For a band that originated over thirty years ago and has seen the comings and goings of three lead singers and countless band members, Mystery retains one of the most consistent sounds of any progressive rock group. Whether that is a good thing or bad thing is a subjective determination, but as is the case with bands in other genres such as Boston or Katatonia - what you hear is what you get, album after album after album.
Lest that sound like a fatalistic pronouncement, the good news is that for fans of modern progressive rock, Mystery delivers the goods with each and every new release. Beautiful melody lines, lush production, soaring lead vocals, impeccable instrumentation, inspired electric guitar solos….

The West of veteran TV writer/Deadwoodcreator David Milch is as grim as it is gritty, sprinkled with salty dialogue and punctuated by sudden brutality and raw sexuality. The original soundtrack cues by composer David Schwartz (represented here by his evocative show theme), Michael Brook and Reinhold Heil and Johnny Klimek play off that vision with often stark rootsiness. But it's the series' rich slate of songs – choices whose inventiveness often rivals that of The Sopranos – that consistently reinforce its all-too-human drama, if not the crusty veneer. This collection gathers the best songs from the series' first season, coloring the milieu with evocative hillbilly romps like Michael Hurley's "Hog of the Forsaken" and the a capella grace of Margaret's Native American "Creek Lullaby." But the collection's musical eclecticism stretches far beyond mere genre concerns, variously encompassing the nascent jazz of Jelly Roll Morton (a rollicking "Stars and Stripes Forever"), Delta blues of Bukka White and Mississippi John Hurt and even Gustavo Santaolalla's hypnotic Brazilian fretwork. But the collection's country and folk-tinged performances are its most resonant, whether invoking earthy traditions (the gospel fervor of the late June Carter Cash's "Will the Circle Be Unbroken," Sonny Terry & Brownie McGhee's more heretical "God and Man") or more contemporary stylings like Lyle Lovett's "Old Friend" and the gentle "Twisted Little Man" by Michael J. Sheehy.

Had it been released immediately after it was recorded in 1984, Exodus' Bonded by Blood might be regarded today alongside Metallica's Kill 'em All as one of the landmark albums responsible for launching the thrash metal wave. But by the time it finally hit the streets more than a year later due to numerous record company-related difficulties, the genre the band helped spawn had evolved at an alarming rate (again, largely thanks to the unstoppable Metallica) and Exodus were left to wonder what kind of impact they may have had without these setbacks…

Fantastic 100 CD box containing a plethora of Modern Jazz recordings. In the 1950's, Jazz spread over the world. With the advent of the LP, Jazz improvisation was freed from the limitation of the old 78 three minute playing time. This gave room for deep and long artistic statements. The Jazz message conquered the scene and built new regional and stylistic centers.

On the eve of his centenary in 2018, Sony Classical releases the most important collection, Leonard Bernstein’s classic American Columbia recordings, remastered from their original 2- and multi-track analogue tapes. This has allowed for the creation of a natural balance (for example, between the orchestra and solo instruments) that brings the quality of these half-century-old recordings, excellent for their time, up to the standards of today’s audiophiles. In addition, there has been a meticulous restoration of some earlier masterings in which LP surface noise was too rigorously eliminated at the expense of the original brilliance.

Francesco Tamagno - The Complete Recordings and Three Unpublished Recordings (1990) {Pearl-Opal CD 9846 rec 1903-1904}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 258 Mb | MP3 @320 -> 128 Mb
Full Artwork @ 600 dpi (png) -> 10 Mb | 5% repair rar
© 1903-04, 1990 Opal / Pearl | Opal CD 9846
Classical / Opera / Tenor / Italian Music

Francesco Tamagno (28 December 1850 – 31 August 1905) was an Italian operatic tenor who sang with enormous success throughout Europe and America. On 5 February 1887, he sang Otello in the first performance of Giuseppe Verdi's opera. He is also the earliest Italian tenor of note to have left a sizeable body of recordings of his voice.

The Final Cut extends the autobiography of The Wall, concentrating on Roger Waters' pain when his father died in World War II. Waters spins this off into a treatise on the futility of war, concentrating on the Falkland Islands, setting his blistering condemnations and scathing anger to impossibly subdued music that demands full attention…

2009 Marks The 111th Anniversary Of Deutsche Grammophon. Over 11 Decades, The Label's Philosophy Has Always Been 'The Greatest Recordings By The Greatest Artists In The World' And Now They Showcase This With This Incredible 55 Cd Box Set. This Unique Collection Forms Dg's Major Release In Its 111th Anniversary Celebrations. The Limited Edition Box Set Gathers Together Many Landmark Recordings, From The Past To The Present. Most Of Them Appear Complete, As Originally Programmed, In Their Original Cover Art And Several Include Additional Material. It Is A True Library Of Music, Artists And Recordings Extending From Abbado To Zimerman, Monteverdi To P„rt, Furtw„ngler To Dudamel– There's Never Been Anything Quite Like It Before. The Opulent Deluxe Box With Hinged Lid Opens Up To Reveal The Neatly Stacked Contents Of 51 'Original Jacket' Albums And 150-Page Booklet.

Herbie Hancock & Chick Corea - An Evening With… In Concert (1978) {2014 Japan Jazz Collection 1000 Columbia-RCA Series}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 394 Mb | MP3 @320 -> 214 Mb
Full Artwork @ 600 dpi (png) -> 230 Mb | 5% repair rar
© 1978, 2014 Columbia / Sony Music Japan | SICP 4261~62
Jazz / Post Bop / Piano

Reissue with the latest DSD remastering. Comes with liner notes. It's unlikely that two major musicians could have more in common than Chick Corea and Herbie Hancock. Born a year apart, they both got their starts on Blue Note sessions in the early 1960s, worked extensively with Miles Davis (albeit in very different periods), and were among the architects and biggest successes of fusion in the 1970s. Equally distinguished as pianists and composers, they share many of the same influences, both in classical music (Ravel, Debussy, Bartók) and jazz (Davis, John Coltrane, and Bill Evans), and in the late 1970s, both were dividing their time between electric and acoustic projects.