Category Archives: Discography

The Orb – Discography (1991-2017) [FLAC]

The Orb - Discography (1991-2017) [FLAC] Download

Artist: The Orb
Album: Discography
Genre: Electronic
Year: 1991-2017
Size: ~ 20 gb
Source: CDs
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

The Orb virtually invented the electronic genre known as ambient house, resurrecting slower, more soulful rhythms and providing a soundtrack for early morning ravers once the clubs closed their doors. The group popularized the genre as well by appearing on the British chart show Top of the Pops and hitting number one in the U.K. with the 1992 album U.F.Orb. Frontman Dr. Alex Paterson’s formula was quite simple: he slowed down the rhythms of classic Chicago house and added synth work and effects inspired by ’70s ambient pioneers Brian Eno and Tangerine Dream. To make the whole a bit more listenable — as opposed to danceable — obscure vocal samples were looped, usually providing a theme for tracks that lacked singing.
Paterson had worked as a roadie for Killing Joke during the ’80s, and began to be influenced by the explosion of Chicago house music in England during the mid- to late ’80s. He joined the A&R department of EG Records — the home of Brian Eno himself — and first recorded as the Orb with Jimi Cauty (who had played in the Killing Joke side project Brilliant and later gained fame as half of the KLF). The duo’s first release as the Orb, a failed acid house anthem named “Tripping on Sunshine,” appeared on the 1988 compilation album Eternity Project One. In May 1989, the Orb released the Kiss EP, a four-tracker dedicated to — and heavily sampled from — New York’s KISS-FM. Paterson had begun to DJ in London around this time, and Paul Oakenfold recruited him to man Land of Oz, the chillout room at his club Heaven.

Rainbow Dome MusickPaterson’s ambient sets incorporated a wide array of samples and sound effects, ranging from BBC nature recordings to NASA space broadcasts and special effects. With those samples mixed underneath the music of ambient pioneers such as Eno and Steve Hillage, his sets became popular alternatives for dancefloor victims and worn-out club kids. Hillage happened to be in the room one night when Paterson sampled his Rainbow Dome Musick album. The two became friends and later recorded together, Hillage contributing guitar to the Orb’s “Blue Room” single and Paterson working on the debut album by Hillage’s System 7 project (or 777, as it is known in the States due to copyright problems with Apple).
Peel SessionsThe Orb’s first actual foray into ambient house appeared in October 1989 on Paterson’s WAU!/Mr. Modo label. The 22-minute single “A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld,” which sampled ocean noises and Minnie Riperton’s “Loving You,” actually hit the U.K. charts that year. The single became popular with indie kids as well as club DJs, and earned Paterson and Cauty the chance to re-record the song in December 1989 for a John Peel session. (That version was released two years later, alongside their second session, on the Orb’s Peel Sessions album.)
In early 1990, Dave Stewart asked Paterson and Cauty to remix his single “Lilly Was Here”; the track hit the U.K.’s Top 20, and the Orb’s remix work soon became just as popular as their original material. Erasure, Depeche Mode, Yello, Primal Scream, and more than 20 other bands eventually received the remix treatment before Paterson began to cut back his remixing work in 1992. (One of the only outside remixes of Orb material occurred around this time when breakbeat pioneers Coldcut remixed the Kiss EP for a U.S.-only single.)

SpacePaterson and Cauty had been recording an album during the turn of 1989-1990, but the two split in April 1990 — a result of Paterson’s fear that the Orb had become known more as a KLF side project than an original act. Cauty stripped Paterson’s contribution to the recordings and released the eponymous album — credited simply as Space — later that year. (Cauty released another ambient album that year: Chill Out, this time with his KLF partner Bill Drummond.) In the meantime, Paterson had been working with Youth (from Killing Joke) on the new track “Little Fluffy Clouds,” with a melody incorporated from composer Steve Reich. The single appeared in November 1990, sparking the wrath of the sampled Rickie Lee Jones, whose dialogue with LeVar Burton — from the PBS children’s program Reading Rainbow — was sampled for the chorus and title of the track; Big Life later settled out of court for an undisclosed sum. Though the single failed to place in the charts, its laid-back vibe made it a big hit on the dancefloor.
Youth’s other commitments made it impossible for him to become a permanent member of the Orb, so Paterson decided to recruit Kris Weston (nicknamed Thrash for his punk/metal roots), a young studio engineer who worked on “Little Fluffy Clouds” and had recently left his previous band, Fortran 5. The Orb performed live for the first time just after the pairing, early in 1991 at London’s Town & Country 2 with Hillage on guitar. The group’s live dates soon became their forte, breaking down the boundaries that had previously separated electronic music from rock. An Orb show encompassed the best elements of performance hall and club, with colorful light shows and visuals, and a relaxed, positive groove rarely found in electronic circles.

The Orb’s Adventures Beyond the Ultraworld All this was fine and good, but the Orb had not yet released an album, the vehicle that virtually all modern musicians use to make artistic statements. Finally, in April 1991, The Orb’s Adventures Beyond the Ultraworld was released in England to considerable critical acclaim. Its popularity extended to the general public as well, pushing the double album into Great Britain’s Top 30 LP charts. By mid-1991, the Orb had signed a deal to release Ultraworld in the States, but were forced to edit the album down to one disc. (The full double-disc version was later released in the U.S. by Island.) Paterson and Thrash toured Europe during 1991, and compiled the Orb’s first two Peel Sessions that November. One month later, the duo released The Aubrey Mixes as a Christmas special. The album, a remix compilation with reworkings by Hillage, Youth, and Cauty, was deleted on the day of its release, but still managed to place in the U.K. Top 50.
In June 1992, the new single “Blue Room” hit the British Top Ten. The longest single in chart history at just under 40 minutes, it earned the Orb a spot on Top of the Pops, where they ruminated over a chess game and waved at the camera while a three-minute edit of the single played in the background. Released in July, the album U.F.Orb concentrated not on space, but the beings who inhabit it. (The actual “Blue Room” is an installation where the U.S. government allegedly keeps the relics of a 1947 saucer crash outside Roswell, New Mexico.) It hit number one on the British album charts, and also did well with critics, who praised it and the duo’s sold-out tour of England.

Adventures Beyond the Ultraworld: Patterns & Textures Version The non-album single “Assassin” — originally slated to feature vocals from Primal Scream’s Bobby Gillespie — followed in October, and it reached number 12 on the British charts. The U.S. release of U.F.Orb appeared two months later, with initial copies including a second disc with the full version of “Blue Room” plus mixes of “Assassin.” A limited-LP release of U.F.Orb in England included a live recording of the Orb’s appearance at London’s Brixton Academy in 1991. (The date was later released on video with an added CD soundtrack as Adventures Beyond the Ultraworld: Patterns and Textures.)
Live 93 Though the Orb had released several hours of recordings and many remixes during their first three years of existence, the beginning of 1993 prompted a dry spell of over a year-and-a-half. The problem wasn’t a lack of material; Paterson and Thrash continued to record, but Big Life Records had begun a controversial campaign to reissue several early singles. The Orb threatened to release no new material until the label promised to cease and desist, and negotiations stalled while the duo looked to opt out of their contract. In the meantime, Big Life spent 1993-1994 reissuing five CD singles and two other 12″ releases, including “Little Fluffy Clouds” (which hit the British Top Ten), “Huge Ever Growing Pulsating Brain,” and “Perpetual Dawn” (the second single from Ultraworld). Paterson finally signed an international deal with Island in 1993 and released the stopgap Live 93 later that year. The double-disc set — which hit number 23 in the album charts — included highlights from Orb appearances in Europe and Japan, and featured another clever dig at Pink Floyd: the cover has a large stuffed sheep suspended over a power station, la Floyd’s Animals cover.
Pomme FritzThe Orb’s first studio release for Island appeared in June 1994. Pomme Fritz (a “little album”) was quite a departure from ambient house, the field that had since caught up with Paterson’s revolution of the late ’80s. The album has a schizophrenic quality that portrays the group caught between two worlds: the pastoral ambience of the first two albums and the harsher, almost industrial rhythms that the Orb were pushing forward. Pomme Fritz made number six on the British charts, but critics hated it, charging that Paterson had finally disappeared up his own arse. They even compared him to Pink Floyd’s own Syd Barrett, who masterminded the psychedelic classic Piper at the Gates of Dawn, but later slipped out of the band as the world’s first — and most popular — acid casualty.
Pomme Fritz was also a watershed in that the role of Kris Weston had diminished greatly. Credited on Pomme Fritz only as an engineer, Weston did appear with Paterson on the August 1994 side project FFWD, the collaboration between Robert Fripp, Orb members Paterson and Weston, and Orb contributor Thomas Fehlmann (hence the name: Fripp, Fehlmann, Weston, and Doctor). By early 1995, Weston finally left the Orb to devote time to his own projects. Before the duo separated, however, they teamed for the Orb’s most famous live appearance: on a rave bill at Woodstock 2 with Orbital, Aphex Twin, and Deee-Lite.

Orbus Terrarum Taking up the slack from Weston’s departure was Thomas Fehlmann. The Orb had previously remixed a single from his Sun Electric project, and most of Pomme Fritz was recorded at his Berlin studios. Finally, almost three years after U.F.Orb, the new and improved group released the Orb’s third studio LP, Orbus Terrarum. With a concept and a sound rooted solidly on terra firma, the album’s dense rhythms and return to natural samples heralded a turn away from the cosmic fascination within ambient house — which had been nurtured in large part by Ultraworld and U.F.Orb. During 1995, Paterson and Fehlmann mounted an ambitious world tour. After the release of a double-disc remix compilation, the Orb returned to the great beyond with the spacy sounds of 1997’s Orblivion. The retrospective U.F.Off followed in 1998, and though Paterson and company finished their fifth studio effort, Cydonia, soon after, Island delayed its release until the new millennium.
Bicycles & Tricycles A shift in labels was in order, so 2004’s Bicycles & Tricycles found the Orb on Sanctuary. Working their next label change into the album title, Okie Dokie It’s the Orb on Kompakt appeared at the end of 2005, as did the first volume in the rarities compilation series Orbsessions, released by the Killing Joke-associated label Malicious Damage. The Dream, released in 2007 in England, featured a change of lineup; joining the Orb were Youth, last heard on the hit single “Little Fluffy Clouds,” and Dreadzone’s Tim Bran. The record appeared in 2008 on the American label Six Degrees. One year later, another volume in the Orbsessions series appeared, a soundtrack recorded by Paterson and Thomas Fehlmann. (Although the film’s title was Plastic Planet, the record itself was titled Baghdad Batteries.) Youth and Paterson collaborated again on the Orb’s next proper album, Metallic Spheres, which also featured Pink Floyd’s David Gilmour contributing guitar and lap steel to the album’s two lengthy pieces.
C Batter C The 2011 release C Batter C featured a 17-minute Paterson/Fehlmann composition recorded for Battersea Bunches, a short film featuring Super 8 Paterson family footage from 1956. Seven remixes of the track filled out the disc. The next Orb project, 2012’s The Observer in the Star House, featured a starring role for seminal dub producer and longtime Orb influence Lee “Scratch” Perry, along with a remix of “Little Fluffy Clouds,” dubbed “Golden Clouds.” After they assembled a pair of box sets, History of the Future and History of the Future, Pt. 2, Paterson and Fehlmann returned to Kompakt for Moonbuilding 2703 AD, released in 2015.
COW / Chill Out, World! In 2016, the Orb celebrated the 25th anniversary of their classic debut full-length, Adventures Beyond the Ultraworld, by performing the album in its entirety at London venue Electric Brixton. The Orb continued to perform the album live during their subsequent U.K. tour, which also included material from their Kompakt-released COW / Chill Out, World!, described by the bandmembers as their most ambient release to date. That same year, they issued a series of short releases, including the Alpine EP and the Sin in Space series, which included a Moonbuilding remix collection, an Alpine “diskomiks,” and four remixes of tracks from the COW album. – Artist Biography by John Bush

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Third Eye Blind – Albums Collection (1997-2016) [FLAC]

Third Eye Blind - Albums Collection (1997-2016) [FLAC] Download

Artist: Third Eye Blind
Album: Albums Collection
Genre: Alternative
Year: 1997-2016
Size: ~ 2.55 gb
Source: CDs, Digital download
Format: FLAC (tracks)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Although often lumped into the post-grunge category, Third Eye Blind sported a brighter sound than many of their late-’90s peers, taking as much influence from classic pop/rock traditions as the angst-ridden music that dominated the decade. The group scored its first hit in 1997, when their debut single “Semi-Charmed Life” cracked the Top 10. Third Eye Blind built upon that success throughout the following three years, releasing a number of singles (three of which cracked the Top 10) while touring with the likes of U2 and Oasis. After taking a break during the early 2000s, the band returned in 2009 with its fourth studio album, Ursa Major.
Third Eye Blind hails from San Francisco, where singer Stephan Jenkins made his name as a solo musician after earning an English degree from the University of California at Berkeley. Jenkins soon decided to piece a band together. After several lineups failed to gel, former Fungo Mungo bassist Arion Salazar joined the group, which Jenkins had named Third Eye Blind (in reference to the metaphysical concept of a mind’s eye). At one of the band’s early shows, guitarist Kevin Cadogan — a former student of Joe Satriani who later became involved in the northern California ska and punk scenes — introduced himself to Jenkins. Cadogan subsequently joined Third Eye Blind in late 1995, bringing along former Counting Crows drummer Brad Hargreaves as well.

As Third Eye Blind worked on cementing its sound, Jenkins began earning major-label attention through his production of the Braids’ cover of Queen’s “Bohemian Rhapsody,” which became an international hit. He signed a publishing deal shortly afterward, reported to be the largest such deal ever presented to an unreleased artist. Meanwhile, Third Eye Blind cultivated a dedicated fan base by playing the Bay Area frequently, and the group’s original 14-song demo attracted attention from major labels. The buzz continued to build when the musicians finagled their way into a prized opening slot for Oasis’ April 1996 concert at the Civic Auditorium. The group was still unsigned at the time, but following their well-received performance (which included an encore — a rare opportunity for an opening band), Third Eye Blind became the subject of a bidding war.

Third Eye Blind The band eventually signed with Elektra/Asylum, a label that afforded them a considerable degree of artistic freedom. Jenkins was tapped as the band’s producer and received a production deal to help develop new groups, but his top priority remained Third Eye Blind. With Jenkins handling production studies, the band recorded their eponymous debut in San Francisco with the assistance of Eric Valentine, an engineer who had also worked on their early demos. The self-titled Third Eye Blind was released in the spring of 1997; by that summer, the introductory single “Semi-Charmed Life” had become a chart-topping modern rock hit. Spawning several more successful singles (including “How’s It Going to Be” and “Jumper”), the album broke into the Billboard Top 200 and remained there for over a year, establishing Third Eye Blind as one of the most popular bands of the late ’90s.
BlueBlue followed in 1999 and sold 150,000 copies within a month of its release. Although fans heralded it as the band’s strongest album, only one song — the sprightly “Never Let You Go” — matched the success of the band’s past singles. Tours across the globe followed throughout 2000, but by the time 2001 rolled around, the band had lost a crucial member (guitarist Cadogan, who co-wrote much of the band’s material before exiting the lineup) and opted for some time off. Tony Fredianelli soon climbed aboard as the band’s replacement guitarist, and Third Eye Blind turned its attention to several charity events. They played shows in support of the Tiger Woods Foundation and helped organize Breathe, a performance that promoted breast cancer awareness.
Out of the Vein By 2003, Third Eye Blind resumed their schedule with the release of their third studio album, Out of the Vein. Featuring the single “Blinded,” the album initially debuted at number 12 on the Billboard 200 chart. Nonetheless, due in part to poor marketing, a side effect of Elektra’s merger with Atlantic, Out of the Vein ultimately failed to ignite the same commercial sparks as its predecessor. Undeterred, the band quickly began work on a follow-up, but Jenkins’ lengthy battle with writer’s block slowed the production. In the interim, they released a 2006 best-of compilation and continued to tour. Finally, on the heels of the group’s tour of Japan in 2008, they released the digital EP Red Star, featuring the single “Non-Dairy Creamer.”
The following year, they returned with their long-awaited fourth album, Ursa Major. Produced by Jenkins and released on the band’s own Mega Collider Records, the album included two singles in “Don’t Believe a Word” and “Bonfire.” At the end of the group’s tour in 2010, they parted ways with Fredianelli, who was replaced by Irish guitarist Kryz Reid.

Dopamine Over the next several years, Third Eye Blind continued to tour and work on new material. A free digital single, “If There Ever Was a Time,” released in support of the Occupy Wallstreet Movement, appeared in 2011. In 2015, they released their fifth studio album, Dopamine. Once again produced by Jenkins, the album was the first with bassist Alex LeCavalier, who’d joined as a full-time member in 2013. Anchored by the single “13thirteen on the Billboard 200.
We Are Drugs In March 2016, Third Eye Blind garnered attention for remarks Jenkins made criticizing the Republican Party while playing a benefit show for the charity organization “Musicians on Call” at Cleveland’s Rock & Roll Hall of Fame. While not technically a political event, the show was held in close proximity to the Republican National Convention with Republicans in attendance. The following October, the band released the EP We Are Drugs, featuring the politically and socially minded single “Cop vs. Phone Girl.” – Artist Biography by Stephen Thomas Erlewine

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Gorillaz – Discography (2000-2017) [FLAC]

Gorillaz - Discography (2000-2017) [FLAC] Download

Artist: Gorillaz
Album: Discography
Genre: Alternative
Year: 2000-2017
Size: ~ 7.09 gb
Source: CDs
Format: FLAC (tracks/image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Conceived as the first “virtual hip-hop group,” Gorillaz blended the musical talents of Dan “The Automator” Nakamura, Blur’s Damon Albarn, Cibo Matto’s Miho Hatori, and Tom Tom Club’s Tina Weymouth and Chris Frantz with the arresting visuals of Jamie Hewlett, best known as the creator of the cult comic Tank Girl. Nakamura’s Deltron 3030 cohorts Kid Koala and Del tha Funkee Homosapien rounded out the creative team behind the Gorillaz quartet, whose virtual members included 2-D, the cute but spacy singer/keyboardist; Murdoc, the spooky, possibly Satanic bassist and the brains behind the group; Russel, a drummer equally inspired by “Farrakhan and Chaka Khan” and possessed by “funkyphantoms” that occasionally rise up and provide some zombie-style rapping; and last but not least, Noodle, a ten-year-old Japanese guitar virtuosa and martial arts master. The group’s website, www.gorillaz.com, showcased Hewlett’s visuals and the group’s music in eye- and ear-catching detail.

Tomorrow Comes TodayGorillaz debuted in late 2000 with the Tomorrow Comes Today EP, which they followed early the next year with the popular Clint Eastwood single. A self-titled full-length debut album arrived in spring 2001. Gorillaz was a massive worldwide success and achieved platinum-level sales in the U.S.; worldwide, it sold over seven million copies. The group’s Svengalis were quick to capitalize, and released the B-sides collection G-Sides, the Phase One: Celebrity Takedown DVD, and the dub-inspired remix album Laika Come Home in 2002. The project soon went on hiatus, however, as Albarn resumed work with Blur for their seventh album, 2003’s Think Tank.
The Grey Album When he was ready to begin the next Gorillaz album, Albarn turned to Danger Mouse (the DJ behind The Grey Album, the infamous mash-up of the Beatles’ White Album and Jay-Z’s Black Album) and a host of other collaborators, including De La Soul, Shaun Ryder, Debbie Harry, Dennis Hopper, and Martina Topley-Bird. Although Del tha Funkee Homosapien and Nakamura did not return, 2-D, Russel, Murdoc, and Noodle were all present and accounted for on Demon Days, another Top Ten hit, which arrived in spring 2005. The album went double platinum in America and enjoyed even more success in the U.K.; it also received a host of Grammy nominations, a sign that the band had secured critical as well as commercial approval.
Plastic BeachGorillaz broke ground for a new album in 2007, but the project wasn’t released until 2010, when Plastic Beach marked the band’s third studio effort. Greeted to generally positive reviews, Plastic Beach received more attention for its tour, as ex-Clash members Paul Simonon and Mick Jones were both part of Gorillaz. During that tour, Albarn recorded a new Gorillaz album called The Fall on his iPad. Initially digitally released to fan club members on Christmas Day 2010, the album saw a wide official release in the spring of 2011. Unlike previous efforts that featured a vast array of guest artists, The Fall only featured four guest collaborations, three of whom (Bobby Womack, Mick Jones, and Paul Simonon) had appeared on Gorillaz tracks before.
The Singles Collection 2001-2011 Aside from the best-of compilation The Singles Collection 2001–2011, which was issued in November 2011, the following five years saw a period of inactivity in the Gorillaz camp, with rumors materializing about an apparent fallout between Albarn and Hewlett. However, these rumors were put to bed in early 2015 when Hewlett posted new illustrations of the virtual members online. Later that year, Albarn confirmed that a new record was indeed in the works. The following year passed and the first track to promote the record, the politically charged “Hallelujah Money” (featuring English musician and poet Benjamin Clementine), dropped in January 2017. The full-length effort, entitled Humanz, arrived in April 2017. Alongside Clementine, it featured appearances from Vince Staples, Popcaan, Danny Brown, Mavis Staples, Grace Jones, Jehnny Beth (Savages), and Albarn’s onetime rival Noel Gallagher. – Artist Biography by Heather Phares

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Steve Hackett – Albums Collection (1979-2015) [FLAC]

Steve Hackett - Albums Collection (1979-2015) [FLAC] Download

Artist: Steve Hackett
Album: Albums Collection
Genre: Rock
Year: 1979-2015
Size: ~ 13.9 gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Steve Hackett is best known as the guitarist with Genesis during their best years as both a progressive and commercial band, across ten albums of their history. His arrival in the group’s lineup at the start of 1971, replacing original guitarist Anthony Phillips, provided the group with the last ingredient that it needed for success. In the years since, while Phil Collins may have enjoyed pop/rock stardom and an acting career, and his other bandmates have had their periodic successes, Hackett has come the farthest as a star performer and composer in his own right.

The RoadHackett’s earliest experience in playing professionally came with groups named Canterbury Glass and Sarabande, making mainstream rock with a progressive/psychedelic edge. It was as a studio musician that he excelled, recording with a band called Quiet World in 1970. They were signed to the Pye Records label and released an LP titled The Road on that company’s progressive rock-oriented Dawn Records label. In late 1970, Hackett crossed paths with Genesis when he placed an advertisement in search of like-minded progressive musicians and Peter Gabriel responded — the group’s original guitarist, Anthony Phillips, had departed and they needed a replacement. He saw them in concert with a temporary substitute in the guitarist’s spot and approached them about joining. Hackett was in the lineup in January of 1971 and was quickly established as an integral part of their sound, though his concert work at their earliest gigs suffered from the fact that Hackett had little experience playing on-stage, which initially made him nervous. He subsequently became not only an essential part of the Genesis sound, but also of their image; his bespectacled figure, seated and bent over his instrument in studied concentration, helped to set the group apart from flashier progressive rock outfits of the era.
Foxtrot His skill and vast range opened up the group’s sound in new ways during their progressive rock phase; coupled with Phil Collins’ drumming in the mix, Genesis turned into a true virtuoso unit, as revealed on the albums Foxtrot, Genesis Live, Selling England by the Pound, and The Lamb Lies Down on Broadway, all among the finest progressive rock LPs ever conceived. Then, following the departure of lead singer Gabriel and his replacement by Collins, and their move toward a more commercial sound, Hackett proved equally adept; the difference was that their albums were now selling in the millions instead of the hundreds of thousands, and he was getting far more public exposure than ever before.
Voyage of the AcolyteHackett’s first solo album, Voyage of the Acolyte, dated from 1975 and was, in many ways, almost a lost Genesis album, featuring Collins and Michael Rutherford in its lineup of musicians. Coming out as it did in the wake of Gabriel’s departure from the group, it was a cause of some strain among the members, despite their participation, but Hackett stayed with the band through the tour behind the release of Wind & Wuthering, making his last appearance with the group on the Seconds Out live album, ironically just as the band was ascending into the top ranks of concert attractions and recording acts. Hackett’s first post-Genesis solo album was Please Don’t Touch!, which deliberately hewed very far away from his old group’s progressive sound and departed completely from Voyage of the Acolyte as well. He also put together his first touring band, which included Pete Hicks on vocals and John Shearer on drums, as well as brother John Hackett on flute and keyboards, with whom he subsequently recorded the Spectral Mornings album.
DefectorHackett’s sound advanced rapidly in the ’80s, through albums such as Defector — a fascinating musical/political fantasy — and the pop-oriented Cured. His concert work kept him busy throughout Europe, and the expanding fame of his old band led a steady stream of listeners to check out the work of the former Genesis guitarist, whose playing and personality were so prominent on those classic early albums. He also reunited with Peter Gabriel and Michael Rutherford, and then with all of his ex-bandmates for a pair of 1982 charity concerts. The following year he enjoyed a very successful European single in the guise of “Cell 151” from the Highly Strung LP, which helped propel that album to hit status. The mid-’80s saw him broaden his sound to include various elements of “world music” in his studio work, and he also to begin playing smaller, more intimate halls where his guitar skills could be better appreciated.
Time Lapse In 1986, Hackett hooked up with Yes guitarist Steve Howe to form GTR, a progressive rock unit that became a favorite of MTV and the rock press, generating a hit single (“When the Heart Rules the Mind”) in America and a platinum-selling album for Arista Records; GTR followed these up with an international tour. Hackett resumed his solo career in 1987, but with the momentum of GTR behind him, he now found crowds of tens of thousands eager to hear him play classical-style acoustic guitar and was becoming the arena rock version of Christopher Parkening or guitarist John Williams. His next major release was Time Lapse, a live retrospective of his work from several decades of music-making.
Blues with a Feeling In 1994, Hackett surprised most of his fans by turning back to his roots with Blues with a Feeling, an album built around the sounds of blues guitar and harmonica that harked back to his boyhood. This pointed to one of the ironies of Hackett’s career: as a member of Genesis, he was presumed by most fans to have been classically trained, but his music was actually derived from a multitude of influences, to which he’s always extended himself in order to embrace and absorb; thus, although originally a rock guitarist with blues roots, Hackett has performed with the London Symphony Orchestra and composed instrumental classical music based on Shakespeare’s A Midsummer Night’s Dream for EMI’s Angel Records label.
Watcher of the Skies: Genesis Revisited Even as his composing career ballooned in the ’90s, he also began playing more concerts and turned back to his progressive rock roots by performing Genesis’ classic repertoire. Working with a group that included such luminaries as ex-King Crimson alumni Ian McDonald and John Wetton, not to mention Genesis’ Chester Thompson, as well as the Royal Philharmonic Orchestra, Hackett released a live album titled Genesis Revisited, which was precisely that. During the ’90s, he fronted a group known as Steve Hackett & Friends, including former members of King Crimson, who had revived their classic progressive rock repertoire in dramatic new concert form, on CD and concert video.
To Watch the StormsHackett has continued to record well into the new century; numerous solo albums include To Watch the Storms, Metamorpheus, and Wild Orchids. Live Rails was released in 2011 and was followed by the moderately successful studio album Beyond the Shrouded Horizon later that year. In 2012, Hackett collaborated with Chris Squire from Yes under the moniker Squackett. Their album A Life Within a Day featured seasoned session drummer Jeremy Stacey, who was fresh from his work with Noel Gallagher’s High Flying Birds. That same year, Hackett released Genesis Revisited II, another collection of reworked early Genesis material, which became his most successful solo album to date.
Wolflight He returned in 2015 with his 26th solo effort, Wolflight, and subsequently set out on the Acolyte to Wolflight with Genesis Revisited Tour to promote the record and to celebrate the 40th anniversary of his first solo album. A live recording of the tour’s stop in Liverpool was released in 2016. Hackett returned to the studio with wife Jo and co-producer Roger King to develop and record his follow-up to Wolflight. Taking on a more world music-influenced feel, the album, The Night Siren, saw Hackett adding a different dimension to his sound, featuring vocals from Kobi Farhi and Mira Awad as well as introducing a variety of musical instruments from around the world. – Artist Biography by Bruce Eder

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Robben Ford – Discography (1972-2015) [FLAC]

Robben Ford - Discography (1972-2015) [FLAC] Download

Artist: Robben Ford
Album: Discography
Genre: Blues
Year: 1972-2015
Size: ~ 8.36 gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Robben Ford has had a diverse career. He taught himself guitar when he was 13 and considered his first influence to be Mike Bloomfield. At 18 he moved to San Francisco to form the Charles Ford Band (named after his father, who was also a guitarist), and was soon hired to play with Charlie Musselwhite for nine months. In 1971, the Charles Ford Blues Band was re-formed and recorded for Arhoolie in early 1972. Ford played with Jimmy Witherspoon (1972-1973), the L.A. Express with Tom Scott (1974), George Harrison, and Joni Mitchell. In 1977 he was a founding member of the Yellowjackets, which he stayed with until 1983, simultaneously having a solo career and working as a session guitarist. In 1986, Ford toured with Miles Davis and had two separate periods (1985 and 1987) with Sadao Watanabe, but he really seemed to find himself in 1992 when he returned to his roots: the blues. Ford formed a new group, the Blue Line, and subsequently recorded a couple of blues-rock dates for Stretch that are among the finest of his career. In 1999, he released Sunrise on Rhino and Supernatural on Blue Thumb. Ford signed to the Concord Jazz label in 2002 and released Blue Moon that same year, followed by Keep on Running in 2003 and Truth in 2007. That same year, he was a billed special guest on Larry Carlton’s Live in Tokyo. He followed this with the predominantly live Soul on Ten in 2009. In 2013, Ford began his label association with Provogue, and issued the studio album Bringing It Back Home, comprised mostly of blues and R&B covers played by an all-star band. Later that year, he recorded an album with a crack band in a single day at Nashville’s Sound Kitchen Studio. The end result, titled A Day in Nashville, was issued in February of 2014. A year later, Ford returned with Into the Sun, a bright soulful album produced by Niko Bolas and featuring guest spots by ZZ Ward, Keb’ Mo’, and Warren Haynes. – Artist Biography by Scott Yanow

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Kasabian – Discography (2004-2014) [FLAC]

Kasabian - Discography (2004-2014) [FLAC] Download

Artist: Kasabian
Album: Discography
Genre: Alternative
Year: 2004-2014
Size: ~ 6.67 Gb
Source: CDs,
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Kasabian took the British press by storm in the early 2000s by mixing traces of the Stone Roses, Happy Mondays, and Primal Scream with Oasis-sized confidence and DJ Shadow-influenced electronics. Named after Linda Kasabian, Charles Manson’s getaway driver-turned-state witness, the Leicester-based group also stole a page from the Band by moving into a remote farmhouse to brew its music. Communal life and a slew of shared influences produced an electronic, rock-oriented sound that harked back to the Madchester days of baggy pants and druggy dancing. Kasabian expanded that sound on later albums, but the band’s foundation remained rooted in swaggering, fragmented dance textures and boisterous rock & roll.

With his acerbic approach to interviews, swaggering lead singer Tom Meighan quickly became a darling of the press during the band’s infancy, and Kasabian’s revolutionary logos and sleeve art only added to the excitement. Foldout poster sleeves, 10″ versions, and hand-stenciled covers accompanied singles like “Club Foot,” “L.S.F,” and “Processed Beats.” The hype paid off as Kasabian’s self-titled debut cracked the Top Five in October 2004, just one month after its U.K. release. Four singles landed in the Top 20 within six months, establishing the bandmates as rock & roll royalty in the process.

Empire Founding guitarist Chris Karloff left the lineup two years later, citing creative differences with the remaining members. Kasabian’s second album, Empire, had already been recorded, and guitarist Jay Mehler was brought aboard to replace Karloff during live performances. (Mehler eventually became an official member in 2008.) Empire was ultimately released in August 2006 and debuted atop the U.K. charts, with the title track soon becoming the band’s third Top Ten hit. The band took home an NME Award in 2007 and began work on another album later that year. Dan the Automator was brought in to share production duties with Sergio Pizzorno, and the resulting U.K. chart-topper, West Ryder Pauper Lunatic Asylum, appeared in 2009. Automator would return for the 2011 album Velociraptor!, featuring the lead single “Switchblade Smiles.” In 2013, Mehler left the group and joined former Oasis frontman Liam Gallagher in his group Beady Eye, but the band carried on as a four-piece and recorded a new album with Pizzorno in the producer’s chair. Named after the album’s total running time, 48:13 arrived in 2014, featuring the lead single “Eez-eh.” The group returned in 2017 with their sixth studio album, For Crying Out Loud. – Artist Biography by David Jeffries

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The National – Discography (2001-2014) [FLAC]

The National - Discography (2001-2014) [FLAC] Download

Artist: The National
Album: Discography
Genre: Alternative
Year: 2001-2014
Size: ~ 4.45 Gb
Source: CDs, Digital download
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Although formed during the post-punk revival of the late ’90s, the National took inspiration from a wider set of influences, including country-rock, Americana, indie rock, and Brit-pop. The lineup began taking shape in Ohio and officially cemented itself in New York, with baritone vocalist Matt Berninger joining forces with two sets of brothers — Scott (bass) and Bryan Devendorf (drums), and Aaron (guitar) and Bryce Dessner (guitar). After establishing themselves as a live act, the bandmates made their studio debut with The National, a self-titled record that appeared in 2001 to considerable acclaim. Two years later, the band returned with Sad Songs for Dirty Lovers, a deft blending of alternative country and chamber pop that found the band partnering with producer Peter Katis.
Cherry Tree The National continued working with Katis throughout the rest of the decade. Following the release of an EP, Cherry Tree, in 2004, the band signed with Beggars Banquet and released Alligator. Although sales were modest, Alligator proved to be one of the year’s most critically approved releases. Released in 2007, Boxer, an ambitious effort that featured orchestration by the Clogs’ Padma Newsome and piano by Sufjan Stevens, fared similarly well. It also became the band’s first album to chart fairly well, peaking at number 67 on the Billboard 200.
A Skin, A Night & The Virginia EP A documentary by French filmmaker Vincent Moon was released in 2008, capturing the band during the Boxer recording sessions. That same year, the National released The Virginia EP, a collection of new material and various B-sides, and began working on a new studio album with Katis. High Violet appeared two years later, earning the guys the highest marks of their career and going gold in multiple countries. Trouble Will Find Me, the group’s sixth long-player, was issued in 2013 and featured guest appearances from Sharon Van Etten, Sufjan Stevens, Dark Dark Dark’s Nona Marie Invie, St. Vincent, Doveman, and Arcade Fire’s Richard Reed Perry. The Grammy-nominated album peaked at the number three slot on the Billboard 200. In 2015 the group issued a limited-edition nine-LP box set entitled Lot of Sorrow, which chronicled the group’s epic 2013 MoMA-hosted performance art collaboration with Icelandic artist Ragnar Kjartansson, which saw the band perform the song “Sorrow” (from High Violet) for six straight hours (105 times). – Artist Biography by Andrew Leahey

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Stevie Wonder – Discography (1962-2009) [FLAC]

Stevie Wonder - Discography (1962-2009) [FLAC] Download

Artist: Stevie Wonder
Album: Discography
Genre: R&B
Year: 1962-2009
Size: ~ 17 Gb
Source: CDs, Digital download
Format: FLAC (tracks/image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Stevland Hardaway Morris (born Stevland Hardaway Judkins; May 13, 1950),known by his stage name Stevie Wonder, is an American musician, singer, songwriter, record producer, and multi-instrumentalist. A child prodigy, he is considered to be one of the most critically and commercially successful musical performers of the late 20th century. Wonder signed with Motown’s Tamla label at the age of 11,and he continued performing and recording for Motown into the 2010s. He has been blind since shortly after birth.

Among Wonder’s works are singles such as “Superstition”, “Sir Duke”, “You Are the Sunshine of My Life” and “I Just Called to Say I Love You”; and albums such as Talking Book, Innervisions and Songs in the Key of Life.[2] He has recorded more than 30 U.S. top ten hits and received 25 Grammy Awards, one of the most-awarded male solo artists, and has sold over 100 million records worldwide, making him one of the top 60 best-selling music artists.Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King Jr.’s birthday a holiday in the United States.In 2009, Wonder was named a United Nations Messenger of Peace.In 2013, Billboard magazine released a list of the Billboard Hot 100 All-Time Top Artists to celebrate the US singles chart’s 55th anniversary, with Wonder at number six.

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Steely Dan – Albums Collection (1972-2003) [FLAC]

Steely Dan - Albums Collection (1972-2003) [FLAC] Download

Artist: Steely Dan
Album: Albums Collection
Genre: Rock
Year: 1972-2003
Size: ~ 3.3 Gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Most rock & roll bands are a tightly wound unit that developed their music through years of playing in garages and clubs around their hometown. Steely Dan never subscribed to that aesthetic. As the vehicle for the songwriting of Walter Becker and Donald Fagen, Steely Dan defied all rock & roll conventions. Becker and Fagen never truly enjoyed rock — with their ironic humor and cryptic lyrics, their eclectic body of work shows some debt to Bob Dylan — preferring jazz, traditional pop, blues, and R&B. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. With producer Gary Katz, Becker and Fagen gradually changed Steely Dan from a performing band to a studio project, hiring professional musicians to record their compositions. Though the band didn’t perform live after 1974, Steely Dan’s popularity continued to grow throughout the decade, as their albums became critical favorites and their singles became staples of AOR and pop radio stations. Even after the group disbanded in the early ’80s, their records retained a cult following, as proven by the massive success of their unlikely return to the stage in the early ’90s.

Walter Becker (bass) and Donald Fagen (vocals, keyboards) were the core members of Steely Dan throughout its variety of incarnations. The two met at Bard College in New York in 1967 and began playing in bands together shortly afterward. The duo played in a number of groups — including the Bad Rock Group, which featured future comedic actor Chevy Chase on drums — which ranged from jazz to progressive rock. Eventually, Becker and Fagen began composing songs together, hoping to become professional songwriters in the tradition of the Brill Building. In 1970, the pair joined Jay & the Americans’ backing band, performing under pseudonyms; Becker chose Gustav Mahler, while Fagen used Tristan Fabriani. They stayed with Jay & the Americans until halfway through 1971, when they recorded the soundtrack for the low-budget film You Gotta Walk It Like You Talk It, which was produced by the Americans’ Kenny Vance. Following the recording of the soundtrack, Becker and Fagen attempted to start a band with Denny Dias, but the venture was unsuccessful. Barbra Streisand recorded the Fagen/Becker composition ‘I Mean to Shine’ on her album Barbra Joan Streisand, released in August 1971, and the duo met producer Gary Katz, who hired them as staff songwriters for ABC/Dunhill in Los Angeles, where he had just become a staff producer. Katz suggested that Becker and Fagen form a band as a way to record their songs, and Steely Dan — who took their name from a dildo in William Burroughs’ Naked Lunch — was formed shortly afterward.

Can’t Buy a Thrill Recruiting guitarists Denny Dias and Skunk Baxter, drummer Jim Hodder, and keyboardist/vocalist David Palmer, Becker and Fagen officially formed Steely Dan in 1972, releasing their debut, Can’t Buy a Thrill, shortly afterward. Palmer and Fagen shared lead vocals on the album, but the record’s two hit singles — the Top Ten “Do It Again” and “Reeling in the Years” — were sung by Fagen. Can’t Buy a Thrill was a critical and commercial success, but its supporting tour was a disaster, hampered by an under-rehearsed band and unappreciative audiences. Palmer left the band following the tour. Countdown to Ecstasy, released in 1973, was a critical hit, but it failed to generate a hit single, even though the band supported it with a tour.
Pretzel LogicSteely Dan replaced Hodder with Jeff Porcaro and added keyboardist/backup vocalist Michael McDonald prior to recording their third album, Pretzel Logic. Released in the spring of 1974, Pretzel Logic returned Steely Dan to the Top Ten on the strength of the single “Rikki Don’t Lose That Number.” After completing the supporting tour for Pretzel Logic, Becker and Fagen decided to retire from live performances and make Steely Dan a studio-based band. For their next album, 1975’s Katy Lied, the duo hired a variety of studio musicians — including Dias, Porcaro, guitarist Elliot Randall, saxophonists Phil Woods, bassist Wilton Felder, percussionist Victor Feldman, keyboardist Michael Omartian, and guitarist Larry Carlton — as supporting musicians. Katy Lied was another hit, as was 1976’s The Royal Scam, which continued in the vein of its predecessor. On 1977’s Aja, Steely Dan’s sound became more polished and jazzy, as they hired jazz fusion artists like Wayne Shorter, Lee Ritenour, and the Crusaders as support. Aja became their biggest hit, reaching the Top Five within three weeks of release and becoming one of the first albums to be certified platinum. Aja also gained the respect of many jazz musicians, as evidenced by Woody Herman recording an album of Becker/Fagen songs in 1978.
Gaucho Following the release of Aja, ABC was bought out by MCA Records, resulting in a contractual dispute with the label that delayed until 1980 the release of their follow-up album. During the interim, the group had a hit with the theme song for the film FM in 1978. Steely Dan finally released Gaucho, the follow-up to Aja, in late 1980, and it became another Top Ten hit for the group. During the summer of 1981, Becker and Fagen announced that they were parting ways. The following year, Fagen released his solo debut, The Nightfly, which became a critical and commercial hit.
KamakiriadFagen didn’t record another album until 1993, when he reunited with Becker, who produced Kamakiriad. The album was promoted by the first Steely Dan tour in nearly 20 years, and while the record failed to sell, the concerts were very popular. In 1994, Becker released his solo debut, 11 Tracks of Whack, which was produced by Fagen. The following year, Steely Dan mounted another reunion tour, and in early 2000 the duo issued Two Against Nature, their first new studio album in two decades. It won the Grammy Award for Album of the Year. Steely Dan followed it in 2003 with Everything Must Go. Fagan’s solo album Morph the Cat was released in 2006, and Becker released Circus Money in 2008 as Steely Dan embarked on another tour. – Artist Biography by Stephen Thomas Erlewine

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The Clientele – Discography (2000-2007) [FLAC]

The Clientele - Discography (2000-2007) [FLAC] Download

Artist: The Clientele
Album: Discography
Genre: Indie
Year: 2000-2007
Size: ~ 1.25 Gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Retrofitted pop band the Clientele had obvious roots in the hazy, autumnal glare of Galaxie 500 and Felt. Just as those bands took their Velvet Underground and Television records to heart without being derivative, the Clientele were able to chalk up an extensive discography riddled with lush melodies of their own without sounding like a tribute band. Think of your favorite ’60s pop band and odds are they’re in the Clientele’s blood.

A Fading Summer The London-based band formed in mid-1997, consisting of Alasdair MacLean (guitar and vocals), Innes Phillips (guitar and vocals), James Hornsey (bass), and Howard (drums). Mark Keen replaced the academically occupied Howard toward the end of 1999; Phillips left early on to form the Relict, a group with a varied membership that has occasionally included Clientele members. After debuting on the Fierce Panda label’s Cry Me a Liver compilation, the Clientele released a slew of singles, compilation contributions, and EPs in short order. Most significantly, March released A Fading Summer in 2000, an EP that harvested some of the band’s hard-to-find singles and a couple new recordings. Later that year, the full-length Suburban Light (another compilation of previously recorded material) was issued by Pointy.
Lost Weekend The band hooked up with Merge in early 2001, which issued Suburban Light in the U.S. months later. The Lost Weekend EP came out on Acuarela in 2002, which was followed a year later by their first proper album and Merge debut, The Violet Hour. Strange Geometry arrived in 2005, and in 2006 the band added keyboardist/violinist/percussionist Mel Draisey to its ranks. God Save the Clientele, which featured production by Mark Nevers of the band’s U.S. labelmates Lambchop, was released in spring 2007. Bonfires on the Heath, another release for Merge, was issued during fall 2009. The Minotaur EP, which followed in August of 2010, was made up of songs recorded during the sessions for Bonfires on the Heath.
Despite the Clientele’s claims of giving up touring after their worldwide jaunt promoting Bonfires, they returned to the U.S. for live dates after the EP’s release. Soon after these dates, however, the group members announced they were going on indefinite hiatus. MacLean formed a new band called Amor de Dias, and the rest went their separate ways until re-forming (minus Draisey) to play a one-off show in 2013 at the Pop Revo festival in Denmark. Things remained quiet on the recording front, and the band surprised many fans by scheduling a U.S. tour in early 2014 to coincide with Merge’s 25th birthday festivities and the deluxe reissue of Suburban Light. The release of the career retrospective Alone and Unreal: the Best of The Clientele in September of 2015 provided the band another excuse to play a live show, while MacLean set fans hearts a flutter by sharing the news in an interview that the band had one side of a new album finished. – Artist Biography by Andy Kellman

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