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Saturday, 30 April 2011
Agitation Free - Malesch (1st Album German Progressive Rock 1972)
Size: 116 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster
Having generated a cult following for years, since the late 60s, it was surprising that this relevant krautrock act had taken so long before they recorded and released their debut album; but again, better late than never. Agitation Free created an excellent first album, full of ethnic vibrations and exotic magic, which appears perfectly combined with the hard rocking guitar riffing and electric keyboard psychedelic effects, mandatory elements in the kraut context. Before the band achieved their first recording contract, they took a trip to Morocco, something that they seemed particularly interested in documenting and manifesting all throughout the repertoire.
The opening track 'You Play for us Today' sounds really intense without getting overtly aggressive: 'Khan El Khalili' and the namesake track are the most energetic numbers in the album, but let's keep in mind that these guys' main musical concern is to lay out ethereal ambiences and sonic layers, instead of merely creating defying, explosive sonic electric storms (something that Ash Ra Temple or Guru Guru do happily and unabashedly). 'Pulse' is an amazing jam that sees AF absorbing influences from their fellow countrymen Can and Tangerine Dream, while 'Ala Tull' displays lots of percussive stuff on the frontline. 'Rucksturz' is the shortest track: it closes the album with a recognizable line, something like a tender epilogue. A great album this is, indeed: "Melesch" is one of the definitive cornerstones of kraut. [progarchives.com]
01. You Play For Us Today (6:08)
02. Sahara City (7:42)
03. Ala Tul (4:50)
04. Pulse (4:43)
05. Khan El Khalili (8:10)
06. Malesch (8:10)
07. Rücksturz (2:09)
1. https://rapidshare.com/files/459986309/AgitationFree.rar
or
2. http://uploadmirrors.com/download/1AEWPLBO/AgitationFree.rar
.
Alexis Korner's Blues Incorporated - Sky High (Rare Album UK 1966)
Size: 152 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Incuded
Source: Japan 24-Bit Remaster
Alexis Korner (19 April 1928 – 1 January 1984), born Alexis Andrew Nicholas Koerner, was a pioneering blues musician and broadcaster who has sometimes been referred to as "the Founding Father of British Blues". A major influence on the sound of the British music scene in the 1960s, Korner was instrumental in bringing together various English blues musicians.
Alexis Korner was born in Paris to an Austrian father and Greek mother, and spent his childhood in France, Switzerland, and North Africa. He arrived in London in 1940 at the start of the Second World War. One memory of his youth was listening to a record by black pianist Jimmy Yancey during a German air raid. He said, "From then on all I wanted to do was play the blues."
After the war, he played piano and guitar, and in 1949 joined Chris Barber's Jazz Band where he met blues harmonica player Cyril Davies. They started playing together as a duo, formed the influential London Blues and Barrelhouse Club in 1955, and made their first record together in 1957. Korner brought many American blues artists, previously unknown in England, to perform.
In 1961, Korner and Davies formed Blues Incorporated, initially a loose-knit group of musicians with a shared love of electric blues and R&B music. The group included, at various times, such influential musicians as Charlie Watts, Jack Bruce, Ginger Baker, Long John Baldry, Graham Bond, Danny Thompson and Dick Heckstall-Smith. It also attracted a wider crowd of mostly younger fans, some of whom occasionally performed with the group, including Mick Jagger, Keith Richards, Brian Jones, Rod Stewart, John Mayall and Jimmy Page. One story is that The Rolling Stones went to stay at Korner's house late one night, in the early 1960s, after a performance. They entered in the accepted way, by climbing in through the kitchen window, to find Muddy Waters' band sleeping on the kitchen floor.
Although Cyril Davies left the group in 1963, Blues Incorporated continued to record, with Korner at the helm, until 1966. However, by that time its originally stellar line-up and crowd of followers had mostly left to start their own bands. "While his one-time acolytes The Rolling Stones and Cream made the front pages of music magazines all over the world, Korner was relegated to the role of "elder statesman.""
Although he himself was a blues purist, Korner criticised better-known British blues musicians during the blues boom of the late '60s for their blind adherence to Chicago blues, as if the music came in no other form. He liked to surround himself with jazz musicians and often performed with a horn section drawn from a pool which included, among others, saxophone players Art Themen, Mel Collins, Dick Heckstall-Smith, Dick Morrissey, John Surman and trombonist Mike Zwerin.
While touring Scandinavia he first joined forces with singer Peter Thorup, together forming the band New Church, who were one of the support bands at the Rolling Stones Free Concert at Hyde Park on 5 July 1969.
It is said that Jimmy Page found out about a new singer, Robert Plant, who had been jamming with Korner, who wondered why Plant had not yet been discovered. Plant and Korner were in the process of recording a full album with Plant on vocals until Page had asked him to join "the New Yardbirds", aka Led Zeppelin. Only two songs are in circulation from these recordings: "Steal Away" and "Operator".
01. Long Black Train (Korner/Power) 3:01
02. Rock Me (Jackson) 3:45
03. I'm So Glad (James) 2:47
04. Wednesday Night Prayer Meeting (Mingus) 3:51
05. Honesty (Baker) 5:02
06. Yellow Dog Blues (Handy) 3:36
07. Let The Good Times Roll (Theard/Moore) 2:12
08. Ooo-Wee Baby (Turner/Johnson) 2:16
09. River's Invitation (Mayfield) 3:05
10. Money Honey (Stone) 2:52
11. Big Road Blues (Johnson) 2:35
12. Louise (Temple) 4:49
13. Floating (Korner) 2:56
14. Anchor 5 Miles (Korner) 1:26
15. Daph's Dance (Korner) 1:21
Bonus:
16. I Got A Woman (Charles) 3:37
BBC Session
Recorded in April 1965
First released on “Bootleg Him!”,1972
17. Oh Load, Don’t Let Them Drop That Atomic Bomb On Me (Mingus) 3:23
BBC Session
Recorded in May 1965
First released on “Bootleg Him!”,1972
18. Blues A La King (Korner) 2:57
BBC Session
Recorded in May 1965
Previously unreleased
19. The Organiser (Korner) 2:23
BBC Session
Recorded in December 1965
Previously unreleased
20. Watermelon Man (Hancock/Hendricks) 3:25
BBC Session
Recorded in December 1965
Previously unreleased
21. Back At The Chicken Shack (Smith) 3:56
BBC Session
Recorded in December 1965
First released on “The BBC Radio Sessions”, 1994
22. Trouble In Mind (Jones) 3:46
BBC Session
Recorded in December 1965
First released on “The BBC Radio Sessions”, 1994
23. The Jailbird (trad, arr:Korner) 2:20
BBC Session
Recorded in December 1965
Previously unreleased
24. Going Down Slow (Oden) 1:41
BBC Session
Recorded in January 1966
First released on “The BBC Radio Sessions”, 1994
25. Ramblin’ (trad, arr:Korner) 2:55
BBC Session
Recorded in January 1966
1. https://rapidshare.com/files/459982542/AlexisKorner.rar
or
2. http://uploadmirrors.com/download/JJY17EWO/AlexisKorner.rar
.
The Allman Brothers Band - Live In Germany 1991 (Bootleg)
Size: 262 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork
The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 30 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era.
For the first half of the 1970s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries. The band's mix of blues, country, jazz, and even classical influences, and their powerful, extended on-stage jamming altered the standards of concert performance -- other groups were known for their on-stage jamming, but when the Allman Brothers stretched a song out for 30 or 40 minutes, at their best they were exciting, never self-indulgent. They gave it all a distinctly Southern voice and, in the process, opened the way for a wave of '70s rock acts from south of the Mason-Dixon Line, including the Marshall Tucker Band, Lynyrd Skynyrd, and Blackfoot, whose music, at least initially, celebrated their roots. And for a time, almost single-handedly, they also made Capricorn Records into a major independent label.
The group was founded in 1969 by Duane Allman (b. Nov. 20, 1946-d. Oct. 29, 1971) on guitar; Gregg Allman (b. Dec. 8, 1947) on vocals and organ; Forrest Richard ("Dickey") Betts (b. Dec. 12, 1943) on guitar; Berry Oakley (b. Apr. 4, 1948-d. Nov. 12, 1972) on bass; and Claude Hudson ("Butch") Trucks (b. May 11, 1947) and Jaimoe (Johnny Lee Johnson) Johanson (b. July 8, 1944) on drums. Duane and Gregg Allman loved soul and R&B, although they listened to their share of rock & roll, especially as it sounded coming out of England in the mid-'60s. Their first group was a local Daytona Beach garage band called the Escorts, who sounded a lot like the early Beatles and Rolling Stones; they later became the Allman Joys and plunged into Cream-style British blues, and then the Hour Glass, a more soul-oriented outfit. The group landed a contract with Liberty Records with help from the Nitty Gritty Dirt Band, but the company wasted the opportunity on a pair of over-produced albums that failed to capture the Hour Glass' sound. The group split up after Liberty rejected a proposed third LP steeped in blues and R&B.
Duane Allman began working as a session guitarist at Fame Studios in Muscle Shoals, AL, and it was there, appearing on records by Wilson Pickett, Aretha Franklin, John Hammond, and King Curtis, among others, that he made his reputation. In 1969, at the coaxing of ex-Otis Redding manager Phil Walden, Allman gave up session work and began putting together a new band -- Jaimoe came aboard, and then Allman's longtime friend Butch Trucks and another Allman friend, Berry Oakley, joined, along with Dickey Betts, with whom Oakley was playing in a group called Second Coming. A marathon jam session ensued, at the end of which Allman had his band, except for a singer -- that came later, when his brother Gregg agreed to join. They were duly signed to Walden's new Capricorn label.
The band didn't record their first album until after they'd worked their sound out on the road, playing heavily around Florida and Georgia. The self-titled debut album was a solid blues-rock album and one of the better showcases for guitar pyrotechnics in a year with more than its share, amid albums by Cream, Blind Faith, the Jeff Beck Group, and Led Zeppelin. It didn't sell 50,000 copies on its initial release, but The Allman Brothers Band impressed everyone who heard it and nearly everyone who reviewed it. Coming out at the end of the 1960s, it could have passed for a follow-up to the kind of blues-rock coming out of England from acts like Cream, except that it had a sharper edge -- the Allmans were American and Southern, and their understanding of blues (not to mention elements of jazz, mostly courtesy of Jaimoe) was as natural as breathing. The album also introduced one of the band's most popular concert numbers, "Whipping Post."
Their debut album attracted good reviews and a cult following with its mix of assured dual lead guitars by Duane Allman and Dickey Betts, soulful singing by Gregg Allman, and a rhythm section that was nearly as busy as the lead instruments, between Oakley's rock-hard bass and the dual drumming of Trucks and Johanson. Their second album, 1970's Idlewild South, recorded at Capricorn's studios in Macon, GA, was produced by Tom Dowd, who had previously recorded Cream. This was a magical combination -- Dowd was completely attuned to the group's sound and goals, and Idlewild South broadened that sound, adding a softer acoustic texture to their music and introducing Betts as a composer (including the original studio version of "In Memory of Elizabeth Reed," an instrumental tribute to Miles Davis that would become a highlight of their shows, in many different forms, for the next 30 years). It also had a Gregg Allman number, "Midnight Rider," which became one of the band's more widely covered originals and the composer's signature tune.
By this time, the band's concerts were becoming legendary for the extraordinarily complex yet coherent interplay between the two guitarists and Gregg Allman's keyboards, sometimes in jams of 40 minutes or more to a single song without wasting a note. And unlike the art rock bands of the era, they weren't interested in impressing anyone with how they played scales, how many different tunings they knew, or which classical riffs they could quote. Rather, the Allmans incorporated the techniques and structures of jazz and classical into their playing. In March of 1971, the band played a series of shows at the Fillmore East that were recorded for posterity and subsequently transformed into their third album, At Fillmore East. This double LP, issued in July of 1971, became an instant classic, rivaling the previous blues-rock touchstone cut at the Fillmore, Cream's Wheels of Fire. Duane Allman and his band were suddenly the new heroes to millions of mostly older teenage fans. Although it never cracked the Top Ten, At Fillmore East was certified as a gold record on October 15, 1971.
Duane Allman was killed in a motorcycle accident 14 days later. The band had been midway through work on its next album, Eat a Peach, which they completed as a five-piece, with Dickey Betts playing all of the lead and slide guitar parts. Their second double album in a row became another instant classic, and their first album to reach the Top Ten, peaking at number five.
Despite having completed Eat a Peach, the group was intact in name only. Rather than try to replace Duane Allman as a guitarist, they contrived to add a second solo instrument in the form of a piano, played by Chuck Leavell. The group had already begun work on a long-delayed follow-up to Eat a Peach, when Oakley was killed in a motorcycle accident only a few blocks from Allman's accident site.
Lamar Williams (b. Jan. 15, 1949-d. Jan. 25, 1983) was recruited on bass, and the new lineup continued the group's concert activities, as well as eventually finishing the band's next album, Brothers and Sisters. which was released on August 1, 1973. During the extended gap in releases following Eat a Peach, Atco reissued The Allman Brothers Band and Idlewild South together as the double LP Beginnings, which charted higher than either individual release.
Brothers and Sisters marked the beginning of a new era. The album had a more easygoing and freewheeling sound, less bluesy and more country-ish. This was partly a result of Capricorn losing the services of Tom Dowd, who had produced their three previous albums. Additionally, Dickey Betts' full emergence as a songwriter and singer as well as the group's only guitarist, playing all of the lead and slide parts, altered the balance of the group's sound, pushing forth his distinct interest in country-rock. Betts also became the reluctant de facto leader of the band during this period, not from a desire for control as much as because he was the only one with the comparative stability and creative input to take on the responsibility.
The record occupied the number one spot for six weeks, spurred by the number two single "Ramblin' Man," and became their most well-known album. It was an odd reversal of the usual order of success for a rock band -- usually, it was the release of an album that drew the crowds to concerts, but in this case, the months of touring the band had done paved the way for the album. The fact that it kept getting pushed back only heightened the fans' interest.
Ironically, Brothers and Sisters was a less challenging record than the group's earlier releases, with a relatively laid-back sound, relaxed compared to the groundbreaking work on the group's previous four albums. But all of this hardly mattered; based on the reputation they'd established with their first four albums, and the crowd-pleasing nature of "Ramblin' Man" and the Dickey Betts-composed instrumental "Jessica," the group was playing larger halls and bigger crowds than ever.
The band began showing cracks in 1974, as Gregg Allman and Dickey Betts both began solo careers, recording albums separately from the group. Allman married Cher (twice), an event that set him up in a Hollywood-based lifestyle that created a schism with the rest of the band. They might have survived all of this, but for the increasing strain of the members' other personal habits -- drugs and alcohol had always been a significant part of the lives of each of the members, except perhaps for Jaimoe, but as the strain and exhaustion of touring continued, coupled with the need to produce new music, these indulgences began to get out of control, and Betts' leadership of the group created a further strain for him.
The band's difficulties were showcased by their next album, the highly uneven Win, Lose or Draw, which lacked the intensity and sharpness of their prior work. The whole band wasn't present for some of the album, and Gregg Allman's involvement with Cher, coupled with his serious drug problems, prevented him from participating with the rest of the group -- his vocals were added separately, on the other side of the country.
The band finally came apart in 1976 when Allman found himself in the midst of a federal drug case against a supplier and agreed to testify against a friend and band employee. Leavell, Johanson, and Williams split to form Sea Level, which became a moderately successful band, cutting four albums for Capricorn over the next four years, while Betts pursued a solo career. All of them vowed never to work with Gregg Allman again.
Amid this split, Capricorn Records, reaching ever deeper into its vaults for anything that could generate income, issued two collections, a double-LP live collection called Wipe the Windows, Check the Oil, Dollar Gas, showcasing the Brothers and Sisters-era band at various concerts, and a double-LP best-of package, And the Road Goes On Forever. Wipe the Windows was a modest seller, appearing as it did when the group's sales had already fallen off, and it was compared unfavorably with the legendary work on At Fillmore East. The studio compilation passed with barely a ripple, however, because most fans already had the stuff on the original albums.
They were all back together by 1978, however, and over the next four years the group issued a somewhat uneven series of albums. Enlightened Rogues (1979) somewhat redeemed their reputations -- produced by Tom Dowd, who had always managed to get the very best work out of the group, it had more energy than any record they'd issued in at least six years. It also restored the two-guitar lineup, courtesy of Dan Toler (from Dickey Betts' solo band), who was brought in when Chuck Leavell (along with Lamar Williams) refused to return to the Allmans. By that time, however, the Allmans were fighting against time and musical trends. Disco, punk, and power pop had pretty much stolen a march on the arena acts epitomized by the Allmans; whatever interest they attracted was a matter of nostalgia for their earlier releases. The group was in danger of becoming arena rock's third big oldies act (after the Moody Blues and Paul McCartney's Wings).
Additionally, their business affairs were in a shambles, owing to the bankruptcy of Capricorn Records in late 1979. When the fallout from the Capricorn collapse settled, PolyGram Records, the company's biggest creditor, took over the label's library, and the Allman Brothers were cut loose from their contract.
Their signing to Arista enabled the group to resume recording. What they released, however, was safe, unambitious, routinely commercial pop/rock, closer in spirit to the Doobie Brothers than their own classic work, and a shadow of that work, without any of the invention and daring upon which they'd built their reputations. The group's fortunes hit a further downturn when Jaimoe was fired, breaking up one of the best rhythm sections in rock. For most of the 1980s, the group was on hiatus, while the individual members sorted out their personal and professional situations. During those years, only Dickey Betts seemed to be in a position to do much with his music, and most of that wasn't selling.
In 1989, the band was reactivated again, partly owing to PolyGram's decision to issue the four-CD box set retrospective Dreams. That set, coupled with the reissue of their entire Capricorn catalog on compact disc in the years leading up to the box's release, reminded millions of older listeners of the band's greatness, and introduced the group to millions of people too young to have been around for Watkins Glen, much less the Fillmore shows.
They reunited and also restored the band's original double-lead-guitar configuration, adding Warren Haynes on lead guitar alongside Dickey Betts, with Allen Woody playing bass; Chuck Leavell was gone, however, having agreed to join the Rolling Stones on tour as their resident keyboard player, and Lamar Williams had succumbed to cancer in 1983.
The new lineup reinvigorated the band, which signed with Epic Records and surprised everyone with their first release, Seven Turns. Issued in 1990, it got some of the best reviews and healthiest sales they'd had in more than a decade. Their subsequent studio albums failed to attract as much enthusiasm, and their two live albums, An Evening With the Allman Brothers Band and 2nd Set, released in 1992 and 1995, respectively, were steady but not massive sellers. Much of this isn't the fault of the material so much as a natural result of the passage of time, which has left the Allmans competing with two decades' worth of successors and rivals.
The group has stayed together since 1989, overcoming continuing health and drug problems, which have occasionally battered their efforts at new music. They remain a top concert attraction 25-plus years after their last historically important album, easily drawing more than 20,000 fans at a time to outdoor venues, or booking 2,000-seat theaters for three weeks at a time. Their back catalog, especially the first five albums, remain consistent sellers on compact disc and recently returned to the reconstituted Capricorn label (still a home for Southern rockers, including the latter-day Lynyrd Skynyrd, as well as reissues of Elmore James and other classic bluesmen), under a 1997 licensing agreement that has resulted in their third round of digital remastering.
Apart from their Arista releases, the Allman Brothers Band has remained remarkably consistent, altering their music only gradually over 30 years. They sound more country than they did in their early days, and they're a bit more varied in the vocal department, but they have still been soaring at their concerts and on most of their records over the last ten-plus years.
Recorded live in Baden Baden, Germany on July 5th, 1991
01. Intro
02. Don't Want You No More
03. It's Not My Cross To Bear
04. Statesboro Blues
05. Blue Sky
06. Low Down Dirty Mean
07. End Of The Line
08. Loaded Dice
09. In Memory Of Elizabeth Reed
10. Gambler's Roll
11. Good Clean Fun
12. One Way Out
13. Kind Of Bird
14. Ramblin' Man
15. Jessica
16. Whipping Post
Part 1: https://rapidshare.com/files/459916220/AllmanBrothers.part1.rar
Part 2: https://rapidshare.com/files/459916207/AllmanBrothers.part2.rar
or
Part 1: http://uploadmirrors.com/download/OKKTUQYJ/AllmanBrothers.part1.rar
Part 2: http://uploadmirrors.com/download/0XMWBETK/AllmanBrothers.part2.rar
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Nazareth - Selftitled (Classic 1st Album UK 1971)
Size: 129 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Nazareth is the self-titled first album by the rock band Nazareth. It was released in 1971.
The Scottish hard rock quartet Nazareth had a handful of hard rock hits in the late '70s, including the proto-power ballad "Love Hurts." Formed in 1968, the band featured vocalist Dan McCafferty, guitarist Manny Charlton, bassist Pete Agnew, and drummer Darrell Sweet. The band had relocated to London by 1970, and they released their self-titled debut album in 1971. Both Nazareth and 1972's Exercises received favorable attention by British hard rockers, but it was 1973's Razamanaz that moved them into the U.K. Top Ten (both "Broken Down Angel" and "Bad Bad Boy" were hit singles). Loud 'n' Proud and Rampant (both 1974) followed the same formula, yet were slightly less successful.
Released the following year, Hair of the Dog established Nazareth as an internationally popular hard rock band. Featuring their revamped version of the Everly Brothers' "Love Hurts," the album sold over a million copies in the U.S. Until the end of the '70s, the band continued successfully as a quartet, releasing a series of Top 100 albums. In 1979, they added former Sensational Alex Harvey Band guitarist Zal Cleminson to their lineup; he left after recording two albums -- 1979's No Mean City and 1980's Malice in Wonderland -- and was replaced by former Spirit keyboardist John Locke. Following the 1981 live album 'Snaz, guitarist Bill Rankin also joined the group; Locke left soon after his addition and Rankin switched to keyboards.
By this time, their commercial appeal had dwindled across both the U.K. and the U.S. By the mid-'80s, Nazareth was left without a record contract, so the band was put on hiatus for a few years. They returned in 1992 with No Jive, which failed to gain an audience in America and Europe. In 1999, Nazareth resurfaced yet again with Boogaloo.
01. "Witchdoctor Woman" Charlton, McCafferty 4:09
02. "Dear John" 3:48
03. "Empty Arms, Empty Heart" 3:15
04. "I Had A Dream" 3:23
05. "Red Light Lady" 6:00
06. "Fat Man" 3:25
07. "Country Girl" 4:05
08. "Morning Dew" Tim Rose, Bonnie Dobson 7:06
09. "The King Is Dead" 4:47
Bonus tracks
10. "Friends" (b-side) 3:23
11. "Dear John" (single edit) 2:42
12. "Morning Dew" (alternate edited version) 4:50
13. "Friends" (alternate edit of b-side) 3:26
14. "Morning Dew" (extended single version) 8:07
15. "Witchdoctor Woman" (previously unreleased version) 4:31
1. https://rapidshare.com/files/459878208/Nazareth1.rar
or
2. http://uploadmirrors.com/download/RHRRBKZD/Nazareth1.rar
.
Illustrate dBpoweramp Music Converter R14.1
dBpoweramp Music Converter R14.1
Audio conversion perfected, effortlessly convert between formats. dBpoweramp Music Converter™ has become 'the standard' tool for audio conversions, over 30 million users worldwide rely on dBpoweramp:
Convert audio files with elegant simplicity. mp3, mp4, m4a (iTunes / iPod), Windows Media Audio (WMA), Ogg Vorbis, AAC, Monkeys Audio, FLAC, Apple Lossless (ALAC) to name a few!
Multi CPU Encoding Support,
Rip digitally record audio CDs (with CD Ripper),
Batch Convert large numbers of files with 1 click,
Windows Integration popup info tips, audio properties, columns, edit ID-Tags,
DSP Effects such as Volume Normalize, or Graphic EQ [Power Pack Option],
It is safe to say, no other audio program converts more multi-format audio files than dBpoweramp, we have spent 8 years perfecting format-compatibility and conversion stability.
Changes
Property Handler by default does not register certain extensions (such as .mp4), these exclusions can be set in dMC Configuration
Property Extension now registers 'Title' for viewing in explorer
Added Period to Property Handler
Shell Extension, old popup info tip stored so when uninstalled is restored
Explorer ID Tag writer - if cannot write the tags has Retry, Cancel not just OK
CD Ripper
Improved Insert CD page (in relation to main form)
New option to set a maximum file size in KB, defaults to 256KB
Shows AccurateRip matches from other pressings in the log, upto 6 matches
Default secure output log named as: [rippedtopath]\[IFVALUE]album artist,[album artist],[IFCOMP]Various Artists[][IF!COMP][artist][][] - [album].txt
Default secure output log written as unicode
Click art work to review shown art at maximum size
Album art shown in display without the surrounding case
Meta Drop Menu - option to clear metadata
8KB Transfers (C2 Pointers over USB / Firewire) should work now in more instances
Multiple Sort Values shown in CD Ripper and Tag Editor as Item1; Item2 (previously was Item1{CR}Item2)
If CD Ripper is moved to another desktop then will retain the correct background
PerfectMeta downgrades an artist if is: Various Artist Various Artists Various
PerfectMeta downgrades when the number of tracks returned does not match the number of tracks on the disc
AccurateRip.dll v4 (collates disc TOCs, updated message about key disc cannot be used)
Batch Converter
Better Network browsing
Was possible to drag headers, but should not have been possible
Works with 'dBpoweramp Batch Convert' and UNC paths
Added the ReplayGain tags to the list page
Music Converter <> Multi-Encoder, now show true encoding speed when encoding to multiple formats
Multi-Encoder allows use of [encoder] in dynamic naming
Multi-Encoder works with Playlist Writer, Album ReplayGain (should be most items which previously did not work with multi-encoder)
Internet Album Retrieval Page optimized, also has a 'Sort Largest to Smallest' button
Manual Meta Review window has alternating white and light gray background rows, so is easier to compare words on the same row
Manual Meta Review: drawing speed enhancements
Background for Value-List fixed on White
ID3v2: mp3 tagging option: to store YYYY MM DD in the date
ID3v2: mp3 ArtistSort, ComposerSort - have to store multiples with '/' not CR
FLAC encoder wording changed, also includes a FLAC Uncompressed encoding option (which stores audio uncompressed, for those who want WAVE PCM but with better ID Tagging).
FLAC: ComposerSort, soloists, split internally correctly
m4a Tagging splits multi ComposerSort, artist sort correctly
Bug Fixes
Com Scripting in x64 - .ReadIDTag and .WriteIDTag would previously not work
Corrupted Album Art could freeze conversion
dBpoweramp Configuration can save settings for limited user account
1. https://rapidshare.com/files/459870446/dbPowerAMP_14.1.rar
or
2. http://uploadmirrors.com/download/14ICGX6C/dbPowerAMP_14.1.rar
.
Audio conversion perfected, effortlessly convert between formats. dBpoweramp Music Converter™ has become 'the standard' tool for audio conversions, over 30 million users worldwide rely on dBpoweramp:
Convert audio files with elegant simplicity. mp3, mp4, m4a (iTunes / iPod), Windows Media Audio (WMA), Ogg Vorbis, AAC, Monkeys Audio, FLAC, Apple Lossless (ALAC) to name a few!
Multi CPU Encoding Support,
Rip digitally record audio CDs (with CD Ripper),
Batch Convert large numbers of files with 1 click,
Windows Integration popup info tips, audio properties, columns, edit ID-Tags,
DSP Effects such as Volume Normalize, or Graphic EQ [Power Pack Option],
It is safe to say, no other audio program converts more multi-format audio files than dBpoweramp, we have spent 8 years perfecting format-compatibility and conversion stability.
Changes
Property Handler by default does not register certain extensions (such as .mp4), these exclusions can be set in dMC Configuration
Property Extension now registers 'Title' for viewing in explorer
Added Period to Property Handler
Shell Extension, old popup info tip stored so when uninstalled is restored
Explorer ID Tag writer - if cannot write the tags has Retry, Cancel not just OK
CD Ripper
Improved Insert CD page (in relation to main form)
New option to set a maximum file size in KB, defaults to 256KB
Shows AccurateRip matches from other pressings in the log, upto 6 matches
Default secure output log named as: [rippedtopath]\[IFVALUE]album artist,[album artist],[IFCOMP]Various Artists[][IF!COMP][artist][][] - [album].txt
Default secure output log written as unicode
Click art work to review shown art at maximum size
Album art shown in display without the surrounding case
Meta Drop Menu - option to clear metadata
8KB Transfers (C2 Pointers over USB / Firewire) should work now in more instances
Multiple Sort Values shown in CD Ripper and Tag Editor as Item1; Item2 (previously was Item1{CR}Item2)
If CD Ripper is moved to another desktop then will retain the correct background
PerfectMeta downgrades an artist if is: Various Artist Various Artists Various
PerfectMeta downgrades when the number of tracks returned does not match the number of tracks on the disc
AccurateRip.dll v4 (collates disc TOCs, updated message about key disc cannot be used)
Batch Converter
Better Network browsing
Was possible to drag headers, but should not have been possible
Works with 'dBpoweramp Batch Convert' and UNC paths
Added the ReplayGain tags to the list page
Music Converter <> Multi-Encoder, now show true encoding speed when encoding to multiple formats
Multi-Encoder allows use of [encoder] in dynamic naming
Multi-Encoder works with Playlist Writer, Album ReplayGain (should be most items which previously did not work with multi-encoder)
Internet Album Retrieval Page optimized, also has a 'Sort Largest to Smallest' button
Manual Meta Review window has alternating white and light gray background rows, so is easier to compare words on the same row
Manual Meta Review: drawing speed enhancements
Background for Value-List fixed on White
ID3v2: mp3 tagging option: to store YYYY MM DD in the date
ID3v2: mp3 ArtistSort, ComposerSort - have to store multiples with '/' not CR
FLAC encoder wording changed, also includes a FLAC Uncompressed encoding option (which stores audio uncompressed, for those who want WAVE PCM but with better ID Tagging).
FLAC: ComposerSort, soloists, split internally correctly
m4a Tagging splits multi ComposerSort, artist sort correctly
Bug Fixes
Com Scripting in x64 - .ReadIDTag and .WriteIDTag would previously not work
Corrupted Album Art could freeze conversion
dBpoweramp Configuration can save settings for limited user account
1. https://rapidshare.com/files/459870446/dbPowerAMP_14.1.rar
or
2. http://uploadmirrors.com/download/14ICGX6C/dbPowerAMP_14.1.rar
.
Don McLean - A & R Studios US 1971 (Bootleg)
Size: 170 MB
Bitrate: 320
mp3
Found in DC++ World
No Artwork
Donald "Don" McLean (born October 2, 1945, New Rochelle, New York) is an American singer-songwriter. He is most famous for the 1971 album American Pie, containing the renowned songs "American Pie" and "Vincent".
Both McLean's grandfather and father were also named Donald McLean. The Buccis, the family of McLean's mother, Elizabeth, came from Abruzzo in central Italy. They left Italy and settled in Port Chester, New York at the end of the 19th century. He has other extended family in Los Angeles and Boston.
As a young teenager, McLean became interested in folk music, particularly the Weavers' 1955 recording At Carnegie Hall. Childhood asthma meant that McLean missed long periods of school, and although he slipped back in his studies, his love of music was allowed to flourish. He often performed shows for family and friends. By age 16 he had bought his first guitar (a Harmony acoustic archtop with a sunburst finish) and begun making contacts in the music business, becoming friends with folk singer Erik Darling, a latter-day member of the Weavers. McLean recorded his first studio sessions (with singer Lisa Kindred) while still in prep school.
McLean graduated from Iona Preparatory School in 1963, and briefly attended Villanova University, dropping out after four months. While at Villanova he became friends with singer/songwriter Jim Croce.
After leaving Villanova, McLean became associated with famed folk music agent Harold Leventhal, and for the next six years performed at venues and events including the Bitter End and the Gaslight Cafe in New York, the Newport Folk Festival, the Cellar Door in Washington, D.C., and the Troubadour in Los Angeles. Concurrently, McLean attended night school at Iona College and received a bachelor's degree in business administration in 1968. He turned down a scholarship to Columbia University Graduate School in favour of becoming resident singer at Caffè Lena in Saratoga Springs, New York.
In 1968, with the help of a grant from the New York State Council on the Arts, McLean began reaching a wider public, with visits to towns up and down the Hudson River. He learned the art of performing from his friend and mentor Pete Seeger. McLean accompanied Seeger on his Clearwater boat trip up the Hudson River in 1969 to raise awareness about environmental pollution in the river. During this time McLean wrote songs that would appear on his first album, Tapestry. McLean co-edited the book Songs and Sketches of the First Clearwater Crew with sketches by Thomas B. Allen for which Pete Seeger wrote the foreword. Seeger and McLean sang "Shenandoah" on the 1974 Clearwater album.
McLean recorded his first album, Tapestry, in 1969 in Berkeley, California during the student riots. After being rejected by 34 labels, the album was released by Mediarts and attracted good reviews but little notice outside the folk community.
McLean's major break came when Mediarts was taken over by United Artists Records thus securing for his second album, American Pie, the promotion of a major label. The album spawned two No. 1 hits in the title song and "Vincent". American Pie's success made McLean an international star and renewed interest in his first album, which charted more than two years after its initial release.
McLean's most famous composition, "American Pie", is a sprawling, impressionistic ballad inspired partly by the deaths of Buddy Holly, Ritchie Valens and J. P. Richardson (The Big Bopper) in a plane crash in 1959. The song would popularize the expression "The Day the Music Died" in reference to this event. McLean has stated that the lyrics are also somewhat autobiographical and present an abstract story of his life from the mid-1950s until the time he wrote the song in the late 1960s. Singer Don McLean is said to have composed his "American Pie" sitting at a table in the Tin & Lint, a bar on Caroline Street, in 1969. A plaque marks the table today.
The song was recorded on 26 May 1971 and a month later received its first radio airplay on New York’s WNEW-FM and WPLJ-FM to mark the closing of The Fillmore East, a famous New York concert hall. "American Pie" reached number one on the U.S. Billboard magazine charts for four weeks in 1972, and remains McLean's most successful single release. The single also topped the Billboard Easy Listening survey. With a running time of 8:36, it is also the longest song to reach No. 1. Some stations played only part one of the original split-sided single release.
Twenty-nine years later, pop singer Madonna released a truncated dance-pop cover version of the song. In response, McLean said: "I have received many gifts from God but this is the first time I have ever received a gift from a goddess."
In 2010, John Ondrasik - the singer-songwriter known as Five for Fighting - released the single "Slice" from the album of the same name. The song is a tribute to "American Pie", a nostalgic look at how it once captivated people's collective ears, minds and voices, and an expression of hope that our increasing individuality hasn't dulled our ability to 'sing the same song'.
In 2001 "American Pie" was voted No. 5 in a poll of the 365 Songs of the Century compiled by the Recording Industry Association of America and the National Endowment for the Arts. The top five were: "Over the Rainbow" written by Harold Arlen and E.Y. "Yip" Harburg (performed by Judy Garland in the 1939 film The Wizard of Oz), "White Christmas" written by Irving Berlin (best-known performance by Bing Crosby), "This Land Is Your Land" written and performed by Woody Guthrie, "Respect" written by Otis Redding (best-known performance by Aretha Franklin), and "American Pie".
McLean’s third album, Don McLean, included the song "The Pride Parade" that provides an insight into McLean’s immediate reaction to stardom. McLean told Melody Maker magazine in 1973 that Tapestry was an album by someone previously concerned with external situations. American Pie combines externals with internals and the resultant success of that album makes the third one (Don McLean) entirely introspective."
The fourth album, Playin' Favorites was a top-40 hit in the UK in 1973 and included the Irish folk classic, "Mountains of Mourne" and Buddy Holly’s "Everyday", a live rendition of which returned McLean to the UK Singles Chart. McLean said, "The last album (Don McLean) was a study in depression whereas the new one (Playin' Favorites) is almost the quintessence of optimism, with a feeling of "Wow, I just woke up from a bad dream."
1977 saw a brief liaison with Arista Records that yielded the Prime Time album before, in 1978, McLean’s career changed direction and he started recording in Nashville with Elvis Presley’s backing singers, The Jordanaires, and many of Elvis’s musicians. The result was Chain Lightning and the international Number 1, "Crying". The early 1980s saw further chart successes in the US with "Since I Don't Have You", a new recording of "Castles in the Air" and "It's Just the Sun".
In 1987, the release of the country-based Love Tracks album gave rise to the hit singles "Love in My Heart" (a top-10 in Australia), "Can't Blame the Wreck on the Train" (US country No. 49), and "Eventually". The latter two songs were written by Houston native Terri Sharp.
In 1991, EMI reissued the "American Pie" single in the United Kingdom and McLean performed on Top of the Pops.
In 1992, previously unreleased songs became available on Favorites and Rarities while Don McLean Classics featured new studio recordings of "Vincent" and "American Pie".
Don McLean has continued to record new material including River of Love in 1995 on Curb Records and, more recently, the albums You've Got to Share, Don McLean Sings Marty Robbins and The Western Album on his own Don McLean Music label.
A new album, Addicted to Black, was released in May 2009 and is available for purchase at his North American concert performances and is available on his website. In addition, McLean is expecting to tour in Europe and Australia in 2010.
McLean's other well-known songs include:
"And I Love You So" was covered by Elvis Presley, Helen Reddy, Shirley Bassey, Glen Campbell, Engelbert Humperdinck, Howard Keel and a 1973 hit for Perry Como
"Vincent", a tribute to the 19th century Dutch painter, Vincent van Gogh. Although it only reached #12 on the Billboard Hot 100, it proved to be a huge hit worldwide.[citation needed] It was a #1 hit single in the UK Singles Chart. This song was covered by NOFX on their album titled: 45 or 46 Songs That Weren't Good Enough to Go on Our Other Records, and also appears on the Fat Wreck Chords compilation Survival of the Fattest. Vincent was also covered by Josh Groban on his 2001 debut album.
"Castles in the Air", which McLean recorded twice. His 1981 re-recording was a top-40 hit, reaching #36 on the Billboard Hot 100 in late 1981.
"Wonderful Baby", a tribute to Fred Astaire that Astaire himself recorded. Primarily rejected by pop stations, it reached #1 on the Billboard Easy Listening survey.
"Superman's Ghost", a tribute to George Reeves, who portrayed Superman on television in the 1950s
"The Grave", a song that McLean had written about the Vietnam War, was covered by George Michael in 2003 in protest against the Iraq War.
The American Pie album features a version of Psalm 137, entitled Babylon. The song was arranged by McLean and Lee Hays (of The Weavers).[citation needed] Boney M had a number one hit in the UK with a similar song in 1978 under the title Rivers of Babylon, which was not based on this one, although using the same text from Psalm 137.
In 1980, McLean had an international number one hit with a cover of the Roy Orbison classic, "Crying". It was only after the record became a success overseas that it was released in the U.S. The single hit #5 on the Billboard Hot 100 in 1981. Orbison himself once described McLean as "the voice of the century", and a subsequent re-recording of the song saw Orbison incorporate elements of McLean's version.
For the 1982 animated cult-movie The Flight of Dragons produced by Jules Bass and Arthur Rankin, Jr., McLean sang the opening theme. Unfortunately, no soundtrack has ever been released.
Another hit song associated with McLean (though never recorded by him) is "Killing Me Softly with His Song", which was written about McLean after Lori Lieberman, also a singer/songwriter, saw him singing his composition "Empty Chairs" in concert. Afterwards, Lieberman wrote a poem titled "Killing Me Softly with His Blues," which became the basis for the song written by Norman Gimbel and Charles Fox and recorded by Roberta Flack (and later covered by The Fugees).
Don McLean
12/28/71
A & R Studios, NYC
WPLJ monthly concert
01. 7-Up
02. Castles In The Air
03. Winterwoods
04. Where Were You When My Heart Went Out
05. The First Floor
06. talk
07. Banjo
08. Babylon
09. Pretty Polly
10. Magdalene Lane
11. Tapestry
12. On The Amazon
13. Vincent
14: American Pie
15. 7-Up
16. On The Inside
1. https://rapidshare.com/files/459868909/DonMcLean.rar
or
2. http://uploadmirrors.com/download/W1OTA46D/DonMcLean.rar
.
The Byrds - Lee Jeans Living Rock Concert US 1969 (Bootleg)
Size: 108 MB
bitrate: 320
mp3
Found in DC++ World
No Artwork
Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a short time in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music. The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their angelic harmonies and restless eclecticism.
Often described in their early days as a hybrid of Dylan and the Beatles, the Byrds in turn influenced Dylan and the Beatles almost as much as Bob and the Fab Four had influenced the Byrds. The Byrds' innovations have echoed nearly as strongly through subsequent generations, in the work of Tom Petty, R.E.M., and innumerable alternative bands of the post-punk era that feature those jangling guitars and dense harmonies.
Although the Byrds had perfected their blend of folk and rock when their debut single, "Mr. Tambourine Man," topped the charts in mid-1965, it was something of a miracle that the group had managed to coalesce in the first place. Not a single member of the original quintet had extensive experience on electric instruments. Jim McGuinn (he'd change his first name to Roger a few years later), David Crosby, and Gene Clark were all young veterans of both commercial folk-pop troupes and the acoustic coffeehouse scene. They were inspired by the success of the Beatles to mix folk and rock; McGuinn had already been playing Beatles songs acoustically in Los Angeles folk clubs when Clark approached him to form an act, according to subsequent recollections, in the Peter & Gordon style. David Crosby soon joined to make them a trio, and they made a primitive demo as the Jet Set that was nonetheless bursting with promise. With the help of session musicians, they released a single on Elektra as the Beefeaters that, while a flop, showed them getting quite close to the folk-rock sound that would electrify the pop scene in a few months.
The Beefeaters, soon renamed the Byrds, were fleshed out to a quintet with the addition of drummer Michael Clarke and bluegrass mandolinist Chris Hillman, who was enlisted to play electric bass, although he had never played the instrument before. The band was so lacking in equipment in their early stages that Clarke played on cardboard boxes during their first rehearsals, but they determined to master their instruments and become a full-fledged rock band (many demos from this period would later surface for official release). They managed to procure a demo of a new Dylan song, "Mr. Tambourine Man"; by eliminating some verses and adding instantly memorable 12-string guitar leads and Beatlesque harmonies, they came up with the first big folk-rock smash (though the Beau Brummels and others had begun exploring similar territory as well). For the "Mr. Tambourine Man" single, the band's vocals and McGuinn's inimitable Rickenbacker were backed by session musicians, although the band themselves (contrary to some widely circulated rumors) performed on their subsequent recordings.
The Byrds suffered a major loss right after "Eight Miles High" with the departure of Gene Clark, their primary songwriter and, along with McGuinn, chief lead vocalist. The reason for his resignation, ironically, was fear of flying, although other pressures were at work as well. "Eight Miles High," amazingly, would be their last Top 20 single; many radio stations banned the record for its alleged drug references, halting its progress at number 14. This ended the Byrds' brief period as commercial challengers to the Beatles, but they regrouped impressively in the face of the setbacks. Continuing as a quartet, McGuinn, Crosby, and Hillman would assume a much larger (actually, the entire) chunk of the songwriting responsibilities. The third album, Fifth Dimension, contained more groundbreaking folk-rock and psychedelia on tracks like "Fifth Dimension," "I See You," and "John Riley," although it (like several of their classic early albums) mixed sheer brilliance with tracks that were oddly half-baked or carelessly executed.
Younger Than Yesterday, (1967) which included the small hits "So You Want to Be a Rock 'n' Roll Star" and "My Back Pages" (another Dylan cover), was another high point, Hillman and Crosby in particular taking their writing to a new level. In 1967, Crosby would assert a much more prominent role in the band, singing and writing some of his best material. He wasn't getting along so well with McGuinn and Hillman, though, and was jettisoned from the Byrds partway into the recording of The Notorious Byrd Brothers. Gene Clark, drafted back into the band as a replacement, left after only a few weeks, and by the end of 1967, Michael Clarke was also gone. Remarkably, in the midst of this chaos (not to mention diminishing record sales), they continued to sound as good as ever on Notorious. This was another effort that mixed electronic experimentation and folk-rock mastery with aplomb, with hints of a growing interest in country music.
As McGuinn and Hillman rebuilt the group one more time in early 1968, McGuinn mused upon the exciting possibility of a double album that would play as nothing less than a history of contemporary music, evolving from traditional folk and country to jazz and electronic music. Toward this end, he hired Gram Parsons, he has since said, to play keyboards. Under Parsons' influence, however, the Byrds were soon going full blast into country music, with Parsons taking a large share of the guitar and vocal chores. In 1968, McGuinn, Hillman, Parsons, and drummer Kevin Kelly recorded Sweetheart of the Rodeo, which was probably the first album to be widely labeled as country-rock.
Opinions as to the merits of Rodeo remain sharply divided among Byrds fans. Some see it as a natural continuation of the group's innovations; other bewail the loss of the band's trademark crystalline guitar jangle, and the short-circuited potential of McGuinn's most ambitious experiments. However one feels, there's no doubt that it marked the end, or at least a drastic revamping, of the "classic" Byrds sound of the 1965-1968 period (bookended by the Tambourine Man and Notorious albums). Parsons, the main catalyst for the metamorphosis, left the band after about six months, partially in objection to a 1968 Byrds tour of South Africa. It couldn't have helped, though, that McGuinn replaced several of Parsons' lead vocals on Rodeo with his own at the last minute, ostensibly due to contractual obstacles that prevented Parsons from singing on Columbia releases. (Some tracks with Parsons' lead vocals snuck on anyway, and a few others surfaced in the 1990s on the Byrds box set).
The Byrds' diminishing importance must have stung McGuinn doubly in light of the rising profiles of several Byrds alumni as the '60s turned into the '70s. David Crosby was a superstar with Crosby, Stills, Nash & Young; Hillman, Parsons, and (for a while) Michael Clarke were taking country-rock further with the Flying Burrito Brothers; even Gene Clark, though he'd dropped out of sight commercially, was recording some respected country-rock albums on his own. The original quintet actually got back together for a one-off reunion album in 1973; though it made the Top 20, it was the first, and one of the most flagrant, examples of the futility of a great band reuniting in an attempt to recapture the lightning one last time.
The original Byrds continued to pursue solo careers and outside projects throughout the 1970s and 1980s. McGuinn, Clark, and Hillman had some success at the end of the 1970s with an adult contemporary variation on the Byrds' sound; in the 1980s, Crosby battled drug problems while Hillman enjoyed mainstream country success with the Desert Rose Band. The Byrds' legend was tarnished by squabbles over which members of the original lineup had the rights to use the Byrds name; for quite a while, drummer Michael Clarke even toured with a "Byrds" that featured no other original members. The Byrds were inducted into the Rock & Roll Hall of Fame in 1991; Gene Clark died several months later, and Michael Clarke died in 1993, permanently scotching prospects of a reunion involving the original quintet.
THE BYRDS
Lee Jeans Living Rock Concert 1969
Roger McGuinn - guitar
Clarence White - guitar
John York - bass
Gene Parsons - drums
01. Turn! Turn! Turn!
02. Ballad Of Easy Rider
03. It Won't Be Wrong
04. The Water Is Wide
05. Mr. Tambourine Man
06. Nashville West
07. Lover Of The Bayou
08. Jesus Is Just Alright
09. Jesus Is Just Alright
10. This Wheel's On Fire
11. Jesus Is Just Alright
12. Eight Miles High
13. Break Song
Tracks 1-8: Lee Jeans Living Rock Concert FM Radio show 1969
Track 9: KSAN FM broadcast, Fillmore West, June 15, 1969
Tracks 10-13: Bridges Auditorium 1969 (uncomfirmed)
1. https://rapidshare.com/files/459860345/TheByrds.rar
or
2. http://uploadmirrors.com/download/1E1QBAWR/TheByrds.rar
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