The Clash – Sandinista! (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 02:24:33 minutes | 3,30 GB | Genre: Punk
Studio Masters, Official Digital Download | Front Cover | © Sony Music UK
Sandinista! is the fourth studio album by The Clash, and was released on December 12, 1980. It was released as a triple album containing 36 tracks, 6 songs on each side. Sandinista!anticipated the world music trend of the 1980s, featuring a wide variety of musical styles including funk, reggaie, jazz, gospel, rockabilly, folk, dub, rhythm and blues, clypso, and rap.
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The Clash – London Calling (1979/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:08 minutes | 1,53 GB | Genre: Punk
Studio Masters, Official Digital Download | Front Cover | © Sony Music UK
Chart History/Awards
– Ranked #8 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time in 2003.
– Sold over five million copies worldwide and is certified platinum in the United States.
– London Calling Peaked at #9 on the 1979 UK Albums Chart and at #2 on the 1979 Swedish Albums Chart.
– Peaked at #27 on the 1980 US Billboard 200.
– Certified Gold by BPI in the UK
– Ranked as the best album of the 1980s by Rolling Stone magazine in 1989.
– London Calling was inducted into the Grammy Hall of Fame in 2007.
London Calling is the third album by London punk rockers the Clash. Released in 1979, many of the songs on the double album are explicitly political—particularly “London Calling,” “Spanish Bombs,” and “The Guns of Brixton.” Musically, the Clash experimented with a wide variety of styles on the record, including punk, reggae, rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock. Robert Hilburn of the Los Angeles Timessaid that London Calling marked punk music’s “coming of age”, as the Clash led the way into “fertile post-punk territory” (Robert Hilburn,Los Angeles Times, 17 May 1987).
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The Clash – Combat Rock (1982/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 46:18 minutes | 1,00 GB | Genre: Pop Rock
Studio Masters, Official Digital Download | Front Cover | © Sony Music UK
On the surface of things, Combat Rock appears to be a retreat from the sprawling stylistic explorations of London Calling and Sandinista! The pounding arena rock of “Should I Stay or Should I Go” makes the Clash sound like an arena rock band, and much of the album boasts a muscular, heavy sound courtesy of producer Glyn Johns. But things aren’t quite that simple. Combat Rock contains heavy flirtations with rap, funk, and reggae, and it even has a cameo by poet Allen Ginsberg — if this album is, as it has often been claimed, the Clash’s sellout effort, it’s a very strange way to sell out. Even with the infectious, dance-inflected new wave pop of “Rock the Casbah” leading the way, there aren’t many overt attempts at crossover success, mainly because the group is tearing in two separate directions. Mick Jones wants the Clash to inherit the Who’s righteous arena rock stance, and Joe Strummer wants to forge ahead into black music. The result is an album that is nearly as inconsistent as Sandinista!, even though its finest moments — “Should I Stay or Should I Go,” “Rock the Casbah,” “Straight to Hell” — illustrate why the Clash were able to reach a larger audience than ever before with the record. [In 2000 Columbia/Legacy reissued and remastered Combat Rock.] ~ Stephen Thomas Erlewine
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The Clash – Combat Rock + The People’s Hall (Remastered) (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:41:17 minutes | 1,14 GB | Genre: New Wave, Punk Rock, Post-Punk
Studio Masters, Official Digital Download | Front Cover | © Sony Music CG
Originally released in May 1982, Combat Rock is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the bands most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now re-released as a double remaster-edition, with an additional 12-tracks compiled by The Clash.
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The Clash – From Here To Eternity: Live (1999/2013)
FLAC (tracks) 24-bit/96 kHz | Time – 1:09:50 minutes | 1,6 GB | Genre: Punk
Studio Master, Official Digital Download – Source: HDTracks | @ Sony Music UK
This live album by The Clash is a compilation of songs from various performances spanning the years 1978 and 1982. Popular titles include: “London Calling,” “Should I Stay or Should I Go” and “The Magnificent Seven.” (more…)
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The Clash – Live At Shea Stadium ‘1982 (2008/2013)
FLAC (tracks) 24-bit/96 kHz | Time – 49:12 minutes | 1,24 GB | Genre: Punk
Studio Master, Official Digital Download – Source: HDTracks | @ Sony Music UK
Live at Shea Stadium is a live album by The Clash and was recorded at Shea Stadium in New York City on October 13, 1982. This was the band’s second night opening for The Who, and the recordings were originally discovered by Joe Strummer while packing for a move. It was first released in October 2008. Glyn Johns made the original recording from the live show, while David Bates and Mark Frith restored and remastered the recording. (more…)
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The Clash – Give ‘Em Enough Rope (1978/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 36:58 minutes | 855 MB | Genre: Punk, Rock
Official Digital Download – Source: HDTracks.com | Digital booklet | @ Sony Music UK
Chart History/Awards
– Voted Album of the Year in 1978 by Sounds, Rolling Stone and Time magazines.
– Give ‘Em Enough Rope peaked at #2 on the UK Albums Chart in 1978.
Give ‘Em Enough Rope is the second studio album by The Clash and was released in November of 1978. It was also their first album to be released in the United States. Give ‘Em Enough Rope was produced by Sandy Pearlman, founder of Blue Oyster Cult. The album focuses on themes of third-world combat, global terrorism, war, and corruption, as well as inner-city desolation.
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The Clash – The Clash (1977/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 34:51 minutes | 790 MB | Genre: Punk, Rock
Official Digital Download – Source: HDTracks.com | Digital booklet | @ Sony Music UK
Chart History/Awards
– Ranked #3 by NME on its list of the Greatest Albums of the ’70s.
– Ranked #3 by Spin magazine on its list of the 50 Most Essential Punk Records.
– The U.S. version was ranked #77 by Rolling Stone magazine on their list of The 500 Greatest Albums of All Time.
The Clash is the debut studio album by the English punk rock band of the same name. Released in 1977, it was mostly written on the 18th floor of a high-rise council flat rented by Mick Jones’ grandmother. The recording of the album took place over three weekend sessions at CBS Studio 3 in February 1977. The album is pure, unadulterated rage and fury, fueled by passion stemming from political and social disenfranchisement that many faced in the UK in the late 1970s, and the music is driven by relentless energy; the songs stripped down to bare-bones, three-chord rockers.
The album was well-received by critics and peaked at number 12 on the UK charts, while American critic Robert Christgau gae the album an A rating and stated, “Cut for cut, this may be the greatest rock and roll album…ever manufactured.”
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Erlend Skomsvoll – Clashes (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 57:01 minutes | 1,96 GB | Genre: Classical, Jazz
Studio Masters, Official Digital Download | Front Cover | © LAWO Digital
Erlend Skomsvoll, Ida Løvli Hidle, Håkon Kornstad and Ensemble Allegria explore the intersection between classical music and jazz. What goes on inside the brain of a composer while he composes? And what happens to us when we face our own prejudices?
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Title: Billy Joel – Live At Shea Stadium
Year: 2008/2011
Genre: Rock
Artists: Billy Joel & Paul McCartney, Tony Bennett, Garth Brooks, John Mayer, Steven Tyler, Roger Daltrey
Released: Sony Music
Duration: 2:20:57
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: AC-3, PCM
Video: MPEG-4 AVC 26882 kbps 1920x1080i / 29,970 fps / 16: 9 / High Profile 4.1
Audio # 1: English LPCM 5.1 / 48 kHz / 6912 kbps / 24-bit
Audio # 2: English Dolby Digital 5.1 / 48 kHz / 640 kbps / DN -4dB
Audio # 3: English LPCM 2.0 / 48 kHz / 2304 kbps / 24-bit
Subtitles: English, Dutch, German, French, Italian, Portuguese, Spanish
A concert celebrating the end of an era: The Beatles opened it and Billy Joel closed it. Built in 1964, Shea Stadium was the home of the New York Mets for 45 years. Designed as a multi-purpose stadium, Shea first met rock ‘n’ roll when The Beatles appeared there August 15, 1965, establishing Shea as the premier stadium for the world’s greatest bands. The Who, The Police, The Rolling Stones, Bruce Springsteen and The Clash all played Shea.
The Last Play At Shea, staged on July 16 and July 18, 2008 before a combined 110,000 fans, comprised the final performances ever at the historic stadium. Live At Shea Stadium contains two and a half hours of hits and album favorites, featuring special guests Paul McCartney, Tony Bennett, Garth Brooks, John Mayer, John Mellencamp, Steven Tyler and Roger Daltrey.
Live At Shea Stadium captures the music and memories of a generation. After 45 years, the Mets’ two World Series victories, The Beatles and The Last Play At Shea, the final section of Shea Stadium was torn down in 2009.
![Piergiuseppe Zaia - Creators: The Past (Original Motion Picture Soundtrack) (2020) [Official Digital Download 24bit/44,1kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/17/wlh6ccbz4rnmc_600.jpg?resize=500%2C500&ssl=1)
Piergiuseppe Zaia – Creators: The Past (Original Motion Picture Soundtrack) (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:02:25 minutes | 704 MB | Genre: Soundtrack
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Creators: The Past is an upcoming Italian fantasy film written by Piergiuseppe Zaia and Eleonora Fani, directed by Piergiuseppe Zaia and starring Gérard Depardieu, Bruce Payne, Eleonara Fani, Marc Fiorini, Jennifer Mischiati and William Shatner.
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![Pearl Harbour - Don't Follow Me I'm Lost Too (Expanded) (Remastered) (1980/2022) [Official Digital Download 24bit/44,1kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/03/14/008c9a3a.jpg?resize=500%2C500&ssl=1)
Pearl Harbour – Don’t Follow Me I’m Lost Too (Expanded) (Remastered) (1980/2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 47:02 minutes | 524 MB | Genre: Alternative Rock
Studio Masters, Official Digital Download | Front Cover | © Blixa Sounds
When Pearl Harbour & the Explosions’ tepid skinny-tie pop didn’t stoke the public’s fancy, their singer’s future seemed uncertain: Who could have predicted that she’d pull off such a rowdy, confident solo album? However, that’s what happened when she moved to London – note her stage name’s British spelling – and fell into the Clash’s orbit. Where the Explosions were stilted and restrained, Harbour’s voice is loud and freewheeling on the rockabilly driven rumble of “Out With the Girls,” “Fujiyama Mama,” and “Alone in the Dark.” There’s not a trace of hesitation in Harbour’s hiccups, whoops, and yelps; she sounds comfortable in a way that listeners simply hadn’t heard before. Harbour’s breezy self-assurance also extends to the campy girl group flippance of “Everybody’s Boring but My Baby,” reflective pop/rock of “Heaven Is Gonna Be Empty,” token country weepers “Losing to You,” and a tough, but affectionate cover of Ian Dury’s “Rough Kids.” Harbour’s co-conspirators include a motley assortment from Britain’s punk and neo-rockabilly scenes. Former Rich Kids guitarist Steve New plays gutsily throughout; so do late Whirlwind singer/guitarist Nigel Dixon, pianist Otis Watkins, bassist Barry Payne, and drummerNick Simonon (younger brother of Clash bassist Paul Simonon). Their presence provides a dynamism sorely missing from the Explosions’ album. Only the mixing prevents this coming-out party from being a perfect affair, leaving New’s guitar to fight for breath on “Fujiyama Mama” and “At the Dentist.” However, those are minor complaints for such an inspiring effort: there’s nothing heavy or depressing about it. However, the public found Harbour’s newly rough-hewn image as off-putting as its slicker counterpart, so the album flopped: miss out at your own peril.
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Zwitschermaschine – Looping (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 46:41 minutes | 517 MB | Genre: Avant-Garde Jazz, Jazz
Studio Masters, Official Digital Download | Front Cover | © Galileo Music Communication
Music can be so many things. So why not all at once? Best of all, it unites all conceivable opposites within itself and accomplishes the paradox of conjuring up the clash of the obvious in the harmony of the incompatible. When the German expressionist Paul Klee painted his Dadaist watercolor “Zwitschermaschine” in 1922, he had a visual idea of the cacophonous bird apparatus, but possibly no idea of its sound. The Leipzig based band Zwitschermaschine (not to be confused with the art punk band of the same name from the end of the GDR era) now provides an answer a whole century later.
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Aziza Brahim – Mawja (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 34:57 minutes | 690 MB | Genre: World, Desert Blues, Female Vocal
Studio Masters, Official Digital Download | Front Cover | © Glitterbeat Records
“Brahim’s keening take on Afro-blues, is beautiful, bewitching, aquiver with timeless sorrow.” –- Mojo
“This is a sound and message that reaches the heart, beyond imposed borders, curfews and barbed wire, with a dream for the end to the struggle.” –- The Quietus
Sahrawi singer-songwriter activist Aziza Brahim’s fifth album Mawja (Wave in Hassaniya Arabic) is fashioned from a simple but powerful foundational palette: Saharan and Iberian percussion entwining with stately guitars and warm, enveloping bass.
Co-produced by Brahim with long-time collaborator Guillem Aguilar, the record from her oeuvre that Mawja most sonically resembles is her revered and graceful debut Soutak (2014).
That noted, there is a confident eclecticism found here, an expansive take on her vision that even includes a drum pattern inspired by the Clash.
Brahim’s voice, as always, is a wellspring of deep and resonant emotions. The yearning for homeland. The struggle for freedom. The love for one’s elders. The unfurling of time. Waves of history, waves of sound. Mawja.
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