Net August 2016

UK five CD set containing a quintet of albums housed in mini LP sleeves and packaged together in a slip case. This set from the heavy rockers includes the albums Heavy, In-A-Gadda-Da-Vida, Ball, Live and Metamorphosis.

Frank Zappa - Lumpy Money - The Project/Object (2009) {3CD Zappa Records ZR20008 reissue 2016 rec 1968}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.00 Gb | MP3 @320 -> 483 Mb
Full Artwork @ 600 dpi (png) -> 1.23 Gb | 5% repair rar
© 1968, 2009, 2016 Zappa Records | ZR20008
Rock / Experimental Rock / Avant-Garde / Art Rock / Jazz Rock

Official Release #85. This triple volume package contains an audio documentary tracing the conception and construction of Frank Zappa's We're Only in It for the Money (1968) and Lumpy Gravy (1968) masterworks. As the second entry in the Project/Object series (the first being the MoFo Project/Object in 2006 that gathered four CDs worth of goodies from the Freak Out! era), the modus operandi for Lumpy Money (2009) remains much the same as its predecessor. Presented within are primary components from both works in several unique – and formerly unissued – incarnations and configurations. It should also be noted that neither of Zappa's mid-'90s approved masters for We're Only in It for the Money or Lumpy Gravy are found here. Instead of retreading those – which (as of this 2009 writing) remain in print on the Rykodisc label – the nearly three-and-a-half hours served up here offer an embarrassment of insight into the development of the music, as well as the modular recording style that Zappa was evermore frequently incorporating into his craft.

Various Artists - Brexit Blues (2016) {Riverboat Records TUGCD1097}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 299 Mb | MP3 @320 -> 127 Mb
Full Artwork @ 600 dpi (jpg) -> 47 Mb | 5% repair rar
© 2016 Riverboat Records / World Music Network | TUGCD1097
World Music / Blues / Folk / Roots

Brexit Blues offers a light-hearted yet poignant collection of folk, roots and blues music from across Europe, lamenting a decision that confounds those of us who openly welcome our neighbours and celebrate cultural diversity.

With their first records, Ride created a unique Wall of Sound that relied on massive, trembling distortion in the vein of My Bloody Valentine but with a simpler, more direct melodic approach. The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegazing by the British press because the bandmembers stared at the stage while they performed. Along with their initial influence, My Bloody Valentine, Ride stood apart from the shoegazing pack, primarily because of their keen sense of songcraft and dynamics. For a while, Ride were proclaimed the last great hope of British rock, but they fell from the spotlight nearly as quickly as they entered it.