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Franklin Mint's "100 Greatest Recordings Of All Time" is a unique collection of the greatest performances ever recorded and has been awarded by respected members of an international music jury. The collection contains 100 records of excellent quality. Franklin Mint's "100 Greatest Recordings Of All Time" was named Best Personal Library of Recorded Music. Each recording has been selected by renowned music critics (Martin Bookspan, Schuyler G. Chapin, Franco Ferrara, Irving Kolodin, William Mann, R. Gallois Montbrun, Marcel Prawy, Andre Previn, William Schuman and H. H. Stuckenschmidt).

Franklin Mint's "100 Greatest Recordings Of All Time" is a unique collection of the greatest performances ever recorded and has been awarded by respected members of an international music jury. The collection contains 100 records of excellent quality. Franklin Mint's "100 Greatest Recordings Of All Time" was named Best Personal Library of Recorded Music. Each recording has been selected by renowned music critics (Martin Bookspan, Schuyler G. Chapin, Franco Ferrara, Irving Kolodin, William Mann, R. Gallois Montbrun, Marcel Prawy, Andre Previn, William Schuman and H. H. Stuckenschmidt).

Recorded in December at the Westfalenhalle Arena (Dortmund, Germany) during the band's 2003 Dance of Death tour, the two-disc Death on the Road deviates little from Iron Maiden's countless other live albums. While blissfully heavy on the group's excellent - and suitably theatrical - new material, longtime fans do not need any more live versions of "Number of the Beast," "Hallowed Be Thy Name," "Run to the Hills," or "The Trooper." All that said, Iron Maiden do not disappoint, laying to waste any notions that they can't hold themselves to the performance standards of their younger days. Even Bruce Dickinson, despite a voice that's now often more choked than feral, can barely keep himself from leaping into the crowd, and it's that kind of enthusiasm that makes each and every live release - and there are a lot of them - worthwhile to some degree.

Charles Tolliver - Mosaic Select (2005) {3CD Set, Strata-East–Mosaic MS-020 rec 1970-1973}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.12 Gb | MP3 @320 -> 463 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1970-73, 2005 Mosaic Records / Strata-East | MS-020
Jazz / Hard Bop / Post Bop / Trumpet

In the 1970's, the trumpeter Charles Tolliver was a righteous force in New York straight-ahead jazz. He pushed his energy to sustain sets of long, wending tunes with his quartet, which didn't include another horn player. The music – created in tandem with the pianist Stanley Cowell – was based on middle-period Coltrane: dark, modal, hard-driving, springy. Mr. Tolliver released it on his own label, Strata-East, setting an early and effective example of self-reliance in the jazz business. This set collects three out-of-print albums from Strata-East from 1970 to 1973, recorded live at Slugs' in New York and at a concert hall in Tokyo, and they're hard bop with a vengeance.

Pete Townshend - Live > Brixton Academy '85 (2004) {2CD Set Eel Pie EPR-020}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 0.97 Gb | MP3 @320 -> 352 Mb | Artwork | 5% repair rar
© 1985, 2004 Eel Pie Recording Prod. | EPR017
Rock / Contemporary Rock / Art Rock / Rock & Roll / Classic Rock

Live: Brixton Academy '85 is a live album by Pete Townshend. In 2004 Townshend released the complete 1985 Brixton Academy concert, including all of the songs that were on Deep End Live! plus the David Gilmour solo classics "Love On the Air" and "Blue Light", and other songs. The album was released 16 November 2004 in the UK through Eel Pie Recording Productions Ltd.

Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception - the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression. Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses…