Geomatica 2014 Linux64

This is a deluxe box set including: Each individual item (complete opera or recital CD) presented in its original artwork, 136 pages hard-back book containing essays, a biography and chronology, rarely-seen photos and also reproductions of revealing correspondence between Maria Callas, Walter Legge and other EMI executives.

Sun Ra and His Arkestra - In the Orbit of Ra (2014) {2CD Set Strut STRUT109CD}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 668 Mb | MP3 @320 -> 290 Mb
Full Artwork @ 300 dpi (jpg) -> 75 Mb | 5% repair rar
© 2014 Strut | STRUT109CD
Jazz / Avant-Garde Jazz / Experimental Big Band / Progressive Jazz

Arkestra bandleader Marshall Allen presents Sun Ra classics and rarities. Includes previously unreleased track 'Trying To Put The Blame On Me' + previously unissued versions of 'Reflects Motion' and 'Island In The Sun'. As the longest-tenured member of the Arkestra (55-plus years and counting as of 2014), there is no one with a deeper understanding of the music of Sun Ra than Marshall Allen, and that's part of what makes In the Orbit of Ra such a special collection. The Arkestra's long history is often divided into musical/geographic periods or spoken of as a progression from inside to outside playing. This set spans from the late '50s to the late '70s but the non-chronological sequencing shows how artificial those stylistic boundaries are.

Rock Werchter, one of the greatest festivals in the world. What once started as a little one day festival in 1975 in Werchter Belgium in a tent, has now become very big, and lasts four days; with multiple podia. This CD is a compilation of the countless groups that since 1975 have visited the festival, although some names are missing, despite the fact that they made the festival what it is today. To name but a few of the better known names : U 2, Metallica, maybe this has to do with royalties but also bands like Midnight Oil and the long forgotten The Alarm are missing.

Matsuda Seiko (松田聖子) is a Japanese kayokyoku singer-songwriter. She was Japan's prime idol for 15 years before Amuro Namie and Hamasaki Ayumi conquered the Oricon charts. She's had huge influence among today's female artists and is still trying to conquer the stage she once owned with her daughter SAYAKA.

Jordi Savall & Pedro Estevan - La Lira d'Esperia II: Galicia (2014) {Alia Vox AVSA9907}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 430 Mb | MP3 @320 -> 171 Mb
Full Artwork @ 600 dpi (jpg) -> 392 Mb | 5% repair rar
© 2014 Alia Vox | AVSA9907
Classical / Chamber Music / Medieval

Exactly 20 years ago (in 1994), after several years of research, experimentation and concerts, we recorded our first CD devoted to La Lira d’Espéria, performed on my three early instruments – the Rebec, the Tenor Fiddle and the Rabab (Rabel morisco) – with the indispensable percussion of Pedro Estevan. The idea was to announce the music and instruments featured in the recording using the evocative ancient names of Lyra and Hesperia. It was an obvious choice, as the whole recording was devoted to the medieval repertory for bowed instruments and consisted of music from the various Christian, Jewish and Arabo-Andalusian cultures that existed in ancient Iberia and Italica.

Willie Nelson - It Will Come To Pass: The Metaphysical Worlds And Poetic Introspections Of… (2014) {OMNI-179 rec 1965-1971}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 428 Mb | MP3 @320 -> 179 Mb
Full Artwork @ 300 dpi (png) -> 55 Mb | 5% repair rar
© 1965-71, 2014 RCA / Omni Recording Corporation | OMNI - 179
Country / Country-Pop / Outlaw Country / Progressive Country / Traditional Country

Every word of the winding title It Will Come to Pass: The Metaphysical Worlds and Poetic Introspections of Willie Nelson indicates that this 2014 Omni compilation is no standard Willie Nelson collection. As is its wont, Omni specializes in the Nashville netherworld that exists somewhere between Tennessee and Hollywood, a place Willie explored quite often in the '60s. Often when his story is told, it's implied there was no room for Nelson in Nashville during the '60s because he was too much of a rough outlaw, but this collection, drawn entirely from records he cut for RCA during that decade, plus a cut or two from the early '70s, illustrates how Willie didn't fit in because he'd descend into spooky, jazzy grooves or strum a 12-string just as often as he'd haul out the western swing.