...( Info )...

Artist...............: Creedence Clearwater Revival
Album................: The Filmore West 4th July 1971 (KSAN-FM Broadcast Filmore West 4th July 1971 Remastered)
Genre................: Rock
Year.................: 2016
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Creedence Clearwater Revival - Intro And Tuning
002. Creedence Clearwater Revival - Born On The Bayou
003. Creedence Clearwater Revival - Green River
004. Creedence Clearwater Revival - It Came Out Of The Sky
005. Creedence Clearwater Revival - Door To Door
006. Creedence Clearwater Revival - Travelin' Band
007. Creedence Clearwater Revival - Fortunate Son
008. Creedence Clearwater Revival - Commotion
009. Creedence Clearwater Revival - Lodi
010. Creedence Clearwater Revival - Bad Moon Rising
011. Creedence Clearwater Revival - KSAN FM Announcement
012. Creedence Clearwater Revival - Proud Mary
013. Creedence Clearwater Revival - Up Around The Bend
014. Creedence Clearwater Revival - Hey Tonight
015. Creedence Clearwater Revival - Sweet Hitchhiker
016. Creedence Clearwater Revival - John Fogerty Talks About Fillmore West Closing Night
017. Creedence Clearwater Revival - Keep On Chooglin

...( Info )...

Artist: Marilyn Monroe
Album: 24 Great Songs
Genre: Jazz, Pop
Year of disc release: 2004
Audio codec: FLAC
Rip type: tracks
Audio bitrate: lossless
Duration: 71:00 min

...( TrackList )...

CD1
01.- Diamonds are a Girl's best friend
02.- Kiss
03.- Heat Wave
04.- After you get what you want, you don't want it
05.- Every baby needs a da da daddy
06.- I'm thru with love
07.- I'm gonna file my claim
08.- This is a fine romance
09.- Anyone can see I love you
10.- Do it again
11.- When I fall in love
12.- Bye bye baby

CD2
01.- I wanna be loved by you
02.- My heart belongs to daddy
03.- Running wild
04.- Someone like it hot
05.- When loves goes wrong
06.- Lazy
07.- Down in the meadow
08.- One Silver Dollar
09.- She acts like a woman should
10.- Specialization
11.- Two little girls from little rock
12.- You'd be surprised

...( Info )...

Artist: Elvis Presley
Album: The Number One Hits
Genre: Rock & Roll
Media: CD
Country of release: Japan for USA
Year of release: 1987
Audio codec: FLAC (*.flac)
Sampling frequency: 44100 Hz
Depth: 16 Bit
Rip type: tracks
Duration: 43:55
Source: third-party rip


...( TrackList )...

01. Heartbreak Hotel
02. I Want You, I Need You, I Love You
03. Hound Dog
04. Don't Be Cruel
05. Love Me Tender
06. Too Much
07. All Shook Up
08. Teddy Bear
09. Jailhouse Rock
10. Don't
11. Hard Headed Woman
12. A Big Hunk O' Love
13. Stuck On You
14. It's Now Or Never
15. Are You Lonesome Tonight?
16. Surrender
17. Good Luck Charm
18. Suspicious Minds

..::INFO::..

---------------------------------------------------------------------
Freddie Mercury - The Very Best of Freddie Mercury Solo - (2 CD)
(Lover of Life, Singer of Songs)
---------------------------------------------------------------------

Artist...............: Freddie Mercury
Album................: The Very Best of Freddie Mercury Solo
Genre................: Rock Pop
Source...............: CD
Year.................: 2006
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63-68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Hollywood Records

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting - CD 1
---------------------------------------------------------------------

1. Freddie Mercury - In My Defence [2000 remix] [03:55]
2. Freddie Mercury - The Great Pretender [03:27]
3. Freddie Mercury - Living On My Own [1993 Radio Mix] [03:38]
4. Freddie Mercury - Made In Heaven [04:05]
5. Freddie Mercury - Love Kills [04:29]
6. Freddie Mercury - There Must Be More To Life Than This [03:00]
7. Freddie Mercury & Montserrat Caballé - Guide Me Home [02:50]
8. Freddie Mercury & Montserrat Caballé - How Can I Go On [03:51]
9. Freddie Mercury - Foolin' Around [Steve Brown Remix] [03:36]
10. Freddie Mercury - Time [04:00]
11. Freddie Mercury & Montserrat Caballé - Barcelona [05:40]
12. Freddie Mercury - Love Me Like There's No Tomorrow [03:47]
13. Freddie Mercury - I Was Born To Love You [03:40]
14. Freddie Mercury & Montserrat Caballé - The Golden Boy [06:06]
15. Freddie Mercury - Mr. Bad Guy [04:12]
16. Freddie Mercury - The Great Pretender [Malouf Remix] [03:39]
17. Freddie Mercury - Love Kills [Star Rider Remix] [03:39]
18. Larry Lurex - I Can Hear Music [03:28]
19. Larry Lurex - Goin' Back [03:34]
20. Thierry Lang - Guide Me Home [piano version] [04:18]

Playing Time.........: 01:19:05
Total Size...........: 503,09 MB

---------------------------------------------------------------------
Tracklisting - CD 2 - Bonus
---------------------------------------------------------------------

1. Freddie Mercury - Love Kills (Sunshine People Radio Mix)[03:16]
2. Freddie Mercury - Made In Heaven (Extended Version) [04:50]
3. Freddie Mercury - Living On My Own (The Egg Remix) [05:37]
4. Freddie Mercury - Love Kills (Rank 1 Remix) [07:18]
5. Freddie Mercury - Mr Bad Guy (Bad Circulation Version) [03:26]
6. Freddie Mercury - I Was Born To Love You (George Demure Almost Vocal Mix)[04:02]
7. Freddie Mercury - My Love Is Dangerous (Extended Version)[06:28]
8. Freddie Mercury - Love Makin' Love (Demo) [03:38]
9. Freddie Mercury - Love Kills (Pixel82 Remix) [06:13]
10. Freddie Mercury - I Was Born To Love You (Extended Version)[07:05]
11. Freddie Mercury - Foolin' Around (Early Version) [04:15]
12. Freddie Mercury - Living On My Own (No More Brothers Extended Mix)[05:15]
13. Freddie Mercury - Love Kills (More Oder Rework By The Glimmers)[06:53]
14. Freddie Mercury - Your Kind Of Lover (Vocal & Piano Version)[03:38]
15. Freddie Mercury - Let's Turn It On (A Cappella) [03:04]

Playing Time.........: 01:15:06
Total Size...........: 517,95 MB

...( Info )...

Artist: Kreator
Album: Krushers of the World
Genre: Thrash-Metal
Publisher: Nuclear Blast
Source: qobuz
Duration: 00:44:24
Audio: FLAC 24/48, Lossless|WEB-DL
Rip type: tracks

...( TrackList )...

01. Seven Serpents(4:40)
02. Satanic Anarchy(3:33)
03. Krushers Of The World(4:20)
04. Tränenpalast(4:43)
05. Barbarian(4:40)
06. Blood Of Our Blood (4:31)
07. Combatants(4:01)
08. Psychotic Imperator(5:05)
09. Deathscream(3:52)
10. Loyal To The Grave(4:58)

..::INFO::..

Chris Rea to brytyjski muzyk, wokalista, gitarzysta i autor tekstów, urodzony 4 marca 1951 roku w Middlesbrough w Anglii. Znany jest przede wszystkim z charakterystycznego, chropowatego głosu oraz nastrojowych kompozycji łączących rock, blues i soft rock. Jego styl często kojarzony jest z melancholijnym klimatem i refleksyjnymi tekstami. Karierę muzyczną rozpoczął w latach 70., a największą popularność zdobył w kolejnych dekadach dzięki takim utworom jak “Driving Home for Christmas”, “Road to Hell”, “Josephine” czy “On the Beach”. Wydał kilkanaście albumów studyjnych, z których wiele osiągnęło status platynowych. Wstawka zawiera album kompilacyjny Chrisa Rea.

Title: Essentials

Artist: Chris Rea

Country: Wielka Brytania

Year: 2025

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01.Fool (If You Think It’s Over)
02.The Road to Hell, Pt. 2
03.Let’s Dance
04.You Can Go Your Own Way
05.Driving Home for Christmas
06.Julia
07.Stainsby Girls
08.Tell Me There’s a Heaven
09.Josephine
10.Steel River
11.I Can Hear Your Heartbeat
12.All Summer Long
13.Saudade Part 1 & 2 (Tribute to Ayrton Senna)
14.The Blue Cafe
15.On the Beach
16.Auberge
17.Nothing to Fear

...( Info )...

Artist: Sevengill
Title: Penumbra
Year: 2026
Genre: Post-Metal
Country: Greece
Duration: 00:44:36
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...

1. Oathbreakers 12:32
2. Ballata 03:49
3. For The Sun 13:01
4. The Last One 15:13

...( Info )...

Artist: Hyperion
Title: Cybergenesis
Year: 2026
Genre: Heavy-Meta
Country: Italy
Duration: 00:39:17
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...

1. Deafening 03:54
2. Rewire, Rebuild 04:46
3. Yet We Still Fight 04:26
4. The Shackles of Chronitus 04:51
5. Blood Over Chrome 05:18
6. Grain of Sand 04:17
7. Rhizome Rider 04:57
8. The Whole of Time 06:48

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Klasyczny niemiecki grind/death metal. Czwarta duża płyta z 1994 roku. Reedycja VIC RECORDS zawiera również 'Spiddle of Red Blood' 1995 EP.



As far as I’m concerned, there are very few extreme metal bands with a discography where I can listen to any album and have reason believe that it could be someone’s favourite record. Even with extremely consistent bands like Immolation or Asphyx, there are albums less remarkable than others. Blood though? Every album has something new to offer, with the common thread (usually) being that it’s going to be deathgrind and that it's going to be really damn good. And as to be expected, Mental Conflicts is no different in this regard.

Now armed with their 3rd different vocalist (as far as the ones on full-lengths go), the band decided to accommodate Clausi with another change in their sound. Aiming to mix the death metal sound of Christbait with the grindier elements of the debut and O agios pethane, they deliver something that is truly as close to the definition of deathgrind as we can get. The songs are brief and there is a lot of them, the vocals switch between blood gurgling shrieks and growls that are the burpier version of Glen Benton, and the entire sound is very twisted and hostile. You know, not in the lunatic goregrind way, rather in a calculated, malicious way. Sure, the madness still shines through occasionally on the grindier tracks like The Favour of Ecstasy or Toothache, but there is certainly more than enough meat to chew on for those who rather get a taste of their other offerings. Me personally, I enjoy when the death metal takes the centre stage, but how could I say no to punkish disregard for a speed limit, or their moments of pure, frenzied outbursts of aggression. But as far as the non-grind-exclusive parts go, the way the crushing blast beats are breaking up the usually mid-tempo songs is great. When the band busts out the skanky drumming on Bleed for Me though, now that’s where the real fun begins.

Because as serious of a matter as deathgrind is, Blood knows how to have fun. And I’m not just talking about the semi-joke cover of For Auld Lang Syne they decided to place in the middle of the album (though it definitely helps with giving the listener some breathing room). What I mean is that despite the professional, no bullshit, no filler attitude, the band never skips adding great hooks and catchy leadwork to their songs. However, this attitude change also resulted in them cleaning up the production quality, ending with something that sounds much more like something early Immolation could have mixed up, rather than the overly muffled Impulse to Destroy. There are plenty of songs where I uncontrollably bop my head to the barrage of sounds the band hurls at me, but was I not sitting in my chair, some serious moshing would be taking place in my room. Something I would have preferred to do during Old Grave Fest, but alas, they cancelled two years in a row. For understandable reasons mind you, but it still fucking sucks that I have to smash into my own furniture instead of other likeminded individuals.

All things considered, Mental Conflicts is another unique little trip to the mind of these German masters, that while may not be my personal favourite of theirs, I’m sure there is at least a dozen guys out there whose it is. But background listeners be warned, this isn’t something you can just put on the backburner and jam while you are cooking. It demands your attention, testing if you really want to get to the depths of their special flavour of filth, or you are just a tourist passing by who lets their ears get the music washed together. If you are the latter, I’m afraid you are better off listening to Napalm Death or something lame, because Blood’s fourth album is truly something that you cannot take lightly.

Feast for the Damned



..::TRACK-LIST::..

1. Intro (Tentacles) 01:18
2. Insomnia 01:37
3. Toothache 01:13
4. Master's Clemency 01:17
5. Secrets Of Blood 01:32
6. Mental Conflict 02:05
7. Bleed For Me 02:05
8. Spreading The Thoughts 01:44
9. Blood 01:30
10. Stretched 02:24
11. Away Is Away 01:54
12. For Auld Lang Syne 02:05
13. Crown Court 03:08
14. Inflame 01:16
15. Texas Chainsaw Massacre 02:44
16. Naked Frozen 01:19
17. Bloodprice 01:58
18. The Favour Of Ecstasy 01:31
19. Morpheus 02:22
20. I Dream Dead 03:21


Bonus Tracks (Spittle Red Of Blood EP 1995):
21. Slumber Of Terror 02:28
22. Euthanastic Inclination) 01:43
23. Under The Seal 01:40
24. Christian Holocaust 00:51



..::OBSADA::..

Taki - Bass
Eisen - Guitars
Ventilator - Drums
Clausi - Vocals




https://www.youtube.com/watch?v=TyH1gpKk57s



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Klasyczny niemiecki grind/death metal. Czwarta duża płyta z 1994 roku. Reedycja VIC RECORDS zawiera również 'Spiddle of Red Blood' 1995 EP.



As far as I’m concerned, there are very few extreme metal bands with a discography where I can listen to any album and have reason believe that it could be someone’s favourite record. Even with extremely consistent bands like Immolation or Asphyx, there are albums less remarkable than others. Blood though? Every album has something new to offer, with the common thread (usually) being that it’s going to be deathgrind and that it's going to be really damn good. And as to be expected, Mental Conflicts is no different in this regard.

Now armed with their 3rd different vocalist (as far as the ones on full-lengths go), the band decided to accommodate Clausi with another change in their sound. Aiming to mix the death metal sound of Christbait with the grindier elements of the debut and O agios pethane, they deliver something that is truly as close to the definition of deathgrind as we can get. The songs are brief and there is a lot of them, the vocals switch between blood gurgling shrieks and growls that are the burpier version of Glen Benton, and the entire sound is very twisted and hostile. You know, not in the lunatic goregrind way, rather in a calculated, malicious way. Sure, the madness still shines through occasionally on the grindier tracks like The Favour of Ecstasy or Toothache, but there is certainly more than enough meat to chew on for those who rather get a taste of their other offerings. Me personally, I enjoy when the death metal takes the centre stage, but how could I say no to punkish disregard for a speed limit, or their moments of pure, frenzied outbursts of aggression. But as far as the non-grind-exclusive parts go, the way the crushing blast beats are breaking up the usually mid-tempo songs is great. When the band busts out the skanky drumming on Bleed for Me though, now that’s where the real fun begins.

Because as serious of a matter as deathgrind is, Blood knows how to have fun. And I’m not just talking about the semi-joke cover of For Auld Lang Syne they decided to place in the middle of the album (though it definitely helps with giving the listener some breathing room). What I mean is that despite the professional, no bullshit, no filler attitude, the band never skips adding great hooks and catchy leadwork to their songs. However, this attitude change also resulted in them cleaning up the production quality, ending with something that sounds much more like something early Immolation could have mixed up, rather than the overly muffled Impulse to Destroy. There are plenty of songs where I uncontrollably bop my head to the barrage of sounds the band hurls at me, but was I not sitting in my chair, some serious moshing would be taking place in my room. Something I would have preferred to do during Old Grave Fest, but alas, they cancelled two years in a row. For understandable reasons mind you, but it still fucking sucks that I have to smash into my own furniture instead of other likeminded individuals.

All things considered, Mental Conflicts is another unique little trip to the mind of these German masters, that while may not be my personal favourite of theirs, I’m sure there is at least a dozen guys out there whose it is. But background listeners be warned, this isn’t something you can just put on the backburner and jam while you are cooking. It demands your attention, testing if you really want to get to the depths of their special flavour of filth, or you are just a tourist passing by who lets their ears get the music washed together. If you are the latter, I’m afraid you are better off listening to Napalm Death or something lame, because Blood’s fourth album is truly something that you cannot take lightly.

Feast for the Damned



..::TRACK-LIST::..

1. Intro (Tentacles) 01:18
2. Insomnia 01:37
3. Toothache 01:13
4. Master's Clemency 01:17
5. Secrets Of Blood 01:32
6. Mental Conflict 02:05
7. Bleed For Me 02:05
8. Spreading The Thoughts 01:44
9. Blood 01:30
10. Stretched 02:24
11. Away Is Away 01:54
12. For Auld Lang Syne 02:05
13. Crown Court 03:08
14. Inflame 01:16
15. Texas Chainsaw Massacre 02:44
16. Naked Frozen 01:19
17. Bloodprice 01:58
18. The Favour Of Ecstasy 01:31
19. Morpheus 02:22
20. I Dream Dead 03:21


Bonus Tracks (Spittle Red Of Blood EP 1995):
21. Slumber Of Terror 02:28
22. Euthanastic Inclination) 01:43
23. Under The Seal 01:40
24. Christian Holocaust 00:51



..::OBSADA::..

Taki - Bass
Eisen - Guitars
Ventilator - Drums
Clausi - Vocals




https://www.youtube.com/watch?v=TyH1gpKk57s



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Dla niemieckiej grupy Kammerflimmer Kollektief po 20 latach i 10 płytach przyszedł czas na kolejną podróż. Pochodzące z Karlsruhe trio prowadzi nas przez siedem stacji w niezgłębionej Terra Incognita, na przecięciu improwizacji i kompozycji, nieustannie przeskakując pomiędzy precyzją i wolnością, matematyką i spontanicznością, i kiedy myślimy, że mogliśmy go już sklasyfikować i zdefiniować, znika zupełnie.

Ten album zatytułowany "Są działania, które zaniedbaliśmy i które nieustannie nas wzywają" jest dla tych, którzy nie boją się nieznanego, nieustraszonych: bez słów wyczarowuje zaklęte miejsca w najbogatszych tonach, jednocześnie konfrontując nas z magią, która nas urzeka i rozdzierającą świadomością, że nigdy nie uwolnimy się od jego czarodziejskiej mocy.


After 20 years of Kammerflimmer Kollektief, with 10 albums thus far, the time has come to take a trip. The Karlsruhe combo guide us through seven stations in an unfathomable Terra Incognita, where a listening space emerges at the intersection of improvisation and composition, a space where certitude slips out of reach, jouncing incessantly between precision and freedom, oscillating furiously between cut-up and palimpsest – and, just when we think we may have pinned it down, disappears altogether.

This album entitled "There are actions which we have neglected and which never cease to call us." is one for the fearless: wordlessly conjuring up enchanted places in the richest of tones, simultaneously confronting us with magic which captivates us and the excruciating realisation that we may never be released from its spell.



..::TRACK-LIST::..

Action 1: Lucid, Imperial Beach 10:33
Action 2: Discharged, Quauhnáhuac 04:07
Action 3: Thoughtless, Hamburg 05:17
Action 4: Wasted, Ivano-Frankivsk 03:58
Action 5: Resplendent, Bolinas 06:47
Action 6: Vigilant, Jerichow 02:44
Action 7: Blessed, Ermenonville 05:29



..::OBSADA::..

Electric Guitar, Sounds [Slide, Feedbacks & Interference] - Thomas Weber
Harmonium, Sounds [Oscillations, Wind & Fury] - Heike Aumüller
Double Bass, Sounds [Low End Theory] - Johannes Frisch




https://www.youtube.com/watch?v=LtSkXpMwFTk



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Dla niemieckiej grupy Kammerflimmer Kollektief po 20 latach i 10 płytach przyszedł czas na kolejną podróż. Pochodzące z Karlsruhe trio prowadzi nas przez siedem stacji w niezgłębionej Terra Incognita, na przecięciu improwizacji i kompozycji, nieustannie przeskakując pomiędzy precyzją i wolnością, matematyką i spontanicznością, i kiedy myślimy, że mogliśmy go już sklasyfikować i zdefiniować, znika zupełnie.

Ten album zatytułowany "Są działania, które zaniedbaliśmy i które nieustannie nas wzywają" jest dla tych, którzy nie boją się nieznanego, nieustraszonych: bez słów wyczarowuje zaklęte miejsca w najbogatszych tonach, jednocześnie konfrontując nas z magią, która nas urzeka i rozdzierającą świadomością, że nigdy nie uwolnimy się od jego czarodziejskiej mocy.


After 20 years of Kammerflimmer Kollektief, with 10 albums thus far, the time has come to take a trip. The Karlsruhe combo guide us through seven stations in an unfathomable Terra Incognita, where a listening space emerges at the intersection of improvisation and composition, a space where certitude slips out of reach, jouncing incessantly between precision and freedom, oscillating furiously between cut-up and palimpsest – and, just when we think we may have pinned it down, disappears altogether.

This album entitled "There are actions which we have neglected and which never cease to call us." is one for the fearless: wordlessly conjuring up enchanted places in the richest of tones, simultaneously confronting us with magic which captivates us and the excruciating realisation that we may never be released from its spell.



..::TRACK-LIST::..

Action 1: Lucid, Imperial Beach 10:33
Action 2: Discharged, Quauhnáhuac 04:07
Action 3: Thoughtless, Hamburg 05:17
Action 4: Wasted, Ivano-Frankivsk 03:58
Action 5: Resplendent, Bolinas 06:47
Action 6: Vigilant, Jerichow 02:44
Action 7: Blessed, Ermenonville 05:29



..::OBSADA::..

Electric Guitar, Sounds [Slide, Feedbacks & Interference] - Thomas Weber
Harmonium, Sounds [Oscillations, Wind & Fury] - Heike Aumüller
Double Bass, Sounds [Low End Theory] - Johannes Frisch




https://www.youtube.com/watch?v=LtSkXpMwFTk



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Płyta 'The Deluge' wniosła sporo progresywnych elementów do epickiego stylu Manilli. Utwory stały się bardziej wielowątkowe, wielowarstwowe i bardziej rozbudowane, choć nie brakuje również krótkich i szybkich killerów, jak fantastyczne "Dementia" czy "Divine Victim". Wielu ludzi uważa tę właśnie płytę za najlepszą w dorobku Manilla Road, podobnie zresztą jak sam Mark. Wśród wszystkich utworów, na szczególną uwagę zasługuje wg mnie utwór tytułowy. To najdłuższy, najbardziej epicki i najbardziej rozbudowany kawałek. Łączy w sobie spokój i nastrojowość z ciężarem i potęgą. Genialny, monumentalny, balladowy początek, jeszcze bardziej genialne rozwinięcie, gdy zaczyna się "część właściwa". Mark w tym utworze pokazuje słuchaczowi cały swój kunszt wokalny mimo problemów z gardłem. Paleta barw jego głosu jest tak szeroka, że aż zdumiewająca. Bez żadnych problemów przechodzi od delikatnego, słodkiego zawodzenia, do mocnego śpiewu, w którym wspaniale "podnosi" swój głos. Jak dla mnie, utwór tytułowy jest zdecydowanie najwspanialszy z całej płyty. Prawdziwie epicki hymn z łagodnym początkiem, mocnym rozwinięciem i znów spokojnym zakończeniem, w którym słyszymy także szum morskich fal.

Wcale mnie to nie dziwi, bo o ile pierwsza część płyty to zwyczajnie zbiór utworów, to druga jej część jest opowieścią o potopie, zresztą taka tematyka zawsze strasznie Marka interesowała. Jak sam mówi, pociąga go wszystko to, co ukryte, niedostępne dla ludzi czy to pod wodą, czy pod powierzchnią ziemi. Wiąże się to między innymi z fascynacji najstarszą historią świata, gdy życie na Ziemi się tworzyło i ewoluowało przez wieki.

Paweł 'Atreju' Kowalewski


I’m just gonna preface this by saying that The Deluge is my absolute favourite Manilla Road album, and Manilla Road is my favourite band of all time, so it makes sense that this would be my favourite album of all time. The Deluge is something really special. It sounds like nothing this band ever recorded before or since. You can find at least some influence from older albums in each subsequent album; but this one is very much a lightning in a bottle type of album. And I think I know why. This whole thing, I can guarantee you, was both written and recorded on psychedelics. Even if Mark himself didn’t confirm that, which he did, I would 100% believe it and put money on it too. There’s just no way something this pure and magikal could have been written with a clear mind.

The album begins with a light howl, telling of what’s to come, before smashing your skull in with the beginning of Dementia. This opening track is something special. It’s concise, as is the album, but in its 3 minute runtime, totally demolishes your brain. It’s chaotic, especially in the drumming. Randy Foxe’s drumlines are always a bit ludicrous, but when you put that man on acid and give him a ripping track like this to work with, he’s gonna lay down some of the most insane drum tracks you’ve ever heard. They’re so preposterous that not even future drummer Neudi could play the song live, the only times they did were when Randy himself guested! This whole album is a masterclass of battery, every drummer who ever lived, is living or will ever live should listen to this song at least and even just attempt to play some of the shit that’s on it. The song also foreshadows later themes and stories on the album.

“Can’t seem to find the key….”

Shadow in the Black is the most elegant nonsense you’ll ever hear. I love reading the lyrics to this song on the insert, because the most random shit is capitalised for seemingly no reason.

“Here inside The Maze.. Trinity of Flame …
… Until The Dead rise from The Sea…”

The song itself though? It almost feels like two separate pieces. It’s on the longer side, over 5 minutes, but the sorrowful intro piece into the thrashy frenetic blast of sound are almost too different to be on the same track. The whiplash one gets listening to this song for the first time is like no other. This, alongside Road of Kings was the song that really got me into the band, I had never heard anything like it and all I wanted was more.

The next two songs, Divine Victim and Hammer of the Witches, thematically make no sense on this album, but I love them both anyway. They’re the only two songs that were ever really played live, and Hammer was only played because of the iconic quadrilogy: “Masque of the Red Death by the Hammer of the Witches’ Brew!!!!!”. Divine Victim is all about Joan of Arc, and is pretty upbeat and high energy by this album’s standards. It's also the least technically intensive, which is a testament to the pure power of The Deluge as a whole. Hammer of the Witches is a mid-paced beater with the ultimate earworm riff. Seriously, can you think of a better example of a short, simple, catchy riff? Maybe ‘D.Y.T.W.A.C.’ or ‘Medusa’, but neither of them have such a powerful bass backing them up. Scott Park absolutely kills it on this album, and he’s placed perfectly in the mix to give every note a little extra punch.

Morbid Tabernacle may be just an interlude to some, but to me it ties together the last two songs perfectly. It’s an organ, traditionally an instrument associated with the Church and Christianity, playing a tritone and just coming after a song about elden Christian evil. How perfect could it be? It’s even more punishing when I play it from my vinyl copy of the album, since it absolutely blares through the speakers louder than anything else and makes its presence known in your mind. You don’t forget about this mere interlude easily.

Isle of the Dead is a short but intense track to round off side A, and a pretty fun one lyrically. Blasphemous sailors are forever cursed to wind up at the Island Gate to Hell.. where living dead still walk the land… I love this stuff. It pairs excellently with Taken by Storm, which is why I wish this was on Side B so they could transition cleanly on the record… but it’s no big deal. Taken by Storm has some powerful basslines that give us the entry point into the crown jewel of this album, the title track The Deluge.

Would I say The Deluge is my favourite Manilla Road song? I don’t think I could even pick a favourite. Tree of Life, The Books of Skelos, Veils of Negative Existence, The Empire, Mark of the Beast, Venusian Sea, To Kill a King, Reign of Dreams, they’re all quite close. This really is a masterwork, though. Every second, from the beautiful yet somber intro in The Eye of the Sea to the majestic soloing and crushing riffs in The Drowned Lands to the melancholic chimes of the Engulfed Cathedral, the whole experience is a mystical epic of Atlantean mystery, and I love every second of it. This is an essential song in truly understanding what makes this band tick.

Friction in Mass rounds the album out with another quite long track, full of Manillan acid jargon.

“Oh, can’t you tell… The Magik is inside The Well…”

There it is again. The Well. You can’t go one album without mentioning the Well. What is it? Who knows. It must be holy. I’m very proud of the fact that I know the lyrics to this song off by heart, it’s a very weird and confusing song but I love it to bits. It’s also quite thrashy, arguably the most on the album, and it would feel right at home on Out of the Abyss or Mystification. The best part, though, is the spoken word segment in the middle. I’ve found myself listening to this album on long walks at night, and when this part comes on I just lose it in my head. Seriously, this evokes some serious emotion in me. This whole album does.

The Deluge is such a unique album, even by Manilla Road’s standards, where every album sounds extremely distinct. This sets the standard for all metal that goes on to release after it. It’s elegant, poignant, with a sprinkle of divinity and mystery, it’s all the fancy adjectives I love to throw around. If this album doesn’t get you invested in this band, then you probably shouldn’t even bother with them. This is Manilla Road at their absolute peak (of LSD use) and it should be heralded as nothing less than perfection.

MasterOfTheNight


The Manilla Road is long and triumphant. It spans forty years and eighteen studio albums. It’s a glorious one, with few blemishes and high point after high point. I’ve spent a lot of time listening to and reflecting on Manilla Road’s expansive discography since Mark “The Shark” Shelton passed away. Manilla Road’s catalogue is virtually unmatched, with very few bands getting anywhere close to their level of quality, consistency, and volume. Even with a discography as mighty as it is massive, one album stands out to me amongst the rest – The Deluge.

Manilla Road utilize a mix of US power, traditional metal, doom metal, and at times even thrash metal over long and loose song structures to create massive sounscapes. The Deluge represents the culmination and perfection of Manilla Road’s signature epic heavy metal style. Everything that is quintessentially Manilla Road is present here and out in full force.

From the aggressive “Hammer of the Witches” to the epic “Friction in Mass”, Manilla Road show off their superb songwriting capabilities. Mark Shelton was extremely talented at guitar and it showed in his music. The Deluge demonstrates this talent remarkably well – the riffs are unforgettable and incredibly varied. Randy Foxe’s drums are full and organic, helping to compliment Mark’s signature guitar tone. His drumming is impeccable and as aggressive as it possibly gets in the traditional vein of metal. With Scooter right beside him, they form an unstoppable duo of drum and bass that drive the music like no other.

The production on The Deluge is so incredibly raw and 80s that it would have hurt almost any other band. However in this case, it only lends to the Road’s mystical and arcane style of epic heavy metal. A more polished production would have taken away from Manilla Road’s unique sound. Shelton’s distinct “sorcerer guiding you through a dangerous journey” vocals are more suited to this style of production.

The Deluge has the most effective layout of any Manilla Road record. The album starts with several shorter and more aggressive tracks which are followed by two massive epics. The Deluge then closes off with a blistering fast instrumental that shows off Mark’s innate ability to write guitar solos. There’s an incredible array of variety found among the songs and I’ve never found myself bored listening to this record. With a little under forty minutes of material, Mark and co. waste absolutely no time delivering this variety.

Mark Shelton’s immense dedication to heavy metal can never be overstated. He wrote and performed music relentlessly with Manilla Road for over four decades. With his death, metal lost one of its most valiant stalwarts and an invaluable member of the community. Mark’s unwavering dedication to music is what made Manilla Road as great as they are. To me, The Deluge is his crowning achievement – a monolithic slab of epic heavy metal that stands nearly unrivaled.

Rest in power Mark “The Shark” Shelton – you were as good as they come.

Marcohateshipsters



..::TRACK-LIST::..

1. Dementia 3:09
2. Shadow In The Black 5:25
3. Divine Victim 3:11
4. Hammer Of The Witches 2:44
5. Morbid Tabernacle (Performer - Mike Metz) 1:53
6. Isle Of The Dead 2:53
7. Taken By Storm 3:19
8. The Deluge (8:22)
- Eye Of The Sea
- The Drowned Lands
- Engulfed Cathedral
9. Friction In Mass 6:32
10. Rest In Pieces 1:49


Bonus Tracks:
11. The Deluge (4-Track Pre-Production, Mixed 2015) 8:29
Mixed By [4-Track-Reel Mixed], Mastered By [4-Track-Reel Mastered By] - Neudi
Recorded By [Originally Recorded By] - Jay Merhoff, Max

12. Shadow In The Black (4-Track Pre-Production) 5:49
Recorded By [Originally Recorded By] - Jay Merhoff, Max
Transferred By [Tape Transfer By] - Tom Bartels

13. Friction In Mass (Live 1987) 7:04
Restoration [Restored By] - Neudi

14. Divine Victim (Live 2011) 3:16
Mixed By, Mastered By - Neudi

15. Hammer Of The Witches (Live 2014) 2:45
Mixed By, Mastered By - Neudi

16. The Deluge (Pre-Production, Randy Foxe Only) 8:31



..::OBSADA::..

Mark Shelton - lead vocals, guitars
Scott Park - bass
Randy Foxe - drums and percussion, backing vocals, synthesizer



https://www.youtube.com/watch?v=E-thqF5DYII


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Płyta 'The Deluge' wniosła sporo progresywnych elementów do epickiego stylu Manilli. Utwory stały się bardziej wielowątkowe, wielowarstwowe i bardziej rozbudowane, choć nie brakuje również krótkich i szybkich killerów, jak fantastyczne "Dementia" czy "Divine Victim". Wielu ludzi uważa tę właśnie płytę za najlepszą w dorobku Manilla Road, podobnie zresztą jak sam Mark. Wśród wszystkich utworów, na szczególną uwagę zasługuje wg mnie utwór tytułowy. To najdłuższy, najbardziej epicki i najbardziej rozbudowany kawałek. Łączy w sobie spokój i nastrojowość z ciężarem i potęgą. Genialny, monumentalny, balladowy początek, jeszcze bardziej genialne rozwinięcie, gdy zaczyna się "część właściwa". Mark w tym utworze pokazuje słuchaczowi cały swój kunszt wokalny mimo problemów z gardłem. Paleta barw jego głosu jest tak szeroka, że aż zdumiewająca. Bez żadnych problemów przechodzi od delikatnego, słodkiego zawodzenia, do mocnego śpiewu, w którym wspaniale "podnosi" swój głos. Jak dla mnie, utwór tytułowy jest zdecydowanie najwspanialszy z całej płyty. Prawdziwie epicki hymn z łagodnym początkiem, mocnym rozwinięciem i znów spokojnym zakończeniem, w którym słyszymy także szum morskich fal.

Wcale mnie to nie dziwi, bo o ile pierwsza część płyty to zwyczajnie zbiór utworów, to druga jej część jest opowieścią o potopie, zresztą taka tematyka zawsze strasznie Marka interesowała. Jak sam mówi, pociąga go wszystko to, co ukryte, niedostępne dla ludzi czy to pod wodą, czy pod powierzchnią ziemi. Wiąże się to między innymi z fascynacji najstarszą historią świata, gdy życie na Ziemi się tworzyło i ewoluowało przez wieki.

Paweł 'Atreju' Kowalewski


I’m just gonna preface this by saying that The Deluge is my absolute favourite Manilla Road album, and Manilla Road is my favourite band of all time, so it makes sense that this would be my favourite album of all time. The Deluge is something really special. It sounds like nothing this band ever recorded before or since. You can find at least some influence from older albums in each subsequent album; but this one is very much a lightning in a bottle type of album. And I think I know why. This whole thing, I can guarantee you, was both written and recorded on psychedelics. Even if Mark himself didn’t confirm that, which he did, I would 100% believe it and put money on it too. There’s just no way something this pure and magikal could have been written with a clear mind.

The album begins with a light howl, telling of what’s to come, before smashing your skull in with the beginning of Dementia. This opening track is something special. It’s concise, as is the album, but in its 3 minute runtime, totally demolishes your brain. It’s chaotic, especially in the drumming. Randy Foxe’s drumlines are always a bit ludicrous, but when you put that man on acid and give him a ripping track like this to work with, he’s gonna lay down some of the most insane drum tracks you’ve ever heard. They’re so preposterous that not even future drummer Neudi could play the song live, the only times they did were when Randy himself guested! This whole album is a masterclass of battery, every drummer who ever lived, is living or will ever live should listen to this song at least and even just attempt to play some of the shit that’s on it. The song also foreshadows later themes and stories on the album.

“Can’t seem to find the key….”

Shadow in the Black is the most elegant nonsense you’ll ever hear. I love reading the lyrics to this song on the insert, because the most random shit is capitalised for seemingly no reason.

“Here inside The Maze.. Trinity of Flame …
… Until The Dead rise from The Sea…”

The song itself though? It almost feels like two separate pieces. It’s on the longer side, over 5 minutes, but the sorrowful intro piece into the thrashy frenetic blast of sound are almost too different to be on the same track. The whiplash one gets listening to this song for the first time is like no other. This, alongside Road of Kings was the song that really got me into the band, I had never heard anything like it and all I wanted was more.

The next two songs, Divine Victim and Hammer of the Witches, thematically make no sense on this album, but I love them both anyway. They’re the only two songs that were ever really played live, and Hammer was only played because of the iconic quadrilogy: “Masque of the Red Death by the Hammer of the Witches’ Brew!!!!!”. Divine Victim is all about Joan of Arc, and is pretty upbeat and high energy by this album’s standards. It's also the least technically intensive, which is a testament to the pure power of The Deluge as a whole. Hammer of the Witches is a mid-paced beater with the ultimate earworm riff. Seriously, can you think of a better example of a short, simple, catchy riff? Maybe ‘D.Y.T.W.A.C.’ or ‘Medusa’, but neither of them have such a powerful bass backing them up. Scott Park absolutely kills it on this album, and he’s placed perfectly in the mix to give every note a little extra punch.

Morbid Tabernacle may be just an interlude to some, but to me it ties together the last two songs perfectly. It’s an organ, traditionally an instrument associated with the Church and Christianity, playing a tritone and just coming after a song about elden Christian evil. How perfect could it be? It’s even more punishing when I play it from my vinyl copy of the album, since it absolutely blares through the speakers louder than anything else and makes its presence known in your mind. You don’t forget about this mere interlude easily.

Isle of the Dead is a short but intense track to round off side A, and a pretty fun one lyrically. Blasphemous sailors are forever cursed to wind up at the Island Gate to Hell.. where living dead still walk the land… I love this stuff. It pairs excellently with Taken by Storm, which is why I wish this was on Side B so they could transition cleanly on the record… but it’s no big deal. Taken by Storm has some powerful basslines that give us the entry point into the crown jewel of this album, the title track The Deluge.

Would I say The Deluge is my favourite Manilla Road song? I don’t think I could even pick a favourite. Tree of Life, The Books of Skelos, Veils of Negative Existence, The Empire, Mark of the Beast, Venusian Sea, To Kill a King, Reign of Dreams, they’re all quite close. This really is a masterwork, though. Every second, from the beautiful yet somber intro in The Eye of the Sea to the majestic soloing and crushing riffs in The Drowned Lands to the melancholic chimes of the Engulfed Cathedral, the whole experience is a mystical epic of Atlantean mystery, and I love every second of it. This is an essential song in truly understanding what makes this band tick.

Friction in Mass rounds the album out with another quite long track, full of Manillan acid jargon.

“Oh, can’t you tell… The Magik is inside The Well…”

There it is again. The Well. You can’t go one album without mentioning the Well. What is it? Who knows. It must be holy. I’m very proud of the fact that I know the lyrics to this song off by heart, it’s a very weird and confusing song but I love it to bits. It’s also quite thrashy, arguably the most on the album, and it would feel right at home on Out of the Abyss or Mystification. The best part, though, is the spoken word segment in the middle. I’ve found myself listening to this album on long walks at night, and when this part comes on I just lose it in my head. Seriously, this evokes some serious emotion in me. This whole album does.

The Deluge is such a unique album, even by Manilla Road’s standards, where every album sounds extremely distinct. This sets the standard for all metal that goes on to release after it. It’s elegant, poignant, with a sprinkle of divinity and mystery, it’s all the fancy adjectives I love to throw around. If this album doesn’t get you invested in this band, then you probably shouldn’t even bother with them. This is Manilla Road at their absolute peak (of LSD use) and it should be heralded as nothing less than perfection.

MasterOfTheNight


The Manilla Road is long and triumphant. It spans forty years and eighteen studio albums. It’s a glorious one, with few blemishes and high point after high point. I’ve spent a lot of time listening to and reflecting on Manilla Road’s expansive discography since Mark “The Shark” Shelton passed away. Manilla Road’s catalogue is virtually unmatched, with very few bands getting anywhere close to their level of quality, consistency, and volume. Even with a discography as mighty as it is massive, one album stands out to me amongst the rest – The Deluge.

Manilla Road utilize a mix of US power, traditional metal, doom metal, and at times even thrash metal over long and loose song structures to create massive sounscapes. The Deluge represents the culmination and perfection of Manilla Road’s signature epic heavy metal style. Everything that is quintessentially Manilla Road is present here and out in full force.

From the aggressive “Hammer of the Witches” to the epic “Friction in Mass”, Manilla Road show off their superb songwriting capabilities. Mark Shelton was extremely talented at guitar and it showed in his music. The Deluge demonstrates this talent remarkably well – the riffs are unforgettable and incredibly varied. Randy Foxe’s drums are full and organic, helping to compliment Mark’s signature guitar tone. His drumming is impeccable and as aggressive as it possibly gets in the traditional vein of metal. With Scooter right beside him, they form an unstoppable duo of drum and bass that drive the music like no other.

The production on The Deluge is so incredibly raw and 80s that it would have hurt almost any other band. However in this case, it only lends to the Road’s mystical and arcane style of epic heavy metal. A more polished production would have taken away from Manilla Road’s unique sound. Shelton’s distinct “sorcerer guiding you through a dangerous journey” vocals are more suited to this style of production.

The Deluge has the most effective layout of any Manilla Road record. The album starts with several shorter and more aggressive tracks which are followed by two massive epics. The Deluge then closes off with a blistering fast instrumental that shows off Mark’s innate ability to write guitar solos. There’s an incredible array of variety found among the songs and I’ve never found myself bored listening to this record. With a little under forty minutes of material, Mark and co. waste absolutely no time delivering this variety.

Mark Shelton’s immense dedication to heavy metal can never be overstated. He wrote and performed music relentlessly with Manilla Road for over four decades. With his death, metal lost one of its most valiant stalwarts and an invaluable member of the community. Mark’s unwavering dedication to music is what made Manilla Road as great as they are. To me, The Deluge is his crowning achievement – a monolithic slab of epic heavy metal that stands nearly unrivaled.

Rest in power Mark “The Shark” Shelton – you were as good as they come.

Marcohateshipsters



..::TRACK-LIST::..

1. Dementia 3:09
2. Shadow In The Black 5:25
3. Divine Victim 3:11
4. Hammer Of The Witches 2:44
5. Morbid Tabernacle (Performer - Mike Metz) 1:53
6. Isle Of The Dead 2:53
7. Taken By Storm 3:19
8. The Deluge (8:22)
- Eye Of The Sea
- The Drowned Lands
- Engulfed Cathedral
9. Friction In Mass 6:32
10. Rest In Pieces 1:49


Bonus Tracks:
11. The Deluge (4-Track Pre-Production, Mixed 2015) 8:29
Mixed By [4-Track-Reel Mixed], Mastered By [4-Track-Reel Mastered By] - Neudi
Recorded By [Originally Recorded By] - Jay Merhoff, Max

12. Shadow In The Black (4-Track Pre-Production) 5:49
Recorded By [Originally Recorded By] - Jay Merhoff, Max
Transferred By [Tape Transfer By] - Tom Bartels

13. Friction In Mass (Live 1987) 7:04
Restoration [Restored By] - Neudi

14. Divine Victim (Live 2011) 3:16
Mixed By, Mastered By - Neudi

15. Hammer Of The Witches (Live 2014) 2:45
Mixed By, Mastered By - Neudi

16. The Deluge (Pre-Production, Randy Foxe Only) 8:31



..::OBSADA::..

Mark Shelton - lead vocals, guitars
Scott Park - bass
Randy Foxe - drums and percussion, backing vocals, synthesizer



https://www.youtube.com/watch?v=E-thqF5DYII


SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

---------------------------------------------------------------------
Led Zeppelin - Golden Ballads
---------------------------------------------------------------------

Artist...............: Led Zeppelin
Album................: Golden Ballads
Genre................: Rock
Source...............: CD
Year.................: 1995
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 55 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: WH - Unofficial Release

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. Led Zeppelin - Stairway to Heaven [08:06]
2. Led Zeppelin - All My Love [05:55]
3. Led Zeppelin - Since I've Been Loving You [07:30]
4. Led Zeppelin - Babe I'm Gonna Leave You [06:48]
5. Led Zeppelin - Thank You [04:33]
6. Led Zeppelin - The Rain Song [07:47]
7. Led Zeppelin - Down by the Seaside [05:19]
8. Led Zeppelin - I Can't Quit You Babe [04:24]
9. Led Zeppelin - Tea for One [09:28]
10. Led Zeppelin - Bron-Yr-Aur [02:06]
11. Led Zeppelin - The Battle of Evermore [05:55]
12. Led Zeppelin - What Is and What Should Never Be [04:44]

Playing Time.........: 01:12:40
Total Size...........: 406,36 MB

..::INFO::..

---------------------------------------------------------------------
Rainbow - Live in 1983, Part One
---------------------------------------------------------------------

Artist...............: Rainbow
Album................: Live in 1983, Part One
Genre................: Rock
Source...............: WEB
Year.................: 2020-02-05
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: BBM2

Included.............: NFO, M3U, CUE
Covers...............: Front

---------------------------------------------------------------------
Tracklisting Part One
---------------------------------------------------------------------

1. Rainbow - Over the Rainbow - Intro (Live) [01:37]
2. Rainbow - Spotlight Kid (Live) [04:36]
3. Rainbow - Miss Mistreated (Live) [04:12]
4. Rainbow - Fool for the Night (Live) [03:40]
5. Rainbow - I Surrender (Live) [06:15]
6. Rainbow - Can't Happen Here (Live) [03:42]
7. Rainbow - Catch the Rainbow (Live) [10:06]
8. Rainbow - Lazy (Live) [00:52]
9. Rainbow - Drinking with the Devil (Live) [03:23]
10. Rainbow - Difficult to Cure Prelude (Live) [01:54]
11. Rainbow - Difficult to Cure (Live) [04:32]
12. Rainbow - Guitar and Drums Duel (Live) [02:23]
13. Rainbow - Power (Live) [03:47]

Playing Time.........: 51:03
Total Size...........: 349,92 MB


---------------------------------------------------------------------
Rainbow - Live in 1983, Part Two
---------------------------------------------------------------------

Artist...............: Rainbow
Album................: Live in 1983, Part Two
Genre................: Rock
Source...............: WEB
Year.................: 2021-05-25
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 65 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Digital Opium

Included.............: NFO, M3U, CUE
Covers...............: Front

---------------------------------------------------------------------
Tracklisting Part Two
---------------------------------------------------------------------

1. Rainbow - Blues (Live) [02:57]
2. Rainbow - Stargazer (Live) [01:48]
3. Rainbow - Stranded (Live) [06:44]
4. Rainbow - Death Alley Driver (Live) [04:59]
5. Rainbow - Rule Britannia (Live) [00:38]
6. Rainbow - All Night Long (Live) [06:27]
7. Rainbow - Maybe Next Time (Live) [01:36]
8. Rainbow - Since You've Been Gone (Live) [01:20]
9. Rainbow - Woman from Tokyo (Live) [00:34]
10. Rainbow - Smoke on the Water (Live) [00:08]
11. Rainbow - Hey Joe (Live) [01:31]
12. Rainbow - Long Live Rock N' Roll (Live) [03:17]

Playing Time.........: 32:05
Total Size...........: 211,32 MB

...( Info )...

Artist...............: Creedence Clearwater Revival
Album................: The Concert (Remastered Live At The Oakland Coliseum, Oakland, CA / January 31, 1970)
Year.................: 1980
Genre................: Rock
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Creedence Clearwater Revival - Born On The Bayou
002. Creedence Clearwater Revival - Green River
003. Creedence Clearwater Revival - Tombstone Shadow
004. Creedence Clearwater Revival - Don't Look Now
005. Creedence Clearwater Revival - Travelin' Band
006. Creedence Clearwater Revival - Who'll Stop The Rain
007. Creedence Clearwater Revival - Bad Moon Rising
008. Creedence Clearwater Revival - Proud Mary
009. Creedence Clearwater Revival - Fortunate Son
010. Creedence Clearwater Revival - Commotion
011. Creedence Clearwater Revival - The Midnight Special
012. Creedence Clearwater Revival - The Night Time Is The Right Time
013. Creedence Clearwater Revival - Down On The Corner
014. Creedence Clearwater Revival - Keep On Chooglin

...( Info )...

Artist...............: Creedence Clearwater Revival
Album................: Live In Europe (September 4-28th, 1971)
Genre................: Rock
Year.................: 1973
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Creedence Clearwater Revival - Born On The Bayou (Live In Europe 1971)
002. Creedence Clearwater Revival - Medley Green River-Susie Q (Live In Europe 1971)
003. Creedence Clearwater Revival - It Came Out Of The Sky (Live In Europe 1971)
004. Creedence Clearwater Revival - Door To Door (Live In Europe 1971)
005. Creedence Clearwater Revival - Travelin' Band (Live In Europe 1971)
006. Creedence Clearwater Revival - Fortunate Son (Live In Europe - September 4-28th, 1971)
007. Creedence Clearwater Revival - Commotion (Live In Europe 1971)
008. Creedence Clearwater Revival - Lodi (Live In Europe 1971)
009. Creedence Clearwater Revival - Bad Moon Rising (Live In Europe 1971)
010. Creedence Clearwater Revival - Proud Mary (Live In Europe 1971)
011. Creedence Clearwater Revival - Up Around The Bend (Live In Europe 1971)
012. Creedence Clearwater Revival - Hey Tonight (Live In Europe 1971)
013. Creedence Clearwater Revival - Sweet Hitch-Hiker (Live In Europe 1971)
014. Creedence Clearwater Revival - Keep On Chooglin' (Live In Europe 1971)

...( Info )...

Artist: VA
Album: Neue Hits 90 - Die Internationalen Super Hits
Genre: Pop
Media: CD
Country of release: Germany
Year of release: 1990
Publisher (label): Ariola
Catalog number: 353 751
Audio codec: FLAC (*.flac)
Rip type: tracks+.cue
Duration: 01:00:46+00:56:42
Source: own rip


...( TrackList )...

CD_1


01. Lisa Stansfield - All Around The World
02. Technotronic & Felly - Pump Up The Jam
03. Sydney Youngblood - If Only I Could
04. Soul II Soul - Get A Life
05. Adeva - I Thank You
06. Moses P. - Raining Rhymes
07. Paula Abdul - (It's Just) The Way That You Love Me
08. Mecano - Hijo De La Luna
09. Laid Back - Bakerman
10. Big Fun - Can't Shake The Feeling
11. Tina Turner - Steamy Windows
12. David Hasselhoff - Song Of The Night
13. Off - La Casa Latina
14. Bad Boys Blue - A Train To Nowhere
15. Les Mc Keown - Nobody Makes Me Crazy (Like You Do)
16. Blue System - Love Me On The Rocks


CD_2

01. Milli Vanilli - Girl I'm Gonna Miss You
02. Out Of The Ordinary - Play It Again
03. Redhead Kingpin & The F.B.I. -Do The Right Thing
04. Sly & Robbie - Dance Hall
05.Mr. Lee - Get Busy
06. Rob 'N' Raz & Leila K - Got To Get
07. Young Mc - Bust A Move
08. Roxette - Listen To Your Heart
09. Ice MC - Easy
10. Mike Oldfield - One Glance Is Holy
11. Taylor Dayne - With Every Beat Of My Heart
12. Chris Thompson - Take Me To Heaven
13. Barry Ryan - Turn Away
14. Ebgelbert - Only A Lonely Child

...( Info )...

Artist: Cher
Album: Heart Of Stone
Genre: Pop Rock, Soft Rock
Edition: Geffen Records - 9 24239-2
Duration: 00:48:08
Audio: FLAC, Lossless
Rip type: image + .cue
Thanks for the rip: Boris1


...( TrackList )...

01. If I Could Turn Back Time (4:01)
02. Just Like Jesse James (4:08)
03. You Wouldn't Know Love (3:32)
04. Heart of Stone (4:18)
05. Still in Love With You (3:10)
06. Love on a Rooftop (4:28)
07. Emotional Fire (3:56)
08. All Because of You (3:31)
09. Does Anybody Really Fall in Love Anymore (4:17)
10. Starting Over (4:10)
11. Kiss to Kiss (4:26)
12. After All (Love Theme From Chances Are) (4:04)

..::INFO::..

Stingray to szósty studyjny album brytyjskiego wokalisty Joe Cockera, wydany w 1976 roku nakładem wytwórni A&M Records. Nagrywany był w Kingston na Jamajce, a jego produkcją zajął się Rob Fraboni. Album łączy elementy rocka, soulu i reggae, prezentując charakterystyczny dla Cockera styl pełen ekspresji i głębokiego wokalu. Na płycie znalazło się 10 utworów, z których większość to interpretacje coverów, zgodnie ze zwyczajem artysty, a jedynie jeden – „Born Thru Indifference” – współtworzył Cocker. W zestawie znajdują się kompozycje m.in. Boba Dylana („Catfish” i „The Man in Me”), Leon Russella oraz utwory autorstwa Matthew Moore’a i Bobby’ego Charlesa. W nagraniach uczestniczyli znakomici muzycy, m.in. Eric Clapton (solówka gitarowa), Steve Gadd, Cornell Dupree, Eric Gale oraz sekcja wokalna z Deniece Williams, Patti Austin i Bonnie Bramlett. Album został przyjęty mieszanie komercyjnie - w USA dotarł do pozycji #70 na liście Billboard 200 - ale zyskał uznanie za dobór materiału i wykonanie.

Title: Stingray

Artist: Joe Cocker

Country: Wielka Brytania

Year: 1976

Genre: Rock, Soul

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1. The Jealous Kind (Bobby Charles)
2. I Broke Down (Matthew Moore)
3. You Came Along (Bobby Charles)
4. Catfish (Bob Dylan, Jacques Levy)
5. Moon Dew (Matthew Moore)
6. The Man in Me (Bob Dylan)
7. She Is My Lady (George Clinton)
8. Worrier (Matthew Moore)
9. Born Thru Indifference (Joe Cocker, Richard Tee)
10. A Song for You

...( Info )...
Genre: Heavy/Doom Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 45:08

...( TrackList )...
01. Hymn Of Belgarath (Intro)
02. Sightless Archer
03. Darkened Path
04. Wizard's Light
05. Sounds Of Redemption
06. Eternal Hunt
07. Armor Of Steel
08. War Brigade
09. Bloodline
10. All Father

...( Info )...
Genre: Melodic Death Metal
Artist (band) Country: Canada
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 55:46

...( TrackList )...
01. The Raven Is Gone
02. Stigma
03. Snow
04. Streets of Rats and Vultures
05. Pitch-Black Serum
06. November
07. Sentinel
08. Impaired
09. Dreamless Nights, Pt. 1 A Lullaby for the Insomniac
10. Dreamless Nights, Pt. 2 From Velvet Skies
11. Dreamless Nights, Pt. 3 Walking out of Eden's Ashes

...( Info )...
Genre: Death Metal/Grindcore
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 35:58

...( TrackList )...
01. Pyre of Ash and Bone
02. Gate Zero
03. Womb of the Hollow Earth
04. Blissful Incineration
05. Fallout Obliteration
06. Nuclear Winter
07. Transmission Beta
08. The Hollow that Devours
09. Sons of Perdition
10. Into the Crypts of Rays

...( Info )...
Genre: Speed/Thrash Metal
Country of Artist (Band): Colombia
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 28:37

...( TrackList )...
01. Do You Believe in the Fucking Jesus Christ?
02. Necromancer
03. Dancing With the Flames of Eternal Fire
04. Reign of Fire
05. Hellucinations
06. Ghoul Gun Slaughter
07. Infernal War
08. Under the Black Night

...( Info )...
Genre: Groove Metal
Country of Artist (Band): United Kingdom
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 44:16

...( TrackList )...
01. Vitriolic
02. Punitive Of Power
03. Enter The Sound
04. Conquering Form
05. From Deed To Dust
06. Azcan Temple
07. Banishment
08. Hindering Horror
09. Hallucinatory Terrain
10. Violence Of Change
11. Soliloquy Torrent
12. Until The Cycle Repeats

...( Info )...
Genre: Black/Thrash Metal
Country of Artist (Band): USA
Year of Release: 2022-2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps

...( TrackList )...
2022 - Ov Mournful Twilight
2025 - Lost Within the Astral Crypts

...( Info )...
Genre: Speed/Heavy Metal
Country of Artist (Band): Croatia
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 32:15

...( TrackList )...
01. Tonight
02. Allnighter
03. Queen of the Night
04. Nightwatch
05. Fly High
06. Crystal Light
07. White Town Rider
08. The Curse Never Dies

...( Info )...
Genre: Power Metal
Country of Artist (Band): France
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 49:45

...( TrackList )...
01. Paradox
02. I Walk Alone
03. The Fallen World
04. Sicilian Danza
05. Ghost Memories
06. Eden and Eclipse
07. From Star To Dust
08. Reality
09. Kings In The Sand
10. Mornings Of Fear
11. Son Of Illusion

...( Info )...

Artist: Electro Swing Celebration
Album: Electro Swing Party
AI-generated content
Genre: Electro-Swing, Jazz
Edition: Electro Swing Celebration
Source: link
Duration: 00:39:33
Audio: FLAC, Lossless|WEB-DL
Rip type: tracks

...( TrackList )...

01. The Disco Shuffle (2:52)
02. Bourbon & Brass (2:36)
03. Radio Electroswing (2:26)
04. Electro Swing Party (2:57)
05. Swing Fever Tonight (2:41)
06. Flappertronica (2:34)
07. 1920s Jazz Meets Electro Swing (2:23)
08. Mister Gatsby's Beat (3:01)
09. Jazz Joint Jitter (2:57)
10. Slow Electro & Swing (3:07)
11. Retro Beat Parade (2:34)
12. Midnight Lindy (3:14)
13. Vinyl Vibes Reloaded (3:15)
14. Swingin' Voltage (2:55)