End Day (2005)

No matter the associates or variables involved, a Saint Etienne album is always going to end up sounding just like a Saint Etienne album, even if it's a little different from what came before it. On Tales from Turnpike House, the group gets two productions from Xenomania (Girls Aloud, Sugababes), several vocal arrangements from Tony Rivers (the Castaways, Harmony Grass) and son, some songwriting and vocal contributions from the misunderstood David Essex ("Rock On," "Stardust"), and assorted things from faces old and new…

Richard Hickox was renowned primarily for his unparalleled service to British music, with a vast discography covering not just the obvious Elgar, Vaughan Williams and Delius but composers whose output seldom gets an airing in the concert hall. I make no comment on the worth of much of the music revealed to us-but if we don’t get to hear it we cannot judge at all!

Elvis Costello - The Right Spectacle: The Very Best Of Elvis Costello - The Videos [DVD] (2005) {Demon Vision}
DVD9 -> 7.26 Gb | All Regions | NTSC 4:3 | Dolby AC3, 2 ch / Dolby AC3, 6 ch | ~ 155 m | ISO Image
Full Artwork @ 300 dpi (png) -> 58 Mb | 5% repair rar | Subs: English, Deutsch, Francais, Italiano, Espanol, Portugues
© 2005 Demon Vision / Warner | 5051011 1532-2-8
Rock / Alternative Rock / Indie / Contemporary Pop

This DVD, a unique collection of the visual works of Elvis Costello, boasts a grand total of 27 videos and includes material rarely seen since the original release of the singles they supported. From his first Radar Records single in 1978, "I Don't Want To Go To (Chelsea)," to his final video for Warner Bros., "13 Steps Lead Down" (from 1994's Brutal Youth), this is a must purchase for all serious Elvis Costello enthusiasts and fans alike. EC’s promo videos in chronological order and four songs that were never issued as singles at all. The six Warner Brothers videos have never been commercially available before. Each video features a commentary from Elvis Costello himself.

With the precision of a clockwork the American/Norwegian quartet KAMELOT has been releasing its albums since 1995 now and in the course of the years has developed into one of the most original and best bands of the genre. The last album “Epica“ in 2003 had without a doubt been the most ambitious epos to date, as they took on the heavy stuff in form of Goethe’s “Faustus” to realise. And with “The Black Halo” they take up this theme once more and combine it with own experiences and views, which results in another very deep experience, which you can interpret in a myriad of ways, which just adds to the fascination of this album…

Ikarus a.k.a. Wolfgang Stindl started to work on the Ikarus project back in 1995, after years of studying music, making first experiences in performing & producing. Inspired by vast journeys and all sorts of ethnic music, Ikarus started to combine Electronic Chill Out tracks with sounds & vocals from all over the planet. Ikarus draws on voices from every corner of the world; from India and Africa to Eastern Europe and Asia. Hymns of joy and cries of anger, prayers to the spirits, songs of hope and despair have all been brought to question your certainties, seize your senses and stir your emotions. Ikarus combines all kinds of ethnic music with electronic backgrounds. A unique fusion where vocal samples and instrumental solos, including guitars, didgeridoo and shakuhachi blend perfectly with fashionable downtempo trip-hop and ambient grooves.

Marvin Gaye - At The Copa (1966) {Motown–Hip-O Select B0003629-02 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 423 Mb | MP3 @320 -> 158 Mb
Full Artwork @ 300 dpi (jpg) -> 57 Mb | 5% repair rar
© 1966, 2005 Motown Records / Hip-O Select | B0003629-02
Soul / Pop Standard / R&B / Motown / Urban / Vocal Jazz

Generally regarded as an iconic nightclub in the history of New York City, the Copa represented that and more to Motown owner Berry Gordy. For Gordy, the Copa was one of many benchmarks indicating that his little experiment called Motown was successful, and having his artists there was the ultimate symbol of how far he had come. The Supremes already had their shot at the Copa, and a live album was issued shortly thereafter. Next up was Gordy's rebellious but chart topping prodigy, Marvin Gaye. In many respects this was the ideal performance for Gaye, as many of the singers he grew to idolize shared the stage there at one point or another, with names like Sinatra and Cole.