RUSH - Exit... Stage Left (German pressing using US stampers - Bill Kipper mastered)(24bit MBit RX Remaster 2009)

From Wikipedia, the free encyclopedia

Exit...Stage Left Cover Art


Live album by Rush

Released - October 1981
Recorded - June 10-11, 1980 at The Apollo, Glasgow, Scotland; March 27, 1981 at The Forum, Montreal
Genre - Progressive rock, hard rock, heavy metal
Length - 76:36
Label - Anthem (Canada), Mercury

Producer - Terry Brown

Professional reviews
• Allmusic link
• Rolling Stone link


Exit...Stage Left is a live album by Canadian band Rush, released in 1981. A video release with the same name, with slightly different content, was released in 1982 on VHS and later on Laserdisc, and in 2007 on DVD.

The album was voted 9th best live album of all time in a poll by Classic Rock Magazine in 2004.[1]


Contents
• 1 Track listing
• 2 Contributes and Changes
• 3 Personnel
• 4 Title and cover art
• 5 Charts
• 6 Singles
• 7 Remaster details
• 8 References


Track listing
All songs written by Alex Lifeson, Geddy Lee and Neil Peart, except where noted.
1. "The Spirit of Radio" – 5:11
2. "Red Barchetta" – 6:46
3. "YYZ" (Lee, Peart) – 7:43 (includes a Peart drum solo)
4. "A Passage to Bangkok" – 3:45 *
5. "Closer to the Heart" (Lifeson, Lee, Peart, Peter Talbot) – 3:08
6. "Beneath, Between & Behind" (Lifeson, Peart) – 2:34
7. "Jacob's Ladder" – 8:46
8. "Broon's Bane" (Lifeson) – 1:37
9. "The Trees" – 4:50
10. "Xanadu" – 12:09
11. "Freewill" – 5:31
12. "Tom Sawyer" (Lifeson, Lee, Peart, Pye Dubois) – 4:59
13. "La Villa Strangiato" – 9:37

Tracks 1-3 and 8-13 of the original vinyl were recorded in Canada during the Moving Pictures tour, while tracks 4-7 were recorded in the UK during the Permanent Waves tour.

* The original CD issue did not include "A Passage to Bangkok" due to time constraints, as CDs could only hold 74 minutes at the time. The track did appear on the original LP, 8-track cartridge and cassette issues, and was later included on the remastered CD, when CD times had increased to 80 minutes.

Contributes and Changes
"YYZ" is expanded from 4:30 to 7:00 by an extended Neil Peart drum solo. (* Eddy_litE needs to comment here: “And what a drumsolo! THE drumsolo!!”) In "La Villa Strangiato," the introductory acoustic guitar solo from the original recording is played on electric guitar, and Lee adds a short bass solo near the end of the piece.

Personnel
• Geddy Lee - bass and rhythm guitars, synthesizers, vocals
• Alex Lifeson - electric and acoustic guitars
• Neil Peart - drums, percussion

Title and cover art
The title is from the signature catchphrase "Exit, stage left!" of the Hanna-Barbera pink mountain lion cartoon character Snagglepuss.
The whole title came from a character in an American cartoon called Snagglepuss.

He's a great little creature, a lion, and every time there's trouble he flees, uttering 'Exit...stage left' or 'Exit...stage right'. But the fact of the matter was that the album cover picture was taken from stage left. And coincidentally that's the direction in which Snagglepuss runs most of the time.
—Geddy Lee, Sounds magazine #66, November 1981

We wanted to have Snagglepuss's tail on there. You know, 'Exit Stage Left', with a picture of just his tail. Forget it! They wanted all kinds of legal hassles and tons of money.
—Neil Peart, Jam! Showbiz, October 16, 1996

An item from each of Rush's previous eight studio album covers can be seen on the cover of this live album. The owl from Fly by Night flies above Apollo, the man in the suit from Hemispheres, who stands next to the woman from Permanent Waves. The puppet king from A Farewell to Kings sits atop a box stenciled with the "Rush" logo from Rush. Next to him is a painting of the Caress of Steel album cover, held by one of the movers from Moving Pictures, with another mover standing behind. Next to this is Dionysus, the nude man from Hemispheres. Behind this scene, the starman from 2112 hangs in the background, next to an "EXIT" sign. This entire foreground scene, shot in Toronto's then-abandoned Winter Garden Theatre, is on the left side of the stage, thus "Exit...Stage Left".

Rush's prior live album, All the World's a Stage, is also duly represented via the cover's background image - a photo of a concert in Buffalo, New York at the Buffalo Memorial Auditorium. Both album covers show Rush's live setup without anyone on-stage, including their white shag carpet, which they actually stopped using prior to the release of Exit...Stage Left.

Charts
Album - Billboard (North America)
Year Chart Position
1981 Billboard's Pop Albums 10

Singles Information
"Tom Sawyer"
• Released:
• Written by: Geddy Lee, Alex Lifeson, Neil Peart & Pye Dubois
• Produced by: Terry Brown
• Chart positions:

"Closer to the Heart"
• Released:
• Written by: Geddy Lee, Alex Lifeson, Neil Peart & Peter Talbot
• Produced by: Terry Brown
• Chart positions: #69 US Hot 100; #7 US Mainstream Rock

Remaster details
A remaster was issued in 1997.
• The tray has a picture of three fingerprints, light blue, pink, and lime green (left to right, mirroring the cover art of Retrospective II) with "The Rush Remasters" printed in all capital letters just to the left. All remasters from Moving Pictures through A Show of Hands are like this.
• Includes the track "A Passage to Bangkok" which was left off the original CD issue due to time constraints.

References
1. ^ BBC News Entertainment Thin Lizzy top live album poll
Accessed 16 April 2006.
________________________________________


Notes on this release:

New vinyltransfer using the original first German Mercury/Phonogram pressing.
This release is the best sounding version I know exsists. It uses the original US stampers as mastered by Bill Kipper. Though some might prefer the Robert (Bob) Ludwig mastered version, but it is near impossible to find a copy with all sides mastered by him. And all in all, I’m quite fond of the work Bill has done. He’s done many of the pressings that note Bob Ludwig as the mastering engineer, while Bill’s markings are etched in the vinyl. Over the years I came to appreciate Bill’s full bodied, yet well balanced and fine detailed signature. This one simply sounds stunning!

Quality of record is simply pristine. It has been barely played before this rip because when I bought my albums back in the day I usually made a copy to a Nakamichi tapedeck (truly miss that beast some days!) and played that.

My transfers are straight rips and I never use any EQ - NR - or level changes on my rips - unless otherwise noted –

Enjoy!

EddylitE - december 2009


©2009 - Hipper than Hell Records * Eddy_litE appears courtesy of himself * You have been Aped

"The music in these files was originally recorded on analog equipment.
We have attempted to preserve, as closely as possible, the sound of the original recording.
Because of it's high resolution, however, these files can reveal limitations of the source."
________________________________________



Turn Me Up!™

To preserve the excitement, emotion and dynamics of the original performances this record is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)

________________________________________


Rapidshare Links:
TextSnip

pw: Eddy_litE

The Loudness Wars - an explanation

Many people not that interested in 'audiophile' music entertainment have been asking me why I do this and why it is that important (to me). To explain this in a simple - easy to understand - fashion is not an easy task.

As I mentioned in 'MY MISSION' statement, the recordcompanies of today have taken over the control of your volumeknob. This is something that might sound like a scary conspiracy theory with me being the prophet of doom and terror. (well, partly it is something like that - LOL) But seriously, it's more true than you probably can and/or would like to imagine. Because of competition these companies want to outshine each other and there's nothing wrong with that.

But what is wrong is that the balance of what is justified or even fair is leaning in the red zone. Through advanced compression techniques it is possible nowadays to make music sound louder than ever before. Sadly the quality and enjoyment levels drop because of this. Up until a couple of years ago it was just a matter of taste and though some releases were a no buy candidate for me personally, there was nothing really wrong with this practice. Besides, most music NEEDS some percentage of compression to be enjoyable in an average home environment.

Sadly, in 2009 the level of compression and therefore distortion on most products found on the shelves in stores has reached a point that, besides the fact that some albums are unbearable to listen to for a prolonged period of time, (and I'm NOT kidding here) governments are making plans to execute laws that tell your playing device that it cannot go louder as a certain defined level of decibels. Administers of the governments are afraid 15 year olds will fry their brains because of too loud music enjoyment.
(I've often seen red colors in my adolescent years because of playing my music too loud but at least I knew when to stop and appreciated the dynamics in a smaller range too - I had a choice!)

That's what this is about, choice! Kids nowadays don't really have that choice anymore. (Almost) all of the music available today is too loudly mastered to begin with, so they mostly don't know what dynamics are and what it's like to experience it.

To make things even easier to understand, look at this brilliant short documentary film on the subject, I cannot make it more clear than that...

Loudness War - The Movie

With each passing year records have gotten louder and less dynamic. This brilliant video by Matt Mayfield dramatically demonstrates the effect this evolution is having on the music.

Click here to download an uncompressed version of the video

courtesy of (www.TurnMeUp.org)

KISS - Alive!(Dutch Phonogram Reissue 1980)(24 bit RX MBit Remaster 2009)

From Wikipedia, the free encyclopedia

Alive! Album Cover Art


Live album by Kiss

Released - September 10, 1975
Recorded - March – June 1975
Genre - Hard rock, heavy metal
Length - 74:50
Label - Casablanca Records and Filmworks

Producer - Eddie Kramer

Professional reviews
• Allmusic link
• Robert Christgau (B-) link
• Rolling Stone (unfavorable) link


Alive! is Kiss' fourth album and is considered their breakthrough, as well as a landmark for live albums. Released on September 10, 1975, the double-disc set contains live versions of selected tracks from their first three studio albums, Kiss, Hotter Than Hell, and Dressed to Kill.


Contents

• 1 Uncertainty and risk
• 2 Overdubbing controversy
• 3 Re-release
• 4 Legacy

Uncertainty and risk
Despite Kiss' reputation as a live act, which emphasized theatrics (such as explosions, smoking guitar solos, fire breathing, and blood spitting), as much as it did the music, their notoriety did not translate to increased record sales. Kiss was essentially surviving on then-manager Bill Aucoin's American Express card. Complicating matters was the fact that their label, Neil Bogart's Casablanca Records, was having financial difficulties of its own stemming from a major misstep: the label had released a double album of Johnny Carson monologues earlier in the year. However, the album was a flop, and Casablanca Records had pressed millions of copies in anticipation. The band and Aucoin were nevertheless able to convince Bogart that a memento of a Kiss show would boost their album sales.

Years later, both guitarist Paul Stanley and bassist Gene Simmons recounted that in the weeks after the release, they saw a significant increase in concert attendance. In the documentary Kiss: X-treme Close Up, Stanley remembers that at one particular show in Dayton, Ohio, "the place was packed; I mean you couldn't have gotten another person in with a shoehorn."

Overdubbing controversy
There has been considerable debate as to how much use was made of studio overdubs. Gene Simmons states in his autobiography Kiss and Make-Up that very little corrective work was done in the studio and that most of the studio time was devoted strictly to mixing down the multi-track recordings. He also emphasized that Kiss could not have done extensive overdubbing even if they had wanted to; thanks in no small part to the Johnny Carson album fiasco, the extremely meager budget allotted to the band simply would not allow it.

According to Dale Sherman's book Black Diamond and Goldmine magazine, in the early 1990s, Eddie Kramer stated there were a few overdubs to correct the most obvious mistakes: strings breaking or off-key notes, for instance. However, in recent years, Kramer has stated that the only original live recording on the album is Ace Frehley's guitar. In a recent televised interview, he also stated the only original live recording on the album is Peter Criss' drums. In addition, on the recent VH1 special of the story of Kiss, the band members themselves make it more known that the album was severely doctored in the studio, and various musicians comment on the album in this special, revealing how disappointed they were to find out their heroes doctored the supposed "live" album in the studio.

Paul Stanley has noted that there's a bass mistake in the choruses of "C'mon and Love Me." He's also made comments that even though there have been live albums recorded later that make Alive! sound like it was recorded in a washroom, he has no qualms about it.

Re-release
Alive! was first issued as a 2CD set in what has now become known as a 'fatboy' 2CD case. When the Kiss back-catalogue was remastered it was housed in a slimline 2CD case and, in keeping with the rest of the reissue programme, had the artwork restored.

Most recently, Alive! was re-released in 2006 as part of the Kiss Alive! 1975–2000 box set (also featuring Alive II, Alive III and Alive! The Millennium Concert). The short running-time of Alive! allowed for a single, unedited CD edition in this latest release. This remastered CD edition eliminates the breaks between the four sides of the original LP release, resulting in this version of the album playing as one continuous performance. The 72-Page booklet that comes with the CD set erroneously credits songwriting for "Cold Gin" to Paul Stanley instead of Ace Frehley.


Legacy
• It peaked at #9 on the album charts. The album charted for 110 weeks, by far the longest in the band's history.
• In 2003, the album was ranked number 159 on Rolling Stone magazine's list of the 500 greatest albums of all time.[1]

The following is courtesy of Kissfaq.com – The Ultimate KissWiki:

Eddy_litE:
Kissfaq RULES! Every Kiss fan (or Rocker for that matter) should visit it some time! Read the Kiss Album Focus! here ->

Contents
• 1 Release Details
• 2 Tracks
• 3 Album Details
• 4 Multimedia
• 5 Chart Action
• 6 RIAA/Sales

Release Details
Casablanca NBLP-7020 (US, 9/10/75)
Casablanca/PolyGram 822-780-1/4 (US, 7/85 - Reissue)
Casablanca/PolyGram 822-780-2 (US, 7/87 - CD Reissue)
Mercury 532-377-2/4 (US Remaster, 7/15/97, includes booklet reprint)

Tracks
A0. Introduction
A1. Deuce (3:32) - Simmons
A2. Strutter (3:12) - Simmons/Stanley
A3. Got To Choose (3:35) - Stanley
A4. Hotter Than Hell (3:11) - Stanley
A5. Firehouse (3:42) - Stanley
B1. Nothin' To Lose (3:23) - Simmons
B2. C'mon And Love Me (2:52) - Stanley
B3. Parasite (3:21) - Frehley
B4. She (6:42) - Simmons/Coronel
C1. Watchin' You (3:37) - Simmons
C2. 100,000 Years (11:52) - Simmons/Stanley
C3. Black Diamond (5:21) - Stanley
D1. Rock Bottom (3:08) - Frehley/Stanley
D2. Cold Gin (5:21) - Frehley
D3. Rock And Roll All Nite (3:37) - Simmons/Stanley
D4. Let Me Go, Rock 'N Roll (5:09) - Simmons/Stanley

Album Details
Produced, engineered, and mixed by Eddie Kramer, assisted by Neal Teeman. Recorded live during the “Dressed To Kill” tour. Overdubbed and mixed at Electric Lady Studios, New York City, NY, in late July / early August 1975.
The concerts recorded for use on the album included: Cobo Arena, Detroit, MI on May 16; Music Hall, Cleveland, OH, on June 21; two nearly sold-out shows at the Orpheum Theatre in Davenport, IA, on July 20; and the sold-out Convention Center in Wildwood, NJ, on July 23 (Gooch, Suhs – KISS Alive Forever).

King Biscuit Alive 75
"King Biscuit Alive" Radio Show Notes:
Originally broadcast in November 1975 on the King Biscuit Flower Hour in a split show with a set from the Average White Band. It’s always fun to compare this broadcast with the recordings used on the actual “Alive!” album. While the first three tracks are generally accepted to be from Wildwood, NJ, there are no specific references to that city with the final two tracks at least having Cleveland mentioned by name.

Tracks available somewhere in cyberspace:
Hotter Than Hell
Firehouse
Black Diamond
Let Me Know
Rock And Roll All Nite

Chart Action
RIAA/Sales
USA: "Alive!" was Kiss first RIAA certification, attain Gold on 12/4/1975. Even with the band being presented RIAA Platinum awards in January 1976, the album has never been recertified. It has sold over 258,000 (2/07) copies since the SoundScan era commenced in 1991.
________________________________________


Notes on this release:

New vinyltransfer using a near pristine 1980 reissue on the Dutch Phonogram label.

To the best of my knowledge they used the original US stampers for this one which makes it possibly the best version ever made. I can tell since I have had dozens of different one’s in my lifetime and well, the Dutch Phonogram (the company bought out Casablanca Records in this time) was known for it’s impeccable quality. Although it’s not the first pressing, this one is the one I kept because of that.

I don’t think any of the CD remasters are really bad sounding, but they all are compressed. In particular this album suffers from that because when you want to pump the level it’s impact is minimalized. With this transfer all that has been restored. Watch out for some heavy explosions when you do pump up the volume! Really, be careful, you could damage your speakers and/or amp! :D

Quality of record is near pristine. Played quite some times, but always with the greatest care. Only the drumsolo winded up with a little scratch in all those years.

All my releases are straight rips - unless otherwise noted - and I never use any EQ - NR - or level changes on my rips.)

Enjoy!

EddylitE - december 2009

* better is a personal related discription. It's not really better, it's got pros and cons compared to other pressings. It's just that I like it better because it has more headroom and more detail. Staging is also a notch better.


©2009 - Hipper than Hell Records * Eddy_litE appears courtesy of himself * You have been Aped

"The music in these files was originally recorded on analog equipment.
We have attempted to preserve, as closely as possible, the sound of the original recording.
Because of it's high resolution, however, these files can reveal limitations of the source."
________________________________________



Turn Me Up!™

To preserve the excitement, emotion and dynamics of the original performances this record is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)

________________________________________


Rapidshare Links:
*removed with blocked account
REPOST coming in 2016

BLACK SABBATH - Live eviL (Dutch 1st pressing)(24 bit RX MBit Remaster 2009)

From Wikipedia, the free encyclopedia

Live EviL Cover Art

Live album by Black Sabbath

Released - December 1982
Recorded - 23–24 April, 12–13 May, 1982 in Seattle, Dallas and San Antonio
Genre - Heavy metal
Length - 83:27
Label - Vertigo/Phonogram - Warner Bros. (US/Canada)

Producer - Black Sabbath

Professional reviews
• Allmusic [1]
• Blender [2]


Live Evil, released in 1982 (see 1982 in music) and in January 1983 in the UK, is the first "official" live album by British heavy metal band Black Sabbath, the previously released Live at Last (1980) not having been sanctioned by the band. It was recorded with Ronnie James Dio singing and is a document of the Mob Rules World Tour, that ran from 15 November 1981 to 13 August 1982. The 2007 limited-edition release Live at Hammersmith Odeon is from this same tour.

The sleeve states that "Live Evil" was recorded in Seattle, San Antonio and Dallas, but doesn't give the venues or recording dates for the individual songs. Indeed, the sleeve doesn't give dates for those shows but it is known that Black Sabbath played Seattle on 23–24 April 1982, Dallas on 12 May, and San Antonio on 13 May, 1982. However, to further confuse matters, during a radio broadcast of his band Dio, recorded live in 1983 in Fresno, CA, Ronnie James Dio says, 'Just in case you didn't know, the album "Live Evil" that we (RJD & Vinny Appice) did with Black Sabbath here last time was recorded at Fresno.' It is not unreasonable to assume that many of the shows were recorded with a view to the live album (see the aforementioned Live at Hammersmith Odeon) but whether any of the tracks recorded at Fresno, where Sabbath played 18 April 1982, made the final cut is unknown at present.

Already having tense relations with the other band members, Dio and drummer Vinny Appice abruptly left the group sometime in October 1982, during the mixing of the album, amidst rumors that they had sneaked into the studio late at night to mix the drums and vocals higher. All parties have since denied that this occurred and laid the blame on the engineer, who was 'telling tales'. In what Dio has called retaliation for him and Appice leaving the group, on the back of the album, Dio is listed as "Ronnie Dio" instead of his stage-name of "Ronnie James Dio," and Vinny Appice is listed as a special guest rather than a member of the band. Production credits were ultimately for Iommi and Butler and whilst the band sound well-mixed, the crowd is all but inaudible. It is interesting to note that when the "Neon Knights" single was released in 1980, it was Iommi and Dio who had produced the live version of "Children Of the Sea" which was the B-side.

One of the most popular tracks on the album is a near 20-minute long medley that includes "Heaven And Hell" (with its extended break-down section and additional lyrics), "The Sign of the Southern Cross", a guitar solo, and finishing off the ending of "Heaven and Hell".

The 5th track, "Voodoo" features an ad libitum part from Dio, enhancing the song with additional lyrics not to be found on the studio version.
Another favourite is an extended War Pigs which featured a drum solo from Appice whose playing more closely resembled John Bonham than original Sabbath drummer Bill Ward's jazzier style.

At one point Dio says 'Not only are we filming this one...', although the footage has never been commercially available, (the show in San Antonio was filmed), but some bits have been shown on YouTube. (It is not the footage on the Black & Blue video, laserdisc and ultimately the DVD pulled before general release, which was recorded on the Heaven and Hell tour on 17 October 1980.)
It peaked at number 37 on the Billboard Pop Albums chart.[3]
The album is included in the Black Sabbath box set The Rules of Hell.[4]


Contents
• 1 Album cover
• 2 Track listing
o 2.1 Side one
o 2.2 Side two
o 2.3 Side three
o 2.4 Side four
• 3 Personnel
• 4 Release history
• 5 References

Album cover
The album cover shows a group of beings that each represent specific Black Sabbath songs. They are:

• a screaming man in a straitjacket ("Paranoid")
• a voodoo shaman ("Voodoo")
• an angel and a devil ("Heaven and Hell")
• a knight with a sword emitting an eerie glow ("Neon Knights")
• a hooded man ("Black Sabbath"/"N.I.B.")
• a metallic-skinned man flexing his muscles ("Iron Man")
• a pig dressed as a sergeant ("War Pigs")
• a group of children inside a casket ("Children of the Grave") floating on the water ("Children of the Sea")
• a man with a whip ("The Mob Rules")
• lightning in the shape of a devil's head ("E5150")
• (On the back of the sleeve,) an acoustic guitar washed up on the shore ("Fluff")
• (On the back of the sleeve) the Southern Cross in the sky ("The Sign of the Southern Cross")

Track listing
Side one
1. "E5150" (Ronnie James Dio, Tony Iommi, Geezer Butler) – 2:21
2. "Neon Knights" (Dio, Iommi, Butler, Bill Ward) – 4:36
3. "N.I.B." (Ozzy Osbourne, Iommi, Butler, Ward) – 5:09
4. "Children of the Sea" (Dio, Iommi, Butler, Ward) – 6:05
5. "Voodoo" (Dio, Butler, Iommi) – 6:07

Side two
1. "Black Sabbath" (Osbourne, Iommi, Butler, Ward) – 8:39
2. "War Pigs" (Osbourne, Iommi, Butler, Ward) – 9:19
3. "Iron Man" (Osbourne, Iommi, Butler, Ward) – 7:29

Side three
1. "The Mob Rules" (Dio, Iommi, Butler) – 4:10
2. "Heaven and Hell" (Dio, Iommi, Butler, Ward) – 12:04

Side four
1. "The Sign of the Southern Cross/Heaven and Hell (Continued)" (Dio, Butler, Iommi/Dio, Iommi, Butler, Ward) – 7:15
2. "Paranoid" (Osbourne, Iommi, Butler, Ward) – 3:46
3. "Children of the Grave" (Osbourne, Iommi, Butler, Ward) – 5:25
4. "Fluff" (Iommi) – 0:59

The packaging was far from the lavish presentation fans were expecting to mark Sabbath's first live album. In the UK the 2LP set was released in a gatefold sleeve but with plain, generic Vertigo inners, rather than the photo-inners that graced the live-album of many other bands.
The cassette release had, as its first side, sides 1 and 3 of the vinyl release, with side two of the cassette being vinyl sides 2 and 4. It seems this was not a mistake, rather a money-saving exercise, since the running-times of the two sides of the tape were more-or-less equal in this configuration.
For fans, this disappointing state-of-affairs continued when the album was released on CD. The first UK CD release omitted "War Pigs" (or "Warpigs" as it was titled in the explanation for its cutting, printed on the rear of the tray-insert), so as to fit onto a single CD. The 1996 UK remaster restored this track but cut much of the stage banter, so as to again fit onto a single CD: this reduced the 'live' feel of the recordings.

In the US Warner Brothers released a 2CD set, which matched the running-order of the vinyl. Each of these WB CDs came in its own jewel-case, complete with artwork, rather than a 2CD jewel-case.

Personnel
• Ronnie James Dio – vocals
• Tony Iommi – guitar
• Geezer Butler – bass guitar
• Vinny Appice – drums
• Geoff Nicholls – keyboards

Release history
Region Date Label
United States December 1982 Warner Bros. Records

United Kingdom 18 January 1983 Vertigo Records

Canada ??? Warner Bros. Records

United Kingdom 1996 Castle Communications

United Kingdom 2004 Sanctuary Records

References
1. ^ Rivadavia, Eduardo. "Review Live Evil
". Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wifpxqq5ld6e~T1
. Retrieved 2009-08-08.
2. ^ Mitchell, Ben. "Review Live Evil
". [[Blender (magazine)|]]. Alpha Media Group. http://www.blender.com/guide/new/52434/live-evil.html
. Retrieved 2009-08-08.
3. ^ "AllMusic Billboard albums
". http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wifpxqq5ld6e~T3
. Retrieved 2009-01-30.
4. ^ Welte, Jim (2008-04-22). "Legends align for Metal Masters Tour
". MP3.com. http://www.mp3.com/news/stories/11191.html
. Retrieved 2008-04-23.
________________________________________


Notes on this release:

New vinyltransfer using the original first Dutch pressing (Vertigo/Phonogram).
Despite all the rumours and comments from fans of the band that were disliking the albums sound, I have always been pretty much in love with it. Though the CD-releases surely leave much to desire soundwise, the vinyls did smack the hell out of you when played at the appropriate listening level. Regardless of the hours spent on mixing editing overdubbing and whatelse this album sounds really live and in your face. And the comment in the above printed article about the low level of audience, well, it simply sounds like they did that to make the almighty Sabbath sound larger than life. Makes sense and for me it works. It gives the album experience something grotesque. Like it was a huge battle field on which the event took place. All in all one of my favourite live albums of all time, maybe even THE favourite!

Quality of the records is pristine. They have been barely played before this rip because when I bought my albums back in the day I usually made a copy to a Nakamichi tapedeck (truly miss that beast some days!) and played that.

My transfers are straight rips and I never use any EQ - NR - or level changes on my rips - unless otherwise noted –

* Note: In this case I used the advanced ‘trainable’ Noise Reduction tool in iZotope’s RX to remove vinyl humm or murmur as I call it. I thought it was necessary to do so on the intro and outro of the album because although this vinyl plays dead quiet you always hear the murmur-ing of the friction between the vinyl and the stylus. It depends on the quality of the vinyl how much you hear but since the intro starts so frail and quietly I thought it was worth it to try this nifty tool. It turned out to be a keeper!

Enjoy!

EddylitE - december 2009



©2009 - Hipper than Hell Records * Eddy_litE appears courtesy of himself * You have been Aped


"The music in these files was originally recorded on analog equipment.
We have attempted to preserve, as closely as possible, the sound of the original recording.
Because of it's high resolution, however, these files can reveal limitations of the source."
________________________________________




Turn Me Up!™

To preserve the excitement, emotion and dynamics of the original performances this record is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)

________________________________________


Rapidshare Links:
TextSnip

pw: Eddy_litE

MY MISSION

In the past I have been distributing my work on various BitTorrent-portals. It can be a great community and for years it has been. But in the last year things have been changing and I have been looking for other ways to reach my audience and give them an opportunity to choose for themselves as to how loud they want their music to play.

After months of research and brainstorming I have made a decision, and opened this blogspot. In the coming months I'm going to try to make every past release available here and updates will be posted regularly too. This will mainly be commonly known music, classic albums that I feel deserve a better representation than those versions available in the store today. Next to that there will be out-of-print rarities as well as demo recordings from artists that faded from the scene years ago but made music too damn exciting to be lost in outer space.

Make no mistake about it, I do NOT support illegal downloading. But, if someone already has purchased a particular title and is not satisfied with the way the actual music is represented on the disc, I see no reason why downloading an alternative can't be or even shouldn't be an option. The key to 'supportive' and/or 'fair' downloading/sharing lies within the moral standards of the downloader. If you own a title I'm offering there's no reason to not download my remastered product. If you don't own it then no-one including me can force you to buy it afterwards. But the artists in particular will benefit if you do. See, it's them you hurt the most by downloading music for free without buying any of their products. And since all things circulate, you as the consumer will be hurt as well. Ending up with less and less choices.

In the last decade technology and in particular in this field has been evolving tremendously. Sadly, things have changed negatively too. The before mentioned 'Loudness Wars', and not less acknowledgable, (music)filesharing in an illegal unmoral fashion. Though rights representives have fought this trend, they have not been able to change this landscape. (Not all that is written is all there is, but that's another story). Again, copyright-infringement guardians are not able to get rid of illegal downloading. And the way I see it, they shouldn't have to. We, the audiences and the producing companies can. It's just a matter of giving and making the right choices. I honestly believe that if a (potential) customer has a choice and the product is truly worth it's pricetag, people will buy it. For too long we have been fed products that were too pricey with quality and choice dropping each passing year. Too much money ends up in the wrong pockets and the little competition to the giant multi-nationals is buthered by either them or the unaware and/or ignorent public.

Call me a dreamer but I want that all to change. And I'll devote all my free time to help and make that happen, and with all my pleasure! I have been reading, writing and discussing this subject for years and I know there's a crowd out there that feels just like me. Hundreds already know of my activities and standpoint. I'd like to see that number grow. Not because I'm in need of attention but the subject is! It's great to see that in the last few years more and more people and organisations are sharing my point of view and started similar activities. It only has fed me with more willpower and enthousiasm to take this 'crusade' to the next level.

So, use my services wisely but most of all enjoy! Enjoy life, music and all other things we can share and experience in this 21st century with all of it's technology and possibilities. It's your life and you make it!

Kind Regards,

The litE One



Read more about Dynamic Range...


Turn Me Up! (...and then take me down again) - U have a choice!

IRON MAIDEN - Piece Of Mind(Dutch first pressing)(24bit MBit RX Remaster 2009)

From Wikipedia, the free encyclopedia



Piece of Mind cover art

Studio album by Iron Maiden

Released - May 16, 1983
Recorded - Compass Point Studios, Nassau, Bahamas, January - March 1983
Genre - Heavy metal
Length - 45:50
Label - EMI
Producer - Martin Birch

Professional reviews
• Allmusic link


Singles from Piece of Mind

1. "Flight of Icarus"
Released: 11 April 1983
2. "The Trooper"
Released: 20 June 1983


Piece of Mind is the fourth studio album by British heavy metal band Iron Maiden. It was originally released in 1983 (see 1983 in music) on EMI, and on Capitol in the US; it was reissued later on Sanctuary/Columbia Records. It was the first album to feature drummer Nicko McBrain, who had recently left the Paris-based band Trust.
The album ranked 21 on IGN's list of the top 25 metal albums.[1]

Contents
• 1 Background
• 2 Hidden message
• 3 Track listing
o 3.1 1995 reissue bonus CD
• 4 Cover versions
//
• 7 Personnel


(for more info visit Wikipedia)

Background
Lyrically, the album reflected the group's interest in books and film. For example, "To Tame a Land" is based on Frank Herbert's novel Dune. "The Trooper" is inspired by Tennyson's Charge of the Light Brigade. "Still Life" is inspired by fantasy/horror writer Clark Ashton Smith's pre-World War II short story Genius Loci. Other inspirations include "Where Eagles Dare", a film, a novel by Alistair MacLean; "Quest for Fire", based on the film by Jean-Jacques Annaud; the writer G. K. Chesterton who is quoted at the beginning of "Revelations", and "Sun and Steel", based on Japanese writer Mishima's eponymous essay about samurai legend Miyamoto Musashi. More exotic influences include Greek mythology, albeit slightly altered for "Flight of Icarus". Aleister Crowley influenced a good piece of the remaining lyrics of "Revelations," which was written by Dickinson.

This is the first of four Iron Maiden albums that were not named after a song featured on the album itself (though the words "peace of mind" appear prominently in the album's sixth song, "Still Life"). In its earliest phase the album was named Food for Thought but was changed so it would suit the artwork more. The name of the last track was meant to be titled "Dune," but Frank Herbert, who disliked heavy rock bands, denied permission to use his book's name and thus a new name had to be chosen.
Included in the liner notes is a slightly altered version of a passage from the Book of Revelation. As printed in the liner notes, it reads:
"And God shall wipe away all tears from their eyes; and there shall be no more Death. Neither sorrow, nor crying. Neither shall there be any more brain; for the former things are passed away."
The actual text (from Chapter 21, Verse 4) is nearly identical, except that it says "neither shall there be any more pain..." . This change can be seen either as a reference to the album's name, or the removal of Eddie's brain on the cover, or to drummer Nicko McBrain's inception into the band for this album.

World Piece Tour was the tour supporting the album.

Hidden message
At the beginning of the sixth track, Still Life, the band included a hidden message which could only be understood by playing the album backwards. This was a joke and an intended swing back at the critics who had accused Maiden of being satanic. The backwards-message features Nicko McBrain mimicking Idi Amin (or rather mimicking John Bird mimicking Idi Amin) uttering the following phrase "What ho said the t'ing with the three "bonce", do not meddle with things you don't understand...", followed by a belch. The phrase itself is taken from the satirical album The Collected Broadcasts of Idi Amin by Bird and Alan Coren. "What ho" and "What ho said the t'ing" are phrases that also crop up regularly on McBrain's "Listen With Nicko!" tracks from the First Ten Years collection.

Track listing
1. "Where Eagles Dare" (Steve Harris) – 6:10
2. "Revelations" (Bruce Dickinson) – 6:48
3. "Flight of Icarus" (Dickinson, Adrian Smith) – 3:51
4. "Die With Your Boots On" (Dickinson, Smith, Harris) – 5:28
5. "The Trooper" (Harris) – 4:15
6. "Still Life" (Dave Murray, Harris) – 4:53
7. "Quest for Fire" (Harris) – 3:41
8. "Sun and Steel" (Dickinson, Smith) – 3:26
9. "To Tame a Land" (Harris) – 7:27

1995 reissue bonus CD
10. "I Got the Fire" (Montrose cover)
11. "Cross-Eyed Mary" (Jethro Tull cover)

Cover versions
Two songs were covered for the 2008 tribute album Maiden Heaven: A Tribute to Iron Maiden; "The Trooper" by Coheed and Cambria and "To Tame a Land" by Dream Theater.


Personnel
• Bruce Dickinson – vocals
• Dave Murray – guitar
• Adrian Smith – guitar, backing vocals
• Steve Harris – bass guitar, backing vocals
• Nicko McBrain – drums

________________________________________


Notes on this release:

New vinyltransfer using the original first Dutch pressing (EMI - Uden catalognumber: 1A 064-07724 - stampers: 07724-A1 JC + 07724-B1 JC). If my mind serves me right, I believe the pressing of vinyl already had stopped at the Dutch plant in Uden by the time this one came out. Though the cover states it was manufactured in the Netherlands it’s more likely it was made in West Germany.

Quality of record is reasonably good – same as with ‘The Number Of The Beast’, there's a very faint notion of crackle throughout this one, best noticeable on the quiet parts, though nothing too distracting. The image itself seems not affected, nothing I can detect of damaged grooves. It's just been played a lot when I was a D.J., though always with great care.

All my releases are straight rips - unless otherwise noted - and I never use any EQ - NR - or level changes on my rips.)

I think this sounds two hairs better* than the japanese 'Black Triangle' CD pressing (and probably all other CD pressings) though I must admit it's a bit hot on the high frequencies and Martin Birch could have used some more oomph. But that’s his signature sound I guess. In comparison to both my earlier rip as well as the Japanese Black Triangle CD release (considered to be the best digital source by many) this now does sound the most faithful or linear to my ears. (Again, no effects EQ or whatever was used anywhere on this transfer! The only sound shaping tool I used is the amazing ‘trainable’ Noise Reduction in iZotope’s RX. Whenever the vinyl is humming (or murmuring as I can best describe it) because of the friction between the stylus and the vinyl, I ‘learn’ this program what to remove and use that on the spots where it’s noticeable the most. In this case I used it on the reversed message before ‘Still Life’. With the right settings you barely can hear it was ever there! Oh, joy! :^D)

Enjoy!

EddylitE - december 2009

* better is a personal related discription. It's not really better, it's got pros and cons compared to other pressings. It's just that I like it better because it has more headroom and more detail. Staging is also a notch better. All in all I can conclude that this version, although a very faint notion of crackling is present, beats all CD versions that exsist. But don’t take my word for it, listen for yourselves!


©2009 - Hipper than Hell Records * Eddy_litE appears courtesy of himself * You have been Aped

"The music in these files was originally recorded on analog equipment.
We have attempted to preserve, as closely as possible, the sound of the original recording.
Because of it's high resolution, however, these files can reveal limitations of the source."
________________________________________




Turn Me Up!™

To preserve the excitement, emotion and dynamics of the original performances this record is intentionally quieter than some. For full enjoyment simply Turn Me Up! (www.TurnMeUp.org)

________________________________________


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pw: Eddy_litE

A new home for Eddy_litE and all other Vinylfetishists

Well, here we are. Ever since the Emonoid-portal closed I've been a wanderer and was looking for other ways to share my vinyltransfers for those of you who are interested in them. I have been considering The P-Bay and other portals but it was never going to be anything like the way it was at Emonoid. (You only know what you've got until it's gone, right?!)

Well, since someone whose work I admire a lot (PBThal, the Terminator Ripper) started with his own blog and it turned out to be very satisfactory for him (and for me as well as for hundreds of others, possibly even more...) I thought it was at least a good thing to try out. So, as of today I'm going to built this thing. If anyone has comments, ideas, tips or whatelse, feel free to contact me.

And before anyone is wondering or speculating I need to clarify something. I'm not a PBThal worshipper, wannabee or rip-off. I have been doing this transferring since 1999 and in analog form even long before that year. It's just that PBThal has a nasty tendency of busting my quality time after time. (:P) But seriously, he has been an inspiration ever since I first became aware of his activities. We do things both our own way but we've got one thing in common. The love for Music reproduced in the best faithful way possible. But to be honest he has learned me a few things too. The best example would be the way he dithers his high resolution recordings to standard red book format. I used the basic dithering in ProTools and later on Apogee's UV22 dithering algorithms. But he introduced me to the superior quality of RX's MBit dithering. (If you don't know what the heck I'm talking about but do care to know, google's you're guide...)

So, Sir PB, if you read this and didn't receive that message earlier, many thanks for all the input and all the lovely rips you've shared so generously!

Again, make no mistake about it, this in NOT intended as some sort of competition or battle. It's all about the love for music, the way it was supposed to sound. Well, in my perspective at least. Say NO to the Loudness Wars and support those who make the music by buying their music. It's not like I can force anyone to buy anything but think about it for a few seconds when you download something. If we all keep on downloading music for free and never buy anything of it retail, the artists will less and lesser be able to record anything in the future. I just wanted to say that.

To any rights representives that might have something against the point I'm trying to make here, (which is the only real reason because if the music I love was available in the quality of the old vinyls I wouldn't bother doing all this) just let me know and I'll see if something needs to be deleted. Thank you for reading and enjoy your stay here!

Yours truly,
Eddy_litE™