Genesis Audio Fidelity

Genesis - Nursery Cryme (1971) {2013 Japan Mini LP SHM-CD Edition}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 253 Mb | MP3 @320 -> 95 Mb
Full Artwork @ 600 dpi (tiff) -> 327 Mb | 5% repair rar
© 2013 Charisma / Universal Music Japan | VJCP-98016
Rock / Art Rock / Prog Rock

Cardboard sleeve (mini LP) reissue from Genesis features the high-fidelity SHM-CD format (compatible with standard CD players) and 2008 digital remastering. Genesis mini-LP SHM-CD reissue series consists of the following 5 titles: "Trespass," "Nursery Cryme," "Foxtrot," "Selling England By The Pound," and "THE LAMB LIES DOWN ON BROADWAY."

‘Crowded House’ was the band’s first and most commercially successful effort, with two of its singles reaching the American Top Forty – ‘Something So Strong’ and ‘Don’t Dream It’s Over’. Reviewers commonly refer to the music of Crowded House as either new wave or something close to that – songs that are short in length, short on instrumental solos, and, to an extent, compatible with music videos. Much of that is actually true of ‘Crowded House’, but the only real description gets offered by stopping the talk, and turning on the music. The album is one snappy yet alluring melody after the next, music that variously earns the description of soulful, emotional, often a celebration but sometimes solemn. Beneath it all, one detects in Neil Finn’s music a passion and meticulous respect for the art he is creating. The lofty quality of his work not only applies to the music – his deceptively simple lyrics always emerge from the music, never the other way around.

Frank Zappa - Joe's Album Collection (2004-2008) [4CD] {Vaulternative Records}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 0.99 Gb | MP3 @320 -> 460 Mb
Full Artwork @ 300 dpi (jpg) -> 80 Mb | 5% repair rar
© 2004, 2005, 2008 Vaulternative Records / ZFT | VR 20041 / VR 20042 / VR 20051 / VR 20081
Rock / Experimental Rock

Official Release # 72. While no specific designation has been given to Joe's Corsage (2004), the liner notes indicate that this is the debut of an "exciting new series." The title is undoubtedly a clever play on Frank Zappa's Joe's Garage (1979), but the "Joe" in this case is audio archivist Joe Travers, who has been involved with the Zappa Family Trust (ZFT) since the triple-CD release Läther (1996). Granted, exceptions exist, however for the most part the earliest incarnations of the Mothers of Invention are included here with Zappa (guitar/vocals), "Baby" Ray Collins (vocals/tambourine/harmonica), Roy Estrada (bass), and Jimmy Black (drums).

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but its concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence – will it overtake man? What does it mean to be man? What responsibilities do mechanical beings have to their creators? And so on and so forth – with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this.

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence – will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth – with enough knotty intelligence to make it a seminal text of late-'70s geeks…

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but its concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence – will it overtake man? What does it mean to be man? What responsibilities do mechanical beings have to their creators? And so on and so forth – with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this.