Close Topic Options

Артист: George Harrison Альбом: The Dark Horse Years 1976-1992 box set, 2004 Жанр: Rock Формат файла: eac-cue-ape-jpg-rar Ссылка 1: 1976 Thirty Three & 1/3 58 clicks Ссылка 2: 1979 George Harrison 45 clicks Ссылка 3: 1981 Somewhere in England 39 clicks Ссылка 4: 1982 Gone Troppo 33 clicks NEW HASH Ссылка 5: 1986 Cloud Nine 40 clicks Ссылка 6: George Harrison/Eric Clapton & Band - 1992 Live in Japan. 2 SACD Hybrid 64 clicks Ссылка 7: Box, book - scans 36 clicks Нахождение: eDonkey/Kademlia

собрал вот всё до кучи

А он то неоновый, то нетлабовец! а последнее время всё больше сидит не на муле, а мул сидит на нём! Хотя тссссы, ходят слухи он пересаживаеться на торрента....

Гордый
что-то типа oc-netlab?

да нет же, говорю же он эксперементирует! Сейчас совсем на НЕО 3.0 пересел, только что видел!

Я уже не понимаю, у меня это есть, было или будет?
Релизы, бэкапы, прожиги.

А нельзя-ли такую мощную весчь залить в торрент ?

нее.. только если OlCh разрешит

А ясно, подняли летний топик!
Booka и Live нет только!
Это радует.

растрепались больше чем я а это непорядок!
и куда модераторы смотрят?

yury_usa
нее.. только если OlCh разрешит
А мы его отблагодарим

ето где БЕТА? тогда плюс - ето АЛьФА
а Нео уже 4й зафиналил я остася на 3й версии, потому как там 3 дружбанских слота

Хорошо, когда старые темы поднимают... Вот и у меня весь Харрисон!

Все спа!

bob3194
не весь, я еще extra textrure летом выкладывал

This post has been edited by yury_usa on 03-12-2005, 17:59

ой не весь.....
1973 - Living In The Material World
1974 - Dark Horse
ни у кого не завалялось? оченно хотелось бы - до состояния "весь Харрисон", девятое небо ему пухом....

а я тут статью интересную нашел... nebol'shuju :

The Welcome Return Of 'Dark Horse'
Six of George's Albums Are Back In Circulation After A Lengthy Absence


--------------------------------------------------------------------------------

George Harrison - "The Dark Horse Years 1976-1992"

Background:The Dark Horse label was founded by George Harrison in 1974 to allow him time and space to fully express himself as a songwriter and musician. Between 1976-1992, George recorded five studio solo albums for the label: ‘Thirty Three and 1/3’, ‘George Harrison', ‘Somewhere in England’, ‘Gone Troppo’ and ‘Cloud Nine’ as well his live concert recording, ‘Live in Japan’ Originally released through Warner Bros., these CDs have been unavailable for over 6 years now & are being re-issued as part of this box set put together under the close direction of George Harrison’s family.

My Review: I’ve always had a liking for the Dark Horse albums. I bought the vinyl copies when they first came out. Unfortunately, I had a basic, "cheap and nasty" turntable setup at the time which didn’t do them justice. Then I purchased the Warner Bros. CDs that were available ‘for about five minutes’ in the early ‘90's. They basically sounded like bargain basement cut outs (although I paid import prices). Thanks to the release of this box set, I now feel like I’m hearing these albums the way they should be heard for the 1st time in almost 30 years.

George’s solo career began with the exceptional "All Things Must Pass" and the very good "Living In The Material World". After "Material World", George established a new label "Dark Horse Records". Subsequently, the demands of setting up a new label, doing artist development, legal and personal difficulties and his 1974 US tour stretched George to the limit. His last two EMI albums, "Dark Horse" and "Extra Texture (Read All About It)" were probably "contractual obligation albums" that George needed to complete his deal with EMI. Unfortunately, in spite of a few tuneful offerings, these last two albums lowered the public’s expectations of George’s solo career. (In the case of "Dark Horse", a bit of editing and George being in better voice would have made a huge difference. As it was, "Dark Horse" was an easy mark for critics who often unkindly renamed it "Dark Hoarse". Better yet, the stronger tracks of "Dark Horse" and "Extra Texture" would have made a very good 3rd studio album)

Although I’m a big fan, I remember being a little wary when "Thirty Three & 1/3" was first released. By 1976, fans had seen the best and worst of the Beatles’ solo careers. In the case of George, 1976 would be a pleasant surprise.

The recording of "Thirty Three & 1/3" found George in an upbeat mood and newly in love (with soon to be wife, Olivia). George’s spirits were so good that he actively promoted this album with enthusiasm. This energy flows through the tracks. The songs are upbeat, incorporating elements of pop, R&B and light jazz with excellent playing and a strong bass line. The light, breezy production style that George used on "Extra Texture" is enhanced here but since the material is so much stronger, "Thirty-Three &1/3" is light years beyond it’s predecessor. George’s "Monty Phython" influenced humour is used to great effect (on "This Song and "Crackerbox Palace". Both are far better than the foolish "This Is Legs" from "Extra Texture"). On a disc of highlights, "Learning How To Love You" is a personal favourite. The remaster brings out the detail and true beauty of this track.

Many fans prefer the ‘go for broke’ sound of "All Things Must Pass" but I have a theory that on "Thirty-Three &1/3," George was after a quieter, authentic representation of where he was at this point in his life. The confident, melodic sound on this album has a ring of truth to it. George was developing a new solo ‘voice’ by creating and preserving an image of his own choice - possibly one he was more comfortable with. This may have been one of his goals with the creation of his own label.

The next album,"George Harrison", continues the optimistic streak that George was in to even greater effect. This sadly overlooked album never did get the recognition it deserved. Upon first listen and now 25 years later, I believe this album ranks alongside "Cloud Nine" and "Brainwashed" as the best albums that George recorded after "All Things Must Pass". George wisely enlists Russ Tittelman (who had great success around that time, with the Doobie Brother’s "Minute By Minute") for co production duties. It was a match that worked so well, I hoped the arrangement would continue for subsequent albums. Highlight include "Blow Away", "Love Comes To Everyone", "Your Love Is Forever"and "Dark Sweet Lady" (obviously about Olivia). George’s solo version of "Not Guilt" is an interesting, less intense counterpart to the version heard on the Beatles "Anthology 3" CD.

George’s career (and mood) take a real turn here with the "Somewhere in England" album. The first version of this album was submitted to Warner Bros around the time that John and Yoko delivered "Double Fantasy" to Geffen Records. Oddly, Warner Brothers insisted that George remove 4 excellent songs (that later wound up on bootlegs) and had George record additional tracks. The removed songs were "Flying Hour", "Lay His Head", "Sat Singing" and "Tears Of The World". They were replaced by "Blood From A Clone", "Teardrops", "All Those Years Ago" (which had altered lyrics after John Lennon’s death) and "That Which I Have Lost".

After hearing "Somewhere In England" (Mk. II), Warner Brother execs may have regretted insisting that George record additional material since he used the opportunity to express his contempt of the music industry. I wonder how the demo in the boardroom went when the revised album kicked off with "Blood From A Clone"!

The general mood of "Somewhere In England" is sombre and serious and, unlike many casual fans may have believed, the album’s mood was not in response to John Lennon’s death as the tracks were recorded between October and November of 1980. Even "That Which I Have Lost" precedes December, 1980.

Unlike the personal optimism expressed on the previous two albums, George turned his focus on world affairs and clearly did not like what he saw.* The mood is best expressed by "Save The World" which is an environmental song well before it was fashionable. Like many of George’s "message" songs, it’s not an easy listen but it hits the mark. Many critics cite "Somewhere In England" as the return of George’s "preachy" style but any album with songs as beautiful as "Life Itself" certainly has merit. "Teardrops" is a spirited, hook filled song in spite of it’s title and the Hoagy Carmichael covers ("Baltimore Oriole" and "Hong Kong Blues") are endearing, considering George’s love for the mans’s music. Of course, in 1981, "Somewhere In England" became best known for the rewritten version of "All Those Years Ago".

* (George's world view remained consistent throughout his life. In late 2000, George suggested in an interview with Billboard magazine's Timothy White, that his next album should be called "Your Planet Is Doomed, Vol. 1".)

Again, the new remastering brings out the sonic benefits of this album (i.e. the sound effects on "Save The World" and the bass line on "Teardrops").

Note: Although the original cover art was restored, the 4 tracks that were originally dropped by Warner Bros. were curiously not reinstated on the remaster, even as bonus tracks. A missed opportunity to restore George’s original vision for this album. Oddly, the demo of "Tears Of The World" is included on the new version of "Thirty Three & 1/3".

George’s next album was quietly released to the world in 1982 and it arrived D.O.A. George did little to promote it and by this time many critics and fans (except hardcores, like me) ignored it’s existence. This is too bad, because in retrospect "Gone Troppo" turned out to be an entertaining, if somewhat quirky album. The quirky aspect was typified by "I Really Love You," when, if heard at random, would be difficult to identify as a George Harrison song. Billy Preston makes a vocal appearance on "Baby Don’t Run Away". "Unknown Delight" has more of a group feel, compliments of George’s backup singers. "That’s The Way It Goes", "Gone Troppo", "Mystical One", "Dream Away" and "Circles" are highlights on what I consider to be a great little album. It would have been interesting to see how well it would have done if George had promoted it or made a few videos. As it was, by this time, George was becoming more known for his success with Handmade Films ("Life Of Brian" and "Time Bandits").

After a five year break from recording, which was intermittently interrupted by film work and a few soundtrack themes, George unexpectedly returned to recording - and chart success - with 1987's "Cloud Nine" which was co-produced by former ELO leader, Jeff Lynne. Similar to the "George Harrison" album, George’s use of a co-producer gave "Cloud Nine" a coherent, consistent sound. The song writing is excellent and the songs are developed to full maturity. The only weak song among an album full of potential singles is "Breath Away From Heaven". "That’s What It Takes" is a personal favourite and a good indication of George’s renewed optimism. George even offers a fond look back to his Beatles past with "When We Was Fab". George obviously had a great time recording "Cloud Nine" and he promoted it with a few high quality videos. George’s career was on such an upswing, that one poll even ranked George above Paul McCartney as the most popular living Beatle in 1987. An even more significant bonus for George was the fact that this album’s creation led to the formation of that nomadic group of musicians known as the "Traveling Wilburys"

To my ears, the remastering on "Cloud Nine" isn’t as obvious an improvement as on the first 4 Dark Horse reissues. Even availability isn’t a factor, since copies of "Cloud Nine" could regularly be found in used CD stores. The 2004 reissue adds "Shanghai Surprise" and "Zig Zag" to the track line up. A curious omission is "Hottest Gong In Town" which is also from the "Shanghai Surprise" film.

After 2 successful albums with the "Traveling Wilburys", Eric Clapton encouraged George to undertake a short tour of Japan in 1991. The 2 disc "Live in Japan" (SACD / CD hybrid disc) offers a high quality overview of George’s entire career including Beatles songs (like "Taxman") that George had never performed live. Outside of bootlegs and a few guest appearances, this is the best representation of George in a live setting since the early ‘70's. The live version of "Dark Horse" is far superior to my ears to the 1974 album version. Added bonuses like the extra verse in "Piggies" and a tasteful prelude to "Something" make an appearance here. George is in fine voice (for George) and, as always, his guitar work is stately and tasteful. Although no one could have imagined this at the time, these skilled, carefully executed performances would turn out to be George last album until the posthumous "Brainwashed".

Pictured is the 12 track "Dark Horse Years" promo CD

Notes: The bonus demo tracks included on the studio albums are nice but basically incidental. Curiously, "Poor Little Girl", "Cockamamie Business", and the studio version of "Cheer Down" that were included on 1989's "The Best Of Dark Horse 1976-1989" CD are absent here. Since this CD is out of circulation, these tracks are now unavailable. They could have easily been included on "Dark Horse Years" as bonus tracks. These selections and others such as "Mo" and "I Don’t Want To Do It" and others mentioned in this review need a new home. Hopefully, a future rarities or "Anthology" type release will rectify the situation.

The individual CDs have copy protection similar to the Beatles’ "Let It Be... Naked" CD. Some players may experience compatibility problems (disc skipping). However, if you had no compatibility problem with "Let It Be... Naked", these disc should work fine on your system. I was surprised to discover that the "Live In Japan" SACD / CD disc played fine on my almost 10 year old CD player. I can’t comment on the SACD sound factor but the CD layer has notably increased headroom and clarity due to the remastering.

Aside from the more obvious artwork alterations ("Somewhere In England,") there are more subtle differences i.e. the front cover font on the "George Harrison" CD being replaced by his signature. The CD booklets have been expanded with many new photographs, descriptive liner notes and full lyrics. The descriptions for most of the songs were excerpted from George’s "I Me Mine" book. The notes for "Cloud Nine" were derived from interviews that George was conducting at the time to promote the album. There are notable typos in the booklets ("son" for "song"; "big" for "bit"). The most obvious booklet error is "Live In Japan" which completely omits the title for "Got My Mind Set On You" just prior to the song’s description. (No typos in that harsh copyright notice though!)

Remastering for the CDs is by Simon Heyworth and John Etchells at Super Audio Mastering, Devon. The 5.1 mix for "Live In Japan" is by John Etchells and Damon Iddins, at The Astoria , London. SACD mastering is by Doug Sax; SACD co-ordination by Phil Taylor; SACD authoring by Gus Skinas; SACD executive producer: Rick Veda.

The bonus 80 minute DVD is another fine job from "Abbey Road Interactive". Contents includes a 10 minute promotional EPK for the box set; 7 promotional videos (including 2 for "Got My Mind Set On You"); 4 performances from "Live In Japan" and 3 clips from "Shanghai Surprise". The "Hi....remember me" intro from George will put a lump in your throat. The videos ("This Song" ; "Crackerbox Palace") that were originally broadcast in 1976 on "Saturday Night Live" are great to revisit. The sound quality on the DVD has less dynamic range than on the CDs, except the "Cloud Nine" / "Live In Japan" material. The DVD bears up very well to repeat viewing. George’s interview comments are very endearing and entertaining. The "Live In Japan" material will leave you wanting a DVD of the full set list. A surprise omission is the video for "Blow Away".

The DVD which is packaged in a 36 page book, is set in a pouch on the back cover, which can cause disc damage. The contents of the book include comments by Olivia, an essay by David Fricke of Rolling Stone magazine, many photographs, press clippings, comments on the inspiration behind the Dark Horse label, various transparencies and artist drafts for the label.

The whole set is housed a plastic form inset within a flip top box, similar in size and scope to 1998's "John Lennon Anthology". An excellent presentation that is well worth the money. For the financially challenged who absolutely can’t afford to buy the box set, begin with the first 4 studio albums in sequence. However, considering the minor difference in overall cost, you’d be more pleased with the box set. The only criticism I have is the packaging method for the DVD (see above). You’ll need to buy an additional soft plastic DVD case to preserve the disc.

Conclusion:

It is my pleasure to revisit these albums. Played together in a carousel CD player, the studio albums have a consistency that enable them to flow well together. It makes sense to have them packaged as a box set. It’s gratifying to see one of my favourite artists get this kind of recognition and have his output from 1976-1992 available, once again, to the public. Fans now have the opportunity to give George's body of work their own appraisal, apart from the spin of the critics.

As nice as the bonus DVD and book may be, it’s really about the music contained within the studio albums. The remastering allows the listener to hear background harmonies and percussive effects that were invisible on the original Warner Bros. CDs. Overall, these discs have more detail, dynamic range, clarity and bass presence. The high quality remastering and the music itself provide the final word.

In "Pure Smokey", George sings "Thank you Lord for giving us Pure Smokey". I can relate to the sentiment. Regardless of one’s philosophical or religious beliefs, I’m thankful for the life and music of George Harrison.

кажется мне, что Троппо рип плохой, послушайте хоть и первый трек на 30 или 31 секунде