Supertramp – Breakfast In America (1979) [Japanese Limited SHM-SACD 2013 # UIGY-9536] {SACD-R + FLAC 24-88.2}

Supertramp – Breakfast In America (1979) [Japanese Limited SHM-SACD 2013 # UIGY-9536]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 46:11 minutes | Scans included | 2,01 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,03 GB
Genre: Rock

With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp’s earlier records weren’t as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits “The Logical Song,” “Take the Long Way Home,” and “Goodbye Stranger.” Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark.

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The Sex Pistols – Never Mind The Bollocks (1977/2014) [Blu-Ray Audio Rip 24-96]

Sex Pistols – Never Mind The Bollocks (1977/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 110:11 minutes | 2,44 GB
Blu-Ray Audio Rip | Sourced Track – LPCM 2.0 Stereo

High Fidelity Pure Audio edition of the classic Sex Pistols album Never Mind The Bollocks…. Here’s The Sex Pistols. Expanded with four B-Sides & two live show from 1977. 30 tracks total.

While mostly accurate, dismissing Never Mind the Bollocks as merely a series of loud, ragged midtempo rockers with a harsh, grating vocalist and not much melody would be a terrible error. Already anthemic songs are rendered positively transcendent by Johnny Rotten’s rabid, foaming delivery. His bitterly sarcastic attacks on pretentious affectation and the very foundations of British society were all carried out in the most confrontational, impolite manner possible. Most imitators of the Pistols’ angry nihilism missed the point: underneath the shock tactics and theatrical negativity were social critiques carefully designed for maximum impact. Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. the Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective. It’s easy to see how the band’s roaring energy, overwhelmingly snotty attitude, and Rotten’s furious ranting sparked a musical revolution, and those qualities haven’t diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time.

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Rod Stewart – Every Picture Tells A Story (1971) [Japanese Limited SHM-SACD 2013 # UIGY-9535] {SACD-R + FLAC 24-88.2}

Rod Stewart – Every Picture Tells A Story (1971) [Japanese Limited SHM-SACD 2013 # UIGY-9535]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:28 minutes | Scans included | 1,65 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 871 MB
Genre: Rock

Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley — the Faces blister on the Temptations cover “(I Know I’m) Losing You,” and the acoustic title track goes into hyper-drive with Mick Waller’s primitive drumming — the great triumph of Every Picture Tells a Story lies in its content. Every song on the album, whether it’s a cover or original, is a gem, combining to form a romantic, earthy portrait of a young man joyously celebrating his young life. Of course, “Maggie May” — the ornate, ringing ode about a seduction from an older woman — is the centerpiece, but each song, whether it’s the devilishly witty title track or the unbearably poignant “Mandolin Wind,” has the same appeal. And the covers, including definitive readings of Bob Dylan’s “Tomorrow Is Such a Long Time” and Tim Hardin’s “Reason to Believe,” as well as a rollicking “That’s All Right,” are equally terrific, bringing new dimension to the songs. It’s a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music — few rock albums are quite this powerful or this rich.

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Rod Stewart – Gasoline Alley (1970) [Japanese Limited SHM-SACD 2010 # UIGY-9051] {SACD-R + FLAC 24-88.2}

Rod Stewart – Gasoline Alley (1970) [Japanese Limited SHM-SACD 2010 # UIGY-9051]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 42:23 minutes | Scans included | 1,73 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 893 MB
Genre: Rock

Features the 2010 DSD mastering based on Japanese original analog tape. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players). DSD Transferred by Manabu Matsumura.

Gasoline Alley follows the same formula of Rod Stewart’s first album, intercutting contemporary covers with slightly older rock & roll and folk classics and originals written in the same vein. The difference is in execution. Stewart sounds more confident, claiming Elton John’s “Country Comfort,” the Small Faces’ “My Way of Giving,” and the Rolling Stones’ version of “It’s All Over Now” with a ragged, laddish charm. Like its predecessor, nearly all of Gasoline Alley is played on acoustic instruments — Stewart treats rock & roll songs like folk songs, reinterpreting them in individual, unpredictable ways. For instance, “It’s All Over Now” becomes a shambling, loose-limbed ramble instead of a tight R&B/blues groove, and “Cut Across Shorty” is based around a howling, Mideastern violin instead of a rockabilly riff. Of course, being a rocker at heart, Stewart doesn’t let these songs become limp acoustic numbers — these rock harder than any fuzz-guitar workout. The drums crash and bang, the acoustic guitars are pounded with a vengeance — it’s a wild, careening sound that is positively joyous with its abandon. And on the slow songs, Stewart is nuanced and affecting — his interpretation of Bob Dylan’s “Only a Hobo” is one of the finest Dylan covers, while the original title track is a vivid, loving tribute to his adolescence. And that spirit is carried throughout Gasoline Alley. It’s an album that celebrates tradition while moving it into the present and never once does it disown the past.

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Roger Waters – Ca Ira: There Is Hope (2x SACD, 2005) [2.0 & 5.1] {SACD-R + FLAC 24-88.2}

Roger Waters – Ça Ira: There Is Hope (2x SACD, 2005)
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 111:30 minutes | Scans included | 5,96 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,91 GB
Opera in Three Acts | Features 2.0 Stereo and 5.1 multichannel surround sound
Genre: Classical, Pop/Rock

Ça Ira (French for “It’ll be fine”, subtitled “There is Hope”) is an opera in three acts by Roger Waters based on the French libretto co-written by Étienne and Nadine Roda-Gil on the historical subject of the early French Revolution. Ça Ira was released 26 September 2005, as a double CD album featuring baritone Bryn Terfel, soprano Ying Huang, and tenor Paul Groves.

Roger Waters, the man who equated “education” with “thought control” in his pseudo-opera The Wall, is now back and appealing to higher culture in his new opera Ça Ira. Moreover, this is a real opera, with singers, a chorus, and an orchestra with not a single dreamy, overlong electric guitar solo in sight. Fans of Pink Floyd will find little in Ça Ira to satisfy their jones for “the Floyd,” although there are many standard musical features associated with the classic rock staple group that have been carried over into this work — crushingly slow tempi, somber and monotonous singing, and a mania for pristine recordings of sound effects. At one point, a volley of musket fire makes you jump out of your seat.

Ça Ira was undertaken with librettists Etienne and Nadine Roda-Gil not long after The Wall, but it took Waters so long to put the finishing touches on it that his collaborators have since died. Waters made a smart decision in using librettists for this project, as his own corroded worldview would certainly have undone the basic idea, the message of which is “there is hope.” That said, the Roda-Gils took on too large of a swath of the French Revolution to cram into three acts, and the listener gets no more than a picture postcard sense of its flavor. All of the principal singers in this recording are required to take on multiple roles in Ça Ira, and this results in a twofold effect. The first is that it brings Ça Ira into the realm of opera-oratorio, and even to some degree Brechtian “Lehrstück,” and secondly, it’s hard to tell what character a singer is supposed to be portraying if one is not following the libretto. Expect the motion picture version soon!

Naturally, Bryn Terfel and Ying Huang are top-drawer opera singers, and Terfel relishes the opportunity, chewing on as much scenery as he can get his hands on. Huang, for her part, hangs in there, but she does not sing as though she loves this material. Ça Ira would be a hard opera for a singer to love, as there is no characterization through the singing whatsoever, and characters themselves are not given enough of the floor to engage us. The orchestration is handled with taste and some sophistication, but in terms of melody, Ça Ira is the sing-songiest opera since the pre-revolutionary days of Thomas and Sally. Wherever the fundamental of the harmonic movement is, the melody line follows, and vice-versa. In spots where there is no harmonic foundation, Waters resorts to scalar or bugle-call like figures that, while effectively passing as notes to hang the words onto, do not constitute melody in and of themselves. This kind of texture overall would be tremendously monochromatic and dull for the average opera listener.

However, if the name above the title were Andrew Lloyd Webber, then Ça Ira would be considered better than average. Moreover, there is potential good to be reaped if Ça Ira gains some popularity. If it proves to your standard-issue stoner that you don’t have to be a dork to enjoy an opera, that’s terrific. If it helps raise the public profile of the fine singers involved here, that is great, too. Nevertheless, as an opera of which the notion “there is hope” is the main theme, at least musically Ça Ira isn’t very hopeful.

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Roger Waters – In The Flesh: Live (2x SACD, 2000) [2.0 & 5.1] {SACD-R + FLAC 24-88.2}

Roger Waters – In The Flesh: Live (2x SACD, 2000)
PS3 Rip | ISO | SACD DSD64 2.0 & DST 5.1 > 1-bit/2.8224 MHz | 148:34 minutes | Scans | 13,0 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,99 GB
Features 2.0 Stereo and 5.1 multichannel surround sound
Genre: Rock

It’s nothing short of remarkable that Roger Waters has built a successful career on obsessive ruminations on alienation, megalomania, and guilty fame, largely on the backs of one of history’s most long-lived arena acts. The musical legacy Waters has shared with “another band” (as he sharply refers to his former Pink Floyd mates in this collection’s self-penned liner notes) has served two distinctly different functions: part and parcel of the latter’s nostalgia act; autobiographical foundation for the former’s ongoing, if decidedly egocentric, Rage at the World. That’s essentially the rationale this live collection uses to lean heavily on Waters’s Pink prime, from Dark Side of the Moon through The Final Cut. And if that frame sometimes overshadows the images of Waters’s solo work–well, no one said he wasn’t a pragmatic entertainer.

Roger Waters’ tours of the U.S. during the summers of 1999 and 2000 were a pleasant surprise, since the reclusive rocker had not toured since 1987. In his liner notes to this two-CD set drawn from those performances, Waters does not shy away from discussing his antipathy to big concert venues. But he makes a distinction between stadiums and arenas, and he also notes that he found himself becoming more comfortable in the role of a frontman. This more personable Roger Waters isn’t what comes across on the album, but the closer relationship he perceives to his audience is nevertheless palpable. As the man who wrote Pink Floyd’s lyrics, he is far more concerned with their meaning than his old bandmates, and his singing is emphasized without robbing the music of its magisterial power. In fact, with a band boasting several guitarists to make up for the lack of David Gilmour, Waters effectively re-creates the sound of his Pink Floyd work, which dominates the set list. The album contains only five selections out of 24 from Waters’ solo albums: one track from The Pros and Cons of Hitchhiking and four from Amused to Death, with Radio K.A.O.S. left out completely. He does not choose the most obvious solo material, but he makes his selections work, especially “Perfect Sense (Pts. I & 2)” and “It’s a Miracle,” from Amused to Death. A new song, “Each Small Candle,” finds him still obsessed with world problems, but seemingly more optimistic. Waters had seemed to allow his anger about Pink Floyd’s continuance without him to keep him from claiming his own part of their legacy. His 1999-2000 touring changed that, and In the Flesh Live makes the point for those who couldn’t get to the shows.

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Roger Waters – The Wall: Live in Berlin (1990) [2x SACD, Reissue 2003] {SACD-R + FLAC 24-88.2}

Roger Waters – The Wall: Live in Berlin (1990) [2x SACD, Reissue 2003]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 110:20 mins | Scans included | 8,39 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,16 GB
Genre: Rock

Pink Floyd’s 1979 double album The Wall was that strangest of beasts: a concept album, driven by a tortured rock-star protagonist, so obtusely personal it sometimes bordered on the inscrutable. But history was kind to the Roger Waters-spawned epic; when the communist bloc crumbled in 1989, taking the symbolic Berlin Wall with it, it inspired the ex-Floyd bassist and singer to frame his most ambitious work as another familiar tortured-rock-star conceit: the all-star benefit-concert TV broadcast. The shifting tides of history have undermined much of this remastered, double-disc soundtrack’s momentous context, leaving behind a larger-than-life spectacle that, depending on one’s viewpoint, could represent rock’s most overarching populism–or the beginning of the end. Still, the star-heavy concept yields some unexpected surprises, from the Scorpions’ bracing opening blast through haunting reinventions of “Mother” (Sinead O’Connor) and “Goodbye Blue Sky” (Joni Mitchell)–performances that blunt the oft-suspect misogyny of Waters’s sprawling tale. Bryan Adams injects some vocal fire into “Empty Spaces” and “Young Lust,” but by the time Waters, company, a massed German orchestra, choir, and the Military Orchestra of the Soviet Union reach the album’s crescendos the event has gone so far over the top that it seems like nothing short of a neo-operatic Andrew Lloyd Webber wet dream.

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Queen – Absolute Greatest (2009) [DTS 5.0]

Queen – Absolute Greatest
Artist: Queen | Album: Absolute Greatest | Style: Rock | Year: 2009 | Quality: DTS 5.0 (.wav+.cue, 44.1kHz/24Bit) | Bitrate: ~1411 kbps | Tracks: 20 | Size: ~802 Mb | Recovery: 3% | Release: upmix

Tracks:
01. We Will Rock You (Brian May) (02:03)
02. We Are The Champions (Freddie Mercury) (03:02)
03. Radio Ga Ga (Roger Taylor) (05:48)
04. Another One Bites The Dust (John Deacon) (03:35)
05. I Want It All (Queen) (04:01)
06. Crazy Little Thing Called Love (Freddie Mercury) (02:44)
07. A Kind Of Magic (Roger Taylor) (04:25)
08. Under Pressure (Queen/David Bowie) (04:03)
09. One Vision (Queen) (04:05)
10. Youre My Best Friend (John Deacon) (02:51)
11. Dont Stop Me Now (Freddie Mercury) (03:30)
12. Killer Queen (Freddie Mercury) (03:01)
13. These Are The Days Of Our Lives (Queen) (04:13)
14. Who Wants To Live Forever (Brian May) (04:55)
15. Seven Seas Of Rhye (Freddie Mercury) (02:47)
16. Heaven For Everyone (Roger Taylor) (04:44)
17. Somebody To Love (Freddie Mercury) (04:56)
18. I Want To Break Free (John Deacon) (04:20)
19. The Show Must Go On (Queen) (04:33)
20. Bohemian Rhapsody (Freddie Mercury) (05:57)

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VA – Disco Instrumental (2008) [DTS 5.0]

VA – Disco Instrumental
Artist: Various Artists | Album: Disco Instrumental | Style: Pop, Disco | Year: 2008 | Quality: DTS 5.0 (.dts tracks, 44.1 kHz/24Bit) | Bitrate: ~1411 kbps | Tracks: 14 | Size: ~584 Mb | Recovery: 3% | Release: surround mix bond19691

Tracklist:
01. Scotch – Penguins’ Invasion (Instrumental)
02. Fancy – China Blue (Instrumental)
03. Hipnosis – Pulstar
04. Bob Salton – Starknight (Instrumental)
05. Space – Secret Dreams
06. Bad Boys Blue – Lady In Black (Instrumental)
07. Laserdance – Around the Planet
08. Savage – Magic Carillon (Instrumental)
09. Giorgio Moroder – Love Theme
10. Clock – Axel F
11. Mozzart – In China (Instrumental)
12. Max-Him – Japanese Girl (Instrumental)
13. Mr. Zivago – Tell by Your Eyes (Instrumental)
14. Koto – The captain of her heart

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Bela Bartok – Concerto for Orchestra (Dance Suite) (1978) [DTS 5.0]

Bela Bartok – Concerto for Orchestra (Dance Suite)
Composer: Bela Bartok | Orchestra: Minnesota Orchestra | Conductor: Stanislaw Skrowaczewski | Album: Concerto for Orchestra (Dance Suite) | Style: Classical | Year: 1978 | Quality: DTS 5.0 (44.1 kHz/24Bit tracks) | Bitrate: ~1411 kbps | Tracks: 6 | Size: ~532 Mb | Recovery: 3% | Release: vinil-rip of © Candide (QCE 31100), 1975

Tracklist:
01. Concerto for Orchestra
Introduction
02. Giuoco delle coppie
03. Elegia
04. Intermezzo
05. Finale
06. Dance Suite

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