Gustav Mahler: Symphony No. 4 in G major - Juliane Banse, soprano; Dresden Staatskapelle; Giuseppe Sinopoli, conductor
Classical | 1 CD | EAC Rip | 303 MB | FLAC+LOG+Cue | Full scans | RS links
Publisher: Profil © PH07047

Mining the archive uncovers this treasurable performance.
"Glorious" and "sublime" were among the epithets applied to the playing of Dresden's "Royal Chapel" ensemble when Mahler's Fourth Symphony was first performed in the city in 1908. Both epithets could be applied to the playing on this latter-day realisation under Giuseppe Sinopoli. Richard Osborne, August 2008 GRAMOPHONE

VA - I Love Disco Diamonds Collection Vol. 46 [12'Inch]
EAC Rip | Included: EAC Log + CUE + Flac + Covers | Size: 612 MB | RAR files | RS.com
Release: 25 October, 2007 | Label: Blanco y Negro | Number: MXCD 1734 | Genre: Italo Disco | Mono/Stereo: 2 Channel
Mastered by Quim Quer at Blanco y Negro Music Studios
Created & compiled by Rafael Carmona Perez
Special Limited Edition

"Ale - Come On Out", "Scotch - Money Runner", "Julian - Straight To My Heart", "Bad Boys Blue - Gimme Gimme Your Lovin' (Little Lady)" , "Mike Mareen - Here I Am" and more... are the songs which included on the 46th volume of "I Love Disco Diamonds", released in 2007 by Spain's Blanco y Negro label. This is part of one of the most extensive Euro-dance (Italo Disco) series available. Since the series is so extensive, you can bet there's plenty of filler, and that's definitely the case here.

Not long after You're Gonna Get It, Tom Petty & the Heartbreakers' label, Shelter, was sold to MCA Records. Petty struggled to free himself from the major label, eventually sending himself into bankruptcy. He settled with MCA and set to work on his third album, digging out some old Mudcrutch numbers and quickly writing new songs. Amazingly, through all the frustration and anguish, Petty & the Heartbreakers delivered their breakthrough and arguably their masterpiece with Damn the Torpedoes. Musically, it follows through on the promise of their first two albums, offering a tough, streamlined fusion of the Stones and Byrds that, thanks to Jimmy Iovine's clean production, sounded utterly modern yet timeless. It helped that the Heartbreakers had turned into a tighter, muscular outfit, reminiscent of, well, the Stones in their prime — all of the parts combine into a powerful, distinctive sound capable of all sorts of subtle variations. Their musical suppleness helps bring out the soul in Petty's impressive set of songs. He had written a few classics before — "American Girl," "Listen to Her Heart" — but here his songwriting truly blossoms. Most of the songs have a deep melancholy undercurrent — the tough "Here Comes My Girl" and "Even the Losers" have tender hearts; the infectious "Don't Do Me Like That" masks a painful relationship; "Refugee" is a scornful, blistering rocker; "Louisiana Rain" is a tear-jerking ballad. Yet there are purpose and passion behind the performances that makes Damn the Torpedoes an invigorating listen all the same. Few mainstream rock albums of the late '70s and early '80s were quite as strong as this, and it still stands as one of the great records of the album rock era.

Keeping the same line-up from Henry's Dream, Nick Cave and company turn in yet another winner with Let Love In. Compared to Henry's Dream, Let Love In is something of a more produced effort – longtime Cave boardsman Tony Cohen oversees things, and from the first track, one can hear the subtle arrangements and carefully constructed performances. Love, unsurprisingly, takes center stage of the album. Besides concluding with a second part to "Do You Love Me?," two of its stronger cuts are the (almost) title track "I Let Love In," and "Loverman," an even creepier depiction of lust's throttling power so gripping that Metallica ended up covering it…