The Killers – Collection (2004-2013) [FLAC]

The Killers - Collection (2004-2013) [FLAC] Download

Artist: The Killers
Album: Collection
Genre: Alternative
Year: 2004-2013
Size: ~ 4.95 gb
Source: CDs
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit


Few bands in the early 2000s rose so quickly to the forefront of pop music as the Killers. With a mix of ’80s-styled synth pop and fashionista charm, the band’s street-smart debut, Hot Fuss, became one of 2004’s biggest releases, spawning four singles and catapulting the group — particularly their dandyish, 22-year-old frontman, Brandon Flowers — into the international spotlight. Hot Fuss reveled in the garish glitz of the band’s native Las Vegas, spinning tales of androgynous girlfriends and illicit affairs to a public whose taste for revivalist dance-rock would prove to be virtually insatiable. Franz Ferdinand, Interpol, and the Bravery all benefited from such retro-minded interest, but the Killers unapologetically trumped them all — even when their sophomore effort, Sam’s Town, deemphasized the group’s new wave sensibilities in favor of something more akin to the heartland rock of Bruce Springsteen and Rattle and Hum-era U2. Brandon Flowers (vocals/keyboards), David Keuning (guitar), Mark Stoermer (bass), and Ronnie Vannucci (drums) first came together in 2002, two years before Hot Fuss introduced their band to the public. Flowers had been sacked by his former synth pop band, Blush Response, after refusing to move to Los Angeles with the rest of his bandmates. Instead, he remained in Las Vegas, where he soon met local guitarist and Oasis fanatic Keuning. The two began collaborating on material; within weeks, they’d composed their soon-to-be radio hit “Mr. Brightside.” Stoermer, a former medical courier, and Vannucci, a classical percussion major at UNLV, eventually joined the fray, and the band began playing small clubs in its hometown. A U.K. representative for Warner Bros. caught wind of the Killers’ brewing hype, and although he neglected to bring them on board the Warner roster, he did pass along their demo to the London-based indie imprint Lizard King. The British label quickly signed the Killers, who temporarily moved to the U.K. and issued a limited-edition single for “Mr. Brightside.” The Killers’ buzz had effectively traveled back across the Atlantic by fall 2003, and the band was offered a prime spot at the annual CMJ Music Marathon in New York City. A worldwide deal with Island followed shortly thereafter, positioning the Killers to join the ranks of Interpol, the Rapture, and the Strokes. Shared U.K. dates with British Sea Power and stellastarr* in 2004 gave the Killers an opportunity to showcase material from their debut album, Hot Fuss, which was released that June. “Somebody Told Me,” “Mr. Brightside,” “Smile Like You Mean It,” and “All These Things That I’ve Done” all became worldwide chart hits, and Hot Fuss peaked at number seven on the Billboard Top 200. Buoyed by such success, Flowers became a sought-after media presence, often lashing out at such groups as the Bravery for riding his band’s coattails into the mainstream. The frontman’s confidence was not unwarranted; by 2006, Hot Fuss had earned five Grammy nominations and sold over five million copies. Rather than take a break to recover from their heavy tour regime, the Killers immediately set to work on a second album. A newly built facility at the Palms Hotel and Casino in Las Vegas became the band’s studio, and legendary producers Flood and Alan Moulder (who had previously worked together with U2 and the Smashing Pumpkins) were chosen to helm the controls. Instead of mining the glamour and glitz of their hometown (as they did to a successful extent on Hot Fuss), the group instead focused on nostalgia and the demise of old-fashioned American values, citing veteran songsmith Bruce Springsteen as a chief influence. The popularity generated by leadoff single “When You Were Young” led up to the highly anticipated release of Sam’s Town in early October 2006. While the album did not match the popularity of the band’s debut, it nevertheless sold 700,000 copies worldwide during its first week, eventually spawning three U.S. singles and gaining the Killers two additional Grammy nods. Sawdust, a collection of B-sides, rarities, and remixes, followed one year later, serving as a stopgap recording between the band’s proper studio albums. The Killers then returned in 2008 with Day & Age, which eschewed the Americana tangents of Sam’s Town in favor of pop pastiches and sleek, oddball dance-rock. The band’s return to the dancefloor was emboldened by Stuart Price, a veteran producer who had previously worked with Madonna and Gwen Stefani, and the Top 40 single “Human” helped the Killers continue their commercial streak. A lengthy tour carried the band into 2009, which also saw the release of the concert album Live from the Royal Albert Hall. Solo work comprised many of the next few years, including Brandon Flowers’ Flamingo, Ronnie Vannucci’s Big Talk, and Mark Stoermer’s Another Life. After reconvening in early 2011, the band got to work on its fourth studio album, enlisting a small army of notable producers, including Daniel Lanois, Steve Lillywhite, Damian Taylor, Stuart Price, and Brendan O’Brien. The resulting Battle Born was released in September, 2012. In early 2013, the band announced that they would be releasing their first greatest-hits collection later that year. Entitled Direct Hits, the November release featured two newly recorded songs, “Shot at Night” and “Just Another Girl,” which were produced by M83 and Stuart Price, respectively. ~ Andrew Leahey

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Mary J. Blige – Collection (1993-2011) [FLAC]

Mary J. Blige - Collection (1993-2011) [FLAC] Download

Artist: Mary J. Blige
Album: Collection
Genre: R&B
Year: 1993-2011
Size: ~ 5.57 gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit


When Mary J. Blige’s debut album, What’s the 411?, hit the street in July 1992, critics and fans were floored by its powerful combination of modern R&B and edgy rap production that glanced off of the pain and grit of the singer’s New York upbringing. Compared to Chaka Khan and Aretha Franklin, Blige had little in common stylistically with either of those artists, but like them, she helped adorn soul music with new flavors. With her blonde hair, self-preserving slouch, and combat boots, Blige personified street-tough beauty. As she exorcized her demons and softened her style, she remained a hero to thousands of girls growing up in the same kinds of rough places she came from. Blige continually reinvented her career by shedding the habits and influences that kept her down and matured into an expressive singer able to put the full power of her voice behind her music. Blige’s rank as “the Queen of Hip-Hop Soul” has never been disputable. Each one of the singer’s proper studio albums, released across a period that has exceeded two decades, debuted within the Top Ten of the Billboard 200. Born in the Bronx on January 11, 1971, Blige spent the first few years of her life in Savannah, Georgia before moving with her mother and older sister to the Schlobam housing projects in Yonkers, New York. Her rough life there produced more than a few scars, physical and otherwise, and Blige dropped out of high school during her junior year, instead spending time doing her friends’ hair in her mother’s apartment and hanging out. When she was at a local mall in White Plains, New York, she recorded herself singing Anita Baker’s “Caught Up in the Rapture” into a karaoke machine. The resulting tape was passed by Blige’s stepfather to Uptown Records CEO Andre Harrell. Harrell was impressed with Blige’s voice and signed her to sing backup for local acts like Father MC. In 1991, however, Sean “Puffy” Combs took Blige under his wing and began working with her on What’s the 411?, her debut album. Combs had a heavy hand in What’s the 411?, along with producers Dave Hall, Mark Morales, and Mark Rooney, and the stylish touches that they added to Blige’s unique vocal style created a stunning album that bridged the gap between R&B and rap in a way that no singer had before. Uptown tried to capitalize on the success of What’s the 411? by issuing a remixed version of it a year later, but it was only a modest success creatively and commercially. Her 1995 follow-up, My Life, again featured Combs’ handiwork, and if it stepped back stylistically from its urban roots by featuring less of a rap sound, it made up for it with its subject matter. My Life was full of street pathos and Blige’s personal pain shone through like a beacon. Her rocky relationship with fellow Uptown artist K-Ci Hailey likely contributed to the raw emotions on the album. The period following the recording of My Life was also a difficult time professionally for Blige, as she severed her ties with Combs and Uptown, hired Suge Knight as a financial advisor, and signed with MCA. However, she soon won her first (of several) Grammy awards: Best Rap Performance by a Duo or Group for “I’ll Be There for You/You’re All I Need to Get By,” a duet with Method Man. Released in 1997, Share My World marked the beginning of Blige’s creative partnership with Jimmy Jam and Terry Lewis. The album was another hit for Blige and debuted at number one on the Billboard 200. Critics soured somewhat on its more conventional soul sound, but Blige’s fans seemed undaunted. By the time her next studio album, Mary, came out in 1999, the fullness and elegance of her new sound seemed more developed, as Blige exuded a classic soul style aided by material from Elton John and Bernie Taupin, Stevie Wonder, and Lauryn Hill. Mary made it obvious that the ghetto-fabulous style and more confrontational aspects of her music were gone, while the emotive power still remained. That power also helped carry the more modern-sounding 2001 release No More Drama, a deeply personal album that remained a collective effort musically yet reflected more of Blige’s songwriting than any of her previous efforts. The Mary J. Blige on No More Drama seemed miles away from the flashy kid on What’s the 411?, yet it was still possible to see the path through her music that produced an older, wiser, but still expressive artist. In 2003 she was reunited with P. Diddy, who produced the majority of that year’s patchy Love and Life album. The Breakthrough followed two years later and was a tremendous success, spawning a handful of major singles. By the December 2006 release of Reflections (A Retrospective), The Breakthrough’s lead single, “Be Without You,” had spent nearly a year on the R&B chart, while the album’s fifth single, “Take Me as I Am,” had been on the same chart for over four months. A year later Blige came out with her eighth studio album, Growing Pains. It was her third consecutive studio album to top both the Billboard 200 and the R&B/Hip-Hop Albums charts. While on tour with Robin Thicke during 2008, Blige began working on Stronger with Each Tear, which was released near the end of the following year and came one spot short of topping the Billboard 200. My Life II…The Journey Continues (Act 1), previewed through the Eric Hudson-produced single “25/8,” followed in 2011 with appearances from Beyonc, Drake, Rick Ross, and Busta Rhymes. Like her previous nine studio albums, it reached gold status. (Her first eight surpassed gold to reach either platinum or multi-platinum status.) Her first holiday album, A Mary Christmas, was released in 2013. Early in 2014, she linked with Disclosure for an alternate version of the U.K. dance-production duo’s single “F for You.” A few months later, Blige — supported by extensive assistance from the-Dream and Christopher “Tricky” Stewart, as well as a few other associates — provided the soundtrack to the comedy Think Like a Man Too. It entered the Billboard Top 200 at number 30 and also reached the Top Ten on Billboard’s R&B/Hip Hop Albums chart. Released on Epic, rather than on her home label, it didn’t receive the typical level of promotion for a Blige album and, as a result, sold significantly less than her prior releases. Inspired by Disclosure and other genre-blurring singer/songwriters and producers who were emerging from the U.K., she recorded her 13th album in London that summer with the likes of Sam Smith, Naughty Boy, and Emeli Sand, as well as Disclosure once more. The London Sessions, her first album for Capitol, was released that November and placed two singles in the Top Ten of Billboard’s Adult R&B chart. In late 2016 and early 2017, Blige released the first singles from her next proper studio album, including the Kanye West collaboration “Love Yourself.” The parent full-length Strength of a Woman arrived in April 2017. ~ Stacia Proefrock

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The Monkees – Good Times! (Deluxe) (2016) [HDTracks 24-48]

The Monkees – Good Times! (Deluxe) (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 43:35 minutes | 541 MB | Genre: Pop
Studio Master, Official Digital Download  – Source: HDTracks | © Rhino

The highly anticipated new album Good Times! by The Monkees is the band’s first new album in 20 years and tied to their 50th anniversary and extensive North American Tour.

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The Modern Jazz Quartet – Django (1956/2014) [Qobuz 24-44.1]

The Modern Jazz Quartet – Django (1956/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 38:44 minutes | 245 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © Prestige Records
Recorded:  June 25, 1953 (#4-7) at WOR Studios, New York City; December 23, 1954 (#1,2,8) and January 9, 1955 (#3) at the Van Gelder Studio, Hackensack, NJ
Remastered: 2005, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Django, originally released in 1956 and features some of the best playing by The Modern Jazz Quintet in their discography. The album’s sessions took place between 1953 and 1955, mostly recorded at Rudy Van Gelder’s studio in Hackensack, New Jersey. All original tunes are by John Lewis, and the album also includes a few songs by Dizzy Gillespie and George & Ira Gershwin.

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The Modern Jazz Quartet – Concorde (1955/2014) [HDTracks 24-44.1]

The Modern Jazz Quartet – Concorde (1955/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 36:10 minutes | 398 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © Prestige Records
Recorded:  July 2, 1955 at the Van Gelder Studio, Hackensack, NJ
Remastered: 2008, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

This is a set with the Modern Jazz Quartet. The choice of material and its order of appearance approximates a set you might hear if you were listening to the group at one of America’s leading jazz rooms. All the pieces display different use of contrapuntal technique. The record features works, “Ralph’s New Blues” which starts off the set, “All of You” from Cole Porter’s musical Silk Stockings, and Sigmund Romberg’s “Softly, As in a Morning Sunrise” from New Moon. Originally recorded in 1955, the six song set has been remastered by Concord’s original engineer Rudy Van Gelder.

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The Goo Goo Dolls – Dizzy Up the Girl (1998/2016) [HDTracks 24-192]

The Goo Goo Dolls – Dizzy Up the Girl (1998/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:45:12minutes | 1,74 GB | Genre: Rock, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Warner Bros. Records

Dizzy Up the Girl is the Goo Goo Dolls’ sixth studio album originally released in 1998. The record produced numerous hit singles, including “Slide”, “Black Balloon,” “Broadway,” “Dizzy,” and their most popular single “Iris” which made it to #1 on the U.S. Billboard Hot 100, Adult Top 40, Alternative Songs, and Pop Songs charts.

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The Enid – Dust (2016) [FLAC 5.1 24-96]

The Enid – Dust (2016)
FLAC 5.1 Surround (tracks) 24 bit/96 kHz | Time – 42:39 minutes | 1,77 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: | Digital Booklet | © Operation Seraphim Ltd.

The second of a series of High Definition Surround Sound releases, Dust HD 24/96 5.1 comes to you in true 24bit 96kHz uncompressed Surround FLAC format. There is also the option to download an ISO image ready to burn a DVD-A.

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The Doobie Brothers – The Best Of The Doobies (1976/2016) [PonoMusic 24-192]

The Doobie Brothers – The Best Of The Doobies (1976/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:46:24 minutes | 1,76 GB | Genre: Rock
Studio Master, Official Digital Download – Source: PonoMusic | Front Cover | © Warner Bros. Records

Best of The Doobies is the first greatest hits album by The Doobie Brothers. The album has material from Toulouse Street through Takin’ It to the Streets, and is also a diamond record. The album was first released by Warner Bros. Records in November 1976 and has been re-released numerous times.

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The Doobie Brothers – Takin’ It To The Streets (1976/2016) [HDTracks 24-192]

The Doobie Brothers – Takin’ It To The Streets (1976/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:38:49 minutes | 1,47 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Rhino/Warner Bros.

Takin’ It To The Streets is the sixth studio album released by the American rock band. It was the first recording to feature Michael McDonald on lead vocals. The album features singles “Takin’ It to the Streets,” “Wheels of Fortune” and “It Keeps You Runnin’.”

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The Doobie Brothers – Minute By Minute (1978/2016) [HDTracks 24-192]

The Doobie Brothers – Minute By Minute (1978) (2016 Remastered)
FLAC (tracks) 24 bit/192 kHz | Time – 36:47 minutes | 1,34 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Rhino/Warner Bros.

The Doobie Brothers’ eighth studio album, originally released in 1978. Contains the Grammy-winning track “What A Fool Believes”.

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