The Exploding Girl (2009)

Wisely, the Cure decided to start fresh upon signing with their new label in 2004 by cleaning house, remastering the old albums, and bringing their fans Join the Dots: B-Sides & Rarities, 1978-2001. Not only is it the ultimate companion to the official releases, but it is, in a way, the new-super-deluxe-updated version of that cassette release of Staring at the Sea. Every B-side is included, in order, with cleaned-up sound, liner notes, and explanations by the man who made it all happen. All tracks, from "10.15 Saturday Night" (the B-side to the debut single "Killing an Arab") to covers of "Hello, I Love You," "Purple Haze," and "World in My Eyes," to entries from the Bloodflowers singles, are an indication that while the Cure made both strong albums and singles, they were not afraid to experiment along the way, and more importantly, they didn't let pride keep them from not making them available to those who were willing to look for them…

Based in Hamburg, Asterix is considered by many as a pre-Lucifer's Friend incarnation. It involves several Lucifer's Friend members (Dieter Horns on bass and Joachim Rietenbach on drums). Their music features classy proggy arrengements, a heavy-frantic rockin approach with occasional mainstream melodic-enthusiastic accents.

Sonny Rollins - What's New (1962) {RCA Victor 74321796262 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 302 Mb | MP3 @320 -> 118 Mb
Full Artwork @ 300 dpi (jpg) -> 21 Mb | 5% repair rar
© 1962, 2000 RCA Victor / BMG France | 74321796262
Jazz / Hard Bop / Tenor Saxophone

A very unique album from Sonny Rollins – one that features him blowing tenor over some Latin-based rhythms that have a tight uptempo feel. The core group on the album features Jim Hall on guitar, Bob Cranshaw on bass, and Ben Riley on drums – but they're augmented by larger arrangements that mix together bossa nova and calypso rhythms, which forge a surprisingly great background for Rollins' gutsy tenor. Although it's easy to dismiss the record as a throwaway cash-in affair on the Latin boom of the early 60s – Rollins actually handles himself wonderfully, and the longer-than-usual tracks on the album show a whole new side of his talents that were later reprised on Latin sessions during the 70s.