The Big Issue August 15, 2016

An extensive 6CD box set devoted to one of the key innovators of the '60s psychedelic sound featuring their entire output, rarities and demos. Featuring the first CD issue of the mono mix of the 'Mass In F Minor', the collection also compiles the original dedicated mono 45 mixes, plus rare cuts, early demos, and extended takes, as well as the legendary live recording of the band captured in Stockholm during their European tour in late 1967, all lovingly remastered by Alec Palao. To complement these unique psychedelic sounds the box set includes a comprehensive history of the group by Gray Newell, featuring in-depth recollections from original vocalist James Lowe, and from key member of the later incarnation of the band, Richard Whetstone, making this the definitive Electric Prunes' collection.

Various Artists - Heavy Sugar Second Spoonful: More Pure Essence Of New Orleans R&B (1954-1960) {3CD Fantastic Voyage FVTD131 rel 2011}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 527 Mb | MP3 @320 -> 362 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1954-60, 2010 Fantastic Voyage | FVTD131
Rhythm & Blues / Rock ‘n’ Roll / Rockabilly

Following the critical acclaim and enthusiastic response to Heavy Sugar: The Pure Essence of New Orleans R&B, compiler Stuart Colman has dug deep into the city’s unique recording legacy to bring about a sumptuous second helping. In addition to the requisite sourcings, the net has been cast wider still in order to focus on material gleaned from such picayune outlets as Rustone, Pontchartrain, Athens, Winner and Spinett. There is a very good reason for this.

Clifford Brown - The Complete Paris Collection (1953) {3CD Set Vogue Japan, K30Y-6184~6, Early Press rel 1987}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 930 Mb | MP3 @320 -> 463 Mb
Full Artwork @ 600 dpi (png) -> 250 Mb | 5% repair rar
© 1953, 1987 Disques Vogue / King Records Japan | K30Y-6184~6
Jazz / Bop / Hard Bop / Trumpet

In a way, Brown was the Wynton Marsalis of his time; like Marsalis, Brown came on the jazz scene following a period of significant stylistic change. However, unlike Marsalis (who rejected the free jazz made famous by the generation just preceding his own), Brown chose to embrace the innovations of his immediate elders. In the process, Brown became one of the great post-Gillespie trumpeters, developing a voice that spoke the language of bebop with a distinct, personal inflection. In September 1953 – having just recorded his first dates as a leader for Blue Note – Brown went to Europe with Lionel Hampton.