969, by which time the Supremes were already seeming a bit old-hat, it generated relatively little excitement, and its late placement in their discography still makes it suspect, at first glance, to historically minded listeners. The fact that it’s also from the group’s post-Holland/Dozier/Holland period also makes it automatically less interesting in a musical/historical context. Actually, it’s a pretty strong pop-soul effort — Diana Ross is the obvious focus, and given the chaotic circumstances surrounding the group during this period, it’s difficult to say at all times who is singing with her (Mary Wilson and Cindy Birdsong are obviously present somewhere, and the Andantes are, no doubt, backing Ross up at some points); but it does contain one track, the hauntingly beautiful “Let The Music Play,” dating all the way back to 1967 and including founding member Florence Ballard. The album is still solid listening 40-plus years later, and it’s not easy to explain why it performed poorly on the pop charts, especially with three hit singles present to help drive sales; “I’m Livin’ in Shame” had been a Top Ten single and was making its LP bow, and “The Composer” (authored by Smokey Robinson) easily made the Top 30. The one weak link in the AM radio department was “No Matter What Sign You Are,” a Berry Gordy composition that was more a catchy inventory of trends — including a sitar in the arrangement that was dated by 1969 — than a new horizon in pop music. The album does embrace more of a soul sound than early Supremes efforts, and audiences (and radio stations) were perhaps picking that up more succinctly here; thus, it got to number seven on the R&B charts but only a paltry number 24 as a pop album. Ross is in excellent form throughout, and the arrangements reach for the lush side of soul, which would become her trademark as a solo artist. Ironically, the weakest link is the title track, Ross’ cover of the Hair medley “Aquarius/Let the Sunshine In” — Ross just doesn’t do well (or much) with the songs. Fortunately, it is followed by “Let the Music Play,” which more than makes up for the lost opportunity, as well as offering a poignant look back at the original trio.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. The Composer (03:02)
02. Everyday People (03:03)
03. No Matter What Sign You Are (02:56)
04. Hey Western Union Man (03:01)
05. What Becomes Of The Brokenhearted (02:55)
06. I’m Livin’ In Shame (03:01)
07. Aquarius / Let The Sunshine In (03:12)
08. Let The Music PlaDR9 -0.01 dB -11.12 dB 4:57 12-Ode To Billie Joey (02:42)
09. With A Child’s Heart (03:05)
10. Discover Me (And You’ll Discover Love) (02:32)
11. Will This Be The Day (02:56)
12. I’m So Glad I Got Somebody (Like You Around) (03:32)

Diana Ross & The Supremes – Cream Of The Crop (1969) Japanese Mini-LP SHM-CD Remastered Reissue 2012

The final Diana Ross & the Supremes’ album before Ross’ departure, a duet LP with the Temptations (the second for the two groups) came out the same month. This ragtag bunch of vault dwellers and passed over tunes written by the company’s third and fourth tier writers and producers has a misleading title: there are few creams and it’s a bad crop. The sole star is their scintillating remake of Johnny & Jackey’s forgotten “Someday We’ll Be Together” — their last hurrah, and a few other honorable mentions, namely “The Young Folks” and “You Gave Me Love.” Despite the shortcomings, it wrangled its way to number 33 on Billboard’s Pop Chart.

Review by Andrew Hamilton, Allmusic.com

Tracklist:
01. Someday We’ll Be Together (03:34)
02. Can’t You See It’s Me (02:36)
03. You Gave Me Love (02:42)
04. Hey Jude (03:08)
05. Young Folks (03:14)
06. Shadows Of Society (03:13)
07. Loving You Is Better Than Ever (02:48)
08. When It’s To The Top (Still I Won’t Stop Giving You Love) (03:00)
09. Till Johnny Comes (03:00)
10. Blowin’ In The Wind (03:10)
11. Beginning Of The End (02:28)

Download:

Fiona Apple – Studio Albums 1996-2012 (4CD + 2xDVD5)

EAC | FLAC | Tracks/Image (Cue&Log)
Genre: Adult Alternative, Piano Rock, Baroque Pop, Vocal Jazz, Experimental Rock | Time: 03:07:43

Collection includes: ‘Tidal’ (1996); ‘When The Pawn…’ (1999); ‘Extraordinary Machine’ (2005) and ‘The Idler Wheel…’ (2012).

Fiona Apple defied categorization or any easy career path, almost running the pattern in reverse, opening her career as a highly touted and popular alternative singer/songwriter, then transitioning into a cult artist. Apple certainly benefited from the open-door policy of modern rock in the mid-’90s, following the path of crossover alt-rock piano-based songwriters like Tori Amos, but Apple was hardly an Amos copycat: she had a strong jazz undertow in her vocal phrasing and melodies, she had richer arrangements, she had a poppier bent to her songs. All these things helped her 1996 debut, Tidal, find a wide audience, one that increased considerably in the wake of the controversial video for the single “Criminal,” but Apple made it abundantly clear that she wasn’t an amateur provocateur with her sophomore album, When the Pawn Meets the King, an album that increased her critical reputation and cult, which would be pillars of support during her intense battles while making her third album, Extraordinary Machine.

Born to singer Diana McAfee and actor Brandon Maggart in 1977, Fiona Apple started playing and writing songs at the age of 12, in an effort to work out a traumatic childhood that included a rape at the age of 11. Apple continued to write, leaving high school for Los Angeles at the age of 16. She cut a demo tape that eventually earned her a contract with Sony Music in 1995. Teamed with producer Andrew Slater, she cut her debut, Tidal, releasing the album in the summer of 1996.

Tidal was a slow build, earning critical acclaim and a cult that exploded when the controversial video for “Criminal” turned the single and album into a hit. Mark Romanek’s seedy, suggestive clip was overtly sexual — a path Apple notably avoided afterward — but it did the trick, helping the album reach the Top Ten and earning Apple a Grammy. Despite this titillation, Tidal appealed to the middle of the road, a path Apple definitively rejected with her next album, 1999’s When the Pawn Meets the King. The entire title was a 90-word poem, a fair indication of the artistic ambition that lay within. Produced by Jon Brion, the album was dense, literate, and melodic, not matching the commercial success of the debut but deepening her cult. Despite a romance with director Paul Thomas Anderson — she contributed to the soundtrack of his 1999 magnum opus Magnolia — Apple retreated from the spotlight, fostering an element of mystery that only grew when her next album experienced a series of delays.

By 2003, the lack of a sequel became a sensation among some music message boards, where rumors swirled that Sony rejected her newest music for being uncommercial. Within the next year, unfinished mixes leaked onto the Internet and the saga of the album spilled over into the mainstream, earning ink in The New York Times. All this helped usher the album to completion in the fall of 2005, when the original Brion productions were tweaked and expanded with producer Mike Elizondo, who helped Extraordinary Machine reach its final shape. The album was greeted by generally positive reviews — some compared it not entirely favorably to the leaked album — and the record received healthy sales. In its wake, Apple maintained a moderate presence, touring with Nickel Creek in 2007 and appearing with the Watkins Family at times during their residency at the Largo in Los Angeles. In 2012, Apple previewed three songs from her fourth studio album (which boasted a typically enigmatic title in The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do) to a wildly enthusiastic audience at the South by Southwest music festival in Austin, Texas. Produced by Apple with her touring drummer, Charley Drayton, the album earned excellent reviews upon release in June 2012.

Biography by Stephen Thomas Erlewine, Allmusic.com

Tidal (1996)

Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions, which are nowhere near as impressive as her musicianship. Most of Tidal is comprised of confessional singer/songwriter material, and while they strive to say something deep and important, much of the lyrics settle for clichés. Apple does have a handful of impressive songs on Tidal, like the haunting “Shadowboxer” and “Sullen Girl,” but the gap between her performing talents and songwriting skills is too large to make the album anything more than a promising, and very intriguing, debut.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Sleep To Dream (04:10)
02. Sullen Girl (03:54)
03. Shadowboxer (05:24)
04. Criminal (05:43)
05. Slow Like Honey (05:57)
06. The First Taste (04:46)
07. Never Is A Promise (05:54)
08. The Child Is Gone (04:14)
09. Pale Shelter (05:50)
10. Carrion (05:43)

When The Pawn… (1999) [Enhanced]

Fiona Apple may have been grouped in with the other female singer/songwriters who dominated the pop charts in 1996 and 1997, but she stood out by virtue of her grand ambitions and considerable musical sophistication. Even though her 1996 debut Tidal occasionally was hampered by naiveté, it showcased a gifted young artist in the process of finding her voice. Even so, the artistic leap between Tidal and its long-awaited 1999 sequel When the Pawn Hits… is startling. It’s evident that not only have Apple’s ambitions grown, so has her confidence — few artists would open themselves up to the ridicule that comes with having a 90-word poem function as the full title, but that captures the fearless feeling of the record. Apple doesn’t break from the jazzy pop of Tidal on Pawn, choosing instead to refine her sound and then expand its horizons. Although there are echoes of everything from Nina Simone to Aimee Mann on the record, it’s not easy to spot specific influences, because this is truly an individual work. As a songwriter, she balances her words and melodies skillfully, no longer sounding self-conscious as she crafts highly personal, slightly cryptic songs that never sound precocious or insular. With producer Jon Brion, she created the ideal arrangements for these idiosyncratic songs, finding a multi-layered sound that’s simultaneously elegant and carnival-esque. As a result, Pawn is immediately grabbing, and instead of fading upon further plays, it reveals more with each listen, whether it’s a lyrical turn of phrase or an unexpected twist in the arrangement; what’s more, Apple has made it as rich emotionally as it is musically. That’s quite a feat for any album, but it’s doubly impressive since it is only the second effort by a musician who is only 22 years old.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. On The Bound (05:23)
02. To Your Love (03:40)
03. Limp (03:31)
04. Love Ridden (03:22)
05. Paper Bag (03:40)
06. A Mistake (04:58)
07. Fast As You Can (04:40)
08. The Way Things Are (04:18)
09. Get Gone (04:10)
10. I Know (04:55)

Extraordinary Machine (2005) DualDisc CD/DVD

To say that the released version of Extraordinary Machine is a marked improvement over the bootlegged version is not to say that it sounds more complete — after all, the booted Jon Brion productions sounded finished, as evidenced by the two cuts that were retained; the intricate chamber pop of the opening title track and the closing “Waltz (Better Than Fine)” are the only time Brion’s productions not only suited, but enhanced Fiona Apple’s songs — but they are both more accessible, and more fully realized, letting Apple’s songs breathe in a way they didn’t on the original sessions. While Brion’s productions were interesting, they stretched his carnivalesque aesthetic to the limit, ultimately obscuring Apple’s songs, which were already fussier, artier, and more oblique than her previous work. When matched to Brion’s elaborately detailed productions, her music became an impenetrable Wall of Sound, but Mike Elizondo’s productions open these songs up, making it easier to hear Apple’s songs while retaining most of her eccentricities. Now, Extraordinary Machine sounds like a brighter, streamlined version of When the Pawn, lacking the idiosyncratic arrangement and instrumentation of that record, yet retaining the artiness of the songs themselves. Like her second record, this album is not immediate; it takes time for the songs to sink in, to let the melodies unfold, and decode her laborious words (she still has the unfortunate tendency to overwrite: “A voice once stentorian is now again/Meek and muffled”). Unlike the Brion-produced sessions, peeling away the layers on Extraordinary Machine is not hard work, since it not only has a welcoming veneer, but there are plenty of things that capture the imagination upon first listen — the pulsating piano on “Get Him Back,” the moodiness of “O’ Sailor,” the coiled bluesy “Better Version of Me,” the quiet intensity of the breakup saga “Window,” the insistent chorus on “Please Please Please” — which gives listeners a reason to return and invest time in the album. And once they do go back for repeated listens, Extraordinary Machine becomes as rewarding, if not quite as distinctive, as When the Pawn. Nevertheless, this is neither a return to the sultry, searching balladeering of Tidal, nor a record that will bring her closer to tasteful, classy Norah Jones territory, thereby making her a more commercial artist again. Extraordinary Machine may be more accessible, but it remains an art-pop album in its attitude, intent, and presentation — it’s just that the presentation is cleaner, making her attitude appealing and her intent easier to ascertain, and that’s what makes this final, finished Extraordinary Machine something pretty close to extraordinary.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Extraordinary Machine (03:44)
02. Get Him Back (05:26)
03. O’ Sailor (05:37)
04. Better Version of Me (03:01)
05. Tymps (The Sick In the Head Song) (04:05)
06. Parting Gift (03:36)
07. Window (05:33)
08. Oh Well (03:42)
09. Please Please Please (03:35)
10. Red Red Red (04:08)
11. Not About Love (04:21)
12. Waltz (Better Than Fine) (03:46)

DVD5 | NTSC | 4:3 (720×480) | English (PCM), 1536 Kbps | Time: 01:19:28 | 1.92 Gb

DVD Content:
01. Not About Love (video)
02. Extraordinary Machine (live at Club Largo)
03. River, Stay Away from My Door (live at Club Largo)
04. Paper Bag (live at Club Largo)
05. Fast As You Can (live at Club Largo)
06. You Belong to Me (live at Club Largo)
07. Parting Gift (live at the Jazz Factory)
Original releaser – Onnoue

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The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords
Will Serve You More Than Ropes Will Ever Do (2012)

So much of the drama surrounding Fiona Apple’s third album, Extraordinary Machine, focused on its recording and release — how the original Jon Brion productions were scrapped in favor of new versions helmed by Mike Elizondo, all fueling fan panic and an Internet protest pleading for a free Fiona — that ultimately all the clamor obscured Apple herself, both her songs and performances. She runs no such risk on The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, her fourth album, arriving some seven years after Extraordinary Machine. Alone with her voice, piano, and percussionist Charley Drayton, Apple has nowhere to hide, nor does she give any indication she’d prefer to run. These spare but not skeletal arrangements — each cut is subtly colored with harmonies, slight effects, overlapping rhythms, and additional keyboards — never shift focus away from Fiona’s magnetic vocals, the human element pulling us into these songs. Some hooks are stronger than others — “Periphery” cuts to the quick, whereas “Every Single Night” surges — but what was rumored about Extraordinary Machine is actually true about The Idler Wheel: there are no singles here, nothing concise and concentrated to facilitate an easy sell. But that’s not to say that The Idler Wheel is alienating. As elliptical as the melodies and words can be, the music is immediate and the songs unfold quickly, certain turns of phrase or thrilling runs swiftly seeping into the subconscious. Lacking either ornate production or a pop single, The Idler Wheel plays like Fiona Apple at her purest and that’s plenty complicated: she takes no shortcuts or easy turns, her intent somewhat shrouded but never absent. Much of the charm of Apple’s music isn’t decoding what it all means but learning its internal clockwork, letting the songs take root, so the love songs (“Jonathan”) seem sweeter, the braggadocio (“Hot Knife”) funnier, the pathos (“Valentine,” “Regret”) and paranoia (“Werewolf”) feeling fathomless. Once the startling Spartan surfaces of The Idler Wheel become familiar, similarities to her three previous albums are apparent — she takes certain jazzy strides that hark back to Tidal, there’s a rigorous dexterity reminiscent of When the Pawn — but what’s new is an unwavering determination and cohesion. Nothing is wasted, either in the composition or arrangement, and this lean confidence binds The Idler Wheel. Stripped of all her carnivalesque accouterments, Fiona Apple remains as rich and compelling as she ever was, perhaps even more so.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Every Single Night (03:33)
02. Daredevil (03:28)
03. Valentine (03:32)
04. Jonathan (05:03)
05. Left Alone (04:50)
06. Werewolf (03:12)
07. Periphery (04:58)
08. Regret (05:16)
09. Anything We Want (04:40)
10. Hot Knife (04:02)

DVD Content:
1. Fast As You Can (Live)
2. A Mistake (Live)
3. Anything We Want (Live)
4. Sleep To Dream (Live)
5. Every Single Night (Live)

Download:

http://uploaded.net/file/nt15uz5y/Fiona_Apple_-_Tidal_1996.rar

http://uploaded.net/file/8km7g27d/Fiona_Apple_-_When_The_Pawn_1999.rar

http://uploaded.net/file/l2yx3e5n/Fiona_Apple_-_Extraordinary_Machine_2005.rar
http://uploaded.net/file/hambd2jv/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part1.rar
http://uploaded.net/file/mfwvsa38/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part2.rar
http://uploaded.net/file/rowzvfif/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part3.rar
http://uploaded.net/file/91twxrv0/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part4.rar
http://uploaded.net/file/bv5m58b8/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part5.rar

http://uploaded.net/file/4f1g11gt/Fiona_Apple_-_2012_-_Idler_Wheel.rar
http://uploaded.net/file/3mz6qx9p/Fiona_Apple_2012_Bonus_DVD.part1.rar
http://uploaded.net/file/5yqejid3/Fiona_Apple_2012_Bonus_DVD.part2.rar
http://uploaded.net/file/pht3fk76/Fiona_Apple_2012_Bonus_DVD.part3.rar

http://rapidgator.net/file/75245539/Fiona_Apple_-_Tidal_1996.rar.html
http://rapidgator.net/file/75245569/Fiona_Apple_-_When_The_Pawn_1999.rar.html

http://rapidgator.net/file/75245532/Fiona_Apple_-_Extraordinary_Machine_2005.rar.html
http://rapidgator.net/file/75244942/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part1.rar.html
http://rapidgator.net/file/75244961/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part2.rar.html
http://rapidgator.net/file/75245105/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part3.rar.html
http://rapidgator.net/file/75245451/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part4.rar.html
http://rapidgator.net/file/75245423/FIONA_APPLE_-_2005_-_Extraordinary_Machine_DVD_Side.part5.rar.html

http://rapidgator.net/file/75245447/Fiona_Apple_-_2012_-_Idler_Wheel.rar.html
http://rapidgator.net/file/75245680/Fiona_Apple_2012_Bonus_DVD.part1.rar.html
http://rapidgator.net/file/75245684/Fiona_Apple_2012_Bonus_DVD.part2.rar.html
http://rapidgator.net/file/75245642/Fiona_Apple_2012_Bonus_DVD.part3.rar.html

Collection includes: Left of the Middle (1997); White Lilies Island (2001); Counting Down the Days (2005); Glorious: The Singles 97–07 (2007); Come to Life (2009).

By mixing Lisa Loeb/Alanis Morissette-like singing with music that sounds similar to a more mainstream Portishead at times, Natalie Imbruglia became one of the biggest pop sensations in Europe. Born in Sydney, Australia, on February 4, 1975, Imbruglia was one of four sisters and grew up in a tiny beach town. After becoming a teen actress and landing a spot on the Australian soap opera Neighbours, Imbruglia decided that she would rather be a singer, and moved to London in 1996 to try her luck. It was a wise move, as she was soon signed to the RCA U.K. label. Deciding to release a single before her full-length debut, the track “Torn” was issued in 1997, and no one could have predicted its wild success. Produced by former Cure member Phil Thornalley and written by Ednaswap, the single spent a total of 14 weeks at number one, sold over a million copies, and broke the record for most airplay in U.K. history. Her debut album, Left of the Middle, was a major hit in Australia, the U.K., and the U.S. upon its release in early 1998. Follow-up singles “Smoke” and the album’s title track did moderately well, but never achieved massive success like “Torn.” After whirlwind praise, Imbruglia disappeared for the rest of the ’90s. She found herself battling writer’s block while trying to compose material for a sophomore effort, but finally succeeded and, in 2001, released White Lilies Island in the U.K. The album’s debut single, “That Day,” was a favorite among radio play. A nearly four-year wait preceded the release of Counting Down the Days. Alongside Coldplay’s “Speed of Sound” and James Blunt’s “You’re Beautiful,” Imbruglia’s song “Shiver” was nominated for the Ivor Novello Award in the PRS most-performed work category in 2006.

Biography by Greg Prato, Allmusic.com

Left of the Middle (1997)

Expectations for Natalie Imbruglia’s debut album, Left of the Middle, were high because of the runaway success of the pre-album single “Torn” during 1997-1998. Fans of the single will be pleased to hear that the album is quite similar in approach and sound to the breakthrough single: laid-back alt-pop with sweetly melodic vocals. Admittedly, some of the material will be seen as pop fluff by certain listeners, but fans of popular latter-day female artists like Paula Cole, Sheryl Crow, and Meredith Brooks will find Imbruglia’s debut most enjoyable. What separates Imbruglia from the aforementioned artists is her willingness to experiment with electronic sounds, no doubt courtesy of mixer Nigel Godrich (of Radiohead fame), which can be heard on such tracks as “Smoke.” “Torn” proves to be the best song on the album, with its bouncy acoustic feel, but the pop/rocker “Big Mistake” is almost as good. Not all of the material on Left of the Middle fares as well, however, such as the Alanis Morissette sound-alike “Intuition,” but Imbruglia need not worry about being lumped into the copycat category; for the most part, she has a style all her own.

Review by Greg Prato, Allmusic.com

Tracklist:
01. Torn (04:04)
02. One More Addiction (03:29)
03. Big Mistake (04:33)
04. Leave Me Alone (04:21)
05. Wishing I Was There (03:51)
06. Smoke (04:37)
07. Pigeons And Crumbs (05:19)
08. Don’t You Think? (03:55)
09. Impressed (04:47)
10. Intuition (03:22)
11. City (04:33)
12. Left Of The Middle (03:46)

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White Lilies Island (2001)

Natalie Imbruglia was an instant charm with her 1998 debut single, Torn, and expectations for a follow-up to Left of the Middle were practically immediate. Imbruglia wasn’t quick to rush, however. Instead of investing in the quick pop sound she made popular on her first album, she took her time in redefining herself as a songwriter with substance. Four years after becoming an international star, Imbruglia emerged with her finest work to date with White Lilies Island. It’s a record that breathes something pure, and one can sense that she has complete control, lyrically and musically. Her spiritual and emotional connection remains the same, and White Lilies Island is her reflection of the reinvention. “Wrong Impression” is sweet with its twangy guitar riffs, and Imbruglia’s softness is deceiving. She’s quite dark, and challenges typical notions of love and acceptance. “Beauty on the Fire” and the heavy romance of “Do You Love” continue the fight. “That Day” and “Sunlight” are strikingly edgy, and Imbruglia’s simplicity and energy are intoxicating. She couldn’t have rushed this album. Imbruglia has made a brilliant pop record — contemporary, yet timeless. White Lilies Island would have suffered without Natalie Imbruglia’s perfectionism, and it would have lost sight of the elegance it so perfectly exudes.

Review by MacKenzie Wilson, Allmusic.com

Tracklist:
01. That Day (04:42)
02. Beauty On The Fire (04:21)
03. Satellite (03:06)
04. Do You Love (04:43)
05. Wrong Impression (04:16)
06. Goodbye (05:00)
07. Everything Goes (04:00)
08. Hurricane (03:38)
09. Sunlight (05:00)
10. Talk In Tongues (03:29)
11. Butterflies (04:56)
12. Come September (04:11)

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Counting Down The Days (2005)

Arguably the best of the plethora of soap stars turned pop stars, Natalie Imbruglia appears to have performed a rather frustrating musical U-turn for her third album. Whereas her difficult but underrated sophomore effort understandably attempted to break away from the commercial acoustic pop sound that saw “Torn” become one of the biggest singles of the ’90s, Counting Down the Days actively embraces it. Whether this is a conscious decision to rekindle her former multi-platinum transatlantic success, or whether Imbruglia is just in a happier songwriting frame of mind, it’s still a confusing and disappointing change in direction. For all the bittersweet melancholy and dark undertones of White Lilies Island suggested an interesting career ahead, yet only on a few occasions does Counting Down the Days veer into this territory. Instead, the majority is made up of fairly inoffensive radio-friendly pop songs such as opener “Starting Today” and the Eg White-produced “Perfectly,” both of which are little more than “Torn” Mark Two. Even the presence of husband Daniel Johns, formerly of grunge outfit Silverchair, on production duties, can’t save the Beatlesque “Satisfied” from lapsing into blandness. But when Imbruglia is allowed to stray from this formula, she excels. “Shiver” is a charming and obvious lead single fully worthy of its huge airplay success; the title track with its chiming bells sounds like a lost Christmas classic, and the brooding “Come on Home,” with its chorus of “we can fall apart together” effortlessly manages to pull at the heartstrings. And as an artist, Imbruglia has never sounded better. The breathy Alanis imitations of her debut have now been replaced by understated but self-assured vocals that are able to convey intensity and warmth in equal measures. None more so than on the album’s highlight, the Björk-influenced “Honeycomb Child.” With its enchanting mix of music boxes, violins, and electronica, it sounds like it appeared from a different record entirely and is proof that Imbruglia can pull off edgier material when she wants to. Counting Down the Days will undoubtedly be a commercial success but its play-it-safe attitude undoes some of the good work done by its predecessor. A few more risks next time wouldn’t go amiss.

Review by Jon O’Brien, Allmusic.com

Tracklist:
01. Starting Today (02:55)
02. Shiver (03:42)
03. Satisfied (03:28)
04. Counting Down The Days (04:09)
05. I Won’t Be Lost (03:52)
06. Slow Down (03:31)
07. Sanctuary (03:08)
08. Perfectly (03:22)
09. On The Run (03:37)
10. Come On Home (03:55)
11. When You’re Sleeping (03:05)
12. Honeycomb Child (04:14)

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Glorious: The Singles 97-07 (2007) CD+DVD

What was impressive about the Natalie Imbruglia album Glorious: The Singles 1997-2007 was that Imbruglia had a writing or co-writing credit on 13 of the 14 tracks, the only one not penned by her being the one that started it all, the classic “Torn.” Starting at the most unlikely source as an actress on the daytime TV soap opera Neighbours (although it had produced singing stars a decade earlier with Kylie Minogue and Jason Donovan), Imbruglia had carved out a singing career with a series of pop/rock singles with superb melodies, although never managing to top the exquisiteness of the single “Torn.” So after three successful albums, Left of the Middle, White Lilies Island, and the number one Counting Down the Days, her record company, BMG, released this greatest-hits compilation to sum up her career to date and also move into the future with a smattering of new tracks not previously on the three albums. All nine of her singles were included — which had already been featured on the three studio albums — as well as “Glorious,” the first single released from this collection. No doubt to give an impression that this was a new album as well as a greatest-hits compilation, “Glorious” kicked off the proceedings as the opening track, followed by those nine earlier singles. The track order was a compromise reached between the artist and her record company, with the four new tracks all bringing up the rear. Of these four, “Amelia” was an ethereal, haunting ballad and “Be with You,” “Against the Wall,” and “Stuck on the Moon” were midtempo AOR songs. She may search another lifetime and never find another song like “Torn.”

Review by Sharon Mawer, Allmusic.com

Tracklist:
01. Glorious (03:24)
02. Counting Down The Days (04:09)
03. Torn (04:04)
04. Wrong Impression (04:14)
05. Smoke (04:31)
06. Shiver (03:42)
07. Wishing I Was There (03:51)
08. That Day (04:41)
09. Big Mistake (04:33)
10. Beauty On The Fire (04:14)
11. Be With You (03:40)
12. Amelia (04:21)
13. Against The Wall (03:44)
14. Stuck On The Moon (03:36)

DVD Content:
01. Torn
02. Big Mistake
03. Wishing I Was There
04. Wishing I Was There (US version)
05. Smoke
06. That Day
07. Wrong Impression
08. Beauty On The Fire
09. Shiver
10. Counting Down The Days
11. Glorious

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Come To Life (2009)

Moving on from Daniel Johns both personally and creatively, Natalie Imbruglia aligns herself with Coldplay for her fourth album, Come to Life. The band gave her “Lukas,” a Viva la Vida outtake complete with a Brian Eno production, while Chris Martin co-writes “Fun” and the Kylie-flavored “Want,” but their influence extends beyond a couple of songs, seeping into even the thumping club beats of “Cameo” and the shuffling closer “Wild About It,” as well as rippling through the ballads. Martin’s chilly, anthemic touch is a natural fit for Imbruglia, who has always favored high-thread-count fashions for upscale cocktail parties, and always manages to inject unexpected warmth and emotion underneath the surface style. Come to Life benefits from this knack, as well as from sturdy pop songwriting, managing to evoke her “Torn” heyday while feeling modern, which is a nifty trick indeed.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. My God (04:03)
02. Lukas (03:49)
03. Fun (04:21)
04. Twenty (03:56)
05. Scars (03:30)
06. Want (04:18)
07. WYUT (03:17)
08. Cameo (03:09)
09. All The Roses (03:27)
10. Wild About It (04:07)

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Peter, Paul and Mary – Albums Collection 1962-1969 (12CD) (Japanese Mini-LP Remastered Reissue 2012) [FLAC]

Cardboard sleeve (mini LP) reissue from Peter, Paul and Mary featuring 2012 remastering, using the original master tape. Includes a description and lyrics. Part of a eleven-album Peter, Paul and Mary cardboard sleeve reissue series featuring albums “Peter, Paul And Mary I,” “Moving,” “In The Wind,” “Peter, Paul And Mary in Concert,” “A Song Will Rise,” “See What Tomorrow Brings,” “The Peter, Paul And Mary Album,” “Album 1700,” “In Japan,” “Late Again,” and “Peter, Paul And Mommy.”

http://en.wikipedia.org/wiki/Peter,_Paul_and_Mary

Peter, Paul And Mary (1962) Japanese Mini-LP Remastered Reissue 2012

The debut album by Peter, Paul & Mary is still one of the best albums to come out of the 1960s folk music revival, a beautifully harmonized collection of the best songs that the group knew, stirring in its sensibilities and its haunting melodies, crossing between folk, children’s songs, and even gospel (“If I Had My Way”), and light-hearted just where it needed to be, with the song “Lemon Tree,” which became their first hit single, and earnest where it had to be, particularly on “If I Had a Hammer.” Ironically, the trio’s version of the latter song, which Pete Seeger and Lee Hayes had written in the early days of the Weavers’ history, helped push popular folk music in a more political direction at the time, but it was another song in their repertory, Seeger’s “Where Have All the Flowers Gone,” that also helped indirectly jump start that movement. The group had performed it in Boston at a concert attended by the Kingston Trio, who immediately returned to New York and cut their own version, which charted as a single early in 1962. Other highlights include “It’s Raining” and “500 Miles.” Peter, Paul & Mary, which hit the top spot on the album charts as part of a 185-week run, is the purest of the trio’s albums, laced with innocent good spirits and an optimism that remains infectious even 40 years later. Along with the rest of the trio’s early catalog, the album was remixed for CD from its original three-track master tape by Peter Yarrow in 1989, which resulted in some of the best sound on any Warner Bros. CDs of material dating from the early ’60s.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Early In The Morning (01:39)
02. 500 Miles (02:50)
03. Sorrow (02:55)
04. This Train (02:06)
05. Bamboo (02:34)
06. It’s Raining (04:27)
07. If I Had My Way (02:28)
08. Cruel War (03:32)
09. Lemon Tree (02:58)
10. If I Had A Hammer (02:11)
11. Autumn To May (02:52)
12. Where Have All The Flowers Gone (03:55)

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Moving (1963) Japanese Mini-LP Remastered Reissue 2012

The trio’s second album is a little less distinctive than its predecessor, which doesn’t mean that it isn’t a beautiful record — just less obviously compelling in its melodies, and perhaps slightly less optimistic in mood. Having expended some of their best material on their debut, the trio reached further for songs here, including the Paul Stookey co-authored “Big Boat” and Mike Settle’s “Settle Down (Goin’ Down That Highway),” neither of which clicked as singles, despite rousing vocals on both and some distinctive guitar virtuosity on the former. The group once again reached back to the 1940s activist folk song tradition with Woody Guthrie’s “This Land Is Your Land,” but the track that everyone ended up knowing from Moving was from a very different corner of the folk tradition — “Puff, the Magic Dragon” was introduced here and rose to number one as a single (and even made the Top 10 in the R&B charts), helping to propel Moving to number two as part of a 99-week chart run; and in those days, it was taken as a beautiful and gentle children’s song that adults could enjoy, the myth of the song’s supposed “drug” message not appearing until 1966. Other highlights include the haunting “Pretty Mary” and the startlingly intricate “A ‘Soalin’,” which became a highlight of their live act as well. Peter Yarrow remixed this album for reissue on CD in 1989, along with much of the rest of the group’s classic Warner Bros. catalog, which has resulted in spectacular clarity and immediacy.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Settle Down (Goin’ Down That Highway) (01:50)
02. Gone The Rainbow (02:43)
03. Flora (03:11)
04. Pretty Mary (02:02)
05. Puff, The Magic Dragon (03:29)
06. This Land Is Your Land (02:27)
07. Man Come Into Egypt (02:20)
08. Old Goat (03:50)
09. Tiny Sparrow (03:35)
10. Big Boat (02:44)
11. Morning Train (03:38)
12. A’Soalin’ (03:15)

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In The Wind (1963) Japanese Mini-LP Remastered Reissue 2012

Their third recording was one of the group’s stronger outings, even if it confirms their status as folk popularizers rather than musical innovators. In particular, this record was essential to boosting the profile of Bob Dylan, including their huge hit cover of “Blowin’ in the Wind,” their Top Ten version of “Don’t Think Twice, It’s All Right,” and the bluesy “Quit Your Lowdown Ways,” which Dylan himself would not release in the ’60s (although his version finally came out on The Bootleg Series). “Stewball,” “All My Trials,” and “Tell It on the Mountain” were other highlights of their early repertoire, and the dramatic, strident, but inspirational “Very Last Day” is one of the best original tunes the group ever did.

Review by Richie Unterberger, Allmusic.com

Tracklist:
01. Very Last Day (02:34)
02. Hush-A-Bye (02:22)
03. Long Chain On (04:38)
04. Rocky Road (03:41)
05. Tell It On The Mountain (02:57)
06. Polly Von (04:14)
07. Stewball (03:13)
08. All My Trials (03:19)
09. Don’t Think Twice, It’s Alright (03:17)
10. Freight Train (02:48)
11. Quit Your Low Down Ways (02:07)
12. Blowin’ In The Wind (02:57)

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In Concert (1964) Japanese Mini-LP Remastered Reissue 2012

This double album opens with a then-new Bob Dylan song, “The Times They Are A’ Changin’,” and closes with the best-known song ever written by Pete Seeger and Lee Hayes, “If I Had a Hammer.” That seems to sum up Peter, Paul & Mary, but In Concert offers a lot more than that. The surprises include vignettes in blues and gospel, and, most notably, the group’s humorous digressions. Peter, Paul & Mary spared few opportunities for a good laugh on stage, beginning with the introduction to “A’ Soalin’,” which shows off a lightheartedness that was an essential part of who they were, even as it leads into an exquisitely sung round-like piece that should have found its way into the repertory of Steeleye Span. “Blue” gives the trio a chance to play around with rock & roll, from doo wop to British Invasion, through the song “Old Blue” (satirizing folk music purists at the same time), and Paul Stookey adds his own sound effect embellishments to Woody Guthrie’s “Car-Car.” The solo spots are also worthwhile, particularly Peter Yarrow’s introspective version of “Le Deserteur,” followed by his dazzling, rousing sing-along on “Oh, Rock My Soul”; and Mary Travers’ rendition of “Single Girl,” a low-key proto-feminist song. The group’s rendition of “It’s Raining” achieves an exquisite mix of gossamer textured harmonizing and thematic innocence, and their rendition of the Reverend Gary Davis’ “If I Had My Way” is a bracing re-interpretation for three interwoven voices. Finally, the version of “If I Had a Hammer” that closes this album is superior to their hit single of the same song. The album was remixed digitally from the three-track master by Peter Yarrow for the CD release, which results in very vivid textures and very fine detail.

Review by Bruce Eder, Allmusic.com

Tracklist:
CD1:
01. The Times They Are A-Changin’ (03:22)
02. A’Soalin’ (05:28)
03. 500 Miles (03:03)
04. Blue (04:12)
05. Three Ravens (03:56)
06. One Kind Favor (03:14)
07. Blowin’ In The Wind (03:39)
08. Car-Car (05:07)
09. Puff (The Magic Dragon) (06:22)
10. Jesus Met The Woman (04:36)
CD2:
01. Le Deserteur (04:38)
02. Oh, Rock My Soul (05:50)
03. Paultalk (12:41)
04. Single Girl (02:33)
05. There Is A Ship (03:04)
06. It’s Raining (05:27)
07. If I Had My Way (03:15)
08. If I Had A Hammer (02:45)

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A Song Will Rise (1965) Japanese Mini-LP Remastered Reissue 2012

By their fifth album, Peter, Paul & Mary had fallen into a consistency of approach that could be viewed as either dependable or predictable. This had the usual assortment of traditional songs (“Motherless Child,” “The Cuckoo”), songs that had first gained an audience during prior folk revivals (“Wasn’t That a Time”), a bit of original material, mediocre blues (“San Francisco Bay Blues” and Paul Stookey’s “Talkin’ Candy Bar Blues”), and a Bob Dylan song (“When the Ship Comes In”). The biggest find, material-wise, was the Gordon Lightfoot composition “For Lovin’ Me” (a #30 hit single), which gave the Canadian songwriter (who had yet to release his first United Artists LP) some of his first wide exposure in the United States. Overall, the trio’s sound and balance of repertoire had still changed little, if at all, from their debut. They were at their best on folk tunes with sad melodies and harmonies, as on “Jimmy Whalen” and “Ballad of Spring Hill.”

Review by Richie Unterberger, Allmusic.com

Tracklist:
01. When The Ship Comes In (02:38)
02. Jimmy Whalen (02:42)
03. Come And Go With Me (03:07)
04. Gilgarra Mountain (06:04)
05. Ballad Of Spring Hill (Spring Hill Disaster) (03:13)
06. Motherless Child (03:42)
07. Wasn’t That A Time (02:32)
08. Monday Morning (03:21)
09. The Cuckoo (02:21)
10. San Fransisco Bay Blues (03:05)
11. Talkin’ Candy Bar Blues (02:38)
12. For Lovin’ Me (02:09)

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See What Tomorrow Brings (1965) Japanese Mini-LP Remastered Reissue 2012

See What Tomorrow Brings is a strong album that plays to the strengths of Peter, Paul, & Mary. There is a good variety of material within their folk format, and a nice esprit de corps that pervades the recording. All members sing lead, which brings a good balance to the proceedings. Worth noting are two early versions of Gordon Lightfoot’s “Early Morning Rain” and Ewan MacColl’s “The First Time Ever I Saw Your Face.” Although there isn’t one number that shouts instant classic, all cuts have something to recommend them. Lest we forget the trio’s idealism, the opening song “If I Were Free” speaks to the hope of wars ending and the beginning of peaceful times. “Jane, Jane” and “Because All Men Are Brothers” show the group’s gospel roots, while “The Rising of the Moon,” an intense cut, has Irish music as its base. “Tryin’ to Win” and “On a Desert Island” manifests the humorous side of the trio as they sing about real and imagined love relationships. Throughout the album, arrangements are tasteful, clean, and never obtrusive to the songs presented. All in all, this is a very good album that has variety, strong material, tasteful production, and a fine spirit that gives it a winning edge.

Review by Michael Ofjord, Allmusic.com

Tracklist:
01. If I Were Free (02:48)
02. Betty & Dupree (03:15)
03. The Rising Of The Moon (03:37)
04. Early Mornin’ Rain (03:08)
05. Jane, Jane (02:55)
06. Because All Men Are Brothers (02:14)
07. Hangman (02:51)
08. Brother, (Buddy) Can You Spare A Dime? (02:34)
09. The First Time Ever I Saw Your Face (03:09)
10. Tryin’ To Win (02:38)
11. On A Desert Island (With You In My Dreams) (01:54)
12. The Last Thing On My Mind (02:43)

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Album (1966) Japanese Mini-LP Remastered Reissue 2012

With this record the trio were, in their halting fashion, making some concessions to or trying to keep up with the times. This was the first Peter, Paul & Mary album to include significant additional instrumentation other than the usual acoustic guitars. It wasn’t exactly folk-rock, as there were drums on just three tracks. It was more folk-rockish folk, particularly as the rotating cast of backup players included musicians who had played with Bob Dylan (Mike Bloomfield, Kenneth Buttrey, Charlie McCoy, Bobby Gregg, Al Kooper) and Ian & Sylvia (bassists Bill Lee and Ross Savakus). The group was also leaning more toward contemporary songwriters, and made some astute choices in that regard by covering Laura Nyro’s “And When I Die” (when that singer was barely known), Fred Neil’s “The Other Side of This Life,” and Richard Farina’s “Pack Up Your Sorrows.” For those who wanted the “classic” PPM sound, there were a few cuts in that mold, such as “Kisses Sweeter Than Wine.” On the couple of occasions on which they actually tried to play rock music, they sounded, well, uncomfortable, as on the overlong “The King of Names” (with several members of the Paul Butterfield Blues Band) and Paul Stookey’s odd “Norman Normal,” an apparent psychedelic parody of “Secret Agent Man” on which he played all of the instruments and multi-tracked all of the vocals. They would have been better off just being themselves (and Mary Travers’ absence from both of those cuts seemed to indicate that she wasn’t totally into that direction herself). What the group couldn’t control, however, was the unavoidable fact that the times were starting to pass them by.

Review by Richie Unterberger, Allmusic.com

Tracklist:
01. And When I Die (02:37)
02. Sometime Lovin’ (03:06)
03. Pack Up Your Sorrows (03:06)
04. The King Of Names (04:09)
05. For Baby (For Bobbie) (02:46)
06. Hurry Sundown (02:57)
07. The Other Side Of This Life (03:03)
08. The Good Times We Had (02:35)
09. Kisses Sweeter Than Wine (03:07)
10. Norman Normal (02:18)
11. Mon Vrai Destin (02:21)
12. Well, Well, Well (03:14)

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Album 1700 (1967) Japanese Mini-LP Remastered Reissue 2012

For a 1967 album that managed to yield a number one hit single and an additional Top Ten smash, Album 1700 was pretty out of sync with contemporary trends. This is not exactly a rock record, but the trio was unquestionably making more use of backup musicians and arrangements that owed a bit to pop/rock. (Paul Butterfield, Paul Winter, Canadian rock band the Paupers, and top New York folk-rock session musicians Paul Griffin, Russ Savakus, and Harvey Brooks all play on the record.) They never did sound too comfortable with that form, but at least they didn’t sound as uncomfortable as they had in the past. The material was an uneven mixture of passably pleasant original tunes covering light comedy and social/philosophical commentary, including an honest to God folk-rock cover of Eric Andersen’s “Rolling Home,” albeit with the pure folk harmonies of their early days unchanged; a Bob Dylan cover (“Bob Dylan’s Dream”) that could have easily fit onto a PPM album early in their career; and, perhaps to make sure there was one song for the toddler when it was played in the family living room, the positively embarrassing “I’m in Love With a Big Blue Frog.” “I Dig Rock and Roll Music,” though it made the Top Ten, was not a wholehearted embrace of the new rock sounds, coming off as a rather savage and strange parody of the Mamas & the Papas. The album’s ace in the hole was the melodic and slightly maudlin “Leaving on a Jet Plane,” an early John Denver composition that would became a number one smash in late 1969, two years after the LP’s release.
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Review by Richie Unterberger, Allmusic.com

Tracklist:
01. Rolling Home (03:30)
02. Leaving On A Jet Plane (03:32)
03. Weep For Jamie (04:12)
04. No Other Name (02:31)
05. The House Song (04:19)
06. The Great Mandala (Wheel Of Life) (04:44)
07. I Dig Rock And Roll Music (02:33)
08. If I Had Wings (02:22)
09. I’m In Love With A Big Blue Frog (02:09)
10. Whatshername (03:27)
11. Bob Dylan’s Dream (04:02)
12. The Song Is Love (02:46)

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In Japan (1967) Japanese Mini-LP Remastered Reissue 2012

Peter, Paul and Mary may not have pleased the folk purists very much, but the trio did as much as anyone to bring folk music to a commercial peak in the early ’60s, and by championing new songwriters like Bob Dylan, Fred Neil, and John Denver, among others, and sticking up for rock (even though rock wasn’t even close to what they did), the group showed a sharp sense of time and era. The trio toured Japan in December of 1967, with concerts in both Tokyo and Kyoto, and released a live album there drawn from the two shows — the album was never released in the U.S. This two-disc set makes up for that, with the original album on disc one and a dozen additional tracks from the two shows that were discovered on the original master tapes making up the second disc. It’s a pretty standard Peter, Paul and Mary set for the time, featuring the trio’s signature versions of “Puff, the Magic Dragon,” Pete Seeger’s “If I Had a Hammer,” and Bob Dylan’s “Blowin’ in the Wind,” among others, including a nice version of Fred Neil’s “The Other Side of This Life,” and it’s nicely recorded, full of good will, energy, and the trio’s trademark vocal harmonies.

Review by Steve Leggett, Allmusic.com

Tracklist:
01. Sometime Lovin’ (03:52)
02. No Other Name (02:39)
03. The Other Side Of This Life (03:15)
04. The Good Times We Had (03:17)
05. Paul Talk (06:16)
06. Puff The Magic Dragon (06:06)
07. Serge’s Blues (01:53)
08. For Baby (For Bobbie) (03:21)
09. If I Had My Way (03:25)
10. Don’t Think Twice It’s All Right (03:31)
11. If I Had A Hammer (02:39)
12. This Land Is Your Land (03:34)

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Late Again (1968) Japanese Mini-LP Remastered Reissue 2012

With Late Again, Peter, Paul & Mary completed the transition from folk to folk-rock that had begun a couple of years before its release. Granted, it was a transition as slow and halting as that of an ox carrying a piano on its back, but it did actually take place. You can’t call an album that numbers Elvin Bishop, Herbie Hancock, Paul Griffin, Charlie McCoy, Bernard Purdie, John Simon, and Paul Winter among its many accompanying musicians a folk album, after all. As for the music, it was adequate but rather inconsequential, the harmonies polished and pleasing as always. The trio were at this point composing the majority of their own material, with serious-minded, mildly tuneful, subdued, and fairly unmemorable originals, the best of them being “Rich Man Poor Man.” They did add some diversity in flavor and arrangement with the churchy “Tramp on the Street,” the haunting “Hymn,” and occasional orchestration. The most notable track, by far, was their cover of Bob Dylan’s “Too Much of Nothing.” Previously released as a single in late 1967, it was the very first version of a Dylan Basement Tapes-era composition to reach the charts.

Review by Richie Unterberger, Allmusic.com

Tracklist:
01. Apologize (02:51)
02. Moments Of Soft Persuasion (02:35)
03. Yesterday’s Tomorrow (03:34)
04. Too Much Of Nothing (02:31)
05. There’s Anger In The Land (03:46)
06. Love City (Postcards To Duluth) (03:44)
07. She Dreams (02:56)
08. Hymn (02:19)
09. Tramp On The Street (03:51)
10. I Shall Be Released (02:40)
11. Reason To Believe (02:12)
12. Rich Man, Poor Man (03:36)

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Peter, Paul and Mommy (1969) Japanese Mini-LP Remastered Reissue 2012

This particular reissue gets a lower audio rating because of a general music mix that comes across as far too busy, between the usual guitars (picked with folky enthusiasm), the vocal arrangements (often with children incorporated), and the addition of not only acoustic bass (heard before on the group’s albums), but banjo, autoharp, hammer dulcimer, etc. The tape hiss is more evident on this album, too. Peter, Paul and Mary had the essential appeal of seeming like a family — Peter Yarrow and Noel Paul Stookey looked as though they could have been brothers, and it really wasn’t a stretch to see Mary as their sister. It’s this picture that informs Peter, Paul and Mommy, an album of songs for children (as played by people accommodating to adults) and prevents it from becoming a lump of sugar. As a result you get Tom Paxton’s “The Marvelous Toy” with its charming imagery, Yarrow’s “Day Is Done,” a melancholy paean to the truth of passing the flame to a new generation, and the outright goofiness of Shel Silverstein’s “Boa Constrictor.” As a fillip you also get “Puff (The Magic Dragon).” While short at 35 minutes (it would have been nice to have as a two-fer) it’s a charming, well-done album that’s as delightful for grown-ups as for kids — and as vital for kids as it ever was. If you have children, you can sit with them and enjoy this album.

Review by Steven McDonald, Allmusic.com

Tracklist:
01. The Marvelous Toy (03:10)
02. Day Is Done (03:17)
03. Leatherwing Bat (02:33)
04. I Have A Song To Sing, O! (04:08)
05. All Through The Night (02:36)
06. It’s Raining (04:09)
07. Going To The Zoo (03:12)
08. Boa Constrictor (00:49)
09. Make-Believe Town (03:49)
10. Mockingbird (01:21)
11. Christmas Dinner (03:03)
12. Puff (The Magic Dragon) (03:37)

Download:

The Fray – Albums Collection 2003-2012 (8CD) [FLAC]

EAC | FLAC | Tracks (Cue&Log) ,Scans | 1.72 Gb
Genre: Alternative Rock, Indie Rock, Pop Rock | Time: 03:18:38

By pitching their music somewhere between the arena-friendly style of U2 and the mature pop/rock of bands like Maroon 5 and Counting Crows, the Fray rose to commercial prominence with their 2005 debut, How to Save a Life. The Denver-based band had formed three years prior, when former schoolmates Isaac Slade (vocals, piano) and Joe King (guitar, vocals) unexpectedly bumped into each other at a local music store. The pair began a series of two-man jam sessions and soon expanded their lineup with two of Slade’s former bandmates, drummer Ben Wysocki and guitarist David Welsh. Slade’s younger brother, Caleb, also joined the band for a stint but was ultimately asked to leave; the resulting rift between the two siblings would later inspire the band’s first hit single, “Over My Head (Cable Car).” After issuing the Movement EP in 2002, the quartet gained the support of Denver’s KTCL radio station with a follow-up release, 2003′s Reason EP. As the Fray’s airplay increased alongside their local profile (Westword, a Denver alternative weekly publication, deemed them “Best New Band” in 2004), they began attracting attention from Epic Records. The label ultimately signed the band in December 2004, and the Fray toured alongside Weezer and Ben Folds the following summer.
How to Save a Life was released in September 2005, and “Over My Head (Cable Car)” found a quick home on modern rock radio. By early 2006, it had crossed over to Top 40 chart status, peaking at number eight and whetting the public’s appetite for another hit. The Fray responded by releasing the album’s title track, which was heavily used in a promotional campaign for the TV series Grey’s Anatomy and quickly became one of 2006′s biggest singles. “How to Save a Life” was a worldwide smash, reaching the Top Ten in the U.S. (where it continued to chart for 58 consecutive weeks) and peaking at number one in Bulgaria, Ireland, Canada, and Spain. By the time the smoke had cleared, the Fray’s debut had been certified double-platinum in the U.S. and was declared the best-selling digital album of all time.
As How to Save a Life continued to enjoy worldwide chart success, the live album Live at the Electric Factory was released in selected independent stores in July 2006. The Fray re-released their Reason EP the following year while continuing to tour, occasionally playing new material at their high-profile shows. The band also found time to return to the recording studio, and 2009 saw the release of their self-titled sophomore effort, The Fray. The Fray’s third studio outing was produced by Brendan O’Brien and was inspired by the group’s trips to Rwanda and Germany. The resulting Scars and Stories, which was named after an unused B-side, was preceded by the single “Heartbeat” and released on February 7, 2012.

Biography by Andrew Leahey, Allmusic.com

Reason EP (2003)

After making their debut in September 2005, the Fray toured for upwards of two years in support of the platinum-selling How to Save a Life. The album’s title song enjoyed a long residency on the charts — 58 consecutive weeks, to be exact — and, like many young megastars, the Fray found themselves in an unsavory position. Retiring to the studio to work on a sophomore release would effectively kill the buzz of their first record, while continuing to tour would leave the band little time to work on new material. Accordingly, the Fray turned to the time-honored tradition of stopgap releases, issuing a live album in 2006, and re-releasing the Reason EP the following year. While the live record was a progressive release that showed the band’s growth, Reason EP (which was originally cut in 2003) is a step backward, as its seven tracks portray a band whose commercial skills have yet to fully develop. The music is pleasant enough, with moodswinging melodies and tasteful piano fashioning some fine, middle-of-the-road pop/rock tunes. But there’s nothing like “Over My Head (Cable Car)” or “How to Save a Life,” both of which were relentlessly fine-tuned for airplay on the band’s subsequent release. The Fray were still molding their sound in 2003, and while Reason EP certainly hints at what’s to come, the disc is still an archival release for Fray purists only. Regular fans would do better to pick up Live at the Electric Factory: Bootleg No. 1, which includes a stirring version of one of Reason’s best tracks, the Coldplay-styled “Vienna.”

Review by Andrew Leahey, Allmusic.com

Tracklist:
01. Together [EP Version] – 2:23
02. Some Trust [EP Version] – 2:54
03. Vienna [Original EP Version] – 3:49
04. Without Reason – 3:33
05. City Hall – 3:00
06. Oceans [EP Version] – 3:58
07. Unsaid [EP Version] – 3:04

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How to Save a Life (2006) Reissue 2007

The Fray was among the first flood of bands that combined the influence of British neo-stadium acts like Coldplay and Keane, the retro-AOR bands of the mid-’90s — chief among them Counting Crows and the Wallflowers — and American emo-pop bands like Something Corporate and Jimmy Eat World. The Denver four-piece has the requisite piano and flag-waving choruses of the Brits, the slick sound and unfailing conservatism of the aforementioned AOR bands, and the over-emoted vocals and confessional nature that are cornerstones of emo. What they don’t have is much originality. All the songs on their debut, How to Save a Life, sound almost exactly alike and also exactly like you would expect — sincere, melodic, authentic, and bereft of anything surprising or exciting. This doesn’t make for the kind of record that people will want to listen to over and over again but for modern rock, it isn’t half-bad. The Fray try hard and they never really do anything offensive. A couple of songs, like “Over My Head (Cable Car)” and “Dead Wrong,” might even sound good in the background of a WB teen drama. You just can’t picture them giving anyone chills, or kids text-messaging their friends to tell them about this great new band they just heard. That kind of reaction comes from inspiration and excitement, two vital factors that How to Save a Life and the Fray themselves are sorely lacking.

Review by Tim Sendra, Allmusic.com

Tracklist:
01. She Is – 3:59
02. Over My Head (Cable Car) – 3:58
03. How to Save a Life – 4:24
04. All at Once -3:48
05. Fall Away – 4:24
06. Heaven Forbid – 4:02
07. Look After You – 4:29
08. Hundred – 4:14
09. Vienna – 3:52
10. Dead Wrong – 3:06
11. Little House – 2:32
12. Trust Me – 3:23
13. Unsaid – 3:05

—————————————————————————————————

Live at the Electric Factory: Bootleg No. 1 (2006)

Live at the Electric Factory is the first live CD by The Fray, available on iTunes as well as at select indie stores. It was recorded at the Electric Factory in Philadelphia and released on July 18, 2006.

Tracklist:
01. How to Save a Life – 4:42
02. She Is – 4:17
03. All at Once – 4:03
04. “Chips and Salsa” – 0:37
05. Heaven Forbid – 4:18
06. Interlude 1 0:48
07. Vienna – 5:39
08. Dead Wrong – 3:22
09. “It’s Not Easy Being Skinny” – 0:36
10. Over My Head (Cable Car) – 4:21
11. Interlude 2 – 0:25
12. Look After You – 7:28
13. Trust Me – 13:33

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Over My Head (Cable Car) 2007

“Over My Head (Cable Car)” (originally performed as “Cable Car”) is a song by American rock band The Fray. It is included on their on their debut album How to Save a Life (2005) and was the debut single from the album and hit the top 10 on the Billboard Hot 100 chart. The single helped propel their album from the Top Heatseekers chart to the top 20 of The Billboard 200 chart. The single is available exclusively as a digital download. Some CD singles of the song were given out to attendees of a concert on December 17, 2005. The CD single was backed with “Heaven Forbid” and a live version of “Hundred”. In the UK, “Over My Head (Cable Car)” was released as the second single from the album, following “How to Save a Life”.
The song sold over 2 million digital downloads in the United States and was certified double platinum by the RIAA in May 2006. The song was the fifth most-downloaded single of 2006 and was ranked #13 on the Hot 100 singles of 2006 by Billboard. It was nominated for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 2007. It lost to My Humps by The Black Eyed Peas.
The song was ranked #43 on Billboard’s Best Adult Pop Songs of the Decade list and #100 on Billboard’s Top 100 Digital Tracks of the Decade list.

Tracklist:
01. Over My Head – 3:58
02. Over My Head (Acoustic)- 3:52

—————————————————————————————————

How to Save a Life (2007)

“How to Save a Life” is a song by The Fray. It is the title track from their debut album and was released as the second single from it. The song is one of their most popular airplay songs and peaked in the top 3 of the Billboard Hot 100 chart in the United States. It became the joint seventh longest charting single on the Billboard Hot 100, tying with Santana’s “Smooth” (1999), at 58 consecutive weeks. The song has sold over 3,703,000 downloads, and has been certified 3x Platinum by the RIAA. It is the band’s highest-charting song to date, topping the Adult Top 40 chart for 15 consecutive weeks and topping the Canadian Airplay Chart. It was also nominated for a Grammy Award for Best Rock Performance by a Duo or Group with Vocal in 2007. It lost to “Dani California” by Red Hot Chili Peppers.

Tracklist:
01. How to Save a Life – 4:24
02. How to Save a Life [Live] – 4:41
03. She Is [Live] – 3:28

—————————————————————————————————

You Found Me (2009)

“You Found Me” is the first single by Denver-based piano rock band The Fray from their eponymous second studio album. Live performances of the song from concerts in Europe surfaced on YouTube in late 2007, when the song was titled “Amistad”. The band began streaming the song on their website on November 21, 2008. The single was digitally released in the U.S., Canadian, UK, Australian and French iTunes Stores and had a physical release later on. The song became the group’s third single to sell 2,000,000 downloads in the United States, after “How to Save a Life” and “Over My Head (Cable Car)”. The single was certified double platinum by the RIAA and the ARIA in 2009.

Tracklist:
01. You Found Me – 4:03
02. The Great Beyond – 4:38

—————————————————————————————————

The Fray (2009)

The Fray’s second album picks up where How to Save a Life left off, revisiting the same blend of piano-led balladry and midtempo pop/rock that helped establish the band in 2005. International tours and platinum-selling singles may have turned the Fray into superstars, but the actual songwriting remains unchanged, with songs like “You Found Me” and “Enough for Now” sounding quite similar to their predecessors. Those parallels are strengthened by producers Aaron Johnson and Mike Flynn, both of whom helped record How to Save a Life and repeat the job here to predictable effect. What’s different, then, is the occasional “widening” of the Fray’s sound; the rock numbers are slightly louder (culminating in a percussive, distorted breakdown during “We Build Then We Break”) and the ballads somewhat softer, with “Ungodly Hour” standing out as the sparsest of the bunch. The band sounds uncomfortable with either extreme, though, either overshooting the rockers or reducing the ballads to little more than Isaac Slade’s zealous vocals, which are often so garbled by his angsty, passionate delivery that they might as well be caricaturing the American accent. Like the rest of his bandmates, Slade is most comfortable in the middle, where the Fray comfortably churns out the album’s best numbers: the minor-keyed “Absolute”; “Syndicate” (whose guitar riff in 6/4 time is perhaps the disc’s only quirky moment); and the platinum-selling single “You Found Me.” It’s testament to the band’s appeal that “You Found Me” became a Top Ten single before this album was even released, but that probably speaks to its familiarity — this is, after all, the equivalent of How to Save a Life, Pt. 2 — rather than any originality.

Review by Andrew Leahey, Allmusic.com

Tracklist:
01. Syndicate – 3:22
02. Absolute – 3:49
03. You Found Me – 4:04
04. Say When – 5:05
05. Never Say Never – 4:19
06. Where the Story Ends – 3:57
07. Enough for Now – 4:17
08. Ungodly Hour – 5:07
09. We Build Then We Break – 3:48
10. Happiness – 5:24

—————————————————————————————————

Scars & Stories (2012)

Upgrading to Brendan O’Brien, the producer who came to fame via his work with Stone Temple Pilots and Pearl Jam, the Fray have never sounded better on record than they do on their third album, Scars & Stories. It’s not that they’ve changed their template — they still rely on a chilly, atmospheric blend of Coldplay’s balladeering and Rob Thomas’ rock, tempered by a dash of the urgency of 3 Doors Down — but O’Brien helps them articulate their ideas, giving them definition and muscle, attributes that are appealing when the songs lack distinct hooks. Certainly, this shimmering, assured pulse assists the Fray whenever they don’t have a song as compelling as “How to Save a Life,” and if they rely a little bit too heavily on O’Brien’s incomparable skills, it is a maneuver that means Scars & Stories will satisfy most Fray fans.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Heartbeat – 03:40
02. The Fighter – 04:20
03. Turn Me On – 03:02
04. Run for Your Life – 03:58
05. The Wind – 04:14
06. 1961 – 03:54
07. I Can Barely Say – 04:20
08. Munich – 03:57
09. Here We Are – 03:31
10. 48 to Go – 03:22
11. Rainy Zurich – 03:48
12. Be Still – 02:48

Download:

Johnny Cash – American Recordings (1994-2006) [FLAC]

Tracklist:

American Recordings – 1994
01 Delia’s Gone 2:18
02 Let The Train Blow The Whistle 2:16
03 The Beast In Me 2:46
04 Drive On 2:24
05 Why Me Lord 2:20
06 Thirteen 2:30
07 Oh Bury Me Not 3:53
08 Bird On A Wire 4:02
09 Tennessee Stud 2:55
10 Down There By The Train 5:35
11 Redemption 3:04
12 Like A Soldier 2:50
13 The Man Who Couldn’t Cry 5:02

American II: Unchained – 1996
01 Rowboat 3:44
02 Sea Of Heartbreak 2:43
03 Rusty Cage 2:50
04 The One Rose (That’s Left In My Heart) 2:26
05 Country Boy 2:31
06 Memories Are Made Of This 2:19
07 Spiritual 5:07
08 The Kneeling Drunkard’s Plea 2:33
09 Southern Accents 4:41
10 Mean Eyed Cat 2:34
11 Meet Me In Heaven 3:22
12 I Never ked Cotton 2:39
13 Unchained 2:52
14 I’ve Been Everywhere 3:18

American III: Solitary Man – 2000
01 I Won’t Back Down 2:09
02 Solitary Man 2:25
03 That Lucky Old Sun (Just Rolls Around Heaven All Day) 2:36
04 One 3:53
05 Nobody 3:14
06 I See a Darkness 3:43
07 The Mercy Seat 4:35
08 Would You Lay With Me (In A Field Of Stone) 2:41
09 Field Of Diamonds 3:16
10 Before My Time 2:55
11 Country Trash 1:48
12 Mary Of The Wild Moor 2:33
13 I’m Leavin’ Now 3:07
14 Wayfaring Stranger 3:20

American IV: The Man Comes Around – 2002
01 The Man Comes Around 4:27
02 Hurt 3:39
03 Give My Love To Rose 3:29
04 Bridge Over Troubled Water (feat. Fiona Apple) 3:55
05 I Hung My Head 3:54
06 First Time Ever I Saw Your Face 3:52
07 Personal Jesus 3:20
08 In My Life 2:58
09 Sam Hall 2:40
10 Danny Boy 3:20
11 Desperado (feat. Don Henley) 3:13
12 I’m So Lonesome I Could Cry (Feat. Nick Cave) 3:03
13 Tear Stained Letter 3:41
14 Streets of Laredo 3:33
15 We’ll Meet Again 2:59

American V: A Hundred Highways – 2006
01 Help Me 2:52
02 God’s Gonna Cut You Down 2:39
03 Like the 309 4:35
04 If You Could Read My Mind 4:30
05 Further On Up the Road 3:25
06 On the Evening Train 4:18
07 I Came To Believe 3:45
08 Love’s Been Good To Me 3:18
09 A Legend In My Own time 2:37
10 Rose of My Heart 3:18
11 Four Strong Winds 4:35
12 I’m Free From the Chain Gang N 3:01

Download

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Ange – 7 Albums Mini LP SHM-CD Collection (2013) [FLAC]

1972 – Caricatures + 4 (00:56:31)
01. Biafra 80 ‘Introduction’ 02:56
02. Tels Quels 06:56
03. Dignite 09:34
04. Le Soir Du Diable 04:38
05. Caricatures 13:45
06. Biafra 80 ‘Final’ 02:26
Bonus Tracks (Mono):
07. Tout Feu, Tout Flamme 03:57
08. Docteur Man 03:59
09. Le Soleil Est Trop Vert 04:07
10. Le Vieux De La Montagne 04:07

1973 – Le Cimetiere Des Arlequins (00:35:46)
01. Ces Gens-La 04:45
02. Aujourd’Hui C’Est La Fete Chez L’Apprenti Sorcier 03:30
03. Bivouac (1re Partie) 05:27
04. L’Espionne Lesbienne 02:50
05. Bivouac (Final) 03:00
06. DeTemps En Temps 04:04
07. La Route Aux Cypres 03:20
08. Le Cimetiere Des Arlequins 08:47

1974 – Au-Dela Du Delire (00:38:01)
01. Godevin Le Vilain 02:59
02. Les Longues Nuits D’Isaac 04:13
03. Si J’Etais Le Messie 03:03
04. Ballade Pour Une Orgie 03:20
05. Exode 04:59
06. La Bataille Du Sucre (Inclus La Colere Des Dieux) 06:29
07. Fils De Lumiere 03:52
08. Au-Dela Du Delire 09:02

1975 – Emile Jacotey (00:33:27)
01. Bele, Bele Petite Chevre 04:07
02. Sur La Trace Des Fees 04:50
03. Le Nain De Stanislas 05:46
04. Jour Apres Jour 02:55
05. Ode A Emile 03:47
06. Ego Et Deus 04:04
07. J’Irai Dormir Plus Loin Que Ton Sommeil 04:13
08. Aurealia 02:53
09. Les Noces 06:29
10. Le Marchand De Planetes 04:18

1976 – Par Les Fils De Mandrin (00:41:27)
01. Par Les Fils De Mandrin 04:48
02. Au Cafe Du Colibri 03:59
03. Ainsi S’En Ira La Pluie 06:10
04. Autour Du Feu 03:06
05. Saltimbanques 04:16
06. Des Couleur Yeux D’Enfants 04:19
07. Atlantis – Les Geants De La 3eme Lune 04:58
08. Hymne A La Vie: 09:47
a) Cantique
b) Procession
c) Hymne

1977 – Tome VI (01:11:25)
01. Fils De Lumiere 04:33
02. Les Tongues Nuits D’Isaac 04:26
03. Ballade Pour Une Orgie 04:38
04. Ode A Emilie 03:45
05. Dignite 15:51
06. Le Chien, La Poubelle Et La Rose 13:12
07. Sur La Trace Des Fees 05:10
08. Hymne A La Vie: Cantique 05:22
09. Hymne A La Vie: Procession 05:22
10. Hymne A La Vie: Hymne 03:00
11. Ces Gens-La 06:02

1978 – Guet-Apens (00:40:41)
01. A Colin-Maillard 08:05
02. Dans Les Poches Du Berger 05:40
03. Un Trou Dans La Case 05:28
04. Virgule 01:56
05. Reveille-Toi! 05:25
06. Cap’tain Coeur De Miel 14:03

Download:

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Diana Ross & The Supremes, Diana Ross – Collection 1964-2010 (23 CD) (2012) [FLAC]

1964 – Where Did Our Love Go 00:31:03
01. Where Did Our Love Go? 02:33
02. Run, Run, Run 02:16
03. Baby Love 02:37
04. When The Lovelight Starts Shining Through His Eyes 03:05
05. Come See About Me 02:44
06. Long Gone Lover 02:25
07. I’m Giving You Your Freedom 02:39
08. A Breath Taking Guy 02:24
09. He Means The World To Me 01:59
10. Standing At The Crossroads Of Love 02:28
11. Your Kiss Of Fire 02:47
12. Ask Any Girl 03:00

1965 – More Hits By The Supremes 00:32:40
01. Ask Any Girl 02:46
02. Nothing But Heartaches 02:59
03. Mother Dear 02:45
04. Stop! In The Name Of Love 02:54
05. Honey Boy 02:35
06. Back In My Arms Again 02:54
07. Whisper You Love Me Boy 02:37
08. The Only Time I’m Happy 02:32
09. He Holds His Own 02:32
10. Who Could Ever Doubt My Love 02:43
11. (I’m So Glad) Heartaches Don’t Last Always 02:58
12. I’m In Love Again 02:19

1966 – I Hear A Symphony 00:34:08
01. Stranger In Paradise 03:05
02. Yesterday 02:30
03. I Hear A Symphony 02:43
04. Unchained Melody 03:49
05. With A Song In My Heart 02:04
06. Without A Song 03:00
07. My World Is Empty Without You 02:35
08. A Lover’s Concerto 02:37
09. Any Girl In Love (Knows What I’m Going Through) 03:00
10. Wonderful, Wonderful 02:52
11. Everything Is Good About You 03:00
12. He’s All I Got 02:46

1966 – A’ Go-Go 00:32:00
01. Love Is Like An Itching In My Heart 02:56
02. This Old Heart Of Mine (Is Weak For You) 02:37
03. You Can’t Hurry Love 02:48
04. Shake Me Wake Me (When It’s Over) 02:48
05. Baby I Need Your Loving 03:01
06. These Boots Are Made For Walking 02:32
07. I Can’t Help Myself 02:38
08. Get Ready 02:44
09. Put Yourself In My Place 02:20
10. Money (That’s What I Want) 02:28
11. Come And Get These Memories 02:20
12. Hang On Sloopy 02:42

1966 – Sing Holland • Dozier • Holland 00:31:42
01. You Keep Me Hangin’ On 02:44
02. You’re Gone (But Always In My Heart) 02:37
03. Love Is Here And Now You’re Gone 02:49
04. Mother You, Smother You 02:36
05. I Guess I’ll Always Love You 02:41
06. I’ll Turn To Stone 02:24
07. It’s The Same Old Song 02:31
08. Going Down For The Third Time 02:36
09. Love Is In Our Hearts 02:09
10. Remove This Doubt 02:54
11. There’s No Stopping Us Now 02:59
12. Love Is Like A Heat Wave 02:36

1968 – Reflections 00:41:55
01. Reflections 02:52
02. I’m Gona Make It (I Will Wait For You) 02:49
03. Forever Came Today 03:15
04. I Can’t Make It Alone 03:15
05. In And Out Of Love 02:42
06. Bah-Bah-Bah 03:20
07. What The World Needs Now Is Love 02:53
08. Up, Up And Away 02:32
09. Love (Makes Me Do Foolish Things) 02:55
10. Then 02:10
11. Misery Makes Its Home In My Heart 02:55
12. Ode To Billie Joe 04:56
13. Stay In My Lonely Arms 03:18
14. All I Know About You 01:56

1968 – Join The Temptaions 00:33:53
01. Try It Baby 03:45
02. I Second That Emotion 02:22
03. Ain’t No Mountain High Enough 02:17
04. I’m Gonna Make You Love Me 03:09
05. This Guys In Love With You 03:47
06. Funky Broadway 02:35
07. I’ll Try Something New 02:22
08. A Place In The Sun 03:31
09. Sweet Inspiration 02:58
10. Then 02:15
11. The Impossible Dream 04:47

1968 – Love Child 00:31:33
01. Love Child 02:58
02. Keep An Eye 03:08
03. How Long Has That Evening Train Been Gone 02:48
04. Does Your Mama Know About Me 02:54
05. Honey Bee (Keep On Stinging Me) 02:22
06. Some Things You Never Get Used To 02:25
07. He’s My Sunny Boy 02:22
08. You’ve Been So Wonderful To Me 02:34
09. (Don’t Break These) Chains Of Love 02:25
10. You Ain’t Livin’ Till You’re Lovin’ 02:44
11. I’ll Set You Free 02:40
12. Can’t Shake It Loose 02:07

1969 – Let The Sunshine In 00:36:03
01. The Composer 03:02
02. Everyday People 03:03
03. No Matter What Sign You Are 02:56
04. Hey Western Union Man 03:01
05. What Becomes Of The Broken Hearted 02:55
06. I’m Livin’ In Shame 03:01
07. Aquarius / Let The Sun Shine In 03:12
08. Let The Music Play 02:42
09. With A Child’s Heart 03:05
10. Discover Me (And You’ll Discover Love) 02:32
11. Will This Be The Day 02:56
12. I’m So Glad I Got Somebody (Like You Around) 03:32

1969 – Cream Of The Crop 00:32:58
01. Someday We’ll Be Together 03:34
02. Can’t You See It’s Me 02:36
03. You Gave Me Love 02:42
04. Hey Jude 03:08
05. The Young Folks 03:14
06. Shadows Of Society 03:13
07. Loving You Is Better Than Ever 02:48
08. When It’s To The Top (Still I Won’t Stop Giving You Love) 03:00
09. Till Johnny Comes 03:00
10. Blowin’ In The Wind 03:10
11. The Beginning Of The End 02:28

1970 – Diana Ross (later reissued as Ain’t No Mountain High Enough) 00:38:17
01. Reach Out And Touch (Somebody’s Hand) 03:06
02. Now That There’s You 03:31
03. You’re All I Need To Get By 03:27
04. These Things Will Keep Me Loving You 03:09
05. Ain’t No Mountain High Enough 06:19
06. Something On My Mind 02:25
07. I Wouldn’t Change The Man He Is 03:19
08. Keep An Eye 03:15
09. Where There Was Darkness 03:17
10. Can’t It Wait Until Tomorrow 03:16
11. Dark Side Of The World 03:08

1970 – Everything Is Everything 00:39:17
01. My Place 02:48
02. Ain’t No Sad Song 02:42
03. Everything Is Everything 02:31
04. Baby It’s Love 03:13
05. I’m Still Waiting 03:47
06. Doobedood’ndoobe, Doobedood’ndoobe, Doobedood’ndoo 04:54
07. Come Together 05:39
08. The Long And Winding Road 03:26
09. I Love You (Call Me) 03:21
10. How About You 02:51
11. (They Long To Be) Close To You 04:00

1971 – Surrender 00:38:57
01. Surrender 02:53
02. I Can’t Give Back The Love I Feel For You 03:19
03. Remember Me 03:22
04. And If You See Him 02:53
05. Reach Out, I’ll Be There 05:28
06. Didn’t You Know (You’d Have To Cry Sometimes) 03:05
07. A Simple Thing Like Cry 03:02
08. Did You Read The Morning Paper? 03:49
09. I’ll Settle For You 03:06
10. I’m A Winner 03:12
11. All The Before 04:43

1973 – Touch Me In The Morning 00:36:55
01. Touch Me In The Morning 03:55
02. All Of My Life 03:33
03. We Need You 03:45
04. Leave A Little Room 03:39
05. I Won’t Last A Day Without You 03:51
06. Little Girl Blue 04:00
07. My Baby (My Baby My Own) 02:47
08. Imagine 03:03
09. Medley: Brown Baby / Save The Children 08:17

1973 – Last Time I Saw Him 00:32:30
01. Last Time I Saw Him 03:10
02. No One’s Gonna Be A Fool Forever 03:25
03. Love Me 02:56
04. Sleepin’ 04:41
05. You 04:19
06. Turn Around 02:28
07. When Will I Come Home To You 03:14
08. I Heard A Love Song (But You Never Made A Sound) 02:32
09. Stone Liberty 02:59
10. Behind Closed Doors 02:42

1976 – Diana Ross 00:35:19
01. Theme From Mahogany (Do You Know Where You’re Going To) 03:24
02. I Thought It Took A Little Time 03:25
03. Love Hangover 07:49
04. Kiss Me Now 02:43
05. You’re Good My Child 03:37
06. One Love In My Lifetime 03:40
07. Ain’t Nothin’ But A Maybe 03:27
08. After You 04:13
09. Smile 02:56

1977 – Baby It’s Me 00:35:58
01. Gettin’ Ready For Love 02:47
02. You Got It 03:57
03. Baby It’s Me 03:15
04. Too Shy To Say 03:16
05. Your Love Is So Good For Me 04:15
06. Top Of The World 03:08
07. All Night Lover 03:35
08. Confide In Me 03:35
09. The Same Love That Made Me Laugh 03:58
10. Come In From The Rain 03:58

1978 – Ross 00:39:16
01. Lovin’, Livin’ & Givin’ 05:12
02. What You Gave Me 04:58
03. Never Say I Don’t Love You 03:52
04. You Were The One 04:05
05. Reach Out, I’ll Be There 05:32
06. Sorry Doesn’t Always Make It Right 03:30
07. Where Did We Go Wrong 04:26
08. To Love Again 04:06
09. Together 03:32

1979 – The Boss 00:36:08

01. No One Gets The Prize 04:44
02. I Ain’t Been Licked 04:10
03. All For One 04:20
04. The Boss 04:00
05. Once In The Morning 04:55
06. It’s My House 04:33
07. Sparkle 05:22
08. I’m In The World 04:00

1980 – Diana 00:34:21

01. Upside Down 04:05
02. Tenderness 03:52
03. Friend To Friend 03:19
04. I’m Coming Out 05:25
05. Have Fun (Again) 05:57
06. My Old Piano 03:55
07. Now That You’re Gone 03:59
08. Give Up 03:45

1993 – Diana Ross – One Woman: The Ultimate Collection 01:13:30

01. Where Did Our Love Go? / Diana Ross & The Supremes 02:37
02. Baby Love / Diana Ross & The Supremes 02:37
03. You Can’t Hurry Love / Diana Ross & The Supremes 02:55
04. Reflections / Diana Ross & The Supremes 02:53
05. Reach Out And Touch 03:00
06. Ain’t No Mountain High Enough 03:31
07. Touch Me In The Morning 03:28
08. Love Hangover 03:46
09. I’m Still Waiting 03:44
10. Upside Down 04:08
11. Theme From Mahogany (Do You Know Where You’re Going To) 03:25
12. Endless Love / Lionel Richie & Diana Ross 04:30
13. Why Do Fools Fall In Love? 02:56
14. Chain Reaction 03:49
15. When You Tell Me That You Love Me 04:13
16. One Shining Moment 04:47
17. If We Hold On Together 04:11
18. The Best Years Of My Life 04:24
19. Your Love 04:05
20. Let’s Make Every Moment Count 04:20

1997 – Diana Ross + The Supremes – The Ultimate Collection 01:11:25

01. When The Lovelight Starts Shining Through His Eyes 03:05
02. Where Did Our Love Go 02:33
03. Baby Love 02:36
04. Come See About Me 02:41
05. Stop! In The Name Of Love 02:56
06. Back In My Arms Again 02:57
07. Nothing But Heartaches 02:42
08. I Hear A Symphony 02:43
09. My World Is Empty Without You 02:32
10. Love Is Like An Itching In My Heart 02:55
11. You Can’t Hurry Love 02:54
12. You Keep Me Hangin’ On 02:45
13. Love Is Here And Now You’re Gone 02:48
14. The Happening 02:52
15. Reflections 02:52
16. In And Out Of Love 02:39
17. Forever Came Today 03:16
18. Some Things You Never Get Used To 02:25
19. Love Child 03:01
20. I’m Livin’ In Shame 03:08
21. I’m Gonna Make You Love Me / with The Temptations 03:08
22. I’ll Try Something New / with The Temptations 02:25
23. The Composer 02:53
24. No Matter What Sign You Are 02:55
25. Someday We’ll Be Together 03:32

2010 – Icon: Best Of Diana Ross & The Supremes 00:33:56

01. Where Did Our Love Go 02:32
02. Baby Love 02:36
03. Come See About Me 02:40
04. Stop! In The Name Of Love 02:54
05. Back In My Arms Again 02:53
06. I Hear A Symphony 02:42
07. You Can’t Hurry Love 02:47
08. You Keep Me Hangin’ On 02:44
09. Love Is Here And Now You’re Gone 02:47
10. Reflections 02:51
11. Love Child 02:55
12. Someday We’ll Be Together 03:29

Download:

Peter, Paul & Mary – 11 Albums Mini LP CD Collection 1962-69 (Warner Music Japan Remastering 2012) [FLAC]

Tracklist:
1962 – Peter, Paul And Mary 00:34:30
01. Early In The Morning 01:39
02. 500 Miles 02:50
03. Sorrow 02:55
04. This Train 02:06
05. Bamboo 02:34
06. It’s Raining 04:27
07. If I Had My Way 02:28
08. Cruel War 03:32
09. Lemon Tree 02:58
10. If I Had A Hammer 02:11
11. Autumn To May 02:52
12. Where Have All The Flowers Gone 03:55
1963 – (Moving) 00:35:10
01. Settle Down (Goin’ Down That Highway) 01:50
02. Gone The Rainbow 02:43
03. Flora 03:11
04. Pretty Mary 02:02
05. Puff, The Magic Dragon 03:29
06. This Land Is Your Land 02:27
07. Man Come Into Egypt 02:20
08. Old Coat 03:50
09. Tiny Sparrow 03:35
10. Big Boat 02:44
11. Morning Train 03:38
12. A’Soalin’ 03:15
1963 – In The Wind 00:38:12
01. Very Last Day 02:34
02. Hush-A-Bye 02:22
03. Long Chain On 04:48
04. Rocky Road 03:41
05. Tell It On The Mountain 02:57
06. Polly Von 04:14
07. Stewball 03:13
08. All My Trials 03:19
09. Don’t Think Twice, It’s All Right 03:17
10. Freight Train 02:48
11. Quit Your Lowdown Ways 02:07
12. Blowin’ In The Wind 02:57
1964 – In Concert (2CD Set) 01:23:21

Disc One 00:43:03
01. The Times They Are-A-Changin’ 03:22
02. A ‘Soalin’ 05:28
03. 500 Miles 03:03
04. Blue 04:12
05. 3 Ravens 03:56
06. One Kind Favor 03:14
07. Blowin’ In The Wind 03:39
08. Car-Car 05:07
09. Puff (The Magic Dragon) 06:22
10. Jesus Met The Woman 04:36
Disc Two 00:40:18
01. Le Deserteur 04:38
02. Oh, Rock My Soul 05:50
03. Paultalk 12:41
04. Single Girl 02:33
05. There Is A Ship 03:04
06. It’s Raining 05:27
07. If I Had My Way 03:15
08. If I Had A Hammer 02:45
1965 – A Song Will Rise 00:37:39
01. When The Ship Comes In 02:38
02. Jimmy Whalen 02:42
03. Come And Go With Me 03:07
04. Gilgarra Mountain 06:04
05. Ballad Of Spring Hill (Spring Hill Disater) 03:13
06. Motherless Child 03:42
07. Wasn’t That A Time 02:32
08. Monday Morning 03:21
09. The Cuckoo 02:21
10. San Francisco Bay Blues 03:05
11. Talkin’ Candy Bar Blues 02:38
12. For Lovin’ Me 02:09
1965 – See What Tomorrow Brings 00:33:52
01. If I Were Free 02:48
02. Betty & Dupree 03:15
03. The Rising Of The Moon 03:37
04. Early Mornin’ Rain 03:08
05. Jane, Jane 02:55
06. Because All Men Are Brothers 02:14
07. Hangman 02:51
08. Brother, (Buddy) Can You Spare A Dime? 02:34
09. The First Time Ever I Saw Your Face 03:09
10. Tryin’ To Win 02:38
11. On A Desert Island (With You In My Dreams) 01:54
12. The Last Thing On My Mind 02:43
1966 – Album 00:35:25
01. And When I Die 02:37
02. Sometime Lovin’ 03:06
03. Pack Up Your Sorrows 03:06
04. The King Of Names 04:09
05. For Baby (For Bobbie) 02:46
06. Hurry Sundown 02:57
07. The Other Side Of Life 03:03
08. The Good Times We Had 02:35
09. Kisses Sweeter Than Wine 03:07
10. Norman Normal 02:18
11. Mon Vrai Destin 02:21
12. Well, Well, Well 03:14
1967 – Album 1700 00:40:14
01. Rolling Home 03:30
02. Leaving On A Jet Plane 03:32
03. Weep For Jamie 04:13
04. No Other Name 02:31
05. The House Song 04:19
06. The Great Mandella (The Wheel Of Life) 04:44
07. I Dig Rock And Roll Music 02:33
08. If I Had Wings 02:22
09. I’m In Love With A Big Blue Frog 02:09
10. Whatshername 03:27
11. Bob Dylan’s Dream 04:02
12. The Song Is Love 02:46
1967 – In Japan 00:43:54
01. Sometime Lovin’ 03:52
02. No Other Name 02:39
03. The Other Side Of This Life 03:15
04. The Good Times We Had 03:17
05. Paul Talk 06:16
06. Puff The Magic Dragon 06:06
07. Serge’s Blues1:53
08. For Baby (For Bobbie) 03:21
09. If I Had My Way 03:25
10. Don’t Think Twice It’s All Right 03:31
11. If I Had A Hammer 02:39
12. This Land Is Your Land 03:34
1968 – Late Again 00:33:05
01. Apologize 02:51
02. Moments Of Soft Persuasion 02:35
03. Yesterday’s Tomorrow 03:34
04. Too Much Of Nothing 02:31
05. There’s Anger In The Land 03:46
06. Love City (Postcards To Duluth) 03:44
07. She Dreams 02:56
08. Hymn 02:19
09. Tramp On The Street 03:51
10. I Shall Be Released 02:40
11. Reason To Believe 02:12
12. Rich Man, Poor Man 03:36
1969 – Peter, Paul And Mommy 00:35:48
01. The Marvelous Toy 03:10
02. Day Is Done 03:17
03. Leatherwing Bat 02:33
04. I Have A Song To Sing, Oh! 04:08
05. All Through The Night 02:36
06. It’s Raining 04:09
07. Going To The Zoo 03:12
08. Boa Constrictor 00:49
09. Make-Believe Town 03:49
10. Mockingbird 01:21
11. Christmas Dinner 03:03
12. Puff (The Magic Dragon) 03:37

Download:

Procol Harum – 10 Albums Mini LP HQCD + 1 HQCD Compilation (Victor Entertainment Japan 2012) [FLAC]

Procol Harum are a British rock band. Formed in 1967, they contributed to the development of progressive rock, and by extension, symphonic rock. Their best-known recording is their 1967 single “A Whiter Shade of Pale”.Although noted for its baroque and classical influence, Procol Harum’s music also embraces the blues, R&B and soul. In October 2012, the band were nominated for induction into the Rock and Roll Hall of Fame, but were unsuccessful on this occasion.

http://en.wikipedia.org/wiki/Procol_Harum

Tracklist:
1967 – Procol Harum + 11 (01:12:05)
01. Conquistador 02:39
02. She Wandered Through The Garden Fence 03:26
03. Something Following Me 03:37
04. Mabel 01:56
05. Cerdes (Outside The Gates Of) 05:08
06. A Christmas Camel 04:48
07. Kaleidoscope 02:53
08. Salad Days (Are Here Again) 03:38
09. Good Captain Clack 01:30
10. Repent Walpurgis 05:05
Bonus Tracks:
11. A Whiter Shade Of Pale 04:07
12. Lime Street Blues 02:53
13. Homburg (Single Version) 03:57
14. Good Captain Clack (Single Version) 01:36
15. Il Tuo Diamante (Italian Single / Promo Version) 03:32
16. Understandably Blue 03:33
17. Pandora’s Box (Version 1 / Backing Track) 03:46
18. Alpha 03:50
19. Conquistador (Stereo Version) 02:40
20. She Wandered Through The Garden Fence (Stereo Version) 03:27
21. Homburg (Album Version) 03:54
1968 – Shine On Brightly + 11 (01:10:25)
01. Quite Rightly So 03:38
02. Shine On Brightly 03:30
03. Skip Softly (My Moonbeams) 03:43
04. Wish Me Well 03:19
05. Rambling On 04:27
06. Magdalene (My Regal Zonophone) 02:47
In Held Twas In I
07. a) Glimpses Of Nirvana 04:20
08. b) ‘Twas Teatime At The Circus 01:15
09. c) In The Autumn Of My Madness 03:01
10. d) Look To Your Soul 04:47
11. e) Grand Finale 03:39
Bonus Tracks:
12. Quite Rightly So (Mono Single Version) 03:41
13. In The Wee Small Hours Of Sixpence (Mono Single Version) 03:01
14. Monsieur Armand (Mono Outtake) 02:38
15. Seem To Have The Blues (Most All The Time) (Mono Single Version) 02:48
16. McGreggor (Stereo Outtake) 02:47
17. The Gospel According To… (Stereo Alternate Of ‘Wish Me Well’) 03:28
18. Shine On Brightly (Alternate Mono 1967 Version) 03:22
19. Magdalene (My Regal Zonophone) (Alternate Mono 1967 Version) 02:24
20. A Robe Of Silk (Stereo Backing Track) 01:58
21. Monsieur Armand (Stereo Backing Track) 02:42
22. In The Wee Small Hours Of Sixpence (Stereo Backing Track) 02:59
1969 – A Salty Dog + 6 (01:09:53)
01. A Salty Dog 04:38
02. The Milk Of Human Kindness 03:44
03. Too Much Between Us 03:40
04. The Devil Came From Kansas 04:32
05. Boredom 04:36
06. Juicy John Pink 02:04
07. Wreck Of The Hesperus 03:44
08. All This And More 03:47
09. Crucifiction Lane 04:56
10. Pilgrims Progress 04:33
Bonus Tracks:
11. Long Gone Geek 03:17
12. Goin’ Down Slow (Live In The USA, April, 1969) 07:48
13. Juicy John Pink (Live In The USA, April, 1969) 02:38
14. Crucifiction Lane (Live In The USA, April, 1969) 04:34
15. Skip Softly (My Moonbeams) / Also Sprach Zarathustra (Live In The USA, April, 1969) 05:28
16. The Milk Of Human Kindness (Take 1 / Raw Track) 03:46
1970 – Home + 2 (00:51:09)
01. Whisky Train 04:27
02. The Dead Man’s Dream 04:40
03. Still There’ll Be More 04:54
04. Nothing That I Didn’t Know 03:34
05. About To Die 03:43
06. Barnyard Story 02:43
07. Piggy Pig Pig 04:43
08. Whaling Stories 07:01
09. Your Own Choice 03:16
Bonus Tracks:
10. Still There’ll Be More (Take 3 / Raw Track) 04:59
11. Whaling Stories (Raw Track) 07:05
1971 – Broken Barricades + 4 (00:52:50)
01. Simple Sister 05:52
02. Broken Barricades 03:12
03. Memorial Drive 03:48
04. Luskus Delph 03:51
05. Power Failure 04:33
06. Song For A Dreamer 05:40
07. Playmate Of The Mouth 05:05
08. Poor Mohammed 03:15
Bonus Tracks:
09. Broken Barricades (Long Fade / Raw Track) 03:58
10. Simple Sister (Raw Track) 05:50
11. Poor Mohammed (Backing Track) 02:44
12. Song For A Dreamer (King Jimi) (Backing Track) 04:56
1972 – Procol Harum Live-In Concert With The Edmonton Symphony Orchestra + 3 (00:52:52)
01. Conquistador 05:01
02. Whaling Stories 07:41
03. A Salty Dog 05:34
04. All This And More 04:22
05. In Held ‘Twas In I 19:07
a) Glimpses Of Nirvana
b) ‘Twas Teatime At The Circus
c) In The Autumn Of My Madness
d) Look To Your Soul
e) Grand Finale
Bonus Tracks:
06. Luskus Delph (Single B-Side) 03:38
07. Simple Sister (From The Rehearsal) 03:20
08. Shine On Brightly (From The Rehearsal) 04:04
1973 – Grand Hotel + 2 (00:53:46)
01. Grand Hotel 06:13
02. Toujours L’amour 03:36
03. A Rum Tale 03:22
04. T.V. Ceasar 05:55
05. A Souvenir Of London 03:23
06. Bringing Home The Bacon 04:23
07. For Liquorice John 04:30
08. Fires (Which Burnt Brightly) 05:12
09. Robert’s Box 04:53
Bonus Tracks:
10. Grand Hotel (Raw Track Without Orchestra) 06:09
11. Bringing Home The Bacon (Raw Track Featuring Dave Ball) 06:06
1974 – Exotic Birds And Fruit + 2 (00:47:12)
01. Nothing But The Truth 03:14
02. Beyond The Pale 03:06
03. As Strong As Samson 05:08
04. The Idol 06:40
05. The Thin End Of The Wedge 03:42
06. Monsieur R. Monde 03:41
07. Fresh Fruit 03:04
08. Butterfly Boys 04:26
09. New Lamps For Old 04:14
Bonus Tracks:
10. Drunk Again (Single B-Side) 04:31
11. As Strong As Samson (Alternate Mix In D?) 05:20
1975 – Procol’s Ninth + 3 (00:52:32)
01. Pandora’s Box 03:39
02. Fool’s Gold 03:59
03. Taking The Time 03:39
04. The Unquiet Zone 03:39
05. The Final Thrust 04:41
06. I Keep Forgetting 03:27
07. Without A Doubt 04:30
08. The Piper’s Tune 04:26
09. Typewriter Torment 04:29
10. Eight Days A Week 03:05
Bonus Tracks:
11. The Unquiet Zone (Raw Track) 04:25
12. Taking The Time (Raw Track) 04:36
13. Fool’s Gold (Raw Track With Guide Vocal) 03:53
1977 – Something Magic + 3 (00:50:54)
01. Something Magic 03:38
02. Skating On Thin Ice 04:49
03. Wizard Man 02:41
04. The Mark Of The Claw 04:40
05. Strangers In Space 06:07
The Worm & The Tree
06. Part One: Introduction, Menace, Occupation 06:05
07. Part Two: Enervation, Expectancy, Battle 05:29
08. Part Three: Regeneration, Epilogue 05:28
Bonus Tracks:
09. Backgammon (Single B-Side) 03:25
10. You’d Better Wait (Live) 04:46
11. This Old Dog (Live) 03:41
2012 – The Best Of Procol Harum (01:19:22)
01. Conquistador 02:35
02. Christmas Camel 04:43
03. A Whiter Shade Of Pale 04:05
04. Homburg (Single Version) 03:53
05. Quite Rightly So 03:31
06. Shine On Brightly 03:23
07. A Salty Dog 04:34
08. The Devil Came From Kansas 04:30
09. Nothing That I Didn’t Know 03:34
10. Simple Sister 05:47
11. Broken Barricades 03:08
12. Grand Hotel 06:08
13. Bringing Home The Bacon 04:18
14. For Liquorice John 04:22
15. Beyond The Pale 03:01
16. Monsieur R. Monde 03:38
17. Pandora’s Box 03:33
18. Something Magic 03:34
19. Wizard Man 02:38
20. Conquistador (Live) 04:16

Download:

VA – Rock Legends: John Lennon, Paul McCartney, George Harrison, Ringo Starr – The Gold Collection (2012) [FLAC]

Year: 2012 | Audio: FLAC | 03:37:23 + 03:56:30 + 03:51:50 + 03:56:42 | Size: 1.41 GB + 1.50 GB + 1.55 GB + 1.61 GB
Genre: Rock

Rock Legends: John Lennon – The Gold Collection (3CD’ Box-Set)
CD-01. The Gold Collection [CD1] / 01:17:37 / 494,10 MB
01. John Lennon – Only You
02. John Lennon – I’m Stepping Out
03. John Lennon – Steel And Glass
04. John Lennon – Stand By Me
05. John Lennon – Woman
06. John Lennon – I Don’t Wanna Face It
07. John Lennon – (Just Like) Starting Over
08. John Lennon – Whatever Gets You Thru The Night
09. John Lennon – Watching The Wheels
10. John Lennon – Medley: Rip It Up\Ready Teddy
11. John Lennon – Surprise, Surprise (Sweet Bird Of Paradox)
12. John Lennon – Cleanup Time
13. John Lennon – Every Man Has A Woman Who Loves Him
14. John Lennon – Walking On Thin Ice
15. John Lennon – I’m Losing You
16. John Lennon – Imagine
17. John Lennon – Scared
18. John Lennon – Slippin’ And Slidin’
19. John Lennon – Sweet Little Sixteen
20. John Lennon – Beautiful Boy (Darling Boy)
21. John Lennon – Ain’t That A Shame
22. John Lennon – Beef Jerky
CD-02. The Gold Collection [CD2] / 01:17:12 / 490,20 MB
01. John Lennon – Mind Games
02. John Lennon – New York City
03. John Lennon – Nobody Told Me
04. John Lennon – Oh Yoko!
05. John Lennon – Sisters, O Sisters
06. John Lennon – Tight A$
07. John Lennon – Well Well Well
08. John Lennon – We’re All Water
09. John Lennon – What You Got
10. John Lennon – How Do You Sleep?
11. John Lennon – I’m Moving On
12. John Lennon – John Sinclair
13. John Lennon – Jealous Guy
14. John Lennon – Listen The Snow Is Falling
15. John Lennon – Gimme Some Truth
16. John Lennon – Going Down On Love
17. John Lennon – Happy Xmas (War Is Over)
18. John Lennon – Woman Is The Nigger Of The World
19. John Lennon – You Can’t Catch Me
CD-03. The Gold Collection [CD3] / 01:02:34 / 383,19 MB
01. John Lennon – Bless You
02. John Lennon – #9 Dream
03. John Lennon – Dear Yoko
04. John Lennon – Working Class Hero
05. John Lennon – Old Dirt Road
06. John Lennon – Intuition
07. John Lennon – Look At Me
08. John Lennon – Borrowed Time
09. John Lennon – Do The Oz
10. John Lennon – God
11. John Lennon – Hard Times Are Over
12. John Lennon – O’Sanity
13. John Lennon – Instant Karma!
14. John Lennon – Bring On The Lucie (Freda People)
15. John Lennon – Only People
16. John Lennon – I Know
17. John Lennon – Whatever Gets You Thru The Night
18. John Lennon – Power To The People
**********************************************************************
Rock Legends: Paul McCartney – The Gold Collection (3CD’ Box-Set)
CD-01. The Gold Collection [CD1] / 01:18:55 / 503,49 MB
01. Paul McCartney – Wino Junko
02. Paul McCartney – Beautiful Night
03. Paul McCartney – Deliver Your Children
04. Paul McCartney – Heart Of The Country
05. Paul McCartney – Hope Of Deliverance
06. Paul McCartney – If You Wanna
07. Paul McCartney – Mrs Vandebilt
08. Paul McCartney – San Ferry Anne
09. Paul McCartney – Nineteen Hundred And Eighty Five
10. Paul McCartney – No Words
11. Paul McCartney – Monkberry Moon Delight
12. Paul McCartney – The World Tonight
13. Paul McCartney – Simple As That
14. Paul McCartney – Daytime Nightime Suffering
15. Paul McCartney – My Brave Face
16. Paul McCartney – No More Lonely Nights
17. Paul McCartney – Silly Love Songs
18. Paul McCartney – Bip Bop
19. Paul McCartney – Biker Like An Icon
CD-02. The Gold Collection [CD2] / 01:18:24 / 500,10 MB
01. Paul McCartney – Young Boy
02. Paul McCartney – We Got Married
03. Paul McCartney – Another Day
04. Paul McCartney – Band On The Run
05. Paul McCartney – Cafe On The Left Bank
06. Paul McCartney – Let Me Roll It
07. Paul McCartney – Letting Go
08. Paul McCartney – Medicine Jar
09. Paul McCartney – Call Me Back Again
10. Paul McCartney – Getting Closer
11. Paul McCartney – Jet
12. Paul McCartney – Picasso’s Last Words (Drink To Me)
13. Paul McCartney – This One
14. Paul McCartney – Winter Rose – Love Awake
15. Paul McCartney – Again And Again And Again
16. Paul McCartney – Listen To What The Man Said
17. Paul McCartney – With A Little Luck
18. Paul McCartney – You Want Her Too
CD-03. The Gold Collection [CD3] / 01:19:10 / 491,68 MB
01. Paul McCartney – Twice In A Lifetime
02. Paul McCartney – Famous Groupies
03. Paul McCartney – Wild Life
04. Paul McCartney – Heaven on a Sunday
05. Paul McCartney – Hi, Hi, Hi
06. Paul McCartney – It’s Not True
07. Paul McCartney – Must Do Something About It
08. Paul McCartney – Press
09. Paul McCartney – Pretty Little Head
10. Paul McCartney – Promise To You Girl
11. Paul McCartney – Put It There
12. Paul McCartney – She’s My Baby
13. Paul McCartney – Take It Away
14. Paul McCartney – Time To Hide
15. Paul McCartney – Figure Of Eight
16. Paul McCartney – Good Day Sunshine
17. Paul McCartney – Flying To My Home
18. Paul McCartney – Loveliest Thing
19. Paul McCartney – One More Kiss
20. Paul McCartney – Tough On A Tightrope
**********************************************************************
Rock Legends: George Harrison – The Gold Collection (3CD’ Box-Set)
CD-01. The Gold Collection (CD1) / 01:18:12 / 520,52 MB
01. George Harrison – Poor Little Girl
02. George Harrison – Cloud 9
03. George Harrison – Blow Away
04. George Harrison – My Sweet Lord (2000)
05. George Harrison – Cheer Down
06. George Harrison – Fish On The Sand
07. George Harrison – Cockamamie Business
08. George Harrison – This Is Love
09. George Harrison – Not Guilty
10. George Harrison – Hong Kong Blues
11. George Harrison – Just For Today
12. George Harrison – Love Comes To Everyone
13. George Harrison – I Really Love You
14. George Harrison – If You Believe
15. George Harrison – Got My Mind Set On You
16. George Harrison – Pisces Fish
17. George Harrison – Baltimore Oriole
18. George Harrison – Roll Over Beethoven (Live)
19. George Harrison – While My Guitar Gently Weeps (Live)
20. George Harrison – Devil’s Radio
CD-02. The Gold Collection (CD2) / 01:17:38 / 511,91 MB
01. George Harrison – Stuck Inside A Cloud
02. George Harrison – Brainwashed
03. George Harrison – Any Road
04. George Harrison – Rising Sun
05. George Harrison – This Song
06. George Harrison – True Love
07. George Harrison – P2 Vatican Blues (Last Saturday Night)
08. George Harrison – Never Get Over You
09. George Harrison – Greece (Instrumental)
10. George Harrison – That’s What It Takes
11. George Harrison – Unconsciousness Rules
12. George Harrison – When We Was Fab
13. George Harrison – All Those Years Ago
14. George Harrison – Wreck Of The Hesperus
15. George Harrison – Dream Away
16. George Harrison – Ballad Of Sir Frankie Crisp (Let It Roll)
17. George Harrison – Something (Live)
18. George Harrison – Marwa Blues
19. George Harrison – Mystical One
20. George Harrison – My Sweet Lord
CD-03. The Gold Collection (CD3) / 01:15:58 / 507,10 MB
01. George Harrison – Teardrops
02. George Harrison – I Don’t Want To Do It
03. George Harrison – Someplace Else
04. George Harrison – Taxman (Live)
05. George Harrison – While My Guitar Gently Weeps
06. George Harrison – Here Comes The Moon
07. George Harrison – It’s What You Value
08. George Harrison – Life Itself
09. George Harrison – Crackerbox Palace
10. George Harrison – Wake Up My Love
11. George Harrison – Art Of Dying
12. George Harrison – Baby Don’t Run Away
13. George Harrison – Give Me Love (Give Me Peace On Earth)
14. George Harrison – That’s The Way It Goes
15. George Harrison – This Guitar
16. George Harrison – If Not For You
17. George Harrison – What Is Life
18. George Harrison – That Which I Have Lost
19. George Harrison – Awaiting On You All
20. George Harrison – Here Comes The Sun
**********************************************************************
Rock Legends: Ringo Starr – The Gold Collection (3CD’ Box-Set)
CD-01. The Gold Collection [CD1] / 01:18:45 / 537,86 MB
01. Ringo Starr – Free Drinks
02. Ringo Starr – I Think Therefore I Rock N Roll
03. Ringo Starr – Who’s Your Daddy
04. Ringo Starr – Fill In The Blanks
05. Ringo Starr – Peace Dream
06. Ringo Starr – Think About You
07. Ringo Starr – Memphis In Your Mind
08. Ringo Starr – Weight Of The World
09. Ringo Starr – Trippin’ On Own Tears
10. Ringo Starr – For Love
11. Ringo Starr – Give It A Try
12. Ringo Starr – Missouri Loves Company
13. Ringo Starr – If It’s Love That You Want
14. Ringo Starr – Liverpool 8
15. Ringo Starr – Snookeroo
16. Ringo Starr – Wrack My Brain
17. Ringo Starr – Never Without You
18. Ringo Starr – The Other Side Of Liverpool
19. Ringo Starr – Give Me Back The Beat
20. Ringo Starr – Gone Are The Days
21. Ringo Starr – Wrong All The Time
22. Ringo Starr – In My Car
CD-02. The Gold Collection [CD2] / 01:18:35 / 530,19 MB
01. Ringo Starr – Satisfied
02. Ringo Starr – Y Not
03. Ringo Starr – Hard To Be True
04. Ringo Starr – Tuff Love
05. Ringo Starr – Imagine Me There
06. Ringo Starr – In A Heartbeat
07. Ringo Starr – Now That She’s Gone Away
08. Ringo Starr – What Goes Around
09. Ringo Starr – Back Off Boogaloo
10. Ringo Starr – What Love Wants To Be
11. Ringo Starr – Write One For Me
12. Ringo Starr – Can’t Do It Wrong
13. Ringo Starr – Choose Love
14. Ringo Starr – Everyone Wins
15. Ringo Starr – Don’t Know A Thing About Love
16. Ringo Starr – Don’t Go Where The Road Don’t Go
17. Ringo Starr – Eye To Eye
18. Ringo Starr – Fading In, Fading Out
19. Ringo Starr – Hey Baby
20. Ringo Starr – Mystery Of The Night
21. Ringo Starr – Photograph
CD-03. The Gold Collection [CD3] / 01:19:22 / 535,47 MB
01. Ringo Starr – I Keep Forgettin’
02. Ringo Starr – Oh My Lord
03. Ringo Starr – I’m The Greatest
04. Ringo Starr – You Belong To Me
05. Ringo Starr – Only You (And You Alone)
06. Ringo Starr – Don’t Be Cruel
07. Ringo Starr – I Don’t Believe You
08. Ringo Starr – Picture Show Line
09. Ringo Starr – Runaways
10. Ringo Starr – It Don’t Come Easy
11. Ringo Starr – You’re Sixteen (You’re Beautiful And You’re Mine)
12. Ringo Starr – Attention
13. Ringo Starr – Brandy
14. Ringo Starr – Dead Giveaway
15. Ringo Starr – Everybody’s In A Hurry But Me
16. Ringo Starr – Fading In And Fading Out
17. Ringo Starr – Golden Blunders
18. Ringo Starr – Me And You
19. Ringo Starr – No-No Song
20. Ringo Starr – She’s About A Mover
21. Ringo Starr – Some People
22. Ringo Starr – (It’s All Down To) Goodnight Vienna
23. Ringo Starr – Act Naturally (with Buck Owens)

Download:

Kansas – “7″ Japan Mini LP CD Set (1974-1979) (Limited Release EICP-1047 Through 1054) [FLAC]

Audio Codec : flac | Type rip: tracks +. cue + m3u +. log + artwork | Bitrate : lossless | 3.77 GB
Genre : Progressive / Classic Rock

1974 – Kansas / EICP-1047
Catalog No.: EICP-1047
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 1
Release Date: 2008/09/24
01. Can I Tell You (3:33)
02. Bringing It Back (3:34)
03. Lonely Wind (4:18)
04. Belexes (4:25)
05. Journey From Mariabronn (7:58)
06. The Pilgrimage (3:43)
07. Apercu (9:36)
08. Death Of Mother Nature Suite (7:59)
09. Bringing It Back (Live) (9:41)

1975 – A Song For America / EICP-1048
Catalog No.: EICP-1048
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 1
Release Date: 2008/09/24
01. Down The Road (3:44)
02. Song For America (10:03)
03. Lamplight Symphony (8:17)
04. Lonely Street (5:43)
05. The Devil Game (5:04)
06. Incomudro – Hymn To The Atman (12:18)
07. Song For America (Single Edit) (3:02)
08. Down The Road (Live) (3:49)

1975 – Masque / EICP-1049
Catalog No.: EICP-1049
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 1
Release Date: 2008/09/24
01. It Takes A Woman’s Love (To Make a Man) (3:09)
02. Two Cents Worth (3:08)
03. Icarus (Borne On Wings Of Steel) (6:04)
04. All The World (7:11)
05. Child Of Innocence (4:37)
06. It’s You (2:33)
07. Mysteries And Mayhem (4:18)
08. The Pinnacle (9:44)
09. Child Of Innocence [Rehearsal Recording] (5:07)
10. It’s You [Demo] (2:42)

1976 – Leftoverture / EICP-1950
Catalog No.: EICP-1050
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 1
Release Date: 2008/09/24
01. Carry On Wayward Son (5:26)
02. The Wall (4:51)
03. What’s on My Mind (3:29)
04. Miracles Out of Nowhere (6:29)
05. Opus Insert (4:29)
06. Questions of My Childhood (3:41)
07. Cheyenne Anthem (6:55)
08. Magnum Opus (8:36)
09. Carry On Wayward Son (Live) (4:45)
10. Cheyenne Anthem (Live) (6:42)

1977 – Point Of Know Return / EICP-1051
Catalog No.: EICP-1051
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 1
Release Date: 2008/09/24
01. Point Of Know Return (3:14)
02. Paradox (3:51)
03. The Spider (2:05)
04. Portrait (He Knew) (4:37)
05. Closet Chronicles (6:32)
06. Lightning’s Hand (4:24)
07. Dust In The Wind (3:29)
08. Sparks Of The Tempest (4:19)
09. Nobody’s Home (4:40)
10. Hopelessly Human (7:18)
11. Sparks Of The Tempest (Live) (5:18)
12. Portrait (He Knew) (Remix) (4:50)

1978 – Two For The Show / EICP-1052-3
Catalog No.: EICP-1052
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 2
Release Date: 2008/09/24
CD1:
01. Song For America (7:29)
02. Point Of Know Return (3:07)
03. Paradox (4:09)
04. Icarus-Borne On Wings Of Steel (5:58)
05. Portrait (He Knew) (5:19)
06. Carry On Wayward Son (4:39)
07. Journey From Mariabrown (8:55)
08. Dust In The Wind (Acoustic Guitar Solo) (6:18)
09. Lonely Wind (Piano Solo) (4:29)
10. Mysteries And Mayhem (4:01)
11. Excerpt From Lamplight Symphony (2:38)
12. The Wall (4:58)
13. Magnum Opus (11:14)
CD2:
01. Hopelessly Human (8:42)
02. Child Of Innocence (7:48)
03. Belexes (4:34)
04. Cheyenne Anthem (6:55)
05. Lonely Street (8:21)
06. Miracles Out Of Nowhere (8:00)
07. Phil Ehart Drum Solo-The Spider (7:41)
08. Closet Chronicles (6:55)
09. Down The Road (3:45)
10. Sparks Of The Tempest (5:20)
11. Bringing It Back (7:07)

1979 – Monolith / EICP-1054
Catalog No.: EICP-1054
Label/Distributor: Sony Music Entertainment
Format: CD
Number of discs (or other units): 1
Release Date: 2008/09/24
01. On the Other Side (6:24)
02. People of the South Wind (3:41)
03. Angels Have Fallen (6:37)
04. How My Soul Cries Out for You (5:41)
05. A Glimpse of Home (6:36)
06. Away From You (4:24)
07. Stay Out of Trouble (4:14)
08. Reason To Be (3:51)

Download:

http://uploaded.net/file/9lrww0n1/Kansas_1979-MonolithEICP-1054.rar
http://uploaded.net/file/bhrzz7bg/Kansas_1977-PointOfKnowReturnEICP-1051.rar
http://uploaded.net/file/a4twwdsy/Kansas_1978-TwoForTheShowEICP-1052-3.rar
http://uploaded.net/file/3dlsju6h/Kansas_1976-LeftovertureEICP-1050.rar
http://uploaded.net/file/3le2flur/Kansas_1974-KansasEICP-1047.rar
http://uploaded.net/file/usn32e8j/Kansas_1975-MasqueEICP-1049.rar
http://uploaded.net/file/odgs2i10/Kansas_1975-ASongForAmericaEICP-1048.rar

http://rapidgator.net/file/0e9d9efa51d5719e305f573f49a3200b/Kansas_1974-KansasEICP-1047.rar.html
http://rapidgator.net/file/cae1f366020d42a124de6ea4bf65a819/Kansas_1975-ASongForAmericaEICP-1048.rar.html
http://rapidgator.net/file/7b239c2da0d9cc0b153bf265aee07529/Kansas_1975-MasqueEICP-1049.rar.html
http://rapidgator.net/file/db20aa3de648ff67e19363c0a594074b/Kansas_1976-LeftovertureEICP-1050.rar.html
http://rapidgator.net/file/60ed95dfad9943c3f5ce1205f7fbc663/Kansas_1977-PointOfKnowReturnEICP-1051.rar.html
http://rapidgator.net/file/e6635696e1af9d431b6aa32861423d6f/Kansas_1978-TwoForTheShowEICP-1052-3.rar.html
http://rapidgator.net/file/39abed5685de782da86c09296131eda5/Kansas_1979-MonolithEICP-1054.rar.html

The Kinks – 1972-1979 (8 SACD CD Layer + 2 MFSL SACD) (2004) [WAVPack]

EAC rip | 10CD | WV – Log – Cue | Release: 2004 | 3.81 GB
Genre: Rock

http://en.wikipedia.org/wiki/The_Kinks

Tracklist:
The Kinks – 1972 – Everybody’s In Show-Biz
1. Here Comes Yet Another Day 3:55
2. Maximum Consumption 4:06 pic3. Unreal Reality 3:33
4. Hot Potatoes 3:28
5. Sitting In My Hotel 3:23
6. Motorway 3:31
7. You Don’t Know My Name 2:36
8. Supersonic Rocket Ship 3:31
9. Look A Little On The Sunny Side 2:51
10. Celluloid Heroes 6:23
11. Top Of The Pops 4:35
12. Brainwashed 2:58
13. Mr. Wonderful 0:42
14. Acute Schizophrenia Paranoia Blues 4:00
15. Holiday 3:55
16. Muswell Hillbilly 3:09
17. Alcohol 5:21
18. Banana Boat Song 1:40
19. Skin And Bone 3:55
20. Baby Face 1:56
21. Lola
22. Till The End Of The Day
23. She’s Bought A Hat Like Princess Marina

The Kinks – 1973 – Preservation Act 1
1. Preservation (Single) 3:38 pic2. Morning Song 2:00
3. Daylight 3:19
4. Sweet Lady Genevieve 3:26
5. There’s A Change In The Weather 3:00
6. Where Are They Now 3:28
7. One Of The Survivors 4:31
8. Cricket 2:56
9. Money & Corruption 6:01
10. Here Comes Flash 2:41
11. Sitting In The Midday Sun 3:47
12. Demolition 4:07
13. One Of The Survivors (Single Edit) 4:08

The Kinks – 1974 – Preservation Act 2
1. Announcement 0:41 pic2. Introduction To Solution 2:43
3. When A Solution Comes 3:40
4. Money Talks 3:44
5. Announcement – 2 0:55
6. Shepherds Of The Nation 4:17
7. Scum Of The Earth 2:45
8. Second-Hand Car Spiv 4:01
9. He’s Evil 4:25
10. Mirror Of Love 3:26
11. Announcement – 3 0:34
12. Nobody Gives 6:33
13. Oh Where Oh Where Is Love 3:40
14. Flash’s Dream (The Final Elbow) 4:17
15. Flash’s Confession 4:06
16. Nothing Lasts Forever 3:42
17. Announcement – 4 0:20
18. Artificial Man 5:30
19. Scrapheap City 3:16
20. Announcement – 5 1:05
21. Salvation Road 3:20
22. Mirror Of Love – 2 3:29
23. Slum Kids [Take 1] 6:28

The Kinks – 1975 – Soap Opera
1. Everybody’s a Star (Starmaker) 2:57 pic2. Ordinary People 3:50
3. Rush Hour Blues 4:29
4. Nine to Five 1:48
5. When Work is Over 2:06
6. Have Another Drink 2:42
7. Underneath the Neon Sign 3:56
8. Holiday Romance 3:12
9. You Make it All Worthwhile 3:50
10. Ducks on the Wall 3:22
11. (A) Face in the Crowd 2:17
12. You Can’t Stop the Music 3:14
13. Everybody’s a Star (Starmaker) (Mono Mix) 2:56
14. Ordinary People (Live) 3:46
15. You Make it All Worthwhile (Live) 4:18
16. Underneath the Neon Sign (Live) 4:07

The Kinks – 1976 – Schoolboys in Disgrace
1. Schooldays 3:32 pic2. Jack The Idiot Dunce 3:21
3. Education 7:08
4. The First Time We Fall In Love 4:03
5. I’m In Disgrace 3:22
6. Headmaster 4:03
7. The Hard Way 2:36
8. The Last Assembly 2:47
9. No More Looking Back 4:28
10. Finale 1:06

The Kinks – 1977 – Sleepwalker
01-Life on the Road pic02-Mr. Big Man
03-Sleepwalker
04-Brother
05-Juke Box Music
06-Sleepless Night
07-Stormy Sky
08-Full Moon
09-Life Goes On
10-Artificial Light
11-Prince of the Punks
12-The Poseur
13-On the Outside (1977 Mix)
14-On the Outside (1994 Mix)

The Kinks – 1978 – Misfits
1. Misfits 4:43 pic2. Hay Fever 3:33
3. Black Messiah 4:10
4. A Rock ‘N’ Roll Fantasy 5:01
5. In A Foreign Land 3:04
6. Permanent Waves 3:49
7. Live Life 4:49
8. Out Of The Wardrobe 3:39
9. Trust Your Heart 4:13
10. Get Up 3:23
11. Black Messiah [bonus] 3:37
12. Father Christmas [bonus] 3:41
13. A Rock ‘N’ Roll Fantasy [bonus] 4:01
14. Live Life [bonus]

The Kinks – 1979 – Low Budget
1. Attitude 3:47 pic2. Catch Me Now I’m Falling 5:58
3. Pressure 2:27
4. National Health 4:02
5. (Wish I Could Fly Like) Superman 3:36
6. Low Budget 3:51
7. In A Space 3:44
8. Little Bit Of Emotion 4:51
9. A Gallon Of Gas 3:48
10. Misery 2:57
11. Moving Pictures 3:47
12. A Gallon Of Gas (U.S. Single Extended Edit) 3:52
13. Catch Me Now I’m Falling (Original Extended Edit) 6:50
14. (Wish I Could Fly Like) Superman (Disco Mix Extended Edit) 5:59

Download:

VA – Dusty Fingers – The Complete Collection (1997-2008) [FLAC]

EAC rip | 16CD | FLAC – Log – Cue | Release: 1997-2008 | 3.83 GB
Genre: Electronic, Funk, Soul, Jazz, Abstract, Psychedelic, Easy Listening

Tracklist:

Dusty Fingers – Volume One
Projection – ‘Abstractions’ (1973)
Ferrante & Teicher – ‘Lady Love’ (1974)
Dorthy Ashby – ‘The Windmills Of Your Mind’ (1970)
Billy Brooks – ‘Fourty Days’ (1974)
Donovan – ‘Get Thy Bearings’ (1969)
Les Baxter – ‘Hogin’ Machine’ (1978)
Amon Duul – ‘Kismet’ (1978)
David Axelrod – ‘The Warnings’ (1970)
Olivier Sain – ‘On The Hill’ (1971)
Ryo Kawasaki – ‘Bamboo Child’ (1976)
Don Blackman – ‘Holding You, Loving You’ (1982)
The Overton Berry Trio – ‘Hey Jude’ (1970)
Annette Peacock – ‘Survival’ (1978)
Dee Dee Warwick – ‘Dee Dee (Drum Skit)’ (1970)
Outro

Dusty Fingers – Volume Two
Placebo – ‘Humpty Dumpty’ (1972)
Small Faces – ‘The Journey (Drum Skit)’ (1986)
Gator Soundtrack – ‘Laying The Trap’ (1974)
Les McCann – ‘Go On And Cry’ (1971)
Quincy Jones – ‘Snow Creatures’ (1972)
Hysear Don Walker – ‘Children Of The Night’ (1972)
Bola Sete – ‘Bettina’ (1972)
Brother Jack McDuff – ‘Electric Surfboard’ (1968)
Bullet – ‘Smokey Joe The Dreamer’ (1974)
Art Farmer – ‘Soul Sides’ (1972)
Galt MacDermot – ‘Ripped Open By Metal Explosions’ (1971)
David Axelrod – ‘Holy Thursday’ (1969)
Sammy Nestico – ‘Shore Line Drive’ (1972)
Harvey Averne – ‘You’re No Good’ (1970)
Passport – ‘Puzzle (Skit)’ (1973)
S.S.O. – ‘Faded Lady’ (1976)
Les Demerle – ‘A Day In The Life’ (1969)
Monty Alexander – ‘Inner City Blues’ (1980)

Dusty Fingers – Volume Three
Generique – ‘Dernier Domicile Connu’ (1977)
Pete Moore – ‘Shady Blues’ (1974)
The Phoenix Authority – ‘Come Together’ (1973)
Bill Conti – ‘Packed Up’ (1978)
Lyn Christopher – ‘Take Me With You’ (1973)
Stece Grey – ‘Pulp’ (1972)
Ronald Stein – ‘Go Home Pigs’ (1970)
David Axelrod – ‘A Divine Image’ (1970)
Jimmy Ponder – ‘While My Guitar Gently Weeps’ (1973)
John Dankworth – ‘Return From Ashes’ (1974)
Lafayette Afro Rock Band – ‘Darkest Light’ (1976)
Frank Walton – ‘Safari’ (1975)
War – ‘A Day In The Life’ (1976)
Bullet – ‘The S’ (1975)

Dusty Fingers – Volume Four
Alain Goaguer – ‘Le Bracelet’ (1973)
Jack Arel – ‘Psychedelic Portrait’ (1973)
George Saxon – ‘Going Out Of My Head’ (1966)
The Bubble Gum Machine – ‘I Wonder’ (1968)
Wet Willie – ‘The Begger Song (Skit)’ (1971)
F. McDonald – ‘Night Moves’ (1978)
Francis Coppieters – ‘Sales Talk’ (1973)
Accadde A – ‘Accadde A Bali’ (1978)
Souflay – ‘Scratch’ (1972)
Dorothy Ashby – ‘The Moving Finger’ (1968)
Sven Libaek – ‘Misty Canyon’ (1973)
Manfred Krug – ‘Wenn Der Urlaub Kommt’ (1975)
Hardys Jet Band – ‘Selected Sound’ (1973)
John Schroeder – ‘Loving You Girl’ (1966)

Dusty Fingers – Volume Five
Brian Bennet – ‘Solstice’ (1978)
Shoche – ‘Algebrique’ (1975)
Gerhard Trede and his Electonic Instruments – ‘Signals’ (1973)
Andy Loore – ‘Mixed Drums’ (1970)
Intimate Strangers – ‘Love Sounds’ (1978)
Monk Higgins – ‘Railroad’ (1975)
Franco Mincalizzi – ‘Caccia Al Cinese’ (1972)
Gary Pacific Orchestra – ‘Soft Wind’ (1978)
Head West – ‘Attention (Drum Skit)’ (1972)
Jane Birkin – ‘Jane B’ (1969)
Toni Rubio – ‘Bass In Action’ (1973)
H. Thieme – ‘Dirty Drugs’ (1973)

Fingers – Volume Six
Power Of The Drums (1969)
Nick Ingman – ‘Under Pressure’ (1973)
Danielle Patucci – ‘La Dimo Strzione’ (1972)
Dick Walter – ‘Silhouttes’ (1978)
Ed Scogillera – ‘Compression’ (1970)
Jerry Goldsmith – ‘Crossing The Border’ (1971)
Eric Delaney – ‘Big Noise From Winnetka’ (1980)
Absolute Elsewhere – ‘Future Past’ (1976)
Churchill – ‘Here We Are’ (1974)
Travis Biggs – ‘Tibetian Serenity’ (1976)
Spacey – ‘Dancer’ (1977)
Joe Ki Peter Tomas Sound Group – ‘Mao’ (1968)
Drum Skit 1
Drum Skit 2

Dusty Fingers – Volume Seven
Madelaine – ‘Who Is She And What Is She To You’ (1978)
Lennie Hibbert – ‘Rose Len’ (1973)
Janne Schatter – ‘Atlanta Inn’ (1976)
Tomorrow – ‘Space’ (1972)
Alain Goraguer – ‘L’oiseau’ (1973)
Dorothy Ashby – ‘Come Live With Me’ (1973)
Jimmy Gordon – ‘Walter L’ (1969)
Fat Albert – ‘The Mudfoot’ (1979)
Tuby Hayes – ‘Hey Jude’ (1973)
Wally Richardson – ‘Monday, Monday’ (1969)
Mike Curb Congregation – ‘Mickey Mouse Club’ (1974)
The Proffessionals – ‘The Godfather’ (1974)
Gian Franco Pienzio – ‘Grigio Perla’ (1973)
Grant Green – ‘We’ve Only Just Begun’ (1974)

Dusty Fingers – Volume Eight
Sun – ‘Time Is Passing’
Meleditus Sound – ‘Kriminal Theme’
Parry Music – ‘The Climb’
Francois De Roubaix – ‘Les Caids’
Kerrie Biddell – ‘In Necessity’
Ajijia Myrayebe – ‘Cohet’
Daniel Janin – ‘Fat, Fat Fellow’
Ian Carr – ‘Roots’
Niagra – ‘Drums’
L. Decosne – ‘Gloaming’
Alan Hawshaw – ‘The Tense Scene’
R.M.O – ‘Atlantis’
Waters – ‘Trying Hard To Look Inside’
The Adacement – ‘Stone Folk’
Sight & Sound – ‘Fragment Of Fear’

Dusty Fingers – Volume Nine
Simon Haseley – ‘Hogans Thing’ (1973)
Fred Merret & Friends – ‘Who’s Who’ (1978)
Bernard Wystraete – ‘Daydream’ (1969)
Barry Ungar – ‘Lightly Salted’ (1975)
Gerard McManon – ‘Bad Times’ (1978)
Harnell – ‘Jamies Theme’ (1975)
Flash Fearless – ‘Super Snatch’ (1974)
J.J. Johnson – ‘Pull Jabal Pull’ (1972)
Brand New Funk – ‘Interlude’ (1978)
Roy Budd – ‘Being Tailed’ (1974)
Bill Near – ‘Drumin’ (1979)
Head Band – ‘War On The Streets’ (1970)
Ed Ariete – ‘La Morte Accarezza A Mezzanotte’ (1973)
Ron Tutt & Jim Keltner – ‘Improv’ (1979)

Dusty Fingers – Volume Ten
KG – Intro (1975)
Franz Auffray – ‘Son Of Popcorn’ (1975)
Brian Bennett – ‘The Unknown’ (1974)
Johnny Harris – ‘Light My Fire’ (1970)
Barry Cooper – ‘Impulsion Drums’ (1973)
Drum Skit 1
Drum Skit 2
Chapeau Melon – ‘Botte De Cuire’ (1970)
Serge Gainsbourg – ‘Requiem Pour Un Con’ (1973)
Nancy Holloway – ‘Sand And Rain’ (1974)
Carvelli – ‘L’etrange Dr Personne’ (1977)
A. Parker – ‘Relaxed Spacious’ (1978)
K. Fleins Field – ‘Incidental Black Cloth’ (1973)
Drum Skit 3

Dusty Fingers – Volume Eleven
D. Richmond – ‘Confunktion’ (1973)
Jack Mayborn – ‘Music People’ (1978)
Larry Robins Sport Studio Band – ‘Are You Free’ (1969)
Syrius – ‘Devils Masquerade’ (1971)
Francois de Roubaix – ‘Les Dunes D’Ostende’ (1976)
Sound Studio Orchestra – ‘Southband’ (1975)
Golden Music Orchestra – ‘African Honeymoon’ (1973)
Hiro Tsunoda – ‘Type A To E’ (1975)
The Spotnicks – ‘Take Me To The Mardi Gras’ (1976)
Michel Gonet – ‘Flower Dance’ (1978)
Louis Clark – ‘Brute (Part 1 & 2)’ (1974)
Nick Ingman – ‘Overtone’ (1975)
Bruno Nicolai – ‘Allora Il Treno’ (1970)
Daniel Vangarde – ‘Yama Yama (Yamasuki)’ (1973)
Michel Polnareff – ‘Voyages’ (1971)

Dusty Fingers – Volume Twelve
Jason Havelock – ‘The Fusion’
Primo Canale OST – ‘Caravan’
Alan Tew – ‘Drama Blackcloth’
R. Tilsley – ‘Warlock’
The Message – ‘Is That The Way’
Brian Bennett – ‘The Prowler’
P. Wilsher – ‘Gooseberry Fool’
The Travellers – ‘Slow Soul’
Danny Edwardson – ‘Electric Blue’
H. Flowers – ‘Light 6′
Frank Pleyer – ‘Sally’
Okay Temiz – ‘Penguin’
Trifle – ‘New Religion’
Bonus

Dusty Fingers – Volume Thirteen
Gil Flat – ‘Solitude Of The Mountains’
The Enticers – ‘Thief’
Roger Webb – ‘Like A Friend’
Man – ‘Puella! Puella!’
Load Stone – ‘Flower Pot’
Music DeWolfe – ‘Flashpoint’
Syd Dale – ‘Number One Spy’
Vladimir Cosma – ‘Profil Grec 1′
Nowy – ‘Escalation’
Anthony King – ‘Lost Star’
Berry Lipman – ‘Act Of Threat’
Brian Bennet – ‘Name Of The Game’
Johnny Pearson – ‘Thunderbird’
April Orchestra – ‘Careveli’
Joe Pass – ‘A Time For Us’
Drum Skit

Dusty Fingers – Volume Fourteen
Cos – ‘Postaeolian Train Robbery’
Ze Rodrix – ‘Esconderijo’
Shunsuke Kikuchi – ‘Kamen Rider’
Rockman – ‘New Comer 1′
John Barry – ‘The Theme From The Persuaders’
Shanker Family – ‘Dream’
G studio Band – ‘Subtle Secret’
Janko Nilovic – ‘La Longue Marche’
Main Attraction – ‘City Girl’
Franco Micalizzi – ‘Affanno’
2nd Genaration – ‘Drums Away’
Steve Gray – ‘Maniac’
Al Hirt – ‘Sentries Charge’
Claude Thomain – ‘Un Soir De Blanco’

Dusty Fingers – Volume Fifteen
Sound Stage 4
Michel Audiard – ‘Tatou Strip Tease’
John Williams – ‘Friend And Enamys’
Olym Runners – ‘Keep It Up’
Stanley Maxfield – ‘Kung Fu’
Vampires
Driver OST – ‘Driving’
3052 – ‘Boosey’
Tubular Bells – ‘Theme From Exorcist’
Oriant Oggie
Guy Pedersen – ‘Les Copains De La Basse’
Tool – ‘Don’t Be Cool’
Uwe Buschkotter – ‘I’m Gonna Love You Just A Little Bit More’
Angelillo & Hamel – ‘Je Veux Te Dire Une Chanson’

Dusty Fingers – Volume Sixteen
Intro
Dave Gold – ‘City Police’
Dieter Reith – ‘Beams’
Cleveland Wrecking Co. – ‘Superfine From Behind Lady’
Mike Hankison – ‘Hawks’
Rock-Jazz Rhythm – ‘Hey Jude’
Toni Tornardo – ‘Me Libertei’
Vaclay Necker – ‘Klaun A Tanecine’
Lupin The 3rd – ‘Lupin 3′
Peter Kater – ‘Night Walk’
Roba – ‘My Lost’
Black Ninja OST – ‘The Look Out’
Great Pride – She’s A Lady’
Franco Campanino – ‘Gatto Nero’
Themes International – ‘Modern Mixture’
Vaclay Necker – ‘Planetarium-Vched’
Steve Gray – ‘Go For Broke’
Jo Ji Thi – ‘Lethel Enjection’
Daniel Janin – ‘The Big One’
Drukwerk – ‘Maskerade’
Mazda – ‘Superstition’
Mother Freedom Band – ‘Outro When Your Hot’

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