Próximos lanzamientos en la Música

[ponkine 517]

https://shop.udiscovermusic.com/collections/frank-zappa/products/frank-zappa-apostrophe-5cd-blu-ray-super-deluxe-50th-anniversary-edition

 

Apostrophe(‘) Turns 50!  

Arguably the most popular album in the Frank Zappa catalog, Apostrophe(‘) has consistently been a best-seller. It was Zappa’s first Gold Record Award in the U.S., peaking at #10 on the Billboard 200 chart. The “Don’t Eat The Yellow Snow” single also made the Billboard Top 100 Hits chart, peaking at #87. The success of Apostrophe(‘) brought along a new awareness for Zappa and through the years, the album has been a go-to for most when discovering his music.  

For the 50th Anniversary, Zappa Records and UMe have compiled a 5-CD + Blu-ray Audio set featuring the original album newly remastered by Bernie Grundman, session outtakes from the Vault and two bonus concerts spanning the year of 1974. The Blu-ray contains the new remaster in hi-res formats, brand-new Dolby Atmos remixes by Karma Auger and Erich Gobel and FZ’s 1974 Quadraphonic mix, back in print for the first time in 50 years. The package features new historical essays by Simon Prentis & Vaultmeister Joe Travers, along with never-before-seen images from the archive of Sam Emerson, who shot the now iconic front cover photo.

Excluded from sitewide sales/discounts. Limited to 4 per customer.

Tracklist

Disc 1 - Original 1974 Album - 2024 Remaster + Album Session Bonus Tracks
1. Don’t Eat The Yellow Snow
2. Nanook Rubs It
3. St. Alfonzo’s Pancake Breakfast
4. Father O’Blivion
5. Cosmik Debris
6. Excentrifugal Forz
7. Apostrophe
8. Uncle Remus
9. Stink-Foot
10. Don’t Eat The Yellow Snow (Basic Tracks/Alternate Take)
11. Nanook Rubs It (Basic Tracks/Outtake)
12. Nanook Rubs It (Session Outtake)
13. Cosmik Debris (Basic Tracks - Take 3)
14. Excentrifugal Forz (Mix Outtake)
15. Apostrophe (Mix Outtake)
16. Uncle Remus (Mix Outtake)
17. Apostrophe (Unedited Master/2024 Mix)
18. Uncle Remus (Piano and Vocal Mix 2024)

Disc 2 - Bonus Concert 1 - Colorado Springs, CO 1974
1. Show start/Band Intros
2. Village Of The Sun
3. Echidna’s Arf (Of You)
4. Don’t You Ever Wash That Thing?
5. Babbette
6. Approximate
7. Cosmik Debris
8. Pygmy Twylyte
9. The Idiot Bastard Son
10. Cheepnis
11. Montana
12. Dupree’s Paradise Intro

Disc 3 - Bonus Concert 1 - Colorado Springs, CO 1974 (Continued)
1. Dupree’s Paradise
2. Is There Anything Good Inside Of You?
3. Florentine Pogen
4. Kung Fu
5. Penguin In Bondage
6. T’Mershi Duween
7. The Dog Breath Variations
8. Uncle Meat
9. RDNZL
10. Medley: King Kong/Chunga’s Revenge/Son Of Mr. Green Genes

Disc 4 - Early 1974 Bonus Live Track + Bonus Concert #2 – Dayton, Ohio, Hara Arena 20 November, 1974
1. Inca Roads - Salt Lake City, Utah - 3-18-74 - Terrace Ballroom
2. Tush Tush Tush (A Token Of My Extreme)
3. Stink-Foot
4. RDNZL
5. Village Of The Sun
6. Echidna’s Arf (Of You)
7. Don’t You Ever Wash That Thing?
8. Penguin In Bondage
9. T’Mershi Duween
10. The Dog Breath Variations
11. Uncle Meat
12. Building A Girl

Disc 5 - Dayton, OH Show (Continued) + Bonus
1. Dinah-Moe Humm
2. Camarillo Brillo
3. Pygmy Twylyte
4. Room Service
5. Tush Tush Tush (End Vamp)
6. Don’t Eat The Yellow Snow
7. Nanook Rubs It
8. St. Alfonzo’s Pancake Breakfast
9. Father O’Blivion
10. Apostrophe TV Ad
11. Don’t Eat The Yellow Snow- Single Edit
12. Goteborg GTR
13. Approximate – Bale
14. …the poodle bites…

[Mr_oD 3.290]

On 31-05-2024 at 19:55, ponkine dijo:

https://superdeluxeedition.com/news/the-police-synchronicity-6cd-box-set/

 

6CD box set
CD 1
 Synchronicity I
Walking In Your Footsteps
O My God
 Mother
Miss Gradenko
Synchronicity II
Every Breath You Take
King Of Pain
Wrapped Around Your Finger
Tea In The Sahara
Murder By Numbers

CD 2 (Bonus)
Truth Hits Everybody (Remix)
Man In A Suitcase (Live At The Variety Arts Theatre, Los Angeles, USA / 16th January 1981)
Someone To Talk To
Message In A Bottle (Live At The Gusman Cultural Center, Miami, USA / 26th October 1979)
I Burn For You
Once Upon A Daydream
Tea In The Sahara (Live At The Omni, Atlanta, USA / 3rd November 1983)
Every Breath You Take (Backing Track)
Roxanne (Backing Track)
Wrapped Around Your Finger (Live At The Omni, Atlanta, USA / 3rd November 1983)
Every Bomb You Make
Walking On The Moon (Live At The Omni, Atlanta, USA / 3rd November 1983)
Hole In My Life (Live At The Omni, Atlanta, USA / 3rd November 1983)
One World (Not Three) (Live At The Omni, Atlanta, USA / 3rd November 1983)
Invisible Sun (Live At The Omni, Atlanta, USA / 2nd November 1983)
Murder By Numbers (Live At The Omni, Atlanta, USA / 2nd November 1983)
Walking In Your Footsteps (Derangement)
Tea In The Sahara (Derangement)

CD 3 (Unreleased Part 1)
Synchronicity I (Demo)
Synchronicity I (Alternate Mix)
Synchronicity I (Instrumental)
Walking In Your Footsteps (Alternate Version)
Walking In Your Footsteps (Alternate Mix)
O My God (Demo)
O My God (Outtake)
O My God (OBX Version)
O My God (Alternate Mix)
Mother (Alternate Version)
Mother (Instrumental)
Miss Gradenko (Alternate Mix)
Synchronicity II (Demo)
Synchronicity II (Outtake)
Synchronicity II (Extended Version)
Synchronicity II (Alternate Mix)
Synchronicity II (Instrumental)

CD 4 (Unreleased Part 2)
Every Breath You Take (Demo)
Every Breath You Take (Outtake)
Every Breath You Take (Alternate Mix)
King Of Pain (Demo)
King Of Pain (Alternate Version)
King Of Pain (Alternate Mix)
Wrapped Around Your Finger (Demo)
Wrapped Around Your Finger (Alternate Mix)
Wrapped Around Your Finger (Instrumental)
Tea In The Sahara (Demo)
Tea In The Sahara (Alternate Mix)
Murder By Numbers (Demo)
I’m Blind (Demo)
Loch
Ragged Man
Goodbye Tomorrow
Truth Hits Everybody (Remix) (Outtake)
Three Steps To Heaven
Rock And Roll Music

CD 5 (Live Part 1 – Unreleased)) Live At The Oakland-Alameda County Coliseum, California, USA / 10th September 1983)
Synchronicity I
Synchronicity II
Walking In Your Footsteps
Message In A Bottle
Walking On The Moon
O My God
De Do Do Do, De Da Da Da
Wrapped Around Your Finger
Tea In The Sahara
Spirits In the Material World

CD 6 Live Part 2 – Unreleased)) Live At The Oakland-Alameda County Coliseum, California, USA / 10th September 1983)
Hole In My Life
Invisible Sun
One World (Not Three)
King Of Pain
Don’t Stand So Close To Me
Murder By Numbers
Every Breath You Take
Roxanne
Can’t Stand Losing You

 

Y llegó el día!  Primer tx ox rx rx ex nx tx  disponible de los 6 CD en flac por ACÁ comenten que les parece esta remasterizacion. 

The Police - Synchronicity (Super Deluxe Edition) [6CD] (2024 Rock) [Flac 16-44]

[sonic 597]

gracias. También no recuerdo bien si esta semana o la anterior aparecía un box remasterizado de Genesis 

[Mr_oD 3.290]

Lanzado hoy: Pat Metheny: MOONDIAL disponible acá

01. MoonDial (6:24)
02. La Crosse (4:48)
03. You're Everything (2:38)
04. Here, There and Everywhere (4:24)
05. We Can't See It, But It's There (2:59)
06. Falcon Love (7:14)
07. Everything Happens To Me / Somewhere (7:12)
08. Londonderry Air (5:03)
09. This Belongs To You (5:28)
10. Shōga (3:15)
11. My Love And I (3:50)
12. Angel Eyes (6:56)
13. MoonDial (epilogue) (1:13)

Escuché un bajo eléctrico y una guitarra. Luego, supongo que esa sexta cuerda debe tener algún tipo de octavador. Probablemente me equivoque. Entonces lo googleo y claro; es una guitarra barítono de cuerdas de nailon personalizada. Lo de Pat en este disco me recuerda a Chick Corea con sus “Children’s Songs”. Suena como Debussy influenciado por los Beatles. Pat Metheny es un cancionista –¿MoonDial suena a mundial en español no?–. Las melodías y los elementos que utiliza en la improvisación (pentatónicas y progresiones de la música popular) carecen de fisuras –como la luna cuando nos muestra que es una bola que flota sobre nuestras cabezas–; lo opuesto a Monk, por ejemplo, que quema. Puede que el mérito que le atribuyen desde el jazz tenga justamente que ver con que su impulso siempre está más cerca de la música popular que del free jazz. Un jazz que se deja escuchar, que invita a la pausa y a las atmósferas. ¿Alguien tendría la audacia de cuestionarlo? Tal vez esa música popular que se encuentra en este guitarrista de jazz reside en la música country o, habiendo encontrado el color correcto, el camino se haya pavimentado definitivamente y para siempre. El arrojo, a veces, es ser fiel a esa música que necesitamos hacer y no seguir las líneas que trazan actualmente los guitarristas de jazz o cualquier fuerza que quiera imponer una estética particular. Ser “modernito” es otra construcción que supone un disenso imaginario. Una ruptura que asegura una nueva permanencia que será también sustituida por otros “modernitos”: la modernidad no deja de operar allí donde otra fórmula creativa dibuja un horizonte. Pat Metheny fue el chico de moda en la guitarra de jazz (su sonido MIDI, sus composiciones, sus agrupaciones multiculturales) y lo sigue siendo. Puede que ese sea el problema. La cuestión es esa: que lo sigue siendo trabajando los mismos dilemas. Fue el new kid on the block de su época, pero el tiempo pasa. Por eso se le puede idolatrar o criticar. En estos tiempos de renovación permanente, ser uno mismo supone estar prontamente desactualizado. ¿Cuánto tiempo se tarda, y si es que se logra, en dar con una voz? Beckett dedicó su vida a encontrar un tono. Por eso lo reconocemos. Goya, Velázquez. ¿Se puede dejar de ser, de abandonar ese único problema para dejar de ser eso a lo que estamos condenados a buscar? ¿Y entonces? Parker suena moderno habiendo tocado sus últimas notas hace más de sesenta años. Y se sigue tocando parkerianamente: de la voz a la fórmula como tragedia o fortuna. Este disco puede ser la compañía perfecta para un niño que colorea una mandala o que se distrae con la tierra de los maceteros.

[ponkine 517]

https://dgmlive.com/news/red-50th-anniversary-edition?fbclid=IwY2xjawEh4jtleHRuA2FlbQIxMAABHboWwZytsNUSemTVdaXL5FyoYl24XtHVDKMh-nvf3y1CqwnJ6Z3uw04BcA_aem_gET70s3f9PP3DMBIHIoSQg

 

4 disc boxed set (2 Blu-ray & 2 CDs)

This edition features completely new Dolby Atmos, 5.1 DTS-HD Master Audio Surround & Stereo mixes by Steven Wilson taking the music to new levels of clarity & power. ‘Red’ was one of the earliest mixes undertaken by Steven Wilson in 2009 & King Crimson was the first of a number of classic band’s & artists to be mixed by Steven so it’s entirely appropriate that he return, some 15 years later, to take the album into the Dolby Atmos era.

“What I hear on Red is the best representation of 72-74 era line-up in the studio. In effect this is a power trio record and their sound is just huge.” – Steven Wilson

Also featured are a complete album’s worth of Elemental Mixes by long-time King Crimson producer (& band manager) David Singleton – using the original multi-track recordings to present a very different audio picture of the album, with greater separation of instruments & utilising many recorded elements recorded for, but not included in, the original mixes.

As King Crimson biographer Sid Smith puts it in his new notes for the album: “David Singleton’s elemental mixes pull the veil aside on the original sessions and act as a kind of alternative account, a Red that could have been, revealing the different passes and takes that the band undertook as well as those Collins, Charig and McDonald as they engaged with the material”.

Multiple new to disc tracks & studio takes – representing all material to survive from the recording sessions have also been mixed &/or mastered for inclusion, making this the most comprehensive overview of the album to be released.

Red was recorded immediately after King Crimson’s final US tour of 1974 & the anniversary edition reflects that by including all three Hi-Res Stereo mixes of the live album USA in its full concert versions. Also included are a quintet of audio restored bootlegs being issued on disc for the first time, alongside a bootleg of the band’s final US concert in New York in 1974 which Robert Fripp claimed was: “the first gig since the 1969 Crimson where the bottom of my spine registered ‘out of this world‘ to the same degree”.

In the decades since its release, Red has gone from being an album that was, upon release, under-promoted – as the band had already split up, to being one of the most lauded albums of its era & (after In The Court of the Crimson King), King Crimson’s biggest selling album. Writing in The Mojo Collection in 2000, John Bungey assessed Red as “that rarest of records, the sound of a line-up quitting while ahead”.

By the time King Crimson entered the studio in July 74, the band had spent the best part of two years on the road, recorded two albums along the way (‘Larks’ Tongues In Aspic’ & ‘Starless & Bible Black’) & shed two band members en route; percussionist Jamie Muir having quit early 1973, and violin/mellotron player David Cross at the end of the US tour just a week prior to the recording of Red.

Crimson had built a reputation as one of the tightest, most powerful bands on the rock circuit. Recording as a trio in Olympic studios in London, with one improv piece (Providence) drawn from that final US tour & with contributions from former members & friends on saxophones, violin, and oboe, the group produced the last Crimson studio album of the 70s & one of the decade’s masterpieces - Red.

Red emerged as a distillation of everything Crimson had been working towards live & in the studio between 72 and 74. In the half century since its release it has built an enviable, enduring reputation among fans & professional musicians alike – with bands from each succeeding decade citing it as an important influence.

As guitarist Steve Vai – a man about to undertake playing some of Fripp’s parts in Beat – a band devoted to playing King Crimson material - wrote in his online diary about the mid-1970s King Crimson (amidst a much longer piece eulogizing the band): “It’s impossible to quantify the effect that this band has had on contemporary musicians” – Steve Vai, July 2004

 

 

2 LP 200 gram vinyl set
· LP1 features all new 2024 stereo mixes by Steven Wilson.
· LP2 features all new 2024 elemental mixes by David Singleton.
· Cut by Jason Mitchell at Loud Mastering.

Whilst mixing the album for Dolby Atmos, Steven Wilson also prepared new stereo & 5.1 mixes. Those new stereo mixes are what appears as LP1 of this 2LP set.

LP2 consists of a complete album’s worth of Elemental Mixes by long-time King Crimson producer (& band manager) David Singleton – using the original multi-track recordings to present a very different audio picture of the album, with greater separation of instruments & utilising many recorded elements recorded for, but not included in, the original mixes.

 

[Sortilege 36]

On 08-08-2024 at 13:56, ponkine dijo:

https://dgmlive.com/news/red-50th-anniversary-edition?fbclid=IwY2xjawEh4jtleHRuA2FlbQIxMAABHboWwZytsNUSemTVdaXL5FyoYl24XtHVDKMh-nvf3y1CqwnJ6Z3uw04BcA_aem_gET70s3f9PP3DMBIHIoSQg

 

4 disc boxed set (2 Blu-ray & 2 CDs)

This edition features completely new Dolby Atmos, 5.1 DTS-HD Master Audio Surround & Stereo mixes by Steven Wilson taking the music to new levels of clarity & power. ‘Red’ was one of the earliest mixes undertaken by Steven Wilson in 2009 & King Crimson was the first of a number of classic band’s & artists to be mixed by Steven so it’s entirely appropriate that he return, some 15 years later, to take the album into the Dolby Atmos era.

“What I hear on Red is the best representation of 72-74 era line-up in the studio. In effect this is a power trio record and their sound is just huge.” – Steven Wilson

Also featured are a complete album’s worth of Elemental Mixes by long-time King Crimson producer (& band manager) David Singleton – using the original multi-track recordings to present a very different audio picture of the album, with greater separation of instruments & utilising many recorded elements recorded for, but not included in, the original mixes.

As King Crimson biographer Sid Smith puts it in his new notes for the album: “David Singleton’s elemental mixes pull the veil aside on the original sessions and act as a kind of alternative account, a Red that could have been, revealing the different passes and takes that the band undertook as well as those Collins, Charig and McDonald as they engaged with the material”.

Multiple new to disc tracks & studio takes – representing all material to survive from the recording sessions have also been mixed &/or mastered for inclusion, making this the most comprehensive overview of the album to be released.

Red was recorded immediately after King Crimson’s final US tour of 1974 & the anniversary edition reflects that by including all three Hi-Res Stereo mixes of the live album USA in its full concert versions. Also included are a quintet of audio restored bootlegs being issued on disc for the first time, alongside a bootleg of the band’s final US concert in New York in 1974 which Robert Fripp claimed was: “the first gig since the 1969 Crimson where the bottom of my spine registered ‘out of this world‘ to the same degree”.

In the decades since its release, Red has gone from being an album that was, upon release, under-promoted – as the band had already split up, to being one of the most lauded albums of its era & (after In The Court of the Crimson King), King Crimson’s biggest selling album. Writing in The Mojo Collection in 2000, John Bungey assessed Red as “that rarest of records, the sound of a line-up quitting while ahead”.

By the time King Crimson entered the studio in July 74, the band had spent the best part of two years on the road, recorded two albums along the way (‘Larks’ Tongues In Aspic’ & ‘Starless & Bible Black’) & shed two band members en route; percussionist Jamie Muir having quit early 1973, and violin/mellotron player David Cross at the end of the US tour just a week prior to the recording of Red.

Crimson had built a reputation as one of the tightest, most powerful bands on the rock circuit. Recording as a trio in Olympic studios in London, with one improv piece (Providence) drawn from that final US tour & with contributions from former members & friends on saxophones, violin, and oboe, the group produced the last Crimson studio album of the 70s & one of the decade’s masterpieces - Red.

Red emerged as a distillation of everything Crimson had been working towards live & in the studio between 72 and 74. In the half century since its release it has built an enviable, enduring reputation among fans & professional musicians alike – with bands from each succeeding decade citing it as an important influence.

As guitarist Steve Vai – a man about to undertake playing some of Fripp’s parts in Beat – a band devoted to playing King Crimson material - wrote in his online diary about the mid-1970s King Crimson (amidst a much longer piece eulogizing the band): “It’s impossible to quantify the effect that this band has had on contemporary musicians” – Steve Vai, July 2004

 

 

2 LP 200 gram vinyl set
· LP1 features all new 2024 stereo mixes by Steven Wilson.
· LP2 features all new 2024 elemental mixes by David Singleton.
· Cut by Jason Mitchell at Loud Mastering.

Whilst mixing the album for Dolby Atmos, Steven Wilson also prepared new stereo & 5.1 mixes. Those new stereo mixes are what appears as LP1 of this 2LP set.

LP2 consists of a complete album’s worth of Elemental Mixes by long-time King Crimson producer (& band manager) David Singleton – using the original multi-track recordings to present a very different audio picture of the album, with greater separation of instruments & utilising many recorded elements recorded for, but not included in, the original mixes.

 

Me gustaría escuchar la mezcla hecha por Steven Wilson