The Glass Recordings of Willem Einthoven

To the outside observer, Looking Glass were one of the luckiest bands to come up during the early '70s – and doubly so, coming out of New Jersey in 1972 with a number one hit, three years before anyone was thinking about Bruce Springsteen & the E Street Band, and getting radio play on the song that has carried over into the oldies and '70s nostalgia boom over the decades since. Ironically, the bandmembers were never entirely happy with either the hit or the nature of the success that it brought them, mostly because it didn't represent what Looking Glass actually sounded like.

Hina Spani (1890–1969) was born Higinia Tuñón in a province of Buenos Aires. She enjoyed a major operatic career centered in Italy during the 1920s and 1930s. Among the great sopranos of her era, Spani shines as brightly as any, yet her celebrity was less well known most likely due to her career being limited mainly to Italy, Spain, and South America, and her only tour to an English-speaking country was in Australia. She made her operatic debut at La Scala in 1915 as Anna in Catalani’s Loreley. She sang at Puccini’s funeral at the Duomo in Milan’s cathedral on 29 November 1924 (and repeated this performance at La Scala a month later) under the baton of Arturo Toscanini, which was a turning point in her career. She created the title role in the world premiere of Respighi’s Maria Egiziaca in 1934 at the Teatro Colón, Buenos Aires and performed in the world premiere of Alberto Franchetti’s Glauco. Spani’s voice is of first-rate quality and well-trained, with a beautifully warm tone and an even scale. She began as a lirico-spinto but graduated to dramatic parts and had a vibrant, instantly recognizable voice capable of thrilling the listener in opera or song.

Joy Division is one of the definitive bands from the rock culture. With their dark poetic inception and a sound marked by a new way of thinking about how music should be created, the Manchester band served as a model for countless artists. Today, just as it marks 35 years of the death of Ian Curtis (the legendary singer and lyricist of the group) The Many Faces Of Joy Division shows the hidden world behind the group, their rare recordings, side projects, their influences and the Manchester scene where the band bloomed. With a wonderful cover art, remastered sound and extensive liner notes, The Many Faces of Joy Division is an album not only for fans but for anyone who wants to understand the influence (and enjoy the music) of a truly transcendent bad, which made beauty out of sadness.

Sundazed Music is proud to present Another Side of This Life, 18 previously unheard demo recordings of Gram Parsons, country-rock pioneer and former member of the Byrds and founding member of the Flying Burrito Brothers. This collection features Parsons, singing and playing acoustic guitar, recorded from March 1965 to April 1966 at the home of his Winter Haven, Fla. friend, Jim Carlton.

Stan Getz - The Complete Recordings of the Stan Getz Quintet with Jimmy Raney (1951-53) {3CD Set Mosaic Records rel 1990}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 558 Mb | MP3 @320 -> 375 Mb
Full Artwork @ 600 dpi (jpg) -> 90 Mb | 5% repair rar
© 1951-53, 1990 Mosaic Records | MD3-131
Jazz / Cool / Bop / Saxophone / Guitar

This limited-edition three-CD set will be hard to acquire but it is a gem. Tenor saxophonist Stan Getz and guitarist Jimmy Raney had very complementary cool-toned but hard-swinging styles. Their gig at Storyville in Boston resulted in some classic music that, along with five studio sessions, is included in this box. The supporting cast includes pianists Al Haig, Horace Silver, Duke Jordan, and Hall Overton; the music was originally recorded for Roost, Clef, Norgran, and Prestige. This essential set is filled with exciting performances from Stan Getz when he was first becoming a highly influential force in jazz.

Jazz musician and film composer Krzysztof Komeda is best known for his film scores for the movies of Roman Polanski and Ingmar Bergman. Born Krzysztof Trzcinski in 1931, he used "Komeda" as his last name because of Communism disfavor with jazz music.