The 4-CD/DVD collection includes the original album with newly remastered sound, unreleased live and studio recordings, classic music videos, concert footage, a 30 minute documentary, featuring a new interview with David Coverdale, Whitesnake’s founder and lead singer. The music comes with a 60-page hardbound book that’s filled with rare and unseen photos from the era, an extended essay based on new interviews with Coverdale, plus a booklet of the album’s lyrics, handwritten by Coverdale…

Buchanan was a terrific guitarist, but My Babe is not the place to hear him in his glory. Too often, the album is dragged down by slick production and Paul Jacobs' overbearing vocals. Buchanan's playing is fairly good, but he sounds a little uninspired, which is understandable, considering his surroundings…

By the time of its release, the Lovin' Spoonful's debut album was already a significant record because of the inclusion of its title track, John Sebastian's timeless anthem to love and music, which had been one of the major hits of the summer of 1965…

Clifford Jordan - Two Tenor Winner (1985) {Criss Cross Jazz Criss1011CD rec 1984}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 288 Mb | MP3 @320 -> 121 Mb
Full Artwork @ 300 dpi (jpg) -> 40 Mb | 5% repair rar
© 1985 Criss Cross Jazz | Criss 1011 CD
Jazz / Hard Bop / Saxophone

Clifford Jordan and Junior Cook make for a perfectly compatible team on this 1984 CD. While assisted by pianist Kirk Lightsey, bassist Cecil McBee, and drummer Eddie Gladden, the very distinctive tenors inspire each other on originals, obscurities, Charles Davis' "Half and Half," and "Groovin' High." High-quality hard bop with a bit of competitiveness resulting in some fiery moments.

Carlos Perón was the founder of globally renowned cult act Yello, initiator of the world’s first ever video clip, ‘The Evening’s Young’ from the group’s second album “Claro Que Si”. Following the fifth Yello album “You Gotta Say Yes To Another Excess”, which was released as the world’s first ever Compact Disc in 1983, Carlos left the group to embark on an ambitious solo career.
Originally released in 1984, this album is the first collaboration between Carlos Perón and Swiss actor Peter Ehrlich from the Viennese Burg theatre. The seven part Genesis, impressively narrated by Ehrlich, was composed by Perón as an oratorio for Yamaha CX 5 Computer, Kurzweil 250 and Oberheim Xpander.

The quality of Chet Baker's product was so varied during the last decade or more of his life that recording sessions varied markedly. For this "remixed version" of Mr. B Baker sounds a tad tired, though his chops are in fine form. The studio recording captures the trumpeter with highly sympathetic and self-effacing pianist Michel Grallier and bassist Ricardo Del Fra, both of whom engage in the leader's brand of sensitivity. There are no vocals by the trumpeter, but plenty of improvising. The interesting tune selection features a few songs played often by Baker (such as Wayne Shorter's "Dolphin Dance" and Horace Silver's "Strollin'"), but several that are not associated with him at all (Grallier's "White Blues" and his gorgeous "Father X-mas," to name a couple). There is a sadness permeating the trumpeter's sound throughout, exacerbated by the lazy, sometimes sluggish, tempos. A deep and touching beauty can be felt, marking this as one of Chet's best from the period.

Keith Jarrett - The Celestial Hawk (1980) {ECM 1175}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 191 Mb | MP3 @320 -> 97 Mb | Artwork | 5% repair rar
© 1980 ECM Records | ECM 1175
Jazz / Contemporary Jazz / Post Bop / Piano

Keith Jarrett’s classical modality often comes across to me as a dark pastoral, a variegated tapestry of intensity and withdrawal. And while The Celestial Hawk may be no different in this regard, it promises some brighter discoveries upon deeper listening. Against a gentle backdrop of percussion that includes timpani, snare, and triangle, Jarrett deploys his tiny fleets of high notes in the First Movement, out of which arises a delicate harp ostinato, doubled by piano and accentuated by woodwinds and strings, as a crystalline glockenspiel slowly clouds into less translucent ores.

Brian Eno - Thursday Afternoon (1985) {2009 Virgin DSD Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 250 Mb | MP3 @320 -> 145 Mb
Full Artwork @ 300 dpi (png) -> 27 Mb | 5% repair rar | DSD Remaster
© 1985, 2009 Virgin Records / Astralwerks | 50999 6 84537 2 5
Ambient / Electronic / Avant-Garde / Experimental

Brian Eno's Thursday Afternoon is included in his Original Masters "Soundtracks Works" edition as it is, after all, a soundtrack to a video that Eno himself made in 1984. It consists of seven practically immobile shots of a nude or semi-nude model filtered through a variety of video effects, shown "vertically" with the TV set turned on its right side. Thursday Afternoon debuted at a high profile art gallery in New York, and at that time Eno's cadre of boosters proclaimed that he was going to do for visual art what he'd already done for music.

A transitional album on which the band moved from Syd Barrett's relatively concise and vivid songs to spacy, ethereal material with lengthy instrumental passages. Barrett's influence is still felt (he actually did manage to contribute one track, the jovial "Jugband Blues"), and much of the material retains a gentle, fairy-tale ambience. "Remember a Day" and "See Saw" are highlights; on "Set the Controls for the Heart of the Sun," "Let There Be More Light," and the lengthy instrumental title track, the band begin to map out the dark and repetitive pulses that would characterize their next few records.

A new Weather Report lineup makes its debut here, with Victor Bailey filling Jaco Pastorius' shoes, Omar Hakim on drums, Jose Rossy on percussion, and Joe Zawinul now thoroughly in charge. But contrary to the conventional wisdom which claims that WR went downhill after the departure of Pastorius/Erskine, the new lineup actually recharged WR's creative batteries; the material here is superior to that of the previous two albums at least. Bailey, while not Jaco's technical equal, is mobile enough to project through the texture, and Hakim has the versatility and swinging Third World rhythmic influences that must have appealed to Zawinul. "Procession" itself is a masterly Zawinul tone poem, with moody electronics and voices building to an emotional crescendo and ebbing away, a high point in WR's output.

What I Did on My Vacation is an official compilation album from Ian Gillan, released in 1986 in UK by 10 Records. The album covers Gillan's recordings between 1977 and 1982 and was released in three formats (2LP, CD, MC). All songs from the album had been previously released. Although not credited on the cover, "Scarabus" is preceded by an instrumental piece by Colin Towns, which was used as the intro to "On The Rocks" (from the Glory Road album).

This well-rounded set features Monty Alexander exploring his West Indian heritage by utilizing the steel drum of Othello Molineaux and performing both straightahead jazz and calypsos. The music is often quite joyous and even the more familiar material (such as "Work Song," "Stella By Starlight" and a medley of "Impressions" and "So What") sounds fresh. Whether it be the Milt Jackson blues "S.K.J." or the Crusaders' hit "Street Life," this is a very successful outing that is quite enjoyable.

This is compilation of BJH starting from when they left EMI's Harvest label in the mid 1970's. It therefore covers the period from their first Polydor album, "Everyone is everybody else". Unlike most stories, this one begins somewhere in the middle with a single edit of the title track from the "Ring of changes" album. The Harvest years are represented only by a later live version of the perennial "Mocking bird" taken from their famous Berlin concert. The overriding concern here is that the compilation purports to tell the "Story" of BJH.

A saxophone workout from '85 by outstanding British player John Surman. While solo sax can be extremely tiring, Surman mixes enough elements of rock, free, blues, and hard bop to keep the songs varied. His aggressive style, especially on baritone, keeps the energy level high.