R.I.P. Tim Curry

Best known for his role as Frank-N-furter in The Rocky Horror Picture Show" Tim did have a singing career as well. I love these albums a lot.

Fly home safe Tim, Mr. Curry, Sir!

KISS - "Hotter Than Hell" (Sonic Reconstruction 2026)

 

©1974 KISS Catalog, Ltd./UMG 
℗2026 Hipper Than Hell Records 

Newly XDR* remastered album. 
*Xtended Dynamic Range 

01 - Got To Choose [00:00:00] 02 - Parasite [00:03:53] 03 - Goin' Blind [00:06:56] 04 - Hotter Than Hell [00:10:33] 05 - Let Me Go, Rock 'N Roll [00:14:03] 06 - All The Way [00:16:20] 07 - Watchin' You [00:19:37] 08 - Mainline [00:23:23] 09 - Comin' Home [00:27:13] 10 - Strange Ways [00:29:51] 

 

So, I've always loved "Hotter Than Hell". In fact it's in my top 5 KISS albums and it's not No. 5!

But, as I heard many, many of us complain, I too did have a slight problem with the way it has always sounded, in various degrees, and this is that it's horribly distorted. I've always connected the sound of the album with an image of over-heating amps and the rattling of metal, everything that was in the studio while it was recorded and everything of metal did ring and buzz, and was recorded with the instruments. Not good.

So, in an attempt to get rid of all that I deconstructed the best high resolution sound image I had and make it as wide and dynamic as possible with a reversed compression technique (sonic decompression). Then I filtered as delicately as possible quite some excessive noise and EQ'd it so that the good distortion is there, as raw as it should be, and most of the nasty distortion on guitars and snare mostly would be gone. And I added some low end, because it is a kind of thin, squashed production to begin with. And, as the final touch I mastered it to my optimum headroom benchmark, DR12.

I'm totally happy with the results, and wanted to share it with you, the KISS fan that is here for a reason, otherwise you would not have read this all, right?!

Enjoy!

DOWNLOAD FLAC CONTAINER

  

Turn Me Up!™ 

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

 

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.

1980s Albums Where The Remaster Was Ruined — And The One Number That Proves It. [doc]

 

The very reason for the existence of this blog.

PLASMATICS - "The Human Race Nailed To A Cross" (2026)

©1981~2026 Stiff Records / Stiff America / Plasmatics Media, Inc.
℗2026 Hipper Than Hell Records

I - "Beyond The Valley Of 1984"

01 - Incantation
02 - Masterplan
03 - Headbanger
04 - Summer Nite
05 - Nothing
06 - Fast Food Service
07 - Hitman (Live Milan)
08 - Living Dead
09 - Sex Junkie
10 - Plasma Jam (Live Milan)
11 - Pig Is A Pig

"Beyond the Valley of 1984" - An Essay

The cover of this Plasmatics album appears to show Wendy in sexy attire and a car being blown apart. Of course, as is usually the case with the Plasmatics, things are not quite what they seem ...

The title of the album seems to combine "1984", i. e. the suppression of the individual by the state, and Hollywood film title "Beyond the Valley of the Dolls", a 1960s production concerned with sexual morality in America. It is most unlikely that this is coincidental. The use of the word "valley" also implies a low point in human affairs, as if 1984 represents a situation from which mankind will pass. But towards what?

The Plasmatics, as pictured on the cover are intended to represent the Four Horsemen of the Apocalypse. This symbolism originates in the Book of Revelation, when God will make his final judgement of man. This classical image has been portrayed, with surprising attention to detail, in the scenes depicted. The action takes place in a valley, which ties in with the album title and also suggests Death Valley. The photographs were taken when the sun was low in the sky, casting long shadows across the ground. The tall cactus tree suggests fingers, and its shadow subtly suggests the finger of death. The Four Horsemen classically represent war, civil strife, hunger and death. All these are clearly shown on the cover. War is represented by the gas masks and helicopter, civil strife by the burning car, hunger by the bleak desert location and death by the bodies on the ground. The gatefold cover, when opened out, gives four images; this reinforces the biblical reference. All four images are of the same size. The colours of the horses, in Revelation are red, white, black and pale. It would be rather too much to expect such animals to have been obtained for the photo session, and it would also have made the imagery rather too obvious. Nonetheless, these colours are clearly present; the album title is written in red and white lettering and the credits etc on the back are in red, the car is white, black appears in the clothing and the band's name is shown in pale silver letters against a pale blue sky. 

 

The Plasmatics do not look at the camera, i.e. at their listener, until the inset photo on the rear cover. This shot was taken at the end of the sequence, with black smoke rising from the destroyed car and a bleak desert background. This symbolises the situation at the Day of Judgement. The posture of the band in this shot seems to he saying to the listener "The rest of society has been judged and found wanting, and you are next". The facial expressions are consistent with this. Wendy seems to be less hostile than the others.

"Sex Junkie" is another moralistic song. A fascinating aspect of Wendy Williams' stage persona is that it mocks that part of the audience that is attracted to the band by her semi-clothed body. This is entirely consistent with the classic attitude of the dominatrix toward her clients who are humiliated by and subservient to her. The lyrics are highly explicit and critical, not just of the sex junkie in the song, but of two hundred million people (presumably, the entire American adult population). 

 

"Plasma Jam", an instrumental, follows. This could be included as a straightforward piece of rock music, but it is virtually at the end of the album. The songs are therefore contained-between "Incantation" and "Plasma Jam", encapsulating them. The album finishes with "Pig is a Pig". This number almost shouts at us "if you missed the message in the previous songs, here it is plain and simple!" It strongly continues the album's theme. It says "Everyone else is like you", the same theme as that in Sex Junkie.

The songs on this album are, without exception, an expansion of the "Day of Judgement" theme of the album cover. And if anyone has any remaining doubts about the meaning of "Beyond the Valley of 1984" they should look at the dead and dying figures on the album cover. They are wearing what looks like white laboratory assistant's coats. Why should they be dressed like this, out in the desert? The answer is in the book of Revelation, Chapter 6. Following the description of the four horsemen, the scripture goes on to say in Verse 11: "And white robes were given unto every one of them".

All in all, a quite extraordinary album.

II - "Metal Priestess"

12 - Lunacy
13 - Doom Song
14 - Sex Junkie (Live)
15 - Black Leather Monster
16 - 12 Noon
17 - Masterplan (Live)

"Metal Priestess" - An Essay

The Metal Priestess six-track EP is the companion volume to the Beyond the Valley of 1984 album. Both were released in 1981. 

Metal Priestess is a title worthy of some analysis. At first sight it might not appear particularly significant, merely a link between heavy metal and Wendy. There is however a deeper meaning. A priest, and hence a priestess, is someone authorised by the church to administer, on behalf of God, baptisms, confirmations, the eucharist, penance, extreme unction, orders, and matrimony. And also to pronounce absolution, in which sins are forgiven. The priestess acts as the link between the physical world in which we live, bound by the laws of space and time, and the mysteries of eternity known only to God.

On the cover, Wendy is pictured on stage on her knees, leaning backwards. At first sight this is simply a good photo - and a sexy one! But it has a religious aspect. Wendy - the priestess - can be seen as subordinate to a superior being or set of beliefs.

This becomes clear when we examine the tracks. The first - Lunacy - begins with a fairly long instrumental prologue, which is somewhat mantra-like. Lunacy means insanity or madness, and in the past intermittent lunacy was attributed to the cycles of the moon. This lunar aspect features clearly in the song. Wendy is describing some form of cosmic power which is given to people, and which they can use for good or evil effect. This is entirely consistent with Christian teaching, in which people have free will to choose between good and evil and the future is not predetermined.

The next track - Doom Song - maintains the religious theme with an organ introduction. Doom Song is a kind of alternative Lord's Prayer. The priestess - Wendy - is administering a form of eucharist. Casual listening to the record can lead to the mistaken impression that she is swnmoning up dark forces, but the opposite is actually the case. The condemnation of hypocrites echoes the words of Jesus, and the priestess has been given considerable power to use some force against the enemies of good. The hypocrites are described as "filthy", and some mysterious crawling, oozing, slimy "something" is going to deal with them.

The reference to the Prince of Darkness is curious. Superficially, Satan is being invoked, and that is why the song can easily be misinterpreted as a form of Black Mass. But the figure of Satan is always a baffling one; if Satan is in charge of Hell - the purpose of which is supposedly to punish sinners for all eternity - he is clearly acting on behalf of Ciod and is hardly the sinner's friend. In fact, Satan would be one of God's key workers, albeit with a rather hot and unpleasant working enviromnent! The concept of Hell does not derive from the Bible but from later ideas, and Satan is an ambivalent figure. It is possible that the "something" referred to above is Satan - and therefore the priestess, acting on Go&s authority, has summoned Satan from the underworld to punish the hypocrites. The reference to "YI"" at the end of the song, i.e. to Jehovah, confirms the fascinating religious theme of this song.

The third track - Sex Junkie - also appears in Beyond the Valley of 1984 and is a condemnation of sex-obsessed American culture (see the analysis of this song in the section about the 1984 album)

The fourth track - Black Leather Monster - follows the same theme as Sex Junkie. The meaning of the title refers is unclear; it could be a phallic reference, or maybe even to the priestess herself, the song being sung in the third person i.e. Wendy is taking the role of one of the sex junides who is at the mercy of the priestess/dominatrix.

The fifth track - 12 Noon - is in many ways a prologue for the excellent Maggots album that would follow some six years later. Wendy is describing the corruption and pollution in modern society. The song is very interesting because it takes the opposite line to the stereotypical warnings of "destruction just around the corner". For it is corruption and pollution - rather than civilised society - which is about to be destroyed. Whether this destruction will result in the restoration of morality, or simply the end of human life, isn't clear. In a way, the priestess may be giving the world an opportunity to confess sins and make peace with God before possible annihilation, the suggestion being that the world has been given 24 hours or so to do this.

The final song - Masterplan - is also on the Beyond the Valley of 1984 album and an analysis of the song is in the commentary on that album. The song suggests that society had it made, but ruined everything. This echoes the fall of Adam and Eve in the Garden of Eden.

Metal Priestess is very clearly an album with a strong religious theme. It can be interpreted as the priestess - Wendy - describing how mankind has been given the power to choose between Good and Evil, but has chosen Evil. She has summoned the forces of destruction to sweep the corruption away, and has given the world time to make peace with God and seek absolution of its sins.

III - "Coup d'Etat/Coup De Grace" (The Original Electric Lady Land Recordings )

18 - Put Your Love In Me
19 - Stop
20 - Rock 'N' Roll
21 - Just Like On TV
22 - Uniformed Guards
23 - No Class
24 - Mistress Of Passion
25 - Lightning Breaks
26 - Path Of Glory
27 - Country Fairs
28 - The Damned

"Coup de Grace" is a posthumous release by punk / metal band The Plasmatics in 2002. The album is the original demo of the album Coup d'Etat.

During the spring of 1982, the Plasmatics were signed to Capitol Records and Dan Hartman offered to produce a demo of the album for Capitol with Rod at Electric Lady Studios, Jimi Hendrix's old studio, in NY. The whole album was arranged, recorded and mixed within a week. Dieter Dierks, who had just come off a number one album with the Scorpions, also expressed interest in producing. Dan Hartman was soon replaced by Dieter.

The Hartman demo was released in 2002 under the name "Coup de Grace". This rawer version of Coup d'Etat took less than a tenth of the time and a fraction of the budget of the original.

Reception to the album is generally positive. Many fans of the band have stated that this version is the one they prefer due to its rawness.

"The Damned" lyrics

BLACK VISIONS FROM THE SATELLITE SKY
DEAF EARS HEAR NOT THEIR CRIES
FAT JACKALS HOWL AT THE MOON
FLIES BUZZING PLAYING DEATH'S TUNE

NIGHT ENDS BUT THE SUN IT DON'T RISE
TOMBS OPEN AND THE DEAD THEY WILL RISE
BLACK MARKET BUYS YOUR SOUL REAL CHEAP
NO ESCAPING WHAT YOU SOW YOU WILL REAP

PRISONERS OF THE DAMNED, FIND ANOTHER LAND
PLANET OF THE LOST, LAND OF FIRE AND FROST
PRISONERS OF THE DEAD, FEAR THE UNKNOWN DREAD
TIDAL WAVES AT SEA SET THE SERPENTS FREE

COUP D'ETAT ON A GLOBAL SCALE
OPOSITION LOCKED UP IN JAIL
DOMINATION THE GOONS ARE THE BOSS
HUMAN RACE NAILED TO A CROSS

Death of a rock star:
the suicide of Wendy O. Williams

---

Within days of the death of Frank Sinatra, record stores worldwide were full of Sinatra merchandise. The industry had been waiting for such an event: longstanding ill-health had given the men in suits ample opportunity to design the artwork and get everything ready for the word go. Or, to be more precise, the word goodbye. For, as in the case of so many deceased singers and musicians, death gives a massive boost to an artist with limited contemporary appeal.

The death of Wendy Orlean Williams falls neither into the category of Sinatra, nor that of the younger casualties such as Kurt Cobain. Aged 48, her death was untimely yet, having retired from the music business ten years before, there is no sense of incompletion or of her career not having come to "full term" - Williams' work can be judged as a complete entity, neither dragged out into old age, nor cut short.

 

 

The Plasmatics' music and live act has been misconstrued a lot - in the actual music, and in its lyrics, themes and sentiments. Thus, the band laid the foundations for a music scene which would later serve as a vent for the hedonism of the disaffected, disenfranchised youth of the late 1980s. Yet all too often, people have tended to equate punk music with 'inability to play', for the Plasmatics' music can best be defined as thrash-punk - though it is and symbolises many other things besides. 'Coup d'Etat', the band's last recorded album (apart from the Maggots WOW/Plasmatics reunion album of 1987) showed a slightly more mature rock edge than their previous work, but the Plasamtics' punk ethic was never lost. Yet the stereotypical punk comparison does not hold - true, in the last few years there has been a proliferation of punk nouveau (most notably the early '90s grunge scene) influenced by the archetypal stroppy cartoon image brought to mind by the Adverts' "Gary Gilmore's Eyes", anything by the Ramones... but witness the lyrics, chord sequences and Richie Stotts et al's lead playing on many of the tracks...

Williams' solo work also shows a more melodic side, especially on tracks such as 'Opus in Cm7' and 'Legends Never Die'. Critics claim that these tracks are a 'non sequitur' on the otherwise decidedly 'don't fuck with me' W.O.W. album, yet it is here that Rod Swenson's musical sensibilites and Wendy's vocal talents combine to best effect.

 

Though the Plasmatics' songs are not best known for subtlety, the theme of Maggots is unclear. Drawing together many of the themes expressed in the rest of the Plasmatics' work, at one level it seems to relate to AIDS, and the sleeve liner includes a message to practise safe sex. It can be seen, in may ways, as a continuation of 'Just Like On TV' from Coup d'Etat: the ultimate horror story scenario... the end of Maggots no doubt symbolises the end of civilisation (many of Wendy's songs deal with this). "As she looks down the ten flights to the street below, [Cindy] sees a scene of chaos and pandemonium. Feeding on the people with uncontrollable lust are giant maggots... the sun is setting in the sky. It will be night time soon." Now, one cannot know whether Wendy had AIDS in mind, but many references throughout the album suggest it. Though it is, of course, always possible to see a posthumous significance or relevance in music, especially in the lyrics: see Hole's 1994 album "Live Through This".

The Maggots album, and several of the Plasmatics' other songs, can be seen as a condemnation of contemporary Amerian middle-class values. From the beginninng of Maggots, the atttitude is obvious: "We are in a middle class apartment in a middle class apartment building. The decor is shopping mall modern. The White family are sitting around a shiny formaica kitchen table eating dinner..." Fast Food Service and 12 Noon are also an expression of this.

The majority of the music press's reaction to Wendy's suicide has been to concentrate on certain 'stereotypical rock star' aspects of the band's career and live shows - aspects which should almost certainly be taken as, at least partly, tongue in cheek on the Plasmatics' part. (Their act "...featured chainsawing guitars and smashing televisions - as their popularity increased, the budget stretched to blowing up Chevrolets..." according to the NME, the week after reports came of Wendy's death.) The band's destructive nature onstage has been much misinterpreted - their gestures can be variously interpreted as materialistic or anti-... in many ways the Plasmatics, and Wendy, were the antithesis of the 1980s mindless materialism, especially that in the music business.

One of Wendy's recurring themes is 'the rock star', what it is to be one, the trappings of rock stardom and her portrayal of the nature of our here worship is pretty accurate: in Opus in Cm7 she asks "Why do our heroes all vanish? Why are our heroes all dead?" Legends Never Die is a paean to the characteristics of fame generally; having "been to hell and back" (It's My Life) Wendy was in a position to be able to talk about it. (It makes one wonder why, if Wendy was so against stardom, she became famous in the first place. It would seem that the Plasmatics' success happened almost by accident...) Pig Is A Pig is an exploration of human cowardice in the context of fame, and is "dedicated to a special kind of person - the kind of person who's hiding... behind a guise of repectability..." This desire for the authenticity, for the "real thing" was, in the end, one of the contributing factors in Wendy's despondency: she could not bear the "hypocrisies of life" (as she called them) and her suicide note spoke of "a place where there is no self, only calm".

Essays by Anna Sthetic



 

These recordings were remastered from the Original Sterling Masters in 2026.

DOWNLOAD FLAC CONTAINER


Turn Me Up!™

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

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.

Demi Lovato - ‘It’s Not That Deep (Unless You Want It To Be)’ (Visualizer Album)(XDR Remaster 2026)

 

©2026 Island Records/ Demi fvckin' Lovato

℗2026 Hipper Than Hell Records 

 

Newly XDR* remastered video album. 

*Xtended Dynamic Range 

 

01 - Low Rise Jeans 

02 - Love Controller

03 - Fantasy (with COBRAH)

04 - Confetti

05 - Joshua Tree (with Rose Gray)

06 - After Hours

07 - Nothing On But The Lights

08 - Pretty Catatonic

 

This is a post for the younger generations that often don't even know what dynamic range in music is because they've never experienced it. This Music Video Album was compressed and clipped to a dynamci range of 3dB. That's not music, that's sonic warfare! LOL 

 

Turn Me Up!™ 

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

 

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.

KISS - "Rock Nagoya And Roll Over" (Sonic Restoration 2026)

 

Recorded in Nagoya, Japan, March 28th, 1977 

Aichiken Taiiku Hall 

Promoter: Udo Artists 

Other act(s): Bow Wow 

Reported audience: 6,000 **SOLD-OUT 

Recorded by Mr. Peach 

 

Set list:
Detroit Rock City
Take Me
Let Me Go, Rock 'N' Roll
Ladies Room
Firehouse
I Want You
Makin' Love
Cold Gin
Do You Love Me?
Nothin' To Lose
God of Thunder
Rock and Roll All Nite
Shout It Out Loud
Beth
Black Diamond

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

 
DOWNLOAD FLAC CONTAINER

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.

KISS - "ALIVE! The Millenium Concert" (Sonic Restoration 2025)

 

 

Alive! The Millennium Concert is a live album by the American hard rock band Kiss. It was released on November 21, 2006, as part of the Kiss Alive! 1975–2000 box set.

It was recorded on December 31, 1999, at BC Place Stadium in Vancouver, British Columbia^[3] and included songs that had never before been performed by the original lineup ("Heaven's on Fire", "I Love It Loud" and "Lick It Up").

Based on the excellent reimagined and expanded album image by M.E.G. (‪@TheKISSMEGalodonCollection‬ ) in 2010 now for the first time ever with extended dynamics and recreated transients which makes it for a more 3D natural sounding listening experience, which also causes less listening fatique, so you can turn it up louder if you want. 

Mick's original liner notes: "This is the official release. HOWEVER, I changed the tempo of each track to varying degrees without changing the pitch. In most cases this can leave some noise artifacts. In this case they are non-existant, or at the very least almost completely unnoticable. As you all know the Millenium disc is a very slow and sluggish performance. I think I've adjusted each track to a tempo which makes this disc a ton more enjoyable. 2,000 mann and god of thunder are included and mixed in with the other tracks. I switched the left and right channels on shout it out loud because it had ace's guitar in the left side whereas he is on the right side on every other track. It is now more uniform." 

 

Newly XDR* remastered album. 

*Xtended Dynamic Range 

 

01 - Psycho Circus 

02 - Shout It Out Loud 

03 - Deuce 

04 - Heaven's On Fire 

05 - Into The Void 

06 - Firehouse 

07 - Do You Love Me 

08 - Let Me Go, Rock 'N' Roll 

09 - I Love It Loud 

10 - Lick It Up 

11 - 2,000 Man 

12 - God Of Thunder 

13 - 100,000 Years 

14 - Love Gun 

15 - Black Diamond 

16 - Detroit Rock City 

17 - Beth 

18 - Rock And Roll All Nite

 

Turn Me Up!™ 

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

 Download FLAC Container

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. All rights to clips and music belong to their respective owners.

Michelle Davina Hoogendoorn. The Voice. Uit Holland.

©2025 Sub-Bass Music Group/ 8ball Music 

℗2025 Hipper Than Hell Records 

 

Turn Me Up!™ 

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

 

Ladies & Gentlemen, Miss Lana Del Rey

"Born To Die" Music Video Album.

Now in Cinematic XDR Sound.

Turn Me Up!™

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

#turnmeup 

Janet Jackson's Rhythm Nation 1814 (Long Form Music Video) (Restored & Remastered 2025) #turnmeup

©1989 A&M Video, A&M Records, Inc. 

℗2025 Hipper Than Hell Records 

 

Janet Jackson's Rhythm Nation 1814 (27m:33s) 

01 Opening, Black Cat [00:05:35] 

02 Miss You Much [00:08:38] 

03 The Knowledge [00:17:01] 

04 Rhythm Nation [00:21:12] 

Project 1814 (Making Of) (26m:35s) 

05 Project 1814; Rhythm Nation [00:30:38] 

06 The Beginning [00:32:28] 

07 The Dance [00:34:05] 

08 The Story [00:40:59] 

09 The Production [00:44:15]  

10 The Artist [00:47:48] 

11 The Reward [00:52:10] 

 

Directed By – Dominic Sena Producer – Aris McGary The movie "Rhythm Nation 1814" features selections from the album "Janet Jackson's Rhythm Nation 1814" including:

• Black Cat
• Miss You Much
• The Knowledge
• Rhythm Nation

"Rhythm Nation 1814" is a 1989 American musical short film based on Janet Jackson's fourth studio album of the same name. Directed by Dominic Sena, the film notably includes the music video for "Rhythm Nation", as well as the videos for "Miss You Much" and "The Knowledge". It was filmed at a power plant located in Pasadena, California. The video is notable for its "post-apocalyptic" warehouse setting, the unisex black military-style uniforms in which Jackson and her dancers were outfitted, and its choreography, considered to "set the template for hundreds of videos to come in the Nineties and aughts". The film premiered on MTV on September 16, 1989, coinciding with the release of the album, and was also later released on VHS and LaserDisc by A&M Video. It won multiple accolades, including MTV's Video Vanguard Award for Jackson's impact on entertainment. Various actors and choreographers, including Wade Robson and Travis Payne, have cited Jackson and the "Rhythm Nation" routine as a primary influence to their careers. Entertainment Weekly considered the video "legendary", and Rolling Stone included it in a list of 10 Favorite Dancing Musicians, calling Jackson "a brilliant dancer”. The publication also titled it "the gold standard for dystopian dance pop music videos", featuring "some of the most memorable choreography in pop video history". The long-form video won a Grammy Award for Best Long Form Music Video in 1990. The home video release has been certified two-times platinum by the Recording Industry Association of America (RIAA) for shipments of 200,000 units.

Ace Frehley - 'Anomaly' (XDR Remaster 2025)

©2009 Bronx Born Records 

℗2025 Hipper Than Hell Records 

 

01 Foxy & Free [00:00:00] 

02 Outer Space [00:03:42] 

03 Pain In The Neck [00:07:30] 

04 Fox On The Run [00:11:40] 

05 Genghis Khan [00:15:14] 

06 Too Many Faces [00:21:22] 

07 Change The World [00:25:45] 

08 Space Bear [00:29:55] 

09 A Little Below The Angels [00:35:19] 

10 Sister [00:39:37] 

11 It's A Great Life [00:44:25] 

12 Fractured Quantum [00:48:25]

 

Download remastered album

HERE

Ace Frehley - 'Origins Vol. 1' (XDR Remaster 2025)

©2016 Entertainment One U.S., LP, Steamhammer 

℗2025 Hipper Than Hell Records 

 

01 White Room [00:00:00] 

02 Street Fighting Man [00:05:03] 

03 Spanish Castle Magic (featuring John 5) [00:09:05] 

04 Fire And Water (featuring Paul Stanley) [00:12:40] 

05 Emerald (featuring Slash) [00:16:51] 

06 Bring It On Home [00:21:21] 

07 Wild Thing (featuring Lita Ford) [00:25:48] 

08 Parasite (featuring John 5) [00:29:34] 

09 Magic Carpet Ride [00:33:38] 

10 Cold Gin (featuring Mike McCready) [00:37:21] 

11 Till The End Of The Day [00:42:39] 

12 Rock And Roll Hell [00:45:06]

Download remastered album
HERE

Hoera! Kga morgen mun nieuwe platenspeler ophalen! #hoezee #vinylporn

 

Yes! This sounds like music!

"How sweet the Lily..."

Yes! This sounds like music!

Friend and mentor on all things audio Ian Shepherd [from www.ProductionAdvice.co.uk

] just mentioned to me that Lilly Allen released a new single and that it does sound lovely to his sensitive ears. For him and me it's a second nature to listen to audio in a more scrutinizing way and sometimes that's keeping one from just feeling the joy of the sounds that reach your brain.

For many years I worked in the music industry and today I'm working for me and my ideals. I can luckily switch modes so it's not that I'm always listening with my brain but quite often just with my heart as well. I love music, to state the obvious. But, it couldn't be much of a surprise to anyone reading this, modern consumer directed music is suffering for years now by compression method antics that squashes music to one big pulp. In the last say 5 years music has become more and more annoying to the ears of many, simply because all of the different record labels and artists wanting to be heard (which is quite understandable) and for years the tactics of sounding louder as your neighbor worked.

Not anymore, I for one don't even buy certain albums any more just because they sound like a complete disaster. It's been so far pushed to the limits, sound wise in loudness levels, that it becomes almost unbearable to listen to. For years I protested this method and shared my thoughts and examples of how it all could've sounded. [eddylite.blogspot.com]
It's great to hear some artists and labels and/or management executives that want to go back. Take it all a notch down and let the listener, the buying audience, decide just how LOUD they want their music to sound.

See, once the engineers that create your music decide that it should go as loud as it possibly can, you can't turn it around anymore. You could listen on a lower volume level but it would only sound flat and lifeless. Oddly enough, just exactly the opposite of what the engineers had in mind. When engineers create your music with dynamics (in short, not that LOUD but with jumps and wells where it is in fact a bit more quiet) you can play it just as loud as you want. In that scenario, it sounds lovely when you use it as a musical background but you can also crank up that dial and it still sounds lovely...

Thanks to Lily and Company for taking this first baby step, yes, it can still get better than this, and along with her a few other artists that surprised me at least with albums that don't push the limits of loudness but simply let it all breath a little...

And ofcourse, as always, a big thank you to Ian Shepherd. Go say hi to him if you love music and agree here.

P.S. "Go, Lily, Go Lily..."

 

(this is a repost from facebook earlier today.)

Read what Ian Shepherd from www.productionadvice.co.uk says about this great day for music...

http://productionadvice.co.uk/uk-female-artists-more-dynamic/