The Alan Parsons Project - Tales of Mystery and Imagination (1987)
EAC | FLAC, IMG+CUE, LOG | 236,3 MB | Complete Scans (300 dpi) | 132,7 MB
Progressive Rock | Label: Polygram | Catalog Number: 832 820-2 | Time: 42:42 | RAR | RS.com
1st German CD-Pressing 1987 (LP originally released 1976)

Tales of Mystery and Imagination is an extremely mesmerizing aural journey through some of Edgar Allan Poe's most renowned works. With the use of synthesizers, drums, guitar, and even a glockenspiel, Parsons' shivering effects make way for an eerie excursion into Poe's well-known classics. … Without any underlying theme to be pondered upon, Alan Parsons instead paints a vivid picture of one of the most alluring literary figures in history by musically reciting his most famous works in expert fashion. AMG

U.K. - U.K. (1978)
EAC | FLAC, IMG+CUE, LOG | 284,3 MB | Complete Scans (300 dpi) | 23,9 MB
Progressive Rock | Label: EG | Catalog Number: EGCD 35 | Time: 46:37 | RAR | RS.com
1st US Issue 1988

First album by the legendary super group contains of Eddie Jobson, John Wetton, Bill Bruford and Allan Holdsworth.

Rainbow - Long Live Rock 'n' Roll (1978)
EAC | FLAC, IMG+CUE, LOG | 224,2 MB | Complete Scans (300 dpi) | 24,7 MB
Hard Rock | Label: Polydor | Catalog Number: 825 090-2 | Time: 39:31 | RAR | RS.com
1st German Pressing 1987

In Memory of Ronnie James Dio (July 10, 1942 - May 16, 2010)…
Посвящается памяти Ронни Джеймса Дио (10.7.1942 - 16.5.2010)…

Rainbow - Rising (1976)
EAC | FLAC, IMG+CUE, LOG | 224,5 MB | Complete Scans (300 dpi) | 37,4 MB
Hard Rock | Label: Polydor | Catalog Number: 823 655-2 | Time: 33:51 | RAR | RS.com
1st German Pressing 1987

In Memory of Ronnie James Dio (July 10, 1942 - May 16, 2010)…
Посвящается памяти Ронни Джеймса Дио (10.7.1942 - 16.5.2010)…

Dead Can Dance - Spleen And Ideal (1985)
EAC AccurateRip | FLAC, IMG+CUE, LOG | 207 MB | Complete Scans (300 dpi) | 24,4 MB
Modern Classical, Gothic, Ethnic Fusion, Ambient | Label: 4.A.D./Rough Trade | Catalog Number: RTD 120.0032.2 | Time: 37:57 | RAR | RS.com
German Pressing 1992

With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination…

Dead Can Dance - Aion (1990)
German Pressing 1990
EAC AccurateRip | FLAC, IMG+CUE, LOG | 196,5 MB | Complete Scans (300 dpi) | 28,6 MB
Modern Classical, Gothic, Ethnic Fusion, Ambient | Label: 4.A.D./Rough Trade | Catalog Number: RTDCD 158 | Time: 36:06 | RAR | RS.com

Their reputation growing by leaps and bounds, including a huge underground following in the U.S. – they were able to tour there even without one domestic release available, while at one point Dead Can Dance was the biggest selling band in 4AD's history – Perry and Gerrard once again did the business with Aion. Its cover taken from Bosch, Aion's medievalism was worn more openly than ever before, with songs adapted from centuries-old material. The beautiful, entrancing "Saltarello," with lead performance by what sounds like an old wind instrument, comes from an Italian dance of the 14th century, while the mysterious moods of "The Song of the Sibyl" derive from 16th-century Catalonia. The group's command of not merely recording possibilities – witness the exquisite layering of vocals on the opening "The Arrival and the Reunion" – but of musical traditions, instruments, and more from around the world was arguably never stronger. Gerrard's vocals in particular have an even stronger, richer feeling than before, not merely able to command with its power but softly calm and seduce. Perry, meanwhile, is no less compelling, his ever-strong, wonderful voice perfectly suited to his choice of material. The standout track is "Fortune Presents Gifts Not According to the Book" with lyrics from a Spanish poet. The musical combination of softly plucked guitar and buried organ drone is striking enough, swathed in reverb, but when Perry steps in with his vocals, matched by more sparkling keyboards, the result is yet another high point for a band laden with them. Guest performers once again assist throughout, including Perry's brother Robert on haunting, quite non-clichéd bagpipes for "As the Bell Rings the Maypole Spins" and singer David Navarro Sust, returning again to contribute some fine backing work. AMG

Dead Can Dance - The Serpent's Egg (1988)
1st German Pressing 1988
EAC AccurateRip | FLAC, IMG+CUE, LOG | 199,2 MB | Complete Scans (300 dpi) | 23,1 MB
Modern Classical, Gothic, Ethnic Fusion, Ambient | Label: 4.A.D./Rough Trade | Catalog Number: RTD CD 92 | Time: 36:10 | RAR | RS.com

Perry and Gerrard continued to experiment and improve with The Serpent's Egg, as much a leap forward as Spleen and Ideal was some years previously. As with that album, The Serpent's Egg was heralded by an astounding first track, "The Host of Seraphim." Its use in films some years later was no surprise in the slightest – one can imagine the potential range of epic images the song could call up – but on its own it's so jaw-droppingly good that almost the only reaction is sheer awe. Beginning with a soft organ drone and buried, echoed percussion, Gerrard then takes flight with a seemingly wordless invocation of power and worship – her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. Nothing else achieves such heights, but everything gets pretty darn close, a deserved testament to the band's conceptual reach and abilities. Slow plainsong chants such as "Orbis De Ignis" mix with the harpischord and overlaid vocals of "The Writing on My Father's Hand" and the slow build and sweep of "In the Kingdom of the Blind the One-Eyed Are Kings." Two of Perry's finest vocal moments occur here. The first, "Severance," is a slow, organ/keyboard led number that showcases his rich, warm vocals exquisitely – it's no wonder that Bauhaus chose to cover it some years later on its reunion tour. "Ullyses," the album's closing track, makes for a fine ending as much as "The Host of Seraphim" did an opening, Perry's delivery almost like a reading from a holy book, the arrangement of strings and percussion rhythmic, addictive and lovely. AMG

Pink Floyd - Animals (1977)
1st UK Pressing 1987
EAC AccurateRip | FLAC, IMG+CUE, LOG | 207 MB | MP3 CBR 320 Kbps | 87,7 MB | Complete Scans (300 dpi) | 43 MB
Prog Rock | Label: EMI/Harvest | Catalog Number: CDP 7 46128 2 | Time: 41:39 | RAR | RS.com

Detailed information about this issue s. http://pinkfloydarchives.com/DUKCDPF.htm#Anim1

Saga - Silent Knight (1980)
(German pressing 1987)
EAC AccurateRip | FLAC, IMG+CUE, LOG | 225,4 MB | MP3 CBR 320 Kbps | 78,8 MB | Complete Scans (300 dpi) | 20,9 MB
Art Rock, Prog related | Label: Bonaire | Catalog Number: 258 162) | Time: 37:39 | RAR | RS.com

Saga's Silent Knight was released just prior to the Canadian quintet's breakthrough album Worlds Apart. Drawing inspiration from Rush, Genesis, and other '70s progressive rock artists, Saga distills their influences through fairly concise song structures that never sound too indulgent — sort of like what Asia was doing around the same time (but better). Still, there's plenty of evidence of the group's virtuosity here. Although Silent Knight sounds dated, and even a little quaint at times (due in part to the production), Saga would improve its sound and material immeasurably on the next couple of albums. /AMG/

Saga - Heads Or Tales (1983)
(2nd german CD press 1987)
EAC AccurateRip | FLAC, IMG+CUE, LOG | 339,6 MB | MP3 CBR 320 Kbps | 100,6 MB | Complete Scans (300 dpi) | 42,1 MB
Art Rock, Prog related | Label: Bonaire | Catalog Number: EL 258 477 | Time: 47:44 | RAR | RS.com

While Saga began as a progressive rock band, increasing pop sensibilities put the group in a league with bands like the Fixx in the early '80s. This album, which follows the excellent Worlds Apart, is nearly as good as its predecessor; Michael Sadler's commanding voice leads the way while the rest of the band punches up the fairly succinctly written songs with loads of texture and occasional instrumental fireworks. The guitar/keyboard interplay between Jim Gilmour and Ian Crichton alone is enough to get music geeks salivating. Producer Rupert Hine gives the material just enough production sheen to make it sizzle on the airwaves ("The Flyer" was a minor radio hit). Equally enjoyable for pop fans and prog rock fans, this unfortunately was Saga's last great record. /AMG/ …and the best one (IMHO). /Olaf der Weisse/

Saga - The Security Of Illusion (1993)
EAC AccurateRip | FLAC, IMG+CUE, LOG | 343 MB | MP3 CBR 320 Kbps | 102 MB | Complete Scans (300 dpi) | 37,8 MB
Art Rock, Prog Pop | Label: Polydor | Catalog Number: 517 391-2 | Time: 48:31 | RAR | RS.com

Released in 1993, The Security of Illusion signaled a rebirth of sorts for Canadian prog rock popsters Saga, as earlier members Jim Gilmour (keyboards) and Steve Negus (drums) were welcomed back into the fold – for the first time since 1985's Behaviour. And as evidenced by the music, the result of the reunion returned the group straight back to their heady early-'80s period, especially on the downright vicious rockers "Mind Over Matter" and "Stand Up," as well as the percussive-heavy album closer, "Without You." Instead of being influenced by what was going on in the rock world circa this time period (here's a hint…well, whatever, nevermind), Saga stick to their guns on The Security of Illusion, and come up with a release that nearly managed to out-rock their Canadian competitor at the time, Rush. AMG

Jethro Tull - Crest Of A Knave (1987)
EAC AccurateRip | FLAC, IMG+CUE, LOG | 276,5 MB | MP3 CBR 320 Kbps | 102,2 MB | Complete Scans (300 dpi) | 34,7 MB
Prog Rock | Label: Chrysalis | Catalog Number: CDP32 1590-2 | Time: 48:46 | RAR | RS.com

Ian Anderson and company seemed to make a conscious effort to update Jethro Tull's sound on this record. And, to the amazement (and distress) of many, it was voted the Grammy Award for Best Hard Rock/Heavy Metal Performance. Truth is, it isn't a bad album, with an opening track that qualifies as hard rock and pretty much shouts its credentials out in Martin Barre's screaming lead guitar line, present throughout. "Jump Start" and "Raising Steam" also rock hard, and no one can complain of too much on this record being soft, apart from the acoustic "The Waking Edge," along with "Budapest" and "Said She Was a Dancer," Anderson's two aging rock-star's-eye-view accounts of meeting women from around the world. The antiwar song "Mountain Men" is classic Tull-styled electric folk, all screaming electric guitars at a pretty high volume by its end. Overall, this is a fairly successful album and arguably their best since 1978, even if it does seem a little insignificant in relation to, say, Thick As a Brick. By this time Tull was effectively a core trio of Anderson, Barre, and bassist Dave Pegg, augmented by whatever musicians (drummers Gerry Conway and Doane Perry, Fairport Convention keyboard player Martin Allcock, and violinist Ric Sanders) that they needed to fill out their sound. The result is a very lean-sounding group and a record probably as deserving of a Grammy as any other album of its year — in the cosmic scheme, it sort of made up for Tull's not winning one for Thick As a Brick or Aqualung, or for Dave Pegg's former band Fairport Convention never winning. AMG