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The Mandrake Memorial - Medium (1969) {Poppy–Collectables COL-0692 rel 1996}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 214 Mb | MP3 @320 -> 94 Mb
Full Artwork @ 300 dpi (jpg) -> 8 Mb | 5% repair rar
© 1969, 1996 Poppy Records / Collectables Records | COL-0692
Rock / Psychedelic Rock / Early Progressive Rock

The brooding second album by Mandrake Memorial is complex, transitional and driven by four egos trying to define a unique sound-and still get along. I would chalk up any unevenness between the tracks to the compromises happening behind the scenes. It lacks the upbeat, spontaneous flow and continuity of their first album, though this music has a gradual tidal wave swelling to it, and it's full power becomes accessible after repeated listening. Mandrake's musicianship is improved and the song writing is far more adventurous.

Creedence Clearwater Revival: Box Set, 6 CDs (2001)
Fantasy | November 1, 2001 | Country Rock | APE | 3% Recovery | 2,52 Go | Covers | 6 CDs

Amazon.com
Popular but not hip, basic but not shallow, rooted but not retro, Creedence Clearwater Revival distinguished themselves in the late 1960s and early 1970s through these contradictions. This six-disc set is the definitive Creedence collection, offering superbly remastered versions of all of their studio and live albums and adding a disc's worth of pre-Creedence material. The ultimate blue-collar rock band, John Fogerty and CCR found success by wholly giving in to their fascination with the American South (despite hailing from Northern California) and exploring the turf that connected R&B and country–the same turf that their heroes at Sun studios tilled at rock's birth. As the songs on the first disc prove, they hadn't always taken this approach though perhaps they should have: The first four songs from 1961 (by Tommy Fogerty and the Blue Velvets), original compositions in the classic '50s rock & roll style they loved, hold up better than subsequent Golliwogs tracks that attempt to replicate the British Invasion sound in vogue at the time. Still, the Golliwogs tracks offer hints of John Fogerty's menacing growl and biting guitar that would fully blossom later on.

When diving into CCR's entire body of work, many myths dissipate and a more well-rounded view comes into focus: the quintessential singles band that dominated AM radio was also quite an album band, releasing solid records from top to bottom even though half of the songs were saturating radio long before the LP would hit. Also, they weren't quite as far removed from their Bay Area brethren (who were reared on the same roots music) as is often stated, offering a number of long and loose jams that, while not overtly psychedelic, gave them and their fans a chance to stretch out. Without question, though, CCR were the kings of the three-minute rock single, and it's these now-ubiquitous gems–the consummate AM band now dominates FM radio–that will always define them. –Marc Greilsamer

Barnesandnoble.com
It was stripped down, it rocked and rolled, and amazingly, in an era when pop music grew more complex and seemingly more sophisticated with each passing month, the music of Creedence Clearwater Revival was also enormously popular. The underdogs of rock during the late '60s and early '70s, CCR had a series of consecutive hit singles and albums that may have been out of step with the era's AM radio blandness and pretentious prog-rock but nonetheless spoke directly to fans across the board. With guitarist, vocalist, composer, producer, and resident genius John Fogerty at the helm, the band combined the lean funk of R&B with the grit of the blues and the sweet soul of country, tying it all up with a tough-as-nails rock 'n' roll sound that had a direct lineage from Sun Studio rockabilly and Specialty Records-era Little Richard rave-ups. Creedence cut tunes that got to the point fast and then wrapped them up before they wore out their welcome. In the process they made classic music: "Born on the Bayou," "Proud Mary," "Green River" "Going up Around the Bend," "Fortunate Son," and plenty of others will live as long as rock 'n' roll does. And it all can be found on this comprehensive six-CD box set collecting the band's seven official studio albums (and one live recording) as well as a disc full of fascinating pre-Creedence material that will be an immediate draw to collectors and others already pulled into the CCR universe. But even casual listeners will appreciate the remastered sound, a remarkable sonic improvement over the previously available CDs that puts the band's righteous rockin' right in your face. The roots of the quartet's no-nonsense sound can be heard in the early, previously unreleased material: Within the Motown and British Invasion grooves pulse the economic, ultra-tight rhythm section and Northern California garage rock ethic that would define the band's mature style. The formula that Fogerty later conceived, and that CCR thankfully stuck with through its glory years – 1968 through 1970, covering the albums Creedence Clearwater Revival through Cosmo's Factory (the two final, problematic albums Pendulum and Mardi Gras, can also be examined for revisionist opinions) – still holds it own three decades after the band's dissolution. Creedence's influence may be even more strongly felt today: Try to imagine Americana rock without their grassroots kick as an example. A case can even be made that Creedence may be the most elemental of all American bands. The evidence is right here on this must-have set. The accompanying 72-page booklet features essays from noted music crits Ben Fong-Torres, Dave Marsh, Robert Christgau, and others. Each box is individually numbered, adding to the collectors' value. –Steve Futterman

The resurgence in popularity of British hard rock during the early and mid eighties had been fuelled predominantly by the emergence of the NWOBHM, a musical genre that mainly embraced rough hewn riff combos. However, a secondary more melodic movement was also in full swing spearheaded by musicians influenced by the enormous success of US based acts such as Journey, Foreigner and Loverboy. Virginia Wolf were, it must be said, very much at the cutting edge of the counter offensive, weighing in as one of the UK's most promising new groups. Their debut album is regarded as a milestone in melodic hard rock, relying heavily on gifted song writing, together with the stunning vocals of Chris Ousey, a man with one of the most identifiable voices in British rock. It is a simply breathtaking offering.

One of the staples in the Count Basie discography, April in Paris is one of those rare albums that makes its mark as an almost instant classic in the jazz pantheon. April in Paris represents the reassembly of the original Count Basie orchestra that define swing in the 1930s and 1940…

VA - Rolling Stone Rare Trax Vol. 21 - This Is Soul: Black Music From The 70s Till Today
EAC+LOG+CUE | FLAC: 442 MB | Full Artwork | 5% Recovery Info
Label/Cat#: None, Promo | Country/Year: Germany 2002
Genre: Rock, Pop, R'n'B | Style: Soul

RARE TRAX is a continued series of promotional samplers given away with the german edition of Rolling Stone magazine since the 1990's and has reached volume 80 already. Each version covers a special topic and presents lesser known songs and/or artists.

“Pretty On Harvard” is Placid Larry’s fourth album outing with German Chillout label Lemongrassmusic. Over 5 years have come and gone since his well received “Melancholy Light “ debut back in 2012. This new album is a contemporary reminder of those formative influences as Placid Larry touches on his roots here with a precise blend of Jazz, Chill-Hop, Trip-Hop and Chill Out. “Pretty On Harvard” is an easy listening excursion for the soul, soothing and gentle but with enough of an edge to get that foot tapping or head bobbing…

Miles Davis - Birth Of The Cool (1949) {Japan Black Triangle CP32-5181 rel 1986}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 210 Mb | MP3 @320 -> 84 Mb
Full Artwork @ 300 dpi (png) -> 12 Mb | 5% repair rar
© 1949-50, 1986 Capitol / Toshiba EMI Japan | CP32-5181 | Black Triangle | Mono
Jazz / Cool / Trumpet

Legendary work from Miles Davis – large group sessions that virtually define the "cool" in cool jazz! The work's quite different from Davis' earlier bop sides with Charlie Parker – and show a distinct influence from modernists like Gerry Mulligan (who is on the recordings) and from the experiments of the Tristano school. Miles is less the leader than the creative visionary – as all players come together in a perfect blend of sound, perfectly polished, and with a very dark edge.