Dark Side of The Moon - Pink Floyd - Alan Parson's Quadraphonic Mix - 1974.

When a music fan thinks of the "Quadraphonic Sound" of the 1970's, and even today's modern 5.1 sound options, one of the first music titles that comes to mind is Pink Floyd's "Dark Side of the Moon" album. Released in 1973, this album combined thematic music with a myriad of sound effects and spoken passages that has entertained listeners for the past 30+ years. Many have spent hours listening with headphones, while others listened as stereos and boom boxes played their LPs, cassettes, and 8 tracks. When the CD format arrived, this was one of the first titles to get released, earning the first catalog number used in the US by Capitol: CDP 40001.

A special few, however, got to hear this work with more than two channels, as it was originally concieved. When the album was recorded, engineer Alan Parsons created a discrete 4 Channel mix that was to be used for commercial LP and tape release in the new "Quadraphonic" systems. Pink Floyd had been using surround in their stage presentations of this music, so it seemed quite logical that the fans be able to hear it as it was meant to be heard.

EMI owned the rights to all Pink Floyd material throughout the world, with the exception of the United States. In the USA, Pink Floyd titles were released on the Capitol label, originally controlled by EMI. In the early 1970's, there were competing formats for quadraphonic records. Early matrix systems competed with discrete tape, and soon JVC came up with a discrete format for the LP, the CD-4 system. With 3 major systems to chose from, many labels vacillated between choices, waiting to see which one would be the "victor". Columbia championed its' own SQ system, while RCA pushed the discrete CD-4 system. Some labels, like A&M, used both SQ and CD-4, as well as the third system from Sansui, the QS system. EMI decided to use the CBS SQ system throughout the world, and "Dark Side of the Moon" became available in the UK, Europe, and Australia as an SQ LP. Interestingly enough, in Japan, it was released using the RM matrix system, which was the system that Sansui based their QS system on. In the USA, however, Capitol did not release "Dark Side of the Moon" as a quad LP**. They did, however, release it as a quad 8-track tape. This, however, is where the story gets interesting.

Alan Parsons had created a vibrant, discrete mix of "Dark Side of the Moon". Those that have heard it will attest to the fact that it is quite remarkable, and surely a masterpiece when we consider the equipment available to him during 1973. (There is an interesting article called "Four Sides of the Moon" that details the creation of the mix.) When this discrete mix was finished, EMI created the master for the worldwide SQ LP release by encoding the discrete master tape using an SQ encoder. This device mixed the front and rear channels together, combining them into a compatible stereo track that could be pressed onto LPs and be subsequently decoded by a proper decoder, resulting in the playback of the original mix. In theory this sounded good, but the encoding and decoding equipment was far from perfect. Once the tracks were mixed together, they could never be decoded to the point where they were totally discrete as was the master tape. Even the modern "Full Logic" decoders that emerged in the 1980's could not reproduce the exact mix that existed on the master tape.

In the UK, EMI created their Quad 8 Track from the master discrete tape, thus creating the only commercially released version of this classic. Since quad tapes were sold in very small numbers in the UK, an instant collectible was created. The UK DSOTM Q8 usually sells for over $500 when it changes hands.

In the USA, Capitol, for some reason, received the SQ master tape to "Dark Side of the Moon". Why they received this tape is unknown, as there was never an intended SQ release for the USA (Capitol never decided on a format to release quad LPs, and although they released a few sampler LPs using the CBS SQ system, no commercial titles were ever released) In an incredibly stupid move, Capitol took the SQ Master Tape and used it to master their domestic Quad 8 Track! They simply decoded the SQ reel using an SQ decoder, then mastered the US Q8 from the decoded source. This resulted in a "less than discrete" tape.

Consequently, in the USA, the only quadraphonic release of DSOTM was the compromised Capitol Q8. Although it actually sounds pretty good to the unknowing, the UK Q8 blows it out of the water. The Alan Parsons mix used to create both tapes was not used to create the current 5.1 Super Audio CD, as the group preferred to have their current engineer James Guthrie create a new 5.1 mix to match the capabilities of the SACD format. While the SACD is astonishing in it's own right, the original Alan Parsons mix remains a favorite of fans, as it is known to be more "aggressive" in its' use of the surround channels.

In Japan, Dark Side of the Moon was pressed using the "RM", or "Regular Matrix" system. This was basically the Sansui QS system without the Sansui name. This is the most desirable, and consequently the most valuable, of the DSOTM quad LPs. It sells for well into the hundreds of dollars when it shows up on eBay, which is usually only once a year. The UK and German LPs, while collectable, are still fairly common.

The SACD of Dark Side of the Moon does not contain Alan Parsons original quadraphonic mix. It was the opinion of the group that the SACD be created from a new 5.1 mix, and commissioned their current engineer James Guthrie to create that mix.

CD1:
01 Speak To Me... Breathe [Quadrophonic Mix]
02 On The Run [Quadrophonic Mix]
03 Time [Quadrophonic Mix]
04 The Great Gig In The Sky [Quadraphonic Mix]
05 Money [Quadrophonic Mix]
06 Us And Them [Quadrophonic Mix]
07 Any Colour You Like [Quadrophonic Mix]
08 Brain Damage [Quadrophonic Mix]
09 Eclipse [Quadrophonic Mix]
10 On The Run [Rehearsal]
11 Us And Them [Part 2][Rehearsal]
12 Eclipse [Rehearsal]
13 Us And Them [Part 2][Rehearsal]
14 Brain Damage [Rehearsal]

CD2:
01 Speak To Me... Breathe [Alternate Remix]
02 On The Run [Alternate Remix]
03 Time [Alternate Remix]
04 The Great Gig In The Sky [Alternate Remix]
05 Money [Alternate Remix]
06 Us And Them [Alternate Remix]
07 Any Colour You Like [Alternate Remix]
08 Brain Damage [Alternate Remix]
09 Eclipse [Alternate Remix]
10 Money [Acoustic Demo]
11 Time [Rough Mix]
12 Brain Damage [Rough Mix]
13 Eclipse [Rough Mix]
14 Us And Them [Rough Mix]

Studio mp3@256
http://www.megaupload.com/?d=DCNY5ZUX

Thanks to tube and Ismael!

The Runaways - Discography.

The Runaways were a teenage, American all-girl rock band that performed in the 1970s. The band is best known for the songs "Cherry Bomb", "Queens of Noise", "Neon Angels (On the Road to Ruin)" and "Born to Be Bad". "Cherry Bomb" appeared on the movie soundtracks for "Dawn, Portrait of a Teenage Runaway", "Detroit Rock City", "RV" and "Dazed and Confused". The band toured through America and Japan, also visiting the UK, Sweden, Finland, Norway, Belgium, France, the Netherlands, Switzerland and Germany. The career of the band was short (1975–1979), successful, and tempestuous.

What made the Runaways unique was the musical strength and depth of influences each member brought to the group. Anchored by Sandy West's muscular drumming, and fronted Cherie Currie (Bowie-esque in appearance and in terms of on-stage presence), the Runaways were the first 'girl band' that showcased two great guitarists: Joan Jett's ear-splitting rhythms and Lita Ford's virtuoso leads gave them a sound that blended influences from Glam, Heavy-Metal, and Punk-Rock. Jackie Fox (heavily influenced by " [http://en.wikipedia.org/wiki/Kiss_(band) Kiss] ") augmented Sandy West's drumming to give the band sufficient on-stage power to pull it all off. Initially dismissed by American music critics and radio programmers as another one of Kim Fowley's gimmicky acts, The Runaways proved in reality, to be excellent musicians.

"The Runaways" have some historical significance for being the first all-girl rock band to have hit-songs, record platinum albums (at least 1,000,000 units sold), tour internationally, and acquire fame. Despite those accomplishments, the girls themselves never made a big deal about any of it.

History

The beginning

Widely believed at the time to have been a novelty act formed by producer Kim Fowley, who thought the notion of five teenage girls dressed in leather and lingerie performing rock and roll music was highly marketable, the truth of the band's origin is actually that the individual parts that made up the whole began with the most pure of rock 'n' roll intentions.

Despite the apparent "jailbait on the run" gimmick pushed by their manager, the girls in the band were proficient at playing their instruments and wrote or co-wrote most of the band's material and, as later became obvious, were serious about their music. Their best known song is 1976's "Cherry Bomb", which has been covered by many other bands, including the Japanese pop-punk trio Shonen Knife, and Joan Jett's later band, "The Blackhearts".

It is a common misconception that The Runaways were a manufactured band, controlled by manager Kim Fowley - in fact, the Runaways were formed in late 1975 by drummer Sandy West and rhythm guitarist Joan Jett together with songwriter Kari Krome, who was searching for girls to perform her songs. They had introduced themselves (on separate occasions) to producer Kim Fowley stating their ideas to form an all-girl band. Fowley, who was always looking for the next big thing, gave Jett's phone number to West. The two met on their own to discuss the possibilities. After rehearsing together, the pair contacted Fowley to let him hear the results. Fowley then helped the girls find the other members.

Starting as a power trio with bassist Micki (Michael) Steele, the Runaways began the party and club circuit around Los Angeles. In 1976, they added 16-year-old lead guitarist Lita Ford and lead singer Cherie Currie to the fray. Bassist Micki Steele left the group, later resurfacing in the hugely successful Bangles. Ann Boleyn was recruited to play bass and keyboards but soon left after a disagreement with Fowley. Then Peggy Foster took over on bass but also left after a while. Finally, Jackie Fox (who had originally auditioned for the lead guitar spot) was added on bass and the line up was complete.

Fame

The Runaways were signed to Mercury Records in 1976 and their debut album, "The Runaways", was released shortly after. The band toured the US and played numerous sold out shows. They had been the opening act for Cheap Trick, Tom Petty and The Heartbreakers, the Ramones, and Van Halen. In the documentary "Edgeplay", it was said that each girl patterned herself after her idols: Currie patterning her look after David Bowie, Jett after Suzi Quatro and Keith Richards, Ford as a cross between Deep Purple guitarist Ritchie Blackmore and Jeff Beck, West after Queen drummer Roger Taylor, and Fox after Kiss bassist/vocalist Gene Simmons.

Their second album, "Queens of Noise" was released in 1977 and the band began a world tour. The Runaways quickly became lumped in with the growing punk rock movement. The band (already fixtures on the west coast punk scene) formed alliances with east coast punk bands such as Blondie, The Ramones and The Dead Boys (via New York City's CBGB's) as well as the UK punk scene by hanging out with the likes of The Damned, Generation X and The Sex Pistols. Due to the band's constant touring, they were in the unique position of being in the middle of the punk scene as it was breaking in two different countries, thus cementing their place in punk history.

In the summer of 1977 the group arrived in Japan for a string of sold out shows. The Runaways were the number 4 imported music act in Japan at the time, only trailing behind Led Zeppelin, ABBA, and Kiss in terms of album sales and popularity. The girls were unprepared for the onslaught of fans that greeted them at the airport. The mass hysteria would later be described by guitarist Jett as being "like Beatlemania". While in Japan, The Runaways had their own TV special, did numerous television appearances and released a live album that went gold. While in Japan, bassist Jackie Fox left the band shortly before the group was scheduled to appear at the 1977 Tokyo Music Festival. Jett temporarily took over bass duties and when the group returned home they replaced Fox with 17 year old Vicki Blue.

Singer Cherie Currie then left the group and Jett, who previously shared vocals with Currie, took over lead vocals full time. The band released their 4th album, "Waiting For The Night" and started a world tour with their friends The Ramones. Currie released a solo LP "Beauty's Only Skin Deep", which was produced by Kim Fowley and began her own tour which included her identical twin sister Marie.

Dissolution

Due to disagreements over money and the management of the band, the Runaways and Kim Fowley parted ways in 1978. The group quickly hired new management, who also worked for Blondie and Suzi Quatro. When the group split with Fowley, they also parted with their record label Mercury/Polygram, to which their deal was tied. In the "Edgeplay" documentary, members of the group (especially Fox and Currie) as well as the parents of Currie and West, have accused Fowley and others assigned to look after the band of using divide and conquer tactics to keep control of the band, as well as verbal and sexual abuse of the band members.

Bassist Vicki Blue left the group and was replaced by Laurie McAllister. The band reportedly spent much time enjoying the excesses of the rock n' roll lifestyle during this time. They partnered with Thin Lizzy producer John Alcock, (after, ironically, Jett's future partner Kenny Laguna turned down the job) to record their last album "And Now ... The Runaways".

The band played their last concert on New Year's Eve 1978 and broke up in April 1979 with the departure of Joan Jett.

Line-ups

Post-breakup

Joan Jett

Joan Jett went on to become a partner and work with producer and former Shondell (as in Tommy James And The Shondells) Kenny Laguna. They formed The Blackhearts and their own record label, Blackheart Records in 1980. The label still continues to release albums by The Blackhearts, and also other new up and coming bands. Jett went on to have massive success with her song "I Love Rock 'N' Roll" as well as other hits such as "Crimson and Clover", "Bad Reputation" and "I Hate Myself For Loving You". Blackheart Records was formed in response to Jett getting rejected by major record labels. Jett also co-starred in the 1987 film "Light of Day" with Michael J. Fox, and appeared in the 2000 Broadway revival of "The Rocky Horror Show" as Columbia.

Sandy West

Sandy West continued her association with John Alcock once the group disbanded. She and Lita Ford attempted to record some music, but nothing materialized. She formed the Sandy West Band and toured California throughout the '80s and '90s. She also did session work with John Entwistle of The Who and became a drum teacher. West was diagnosed with cancer in 2005 and, after many treatments, succumbed to the disease in October 2006. A memorial tribute concert featuring , Cherie Currie, The Bangles and The Donnas was held in Los Angeles.

Micki Steele

Micki Steele joined the all girl band the Bangles in the early 1980s and went on to huge success with songs like "Walk Like An Egyptian" and "Eternal Flame". She was briefly replaced by Ann Boleyn, who eventually became the lead singer of Hellion and Detente.

Lita Ford

Lita Ford returned as a solo artist to Polygram in the 1980s, where she released several albums before pairing with manager Sharon Osbourne. She also had success with songs like "Kiss Me Deadly" and "Close My Eyes Forever" (the second a duet with Sharon's husband Ozzy Osbourne). She is currently married to former "Nitro" singer Jim Gillette. They have two young sons. After a long hiatus, Ford staged a comeback, permforming at Rock The Bayou and other hard-rock festivals during the summer of 200.

Cherie Currie

Cherie Currie went on to start an acting career. She appeared in movies with Jodie Foster ("Foxes"), Demi Moore ("Parasite"), The Twilight Zone the Movie, as well as others before releasing a 1978 solo album entitled "Beauty's Only Skin Deep" and a 1980 duet album with her sister Marie and the band Toto called "Messin' With The Boys". Currie married actor Robert Hays ("Airplane"); they had a son together, but split up in 1997. Currie still performs and records but her current passion is chainsaw carving. She has an art gallery in Chatsworth, California where her works are currently on display.

Peggy Foster

Peggy Foster played bass on some of Steve Vai's albums. As of 2006, she lives in Palos Verdes, California, with her husband and child. She plays bass and guitar part-time, produces shows, has a fledgling music publishing company and record company, and designs and makes costumes including jewelry. She contributes to the Musicians Assistance Program and MusiCares division of the National Academy of Recording Arts and Sciences.

Jackie Fox

Jackie Fox went to Harvard and became a lawyer. She has lived abroad and is an amateur photographer. She is currently involved with Peter M. Margolis' film about guirtarist Randy Rhoads, who was a close friend.

Vicki Blue

Vicki Blue, now known as Victory Tischler Blue, briefly had a band with singer Cherie Currie in the early '80s (Currie-Blue Band), but never released an album, though they did appear together in the film "This is Spinal Tap". After leaving The Runaways, she shifted her focus to film & television production eventually becoming a producer/director for several reality and magazine based television shows, including Entertainment Tonight, Access Hollywood & Real Stories of the Highway Patrol - receiving an Emmy nomination along the way. She went on to form Sacred Dogs Entertainment - a motion picture production company and released a documentary on The Runaways called "Edgeplay: A Film About The Runaways." "Edgeplay" went on to win numerous awards and became the highest rated rock documentary film on the Showtime Networks. In 2005, Victory Tischler-Blue directed "Naked Under Leather", a documentary about fellow female rocker, Suzi Quatro. Focusing on music driven productions, she is currently executive producing a network special: The Bee Gees "Unbroken Fever" - The 30th Anniversary of Saturday Night Fever (2007). Additionally, Tischler-Blue and ex bandmate Lita Ford have teamed up together with Ford recording music for "El Guitarista", an animated series that Sacred Dogs Entertainment is producing.

Laurie McAllister

Laurie McAllister joined another Kim Fowley all-girl band, The Orchids, who released one poorly received LP in 1980. The Original Orchids members were Laurie Bell on Drums, Jan King on Vocals, Laurie McAllister on Bass, Sunbie Sinn, and Sandy Fury (a 13 year old rocker from Beverly Hills on Rhythm Guitar and background vocals).Che Zuro, who arguably wrote the only decent track on the LP, replaced Sandy Fury (also see: Risciso ) who went on to appear on New Wave Theatre as The Clique with bassist Mark Frere from Steppenwolf.
Laurie McAllister lives in Oregon and no longer performs music.

Influence

"L.A. Weekly" called The Runaways an "enormously influential band.", noting that after The Runaways success, everything had changed for female rock musicians. The Runaways success paved the way for many top female artists and female bands over the past 30 years, including The Go-Go's,Bikini Kill, L7 and more recently The Donnas, to enter the male dominated arena of rock 'n' roll and allow them to stand toe to toe with their counterparts. They are named as influences by several male and female artists, including Courtney Love and Rhino Bucket who acknowledged The Runaways influence on their music during their performance at the December 2006 tribute concert honoring Sandy West.

Many fans think they should be inducted into the Rock and Roll Hall of Fame, noting The Runaways' place in music history as the first all-girl punk/hard-rock rock band. There are two fan-initiated, independently started, petition drives directed to that end.

Discography

* "The Runaways" (1976), #194 US
* "Queens of Noise" (1977), #172 US
* "Live in Japan" (1977)
* "Waitin' for the Night" (1977)
* "And Now... The Runaways" (1978), international release
* "Flaming Schoolgirls" (1980), compilation
* "Little Lost Girls" (1981), re-sequenced U.S. version of "And Now... The Runaways"
* "The Best Of The Runaways" (1982)
* "Born to be Bad" (1993), compilation of early demos

Mega thanx and a tip of the hat to Borx.

Live In Japan - The Runaways - 1978.

Year: 1977
Label: Mercury
Bitrate: 192 kb/s

1 Queens Of Noise (3:20) Written-By - B. Bizeau
2 California Paradise (2:54) Written-By - J.Jett, K. Krome, K. Fowley, S. West
3 All Right You Guys (3:37) Written-By - B. Willingham, D. Faye
4 Wild Thing (3:45) Written-By - C. Taylor
5 Gettin' Hot (3:33) Written-By - J. Fox, L. Ford
6 Rock-N-Roll (3:58) Written-By - L. Reed
7 You Drive Me Wild (3:16) Written-By - J.Jett
8 Neon Angels On The Road To Ruin (3:32) Written-By - J. Fox, K. Fowley, L. Ford
9 I Wanna Be Where The Boys Are (2:53) Written-By - K. Fowley, R. Lee
10 Cherry Bomb (2:12) Written-By - J.Jett, K. Fowley
11 American Nights (4:02) Written-By - K. Fowley, M. Anthony
12 C'mon (4:10) Written-By - J.Jett

http://rapidshare.com/files/232559673/TR-LIJa_1977_.rar

The Runaways - 1976.

Year: 1976
Label: Mercury
Bitrate: 320 kb/s

1 Cherry Bomb
2 You Drive Me Wild
3 Is It Day Or Night?
4 Thunder
5 Rock And Roll
6 Lovers
7 American Nights
8 Blackmail
9 Secrets
10 Dead End Justice

http://rapidshare.com/files/115373049/TR_-_TR__1976_.rar

Queens of Noise - The Runaways - 1977.

Year: 1977
Label: Mercury
Bitrate: 192 kb/s

1. Queens of Noise
2. Take It or Leave It
3. Midnight Music
4. Born to Be Bad
5. Neon Angels on the Road to Ruin
6. I Love Playin' with Fire
7. California Paradise
8. Hollywood
9. Heartbeat
10. Johnny Guitar

http://rapidshare.com/files/115534268/TR_-_QON__1977_.rar

Waitin' For The Night - The Runaways - 1977.

Year: 1977
Label: Mercury
Bitrate: 192 kb/s

1 Little Sister
2 Wasted
3 Gotta Get Out Tonight
4 Wait For Me
5 Fantasies
6 Schooldays
7 Trash Can Murder
8 Don't Go Away
9 Waitin' For The Night
10 You're Too Possessive

http://rapidshare.com/files/233400711/TR-WFoTN_1977_.rar

Flaming Schoolgirls - The Runaways - 1980.

Year: 1980
Label: Cherry Red [UK]
Bitrate: 128 kb/s

1. Intro
2. Strawberry Fields
3. C'mon
4. Hollywood Cruisin'
5. Blackmail
6. Is It Day or Night?
7. Here Comes the Sun
8. Hollywood Dream
9. Don't Abuse Me
10. I Love Playin' With Fire
11. Secrets

http://rapidshare.com/files/213074052/ThR-_FlS.rar

The Best of The Runaways - 1987.

Year: 1987
Label: Polygram Records
Bitrate: 192 kb/s

1. Cherry Bomb
2. Blackmail
3. I Love Playin' With Fire
4. Born to Be Bad
5. Take It or Leave It
6. Queens of Noise [Live]
7. You Drive Me Wild [Live]
8. School Days
9. Wait for Me
10. Wasted
11. Don't Go Away
12. Waitin' for the Night
13. C'mon

http://rapidshare.com/files/212334364/ThRu.rar

Restless Night - Octopus - 1970.

Fantastic UK psychedelic pop progressive act who really took the "Sgt. Pepper"'s aura to another dimension. "Restless Night" was originally issued on the Penny Farthing label in 1970 and is a wonderful album full of 70's era - pop/psych themes and musical feelings. OCTOPUS blend superb fuzz guitar and organ work all wrapped up with some great lead vocals. This magical little album has been re-issued by "See for Miles" on CD with extra tracks off of their singles (also has been re-mastered). This album also does carry some very unique musical moments and is not in anyway a 100% carbon copy of the Beatles/Sgt Pepper, but realistically does come from the same genre... The parallels are there. The best tune IMHO on the album is the last one "Tide" which is also the longest (5:40) as it allows the instruments to really expand out a bit and gives a bit of symphonia to this psychedelic folk/prog masterpiece. IMHO this is an essential album. OCTOPUS's "Restless Night" is a masterpiece...

Songs / Tracks Listing
1. The River (4:26)
2. Summer (3:05)
3. Council Plans (3:37)
4. Restless Night (4:02)
5. Thief (3:38)
6. Queen and the Pauper (3:39)
7. I Say (1:54)
8. Johns' Rock (2:40)
9. Rainchild (3:05)
10. Tide (5:37)

Total Time: 35:44

+ 4 Bonus Tracks on GTR:
11. Laugh At The Poor Man (3:14)
12. Girlfriend (2:54)
13. The River - single version (3:23)
14. Thief - single version (3:37)

Total Time: 48:52

Originally named The CORTINAS, this mid-60's Hatfield quartet was discovered by The TROGGS' soon-to-be bassist Tony Murray and Nigel Olssen, destined to be Elton JOHN's regular drummer. It is Murray who eventually introduced the band to producer Larry Page, The TROGG's manager, and by 1968 OCTOPUS had earned a support spot to a promising young band called YES. They also got booked into the Marquee Club, toured Europe, shared the stage with HUMBLE PIE and STATUS QUO among others, and in 1970 released a first-rate pop album titled "Restless Night"; unfortunately, however, it failed to attract much enthusiasm outside their hometown. They stuck together for a while and then decided to split up in 1972. Their keyboard player John Cook later joined MUNGO GERRY whereas bassist Nigel Griggs and drummer Malcolm Green, both moving to Australia, eventually became members of SPLIT ENZ.

Thanks to PSYCHSPANIOLOS and CR.

http://rapidshare.com/files/357306868/Octopus.rar

Lucifer's Friend - 1970.

This German hard rock machine, with British belter John Lawton, (later of Uriah Heep) gave birth to one of the best heavy rock albums of the early 70's. From the screaming vocals of "Ride In The Sky" (with its brass opening reminiscent of Zeppelin's "The Immigrant Song" and an almost "thrash metal" riff) to the progressive/hard R&B of "Toxic Shadows", to the lumbering, Sabbathish doom of "Keep Goin", this album never lets up for a second. Fans of Black Sabbath, Uriah Heep, Deep Purple and Led Zeppelin must have this in their collection! Lawton is one of the best singers in hard rock, and the musicianship of the group is tremendous. Very heavy indeed for a 1971 release. The bonus tracks show the more mainstream, rock 'n' rollin' side of the band, but the instrumentals "Horla" and "Satyr's Dance" (taken from B-sides) really cook. Do yourself a large favor and check this one out.

1.Ride The Sky
2.Every Body's Clown
3.Keep Goin'
4.Toxic Shadows
5.Free Baby
6.Baby You're a Liar
7.In the Time of a Job When Mammon was a Yippie
8.Lucifer's Friend
9.Rock'n'Roll Singer
10.Satyr's Dance
11.Horla
12.Our World is a Rock'n'Roll Band
13.Alpenrosen

Play Loud! 320kbps.

http://rapidshare.com/files/76747855/LFlf.part1.rar
http://rapidshare.com/files/76758181/LFlf.part2.rar

Wise After The Event - Anthony Phillips - 1978. (flac)

Whereas Anthony Phillips' debut album The Geese & the Ghost was recorded piecemeal over a period of years, his sophomore set was cut in comparatively record time, a month in fall 1977, just as the first rave reviews for its predecessor hit the stands. It was an invigorating period and Phillips' confidence oozes out of every groove. Without departing from the proto-formula that established Geese among the year's most unexpected treats, Wise After the Event is a far more cohesive set, its highlights sprawling across entire tunes as opposed to the mere passages of before. It lacks, of course, the experimental edge of the earlier album — there is nothing here to eclipse the first time you heard "Chinese Mushroom Cloud," for instance. There may also be too many sensitive ballads cluttering things up — even the best can get a shade samey after a while. But the opening "We're All as We Lie" and the multi-textured title track are both career-enhancing classics, placing Phillips in the same kind of folky-art-prog middle ground as Roy Harper traditionally inhabited. And, as such, Wise After the Event emerges both wise and eventful.

I have loved this album since it was first released - of course I bought it because I am a Genesis fan. But this is something different. I got this and the "Geese" remasters at the same time. Over powering actually. "Geese" came out wonderful. "Wise After the Event" is absolutely stunning! Always a great album, this issue though is the definitive addition as the whole is heard as a single piece of music. The production is world class, and of course that's because of Rupert Hine. He's disgustingly talented. The song "What have you done to my little friends" has always brought tears to my eyes, but this addition is simply stunning.
I am so glad that Anthony sang this album himself. With no disrespect to the former singers on "Geese," Ant's voice folds into the music as was intended.
Superb offering.

FORMAT: FLAC (Image + Log + .Cue + Scans + 5% Recovery)
SIZE: 707 Mb
COUNTRY: UK

Track Listing:

CD1:
1. We're All As We Lie
2. Birdsong And Reprise
3. Moonshooter
4. Wise After The Event
5. Pulling Faces
6. Regrets
7. Greenhouse
8. Paperchase
9. Now What (Are They Doing To My Little Friends?)
10. Squirrel

CD2:
1. We're All As we Lie (link) (Romany's Aria Forwards)
2. Sleeping on an Interstellar Plane (Greenhouse Demo)
3. Paperchase (Instrumental Demo)
4. Birdsong (Instrumental Demo)
5. Moonshooer (CottageTapes Demo)
6. We're all as we lie (Cottage Tapes Demo)
7. Pulling Faces (Cottage Tapes Demo)
8. Squirrel (Instrumental Mix)
9. Wise After the Event (Instrumental Mix)
10. Magic Garden (Solo Piano Mix)
11. We're All as We Lie (7' Single Version)
12. Regrets (Piano Mix)
13. Chinaman (Basic Guitar)
14. Now What (Are They Doing to My Little Friends)? (Instrumental Mix)

http://hotfile.com/dl/16861652/9bac4e5/ANPH78.part1.rar.html
http://hotfile.com/dl/16868240/b3a4280/ANPH78.part2.rar.html
http://hotfile.com/dl/16875138/9692993/ANPH78.part3.rar.html
http://hotfile.com/dl/16882197/57657c0/ANPH78.part4.rar.html

or lossy:
http://narod.ru/disk/start/04.dl1se-narod.yandex.ru/14036808000/hd1234ea481f7174934d6e5cfc4abdd13/Anthony_Phillips1978_1.rar

The Geese and The Ghost - Anthony Phillips - 1976.

This is a piece of art. Maybe not in the sense of a big Beethoven opus or a great Coltrane recording, but in a sense of a great statement of ArtRock from a unique craftsman. Progressive music has been underrated during the last two dacades, but its artistry and imagination somehow trascends generations and reflects a spiritual and artistic urge to tell stories with musical color and imagination. Many Progressive albums are timeless and the work that made them real mirrors an impecable and focused search for creation.

After departing from Genesis almost seven years earlier in 1970, Anthony Phillips released his first solo record, "The Geese and the Ghost, in 1977, although Phillips wasn't the first member of the band to release a solo album (that honor goes to Steve Hackett, who beat Phillips to the punch, by releasing "Voyage of the Acolyte", in 1975). Upon the initial listening of "TG&TG", it would appear the lengthy "sabbatical" Phillips took would cause his musical skills to suffer from a case of "rustitis", but that's far from the truth. On the contrary, the lengthy absence helped him mature his craft, making "Geese..." perhaps one of the most underrated works in all of progressive rock. In practical hindsight, this is a work rich in progressive undertones, with classical influences dominating most of the selections. One listen to the title suites: "The Geese and the Ghost, Parts 1 & 2", will confirm this fact. Joining Phillips on this breathtaking journey, are Genesis mates Mike Rutherford and Phil Collins, whose vocal performances on "Which Way The Wind Blows?" and on "God If I Saw Her Now" are among the best of his career. Speaking of another above-mentioned (ex)-Genesis member, Steve Hackett, whose brother John makes an important contribution to "TG&TG" on flute. Another breathtaking contribution worthy of mention, is Anthony Phillips' vocal performance on another of the few vocal tracks, that being the melancholic "Collections", including the bonus track that closes the CD, the acoustic-driven "Master of Time (Demo Version)". Including the Genesis and solo albums "Wind & Wuthering" and Mike Rutherford's 1980 release "Smallcreep's Day" (on which Phillips guests), "The Geese and the Ghost" is the last true progressive masterwork on which both Collins and Rutherford would have the pleasure of recording before they (along with Tony Banks) would take Genesis in a different musical direction, and not 100% for the better on future releases - 1978's "...And Then There Were Three..." notwithstanding. Since "Geese..." is such a lush and complex work of art, it may take a few listens to grasp all its eccentricities. Catch this "Geese" (or "Goose") soon, before it migrates south, permanently! Oh, and this particular one is THE perfect companion with Steve Hackett's "Spectral Mornings", making both titles as must-haves for your Genesis library.

If you are an enthusiast of groups such as Gryphon, King Crimson, Heron, PFM, Renaissance or any other Progressive relic, you will not regret getting this album. Satisfaction guaranteed.

Songs / Tracks Listing

1. Wind-tales (1:02)
2. Which way the wind blows (5:51)
3. Henry; portraits from Tudor times: (12:11)
i) Fanfare 0:56
ii) Lute's chorus 2:00
iii) Misty battlements 1:15
iv) Henry goes to war 3:36
v) Death of a knight 2:33
vi) Triumphant return 1:46
4. God if I saw her now (4:09)
5. Chinese mushroom cloud (0:46)
6. The geese and the ghost: (15:40)
Part one 8:01 - Part two 7:39
7. Collections (3:07)
8. Sleepfall: the geese fly West (4:33)

Bonus track on Virgin release:
9. Master of time (7:37)

Total Time: 54:56

http://www.megaupload.com/?d=L6JO7RFO

What's Next - Frank Marino and Mahogany Rush - 1980.

This is another CD that I keep in my car because it sounds great cruising down the freeway...and easily one of the Top 10 greatest rock guitar albums ever recorded. And as I said it sounds great to hear "You Got Livin'" while you're stuck in traffic.

I had to weigh "What's Next" against the "Mahogany Rush IV" album as Frank's best because the latter is nearly as good (but in a very different style.) "What's Next" narrowly wins because everything on this album came together flawlessly:
Every song is just great; the production is world-class and simply the best Frank has ever done before or since; his vocals, which (like those of many other guitar-slingers) have never been his strong suit, are exceptionally strong here and perfectly suited for the over-the-top intensity of the material; and the three cover tunes - "Roadhouse Blues," "Rock Me Baby," and "Mona" - are perfect selections to compliment Marino's and are done so powerfully they fairly eclipse the originals.

But overall, the thing that really pushes "What's Next" into 'instant classic' territory is its incredible sense of upbeat, no-compromise, pedal-to-the-metal determination that forms its backbone. It starts with Frank's shout of "Yeah!" at the beginning of track one ("You Got Livin'"), climbs to a heady crescendo in "Something Is Coming Our Way," and doesn't let up until the final tag of "Mona".
Marino was in peak form on this album - you get the distinct impression that he was having a blast recording it - and the result sounds like one of those rare, single-take live sets that succeed in capturing fully the intensity of a concert (e.g. Eric Johnson's "Alien Love Child," Hellborg/Lane/Sipe's "Time Is The Enemy," or UFO's "Strangers In The Night".)

A couple of specific notes:
The harmonica in "Roadhouse Blues" is a perfect addition to the mix - Jim Zeller's playing is brilliant and gutsy and breathes new life into the tune;
The wah pedal is perhaps the single most widely-misused guitar effect in existence, but the point roughly 3/4 into "Something Is Coming Our Way" where Frank kicks in the wah is absolutely sublime. It's like an unspoken order to other guitarists to just throw their wah pedals on the scrap heap.
That track alone is ample reason to get this disc, but that's definitely not a statement to downplay the others - "What's Next" is top-notch from start to finish.

http://rapidshare.com/files/49728055/fmWN.part1.rar
http://rapidshare.com/files/49731532/fmWN.part2.rar

Buckingham Nicks - Deluxe Edition - 1975.

A 21 track expanded album collection and including a very comprehensive and informational twelve page color booklet and printable disc label.

Tracklist:
01 - Crying In The Night
02 - Stephanie
03 - Without A Leg To Stand On
04 - Crystal
05 - Long Distance Winner
06 - Don't Let Me Down Again
07 - Django
08 - Races Are Run
09 - Lola (My Love)
10 - Frozen Love
11 - Crying In The Night (Single Version)
12 - Dont Let Me Down Again (Mono Single Edit)
13 - Sorcerer
14 - Garbo
15 - Cathouse Blues
16 - That's Alright
17 - Candlebright (aka Nomad)
18 - Without You
19 - Lola My Love (Live)
20 - Races Are Run (Live)
21 - Rhiannon (Live)

This collection begins with the ten tracks that comprise the self titled album from Buckingham Nicks, their only commercially released album. While the album saw several vinyl issues, spurred on in part by curiosity after Mac became hugely successful, it has never seen any legitimate commercial release in the digital age. Lindsey Buckingham and Stevie Nicks own the full rights to the album and have come close to releasing it several times. Sources close to the pair state that Stevie very much wants it to be released but that Lindsey is the reluctant party.
The source for these tracks as they appear here is the original DLedin 16 bit vinyl rip of the album. This effort is considered to be one of the few consensus “must haves” in the crowded internet music trading pool. This is due not only to the fact that the album has never been released on CD (some bootleggers have made quite a bit of money as a result), but also because the quality of DLedin’s work here is
magnificent. It is significantly better than any of the myriad for profit bootlegs that have materialized over the years. In fact, as bold of a statement as it may seem, there is ample evidence to suggest that a commercial CD release from the original master tape would fail to live up to the lofty aural standard set by the “needledrop”. First off, original album producer Keith Olsen stated that when preparing the digital master for an aborted 1999 release of the work, it was
necessary to bake the master reel due to oxide flaking of the tape. This statement could lead one to assume with some probability that even ten years ago the analog master had suffered some deterioration. Even more compelling evidence can be found by way of two tracks that have seen commercial distribution. The first s “Stephanie” from the promotional compact disc “Lindsey Buckingham Words and Music”. The second is “Long Distance Winner” which appeared on Stevie’s “Enchanted” box set. Please find those tracks and compare them to their corresponding offerings here. The results will speak for themselves.

Tracks eleven and twelve are Galemark vinyl rips of two BN singles. The first,
“Crying in the Night”, is more than a simple remix. The original session for the album track is retained, but is augmented with at least two extra guitar tracks from Lindsey (and/or perhaps session ace Waddy Wachtel) and some additional backing vocals. As a result, the song takes on a more aggressive nature that belies the
album’s laid back SoCal feel. The second single included here is “Don’t Let Me Down Again”. This one is not a rerecording or remix, but simply a single edit which relieves the track of twenty seconds of soloing at the end, making it more “radio friendly”. This drop came from a white label promo 45, having the stereo edit on one side and a mono fold down on the flip side. The mono is chosen here to present the song in it’s full 1970’s AM transistor radio glory!

The next six tracks are demo recordings which have circulated extensively under the misnomer “The Coffee Plant Demos”. This title is in reference to a small storeroom in the San Francisco coffee plant of Lindsey’s father, where they installed a used Ampex four track recorder. “Sorcerer” and “Garbo” are widely reported to have
been written after the couple moved to Los Angeles, and the tapes themselves have several characteristics that allude to them having multiple points of origin.

Speaking of foreshadowing, the last three tracks of this set are fascinating in large part for the way in which they point to the future. This small live set remarkably is not the only live recording that exists of Buckingham Nicks, but is far and away the one with the best quality. Even with a good basic tape to work with, Galemark still had a lot of remastering work to do. The tape suffered many dropouts, not just the fine and complete type, but also large patches of tape where there was mal-alignment, causing fluctuations in the frequency curve. These were corrected or minimized as much as possible.

rapidshare.com:
http://lix.in/-6df48b

Thanks to Quality Dave.

Never Before - The Byrds - Compilation.

The Byrds' early demos recorded at World Pacific Studios by Jim Dickson in 1964 were (I think) first released on "Preflyte" (1969), revealing wonderful things like `You Showed Me' that should have been re-recorded for the first or second albums.

But "Never Before" was the first album to open Columbia's vaults and offered a tantalizing hint of the treasures to be found there. Subsequently these treasures were richly explored on the Boxed Set, and additional gems have come to light on the Expanded Edition reissues of the original albums.

I still have fond memories of "Never Before," and if it were available today at a reasonable price would probably pick it up. However, all or nearly all of its contents are now available elsewhere -- with improved mixes at that -- so you would have to be a pretty dedicated collector to pay top dollar for this.

Though I no longer own "Never Before," the following is to the best of my recollection what is here. Where I am unsure of something I've said so -- and will update this if I can nail a questionable track down.(All references to the Boxed Set are the first [1990] box)

(1) 'Mr. Tambourine Man'
This is a stereo mix of the original monaural single version, which runs 2:16 compared to the 2:29 album mix. (I think both versions are from the same take.) This "Never Before" track is on the Boxed Set; see the Boxed Set reviews if interested in my take on it.

(2) 'I Knew I'd Want You'
The "Never Before" contents list describes this as a "new stereo remix," which implies it is a remix of the Columbia release and not one of World Pacific Studios demos. This song was the flip of the `Tambourine Man' single, so I suspect this stereo remix is also from that single, made at the same time as the `Tambourine Man' stereo remix above.

I can find nothing matching this track's description on the Expanded "Tambourine Man" album or anywhere else. Whatever this is, it appears to remain unique to "Never Before"

(3) 'She Has A Way'
Available on the Boxed Set and Expanded "Tambourine Man".
Boxed Set booklet: "Although this track was first recorded by Jim Dickson as an acoustic demo, this superior second version, using the electric 12-string for the instrumental hook, was recorded during the "Mr. Tambourine Man" LP session, but remained unreleased until its appearance on "Never Before"."

(4) 'It's All Over Now, Baby Blue'
This 1965 unreleased single is available in monaural on the Boxed Set and in stereo on the Expanded "Turn!" album.

(5) 'Never Before'
Available as `The Day Walk' on both the Boxed Set and Expanded "Turn!" album.
Boxed Set booklet: "`The Day Walk' was the original working title of the track later renamed `Never Before' by Gene Clark for the Murray Hill release. This version [Boxed Set] is from the original eight-track master and is presented here for the first time ever in beautiful wide stereo."

(6) 'Eight Miles High' [alternate]
This "previously unreleased" alternate version is probably the same RCA alternate as the bonus track on Expanded "5D" album.

(7) 'Why' [alternate take]
This "previously unreleased" alternate take is a bonus cut on the Expanded "5D" album.

(8) 'Triad'
On the Boxed Set and Expanded "Notorious Byrd Brothers" album. Boxed Set booklet: "This cut, surviving from the Notorious sessions, was the last Byrds recording made with David Crosby's involvement before his departure from the original group."

(9) 'It Happens Each Day'
On the Boxed Set and Expanded "Younger Than Yesterday".
Boxed Set booklet: "org. release "Never Before". Remixed from the original eight-track master, this track is presented here [Boxed Set] for the first time in beautiful wide stereo."
(Too bad this great track was bumped for `Mind Gardens' on "Younger Than Yesterday.")

(10) 'Lady Friend'
This version is apparently still unique to "Never Before" -- though that is not necessarily a good thing.
"All Music Guide To Rock" says of this: "...'Lady Friend,' one of Crosby's best compositions, is ruined by a ham-fisted drum track overdubbed in the 1980s (it was restored to its original version on the Boxed Set)".

Boxed Set booklet: "Remixed from the original eight-track master, this [Boxed Set version] is `Lady Friend's' first appearance in wide true stereo with no additional overdubs."

I think the Boxed Set mix is also used on Expanded "Younger Than Yesterday" and "Essential Byrds". For those who are interested, the original monaural single seems to be on the import album, "The Byrds: Definitive Collection".

(11) 'I Know My Rider'
On the Boxed Set and Expanded "5D". Boxed Set booklet: "Remixed from the original eight-track master for its inclusion here [Boxed Set] in wide true stereo. `Rider' was an out-take from the "5D" Lp sessions."

(12) 'Why' [single version/ stereo mix]
There is a different stereo mix of the 'Why' single on Expanded "5D"; unlike this one, it is faithful to the monaurel mix and is by far the one I prefer.
This "Never Before" mix is on the Boxed Set, where the booklet describes it as "45 version" and "Remixed true stereo version from "Never Before"." (See Boxed Set reviews for a description of this mix and why I do not prefer it.)

(13) 'She Don't Care About Time' [Unreleased Single version]
This version of 'Time' was the flip side of the unreleasd 1965 single 'Baby Blue'. This track is monaural with opening countdown on the Boxed Set, and in stereo without countdown on Expanded "Turn!".

(14) 'Flight 713' [instrumental]
My memory of this track fails me so I can't confirm this but... I suspect this is the instrumental listed as `John Riley - instrumental version 1' on Expanded "5D".
"All Music Guide To Rock" describes the "Never Before" track as "a taut, almost jazzy piece."

[CORRECTION 5/11/06: Johnny Rogan's book "Timeless Flight Revisited" says 'Flight 713' "was discovered at the end of the studio tape for 'Get To You'." This places it in the "Notorious Byrd Brothers" sessions, making it a different work entirely from "5D's" 'John Riley' instrumental. Since 'Flight 713' is not a bonus cut on the Expanded "Notorious" CD, it is apparently still unique to "Never Before". Rogan calls it: "An effective instrumental that might have been developed into a strong song ... a welcome glimpse into McGuinn and Hillman's post-Crosby studio tinkering." Rogan also explains why I don't remember this track: I owned the original vinyl album, and this is among the bonus cuts later added to the CD version.]

(15) 'Psychodrama City'
Available on Boxed Set and Expanded "5D".
Boxed Set booklet: "Remixed from the original eight-track master [for the Boxed Set], this version, actually in demo form, contains the full guitar intro which was deleted from the "Never Before" release. It is also presented for the first time in wide stereo."

(16) 'Don't Make Waves' [Single Version/Stereo Mix]
Title song for movie of same name, this was the flip of the single 'Have You Seen Her Face'. It is a bonus track on Expanded "Younger Than Yesterday."

(17) 'Moog Raga'
Available on Expanded "Notorious Byrd Brothers."

http://sharebee.com/5d4122d2