(Glam Rock)[LP] [24/96] Queen - I, II, A Night at the Opera, A day at the races, Jazz , A Kind Of Magic, Innuendo, Made in heaven,1973-1994, FLAC (tracks+.cue)

01. Keep Yourself Alive
02. Doing All Right
03. Great King Rat
04. My Fairy King
05. Liar
06. The Night Comes Down
07. Modern Times Rock 'n' Roll
08. Son And Daughter
09. Jesus
10. Seven Seas Of Rhye

Queen – I {Original UK Pressing} | 96kHz & 44.1kHz Final Master Vinyl Rip

Posted by Anonimous @ February 17th, 2012

Queen – I
Vinyl rip in 24-bit/96kHz & 16-bit/44.1kHz | FLAC | Artwork
FP + RS

Vinyl Ripping Process/Equipment
Vinyl Cleaning Process
•3 Liter Ultrasonic Cleaner (Tap water with Sporicidin) on custom rotating assembly at 1 RPM for one hour
•Vacuum off with Nitty Gritty
•AIVS Premium Record Cleaner Formula No. 15 applied with Mofi Brush while rotating on VPI 16.5
•McCulloch MC-1275 Heavy-Duty Steam Cleaner applied with Mofi Brush while rotating on VPI 16.5
•Vacuum off with VPI 16.5
•L’Art du Son Record Cleaning Fluid applied with VPI Bristle brush
•Vacuum off with VPI 16.5
•Whole Foods Deionized Water applied with Mofi Brush (Separate from AIVS Mofi Brush)
•Vacuum off with VPI 16.5
•Flip record and repeat
•Place record on Plate Demgnetizer

Turntable Equipment Profile
•VPI Scoutmaster with inverted bearing and 300 RPM motor
•VPI Center Record Weight
•VPI Periphery Ring Clam
•Gingko Cloud 11 Vibration Control Platform
•VPI Synchronous Drive System turntable motor speed controller and line isolator
•Trans-Fi Audio Terminator T3Pro tangential tracking air bearing tonearm
•Zyx Airy 3X-SB cartridge

Phono Stage Profile
•Musical Surroundings Phonomena Phono Preamplifier
•Musical Surroundings Battery Power Supply

Analog/Digital Convertion
•E-MU 1212M (the 1212M contains the same A/D converters used in Digidesign’s ProTools HD 192 I/O interface)
•Adobe Audition 3.01 running on Windows XP in a Shuttle PC form factor

Post Processing Of Audio

•Run thru ClickRepair(if necessary) at level 7 with
•Pitch Protection | off
•Reverse | on
•Simple
•Resample to 96khz in Izotope Rx2 using the default preset
•Manually listen to album in Adobe Audition cleaning any clicks/anomalies
•Flac with Xrecode II for hi-rez files
•Flac with Trader’s Little Helper for redbook files

What is this Final Master stuff?
After years of trying to improve both my ripping/cleaning process and upgrading my equipment to a level I feel comfortable sticking with I am proud to present these final versions of the best sources I can find.So I am happy to say that more than likely this is the last mother fucking copy you are ever going to need…or your money back

From The Badger’s Den
Very first UK pressing saved by Wood Glue
Filepost Links

1. "Procession" – 1:12
2. "Father to Son" – 6:14
3. "White Queen (As It Began)" – 4:34
4. "Some Day One Day" – 4:23
5. "The Loser in the End" (Roger Taylor) – 4:02

Side Black

All songs written by Freddie Mercury.

1. "Ogre Battle" – 4:10
2. "The Fairy Feller's Master-Stroke" – 2:40
3. "Nevermore" – 1:15
4. "The March of the Black Queen" – 6:33
5. "Funny How Love Is" – 2:50
6. "Seven Seas of Rhye" – 2:50

Also Includes "See What A Fool I've Been" (May) (U.K Vinyl B-Side)

Queen II Original U.S Pressing Vinyl Rip Flac With Bonus
From Wikipedia, the free encyclopedia

Queen II
Studio album by Queen
Released 8 March 1974
Recorded August 1973 at Trident Studios, London
Genre Rock
Length 40:42
Label Elektra (US)
Producer Roy Thomas Baker, Robin Geoffrey Cable, Queen

Singles from Queen II

1. "Seven Seas of Rhye"
Released: 23 February 1974

Queen II is the second album by British rock group Queen, released in March 1974. It was recorded at Trident Studios, London in August 1973 with co-producers Roy Thomas Baker and Robin Cable, and engineered by Mike Stone.

The two sides of the original LP were labelled "Side White" and "Side Black" (instead of the conventional sides "1" and "2"), with corresponding photos of the band dressed in white or in black on either side of the record's label face. It is also a concept album, with the white side having songs with a more emotional theme and the black side almost entirely about fantasy, often with quite dark themes. Mick Rock's album cover photograph was frequently re-used by the band throughout its career, most notably in the music video for the song "Bohemian Rhapsody" (1975).

Released to an initially mixed critical reception, Queen II remains one of the band's lesser-known albums. Nonetheless, the album has retained a cult following since its release and has in recent years been cited by a number of music publications, fellow artists and fans as one of their finest works.
Contents

Background and recording

After their debut album Queen was recorded and mixed by the end of November 1972, Queen set about touring and promoting it. Management problems forced the album to be released under the independent Trident label, but only after eight months had gone by since completion. During that time, Queen were writing new material and anxious to record it. Several new songs were written immediately after the first album, and some dated from even earlier. "See What A Fool I've Been" was left over from the Smile days. "Ogre Battle" was written during the debut album sessions, as was "Father To Son", but the band decided to wait on recording them until they had more ample studio time.

August 1973 found the band back in Trident, now allowed to book proper hours there, with an album under their belts. For what is generally considered a complex album (with layered vocals, harmonies and instruments), it took a very short time—only one month—to record Queen II. A full version of "Seven Seas of Rhye" was laid down, recorded with the specific intention of being the album's leading single. After the commercial failure of "Keep Yourself Alive", which was taken from the first album, Queen decided it needed a single that did not take "too long to happen" (without a lengthy guitar intro). So, Queen and Baker made sure that "Rhye" began in a way which would grab people. Mythology and art were passions of Mercury's, and Richard Dadd's painting "The Fairy Feller's Master-Stroke" (which currently hangs in the Tate Gallery) sparked his creativity. This scene from Dadd's imagination was inspired by characters from faery myths, which in the painting are gathered around the Feller of Trees to watch him crack a walnut for Queen Mab's new carriage.

Mick Rock was employed to do the photography for the album's artwork. This single picture of Queen, used on the Queen II album cover, would become one of the band's most iconic images, revisited and brought to life for the "Bohemian Rhapsody" promotional film. Robin Cable, with whom Mercury had worked during the "I Can Hear Music" session, was recruited to reproduce the Spector production sound for "Funny How Love Is".

The "White" side is very diverse: four of the five numbers were composed by Brian May, where one is instrumental, one is sung by Mercury and Taylor (with May at the piano), the next is sung by Mercury, and the last by May. The closing track of The "White" Side is Taylor's only composition in the album. John Deacon played acoustic guitar as well as bass on most of the album, except the songs "White Queen" and "Some Day One Day", which were performed by May—partly on an inexpensive Hairfred guitar that he had owned since his childhood.

Lead vocalist Freddie Mercury composed the entire "Black" side, contributing virtuosic piano and harpsichord pieces and a wide range of distinctive vocal performances.
Packaging

The Queen II album cover features a photograph taken by Mick Rock of, according to VH1, "Queen standing in diamond formation, heads tilted back like Easter Island statues" against a black background.[1] The band had hired Rock because they wanted to, in Rock's words, "graft some of [the trademark] decadent 'glam' sensibility" of his work with artists such as David Bowie, Iggy Pop and Lou Reed. Subsequently, the brief the photographer received from Queen was to have a black and white theme for the Queen II artwork.[2] According to Rock, the group were looking to grab people's attention with the cover, especially since their first album had failed to do so; "They realized that if you could catch people's eyes you could get them interested in music."[1] Describing it as a "sort of a knockoff of an old Marlene Dietrich shot",[3] the photographer took inspiration for the cover from a still of the actress from the 1932 film Shanghai Express.[1] "And of course no one was ever more 'glam' than the divine Ms Dietrich", Rock quips.[2]

Although the band almost rejected the photograph because they felt it too pretentious, Rock convinced them otherwise; "It made them look like much bigger a deal then they were at the time, but it was a true reflection of their music."[1] The image was reused by Queen for the promotional video of their 1975 single "Bohemian Rhapsody".
Release and reception

After the album's completion in the end of August 1973, Queen added "Ogre Battle", "Procession" and "Father to Son" to their live setlists immediately and toured extensively. Once again, however, Trident delayed the record since Queen's first album had only just been released in the UK and had yet to be issued in the USA. Numerous other problems beset the album's release, as well. Its completion coincided with the 1973 oil crisis and consequently, government-enforced measures for energy conservation delayed its manufacture by several months. Once the long-overdue first pressing arrived in record shops, the band noticed a spelling error on the sleeve, and had to complain persistently to correct it.[4]

"Considering the abuse we've had lately, I’m surprised that the new album has done so well. I suppose it's basically that audiences like the band... we took so much trouble over that album, possibly too much, but when we finished we felt really proud. Immediately it got really bad reviews so I took it home to listen to again and thought 'Christ, are they right?' But after hearing it a few weeks later I still like it. I think it’s great. We’ll stick by it."

– Roger Taylor on the critical reaction to Queen II[5]

Queen II received a mixed critical reaction from the contemporary music press. Disc wrote, "The material, performance, recording and even artwork standards are very high."[6] NME opined that the record showcased "all their power and drive, their writing talents, and every quality that makes them unique,"[6] while Sounds wrote, "Simply titled Queen II, this album captures them in their finest hours."[6] Rolling Stone awarded the album two-and-a-half stars out of five. While the magazine had little enthusiasm for "Side Black", they applauded "Side White", writing that it featured the "saving grace of timely and well-chosen power chords and some rather pretty tunes."[7]

Melody Maker had little praise for the record, writing, "It's reputed Queen have enjoyed some success in the States, it's currently in the balance whether they'll really break through here. If they do, then I'll have to eat my hat or something. Maybe Queen try too hard, there's no depth of sound or feeling."[6] Record Mirror were also unamused, writing, "This is it, the dregs of glam rock. Weak and over-produced, if this band are our brightest hope for the future, then we are committing rock and roll suicide."[6] Robert Christgau gave the album a "C-" rating, describing it as "Wimpoid royaloid heavoid android void".[8]

Queen II entered stores in the UK on 8 March 1974. The album enjoyed chart success in the UK, peaking at number five. It peaked at number 49 in the US, improving on debut album Queen, which peaked at number 83. The only single taken from Queen II, "Seven Seas of Rhye" (released in February 1974) peaked at number 10 on the UK Singles Chart, giving the band their first chart hit.
Legacy

As 1974 drew to a close, public reaction to Queen II had been enthusiastic.[6] The album was also ranked by Disc as the 5th best of the year.[9] While the album remains one of the band's lesser-known works, it has since retained a cult following and has in recent years been cited by a number of music publications, fellow artists and fans as one of Queen's finest works. In 1987, the Post-Tribune ranked Queen II 9th in an article covering "albums that should be in everyone's record collection, but aren't."[10] In the 1994 edition of The Guinness All Time Top 1000 Albums, Queen II was voted #202 in the all-time greatest rock and pop albums.[11] In 2003, Q magazine included Queen II in a list of fifty little-known albums recommended by the magazine to supplement their "The 50 Best British Albums Ever" poll.[12] In 2005, Kerrang! readers voted Queen II the 72nd greatest British rock album ever.[13] In 2006, the album was featured in Classic Rock and Metal Hammer's "The 200 Greatest Albums of the 70s," being listed alongside Sheer Heart Attack as one of the 20 greatest albums of 1974.[14] In 2008, IGN Music named Queen II as one of their "10 Classic Glam Rock Albums", writing, "Queen gave glam a bigger, more anthemic sound with this glittery opus. Combined with Freddie Mercury's underrated keyboard work, Brian May's ringing leads and pristine riffs created a backdrop for songs that were by turns ferocious and elegant."[15] In 2010, Mojo ranked Queen II as the 60th greatest album ever released on the Elektra Records label.[16] Along with the Queen albums Sheer Heart Attack and A Night at the Opera, Queen II is featured in the book 1001 Albums You Must Hear Before You Die, where it is described as "a distinctly dark album" which "displayed their diversity," and contrasted with their later "expansive, stadium-pleasing anthems."[17]

Allmusic said of the record, "Queen is coiled, tense, and vicious here, delivering on their inherent sense of drama, and that gives Queen II real power as music, as well as a true cohesion... Queen II is one of the favorites of their hardcore fans."[18] In 2009, The Quietus published an article highlighting Queen's "lesser-known brilliance" to coincide with the release of that year's Absolute Greatest compilation, describing Queen II as "an absolute scorcher of an album" which features two of the band's best tracks: "Ogre Battle" and "Father to Son".[19]

Endorsements from younger recording artists have introduced the album to a new generation of fans. In a 1989 Rolling Stone interview, Guns N' Roses lead singer Axl Rose said of the record, "With Queen, I have my favorite: Queen II. Whenever their newest record would come out and have all these other kinds of music on it, at first I'd only like this song or that song. But after a period of time listening to it, it would open my mind up to so many different styles. I really appreciate them for that. That's something I've always wanted to be able to achieve".[20] Smashing Pumpkins frontman Billy Corgan spoke to Melody Maker in August 1993 about "the records which changed his life," stating, "I worked at this record store where we had lots of old records, and I found Queen II, probably their least popular album. It's so over the top, so many vocal and guitar track overdubs - total Queen overload. I loved it. I loved the cool, weird, ambiguous songs about Freddie’s sexuality and the way it shifts from heavy to beautiful ballads."[21]
Track listing

Side White

All songs written by Brian May, unless noted otherwise.

1. "Procession" – 1:12
2. "Father to Son" – 6:14
3. "White Queen (As It Began)" – 4:34
4. "Some Day One Day" – 4:23
5. "The Loser in the End" (Roger Taylor) – 4:02

Side Black

All songs written by Freddie Mercury.

1. "Ogre Battle" – 4:10
2. "The Fairy Feller's Master-Stroke" – 2:40
3. "Nevermore" – 1:15
4. "The March of the Black Queen" – 6:33
5. "Funny How Love Is" – 2:50
6. "Seven Seas of Rhye" – 2:50

Also Includes "See What A Fool I've Been" (May) (U.K Vinyl B-Side)
Song information
Procession

"Procession" is a short instrumental piece performed by Brian May on multi-tracked guitar. He recorded it by playing overlapping parts on the Red Special through John Deacon's custom-made amplifier (the Deacy Amp). Roger Taylor also contributes to this instrumental, using only a bass pedal.
Father to Son

"Father to Son" was written by May and features heavy metal sections as well as a quiet piano part, which May played. Like the preceding number, "Father to Son" has parts with May on multi-tracked guitar, played through John Deacon's custom-made amplifier (the Deacy Amp). It is written in the father's perspective when talking or thinking about his son. Queen added "Father to Son" to their live setlists immediately and toured extensively, but the song was dropped from the setlists in 1975. The song covers a two-octave range: Freddie Mercury (G3-A4), Roger Taylor (G4-A5).
White Queen (As It Began)

Written by May, this song features contrasting acoustic and heavy metal sections.
Some Day One Day

This is the first song sung entirely by May on lead vocals. It features May on acoustic guitar and electric guitar and the last guitar solo (during the fade-out) features three solo guitars. This kind of complex guitar arrangement is typical of May; however, usually the guitars are harmonious, but in this case, all of the guitars play different parts.
The Loser in the End

"The Loser in the End" was Taylor's sole contribution on the album both as a songwriter and lead vocalist.
Ogre Battle

Mercury wrote "Ogre Battle" on guitar (as confirmed by May in several interviews)[22] in 1972. The band did not want to record it for their first album, but rather waited until they could have more studio freedom to do it properly.

The ogre-like screams in the middle are Mercury's, and the high harmonies at the end of the chorus hook are sung by Taylor. As the title suggests, it tells the story of a battle between ogres, and features a May guitar solo and sound effects to simulate the sound of a battle. The beginning of the song is the end of the song in reverse including the final gong, which when played backwards at the start of the song, creates the building wave sound.

The song is one of Queen's heaviest works. The guitar riff along with Roger Taylor's drumming give it a very "thrash" sound. It was a longtime live favorite, although in this case, it was played slower than in the studio. They stopped playing the song somewhere around 1977-1978, playing it on almost every concert up until then.

A different version of "Ogre Battle" exists, recorded in December 1973 for the BBC Radio 1 "Sound of the 70s" programme. This version starts right away with its riff (without any long intro), does not have any effects that the version on "Queen II" has and sounds much less polished. The BBC version of "Ogre Battle" did originally have a long intro featuring a grand guitar build up; it was not used for this release, allegedly because the original tape was damaged.
The Fairy Feller's Master-Stroke
The Fairy Feller's Master-Stroke by Richard Dadd.

Mercury was inspired to write "The Fairy Feller's Master-Stroke" after seeing Richard Dadd's painting The Fairy Feller's Master-Stroke. For the intricately-arranged studio recording, Mercury played harpsichord as well as piano, and Roy Thomas Baker played the castanets. Taylor called this song Queen's "biggest stereo experiment," referring to the intricate use of panning in the mix.

The song, like most of the songs on the album, features medieval fantasy-based lyrics, and makes direct reference to the painting's characters as detailed in Dadd's poem, such as Queen Mab, Waggoner Will, the Tatterdemalion, and others. Apparently whenever Queen had spare time, Mercury would drag them to the London's Tate Gallery, where the painting was, and still is today.

The complex arrangements are based around a backing track of piano, bass guitar and drums, but also included harpsichord, multiple vocal overdubs and overdubbed guitar parts. The lyrics follow the claustrophobic atmosphere of the painting, and each of the scenes are described. The use of the word "Quaere" has no reference to Mercury's sexuality, according to Taylor. The band never performed this song live.
Nevermore

The previous track ends with a three-part vocal harmony from May, Mercury, and Taylor which flows into Mercury playing the piano on this track. All the vocal parts were by Mercury, who added some contemporary piano "ring" effects as well. These effects were widely suspected to be synthesizers; however, they were created by someone plucking the piano strings while Mercury played the notes. Nevermore is quite a short ballad about the feelings after a heartbreak.
The March of the Black Queen

Mercury composed it at the piano in 1973, and the song is the only Queen song containing polyrhythm/polymeter (two different time signatures simultaneously 8/8 and 12/8), which is very rare for popular music.

The full piece was too complicated to perform live by the band; however, the uptempo section containing the lines (sung by Taylor) "My life is in your hands, I'll foe and I'll fie..." etc. was sometimes included in a live medley during the 1970s.

The song segues into the next track, "Funny How Love Is." This song ends with an ascending note progression, which climaxes in the first second of the following track.

"Funny How Love Is" was created in the studio. Mercury wrote it and played the piano while Robin Cable produced. It was produced using the "wall of sound" technique. The song was never performed live, largely due to the demanding high-register vocals from Mercury throughout the song.

Seven Seas of Rhye

"Seven Seas of Rhye" had been half-written at the time of recording for Queen's first album, so a short clip of it was included there. However, when Queen finished the song, it ended up being much different from what they'd first envisioned. It was the band's first hit single, peaking at #10 in the UK charts.

The song, like many of the songs on the album, and on Queen and Sheer Heart Attack, is about a fantasy world named Rhye. The song became a live favourite throughout Queen's existence. It features a distinctive arpeggiated piano introduction – on the Queen II recording, the arpeggios are played with both the right and left hands, an octave apart, whereas on the Queen recording, and most live performances, Mercury played the simpler one-handed version of these arpeggios. The theme also appears at the end of "It's a Beautiful Day (reprise)" on the album Made In Heaven. This version ends with a cross fade, instruments blending into a "singsong"-style rendition of "I Do Like to Be Beside the Seaside".

The seven seas of Rhye are also mentioned in another Queen song, "Lily of the Valley" from Sheer Heart Attack; in the lyric "Messenger from Seven Seas has flown/To tell the king of Rhye he's lost his throne".
Queen about the record
“ For some strange reason, we seemed to get a rather different feel on the album because of the way we were forced to record it, and even allowing for the problems we had, none of us were really displeased with the result.

Led Zeppelin and The Who are probably in there somewhere, because they were among our favourite groups, but what we are trying to do differently from either of those groups [is] this sort of layered sound. The Who had the open chord guitar sound, and there's a bit of that in "Father To Son", but our sound is more based on the overdriven guitar sound, which is used for the main bulk of the song... but I also wanted to build up textures behind the main melody lines. To me, Queen II was the sort of emotional music we'd always wanted to be able to play, although we couldn't play most of it onstage because it was too complicated. We were trying to push studio techniques to a new limit for rock groups – it was fulfilling all our dreams, because we didn't have much opportunity for that on the first album. It went through our minds to call the album Over the Top.[citation needed]
”

—Brian May
“ Well... that was a concept that we develop in that time was... it doesn't have, any special meaning. But we were fascinated with this type of things... the wardrobe that we used at the time described it perfectly well... ”

—Freddie Mercury[23]
Personnel

* Freddie Mercury - lead and backing vocals, piano, harpsichord
* Brian May - guitars, bells on "The March of the Black Queen", lead vocals on "Some Day One Day", backing vocals, piano and organ on "Father to Son"
* Roger Taylor - drums, gong, marimba, backing vocals, additional vocals on one line of "The March of The Black Queen", lead vocals on "The Loser in the End"
* John Deacon - bass guitar, acoustic guitar
* Roy Thomas Baker - castanets on "The Fairy Feller's Master-Stroke", Stylophone on "Seven Seas Of Rhye"[citation needed].
* Robin Cable - Piano effects (with Freddie Mercury) on "Nevermore"
* All songs produced by Queen and Roy Thomas Baker excluding:
o "Nevermore" and "Funny How Love Is" - Robin Cable and Queen
o "The March of the Black Queen" - Roy Thomas Baker, Robin Cable and Queen

Charts

Chart? Peak
position?
Australia 79
Canada 40
Japan 26
Norway 19
United Kingdom 5
United States 49

Rip Disclaimer Included

I ripped myself using a technics direct drive SL-3200 With an Audio-Technica Cartridge AT90E in to a pioneer sx 2300 into a
sony stand alone cd recorder rcd-w500c Ripped to Flac 8 using EAC. unless otherwise noted on the actual post itself.

If you listen very carefully you'll hear snap crackle and pops. I don't use a professional rig,
I have the same set up as I used for the past 25 years.
I rip into a stand alone cd recorder then I upload onto my computer using EAC, then I do any click repair as needed and track separation

A1 Death On Two Legs (Dedicated To …) 3:35
A2 Lazing On A Sunday Afternoon 1:05
A3 I’m In Love With My Car 2:46
A4 You’re My Best Friend 2:39
A5 ’39 3:08
A6 Sweet Lady 3:45
A7 Seaside Rendezvous 2:05

B1 The Prophet’s Song 7:53
B2 Love Of My Life 3:19
B3 Good Company 3:08
B4 Bohemian Rhapsody 5:32
B5 God Save The Queen 1:04

Queen – A Day At The Opera {German Pressing} 24 bit/96 kHz

Posted by AlfredoCatalani @ March 25th, 2012

Queen – A Day At The Opera – 1975

Vinyl rip in 24 bit & 96 kHz | 1 LP | no cue & log | HQ Artwork | 938 MB
Hard/Symphonic Rock | German Pressing | EMI 062-97 176 | HotFile

Ah. What could i say where could i begin? So much to say that’s been said a thousand times before. The year was 1975. Queen had released 3 previous albums, ranging from good to amazing. They had done everything – classic rock, hard rock, metal, punk-esque, ragtime, caribean, comedic, operatic, poppy, ballady, and quite frankly all of it was extremely experiemental and worked beautifuly. Where did queen have to go with all the expirimentation they had done on previous albums?

Where Queen found all their creativity I doubt we’ll ever know. Freddie mercury was really a genius musician. He excelled at piano and songwriting. The magnitude of his voice goes without saying, as it is in my opinion possibly the greatest voice of all time. He could do anything vocally as this album would prove. One problem that bands with superpowers like Freddie always face is that every other member or the band will be overshadowed or just quite frankly not good. Oh, but that was not Queen. Brian may, while certainly not the greatest guitarist ever, was still amazingly good. Some of the most creative and signature riffs out there. John deacon often gets overlooked but his bass playing is really top notch and his songwriting were also very good. Roger taylor was the glue that held the band together as good a drummer as anyone could hope to meet. He even lent a hand singing every now and then when he felt like it.

Oh. I seem to have drifted off the subject. If you don’t feel like it ignore those paragraphs above ’cause they weren’t really important. I suppose I’ll give the songs on this cd a rating.

1. Death on Two Legs – Freddie sure knew how to open an album. classical sounding piano riff leads into a total excess of noise and pure guitar fury which is on the very brink of exploding. Then back to a lovely piano riff and some sweet brian may guitar lickage. The lyrics in this song are first rate. A furious stab at the band’s previous producer. honestly this song will be one of your favorites. 9.5/10

2. Lazing on a Sunday Afternoon – Absolutely ridiculous! Freddie Mercury was insane. The kick A$$ loud “Death on Two Legs” segues right into this super campy and fun piece. It’s piano based and then finishes with an amazing three-part guitar solo. It’s just so fun and you’ll love singing along. Great contribution to the album! 9/10

3. I’m in Love with my Car – Roger taylor always had something to offer the band. this song’s pretty intense. The guitar riff is just crazy. it’s mind boggling that Roger Taylor could while playing drums but some people got skills like that. He’s got such a raspy voice which contrasts so much with Freddie’s or Brian’s. It’s a very nice voice nonetheless. This song rocks, and is now being used for Lexus commericials, if I am not mistaken. 8.5/10

4. You’re My Best Friend – Chances are pretty good that you’ve heard this Deacon track. Terrific bassline. ok, I admit it – the lyrics are a little corny – but the way Freddie sings them just gives it so much power and beauty. Deacon played keyboard on this one, in fact. Wote it for his best lady friend. Another one that will get you singing and ripe for quotation. 9/10

5. ’39 – When i first listened to this song I didn’t know what to think. An acoustic based song with standup bass in the midst of such an overblown album as this seemed rather strange. Eventually it dawned on me that this song’s simplicity was what made it beautiful. Brian may wrote this one and he does all the vocals too. The lyrics are absolutely terrific on this one. The closing line is absolutely haunting: “for my life, still ahead, pity me.” This song is really just beautiful. one of brian may’s finest creations. 9.75/10

6. Sweet Lady – ugh! Brian!! What were you thinking?? For all this album’s greatness, it’s not perfect. Brian may had to throw in this more or less crap filler right after one of his greatest songs. This is, as another reviewer noted, Queen trying to show they could rock. Don’t get me wrong -

queen could rock. They did it a lot. This song, however, is just so weak. Even freddie’s vocals don’t impress me, much which is rare. This is the only song on the cd that is skippable. The ending guitar solo is pretty good and makes up a bit for the rest a bit. Still, one of Queen’s worst songs. 4.5 / 10

7. Seaside Rendevous – ah Freddie, way to bring the album back up! It is quite similiar to “lazing on a sunday afternoon” in its campiness, but different in every other aspect. The lyrics are hilarious and amazing. The piano line just works so well with this song. The vocal overdubs are just great, too. The real highlight, however, is the middle. Freddie plays a woodwind section with his voice, and Roger Taylor plays a brass section with his voice! Truly amazing to hear! There really was no end to the talent these guys possessed. 9.75/10

8. Prophet’s Song – Brian makes up for “Sweet Lady” with this one. Stars off with some wooshy noises followed by acoustic guitar and some kind of japanese string instrument. Freddie comes in with his vocals which are top notch. Oh, but then it rocks – and it rocks hard. This is queen rocking. the guitar riff remind me of somethign native american – esque. A war dance of sorts. The lyrics are absolutely amazing. Interpret them as you would, but i think they contain a highly religious theme. Freddie sings them with so much feeling. BUT the highlight is the hugggge accapella middle. Sure it’s long. Sure it’s excessive. But if you listen to it loud enough, sing along, and have an open mind you will absolutely fall in love with it. The song soon gets back to rocking and finishes the way it entered. a real winner. One of Brian May’s best. 10/10

9. Love of my life – The transition from “prophet’s song” to this song is so impecabble. It just works so well. lovely piano + harp + simple bassline + freddie’s truly angelic voice = pure success. One of queen’s greatest songs ever. freddie puts so much feeling into every single word he sings. It’s mind boggling how good his singing and piano line work. The vocal overdubbs work amazingly too. This is truly a queen masterpiece. 10/10

10. Good Company – An interesting transition from the sad “Love of my Life”. This song is just fun. Have an open mind! I love singing along to this song, and yes, it will be stuck in your head for days. Some dismiss it as filler but it’s got too much in it to be filler. Jazz guitar orchestration (a whole lot of guitars at that) and ukelele – what more could you want!?! Clever lyrics as well – brian may was possibly the best lyricist from the band. A great addition to this album. Nice bassline too. 9/10

11. Bohemian Rhapsody – Funny how no one actually says anything about this song. Everyone always says “everyone’s heard this song” or “this is the most amazing thing ever.” Well, maybe not everyone has heard this song and not everyone understands why it is so amazing. It therefore bears neccesity to be said. tTe introduction is freddie overdubbeed four times producing some lovely vocal harmonies. Then the piano line comes in which quickly becomes one of the greatest in rock history. Eventually we get to “mama just killed a man” part. This first verse is absolutely stunningly beautiful. Freddie’s voice, the lyrics, bass, and piano all come together to form one of the most amazing products immaginable. The whole first and second verses are stunning – truly stunning. This is followed by another one of rock’s most esteemed guitar solos courtesy of Mr. Brian May. Instantly recognisable. Brian may had a terrific way of not just sticking a solo into a song. Rather he wrote a song to be the defining apex, to build upon the crescendo that had led up to it – and then to exceute. But the song is far from over. It then goes into probably the most ridiculous and crazy minute some odd in rock history. Over 128 vocal overdubs! Amazing harmonies! Finally this section boils over to the third section of the song, the rocking part. And it truly is queen rocking. They could do it and here it is proved. This part also has very strong lyrics. Finally Brian does a couple runs up his guitar and there’s some more piano fanfare before it finally returns to a similar vibe from the first verse. The lyrics get quieter and quieter and eventually it’s just some nice guitar tapping from brian and piano. At the very end it’s just piano and Freddie singing “any way the wind blows” – and with a cymbol crash from Roger, it’s all over. 12/10

12. God Save the Queen – A challenge for every band is what song to put after the most epic song you’ve ever written. The only thing that could really live up to it would be another epic, and that cycle could go on forever. Therefore, Queen choose to end the album with a great guitar orchestration piece by Brian which really closes the album well. For tying together all loose ends, 9/10

Well, that’s quite a lot to say about this one album. But it truly is that amazing. If “Night at the Opera” is not in your collection by now you should be ashamed of yourself. It truly is an album which everyone will love, from fans of classical to hardcore punks. An incredible album and quite possibly queen’s greatest work. Buy it. You will be wow-ed

Track Listing

A1 Death On Two Legs (Dedicated To …) 3:35
A2 Lazing On A Sunday Afternoon 1:05
A3 I’m In Love With My Car 2:46
A4 You’re My Best Friend 2:39
A5 ’39 3:08
A6 Sweet Lady 3:45
A7 Seaside Rendezvous 2:05

B1 The Prophet’s Song 7:53
B2 Love Of My Life 3:19
B3 Good Company 3:08
B4 Bohemian Rhapsody 5:32
B5 God Save The Queen 1:04

Credit

Art Direction – David Casta
Bass – John Deacon
Engineer – Gary Lyons
Engineer [Executive] – Mike Stone
Guitar – Brian May
Percussion – Roger Taylor
Producer – Roy Thomas Baker
Producer, Composed By, Arranged By, Performer – Queen
Vocals, Piano [Bechstein Debauchery] – Freddie Mercury

Ripping Infos

RCM: Okky Nokky
TT: Clearaudio Champion Level II + Special Edition Denon DL 103 –> Clearaudio Smartphono
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III –> Pro-Ject Phono Box II
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400

Rec+Cleaning Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 —> Wave 32 bit/96 kHz
De-Clicking (if needed) with ClickRepair, significant clicks manually removing, no De-Noising

You hear some clicks and pops here and there? Who cares? I better let some light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.

Converting Wave 32bit/96kHz —> Flac 24bit/96kHz: Twisted Wave
Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

A1 Tie Your Mother Down 4:47
A2 You Take My Breath Away 5:09
A3 Long Away 3:34
A4 The Millionaire Waltz 4:55
A5 You And I 3:27

B1 Somebody To Love 4:56
B2 White Man 4:59
B3 Good Old-Fashioned Lover Boy 2:55
B4 Drowse 3:43
B5 Teo Torriatte (Let Us Cling Together) 5:54

Artwork By [Direction] – David Costa
Artwork By [Inner Sleeve Co-ordination] – Cream
Bass [Fender] – John Deacon
Drums, Vocals, Percussion, Other [Pandemonium] – Roger Taylor
Engineer – Mike Stone
Guitar, Vocals, Leader [Orchestra] – Brian May
Producer, Composed By, Arranged By, Performer – Queen
Vocals, Piano, Leader [Choir], Other [Tantrums] – Freddie Mercury
Written-By – Brian May (tracks: A1, A3, B2, B5), Freddie Mercury (tracks: A2, A4, B1, B3), John Deacon (tracks: A5), Roger Taylor (tracks: B4)

Ripping Infos

RCM: Okky Nokky
TT: Clearaudio Champion Level II + Special Edition Denon DL 103 –> Clearaudio Smartphono
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III –> Pro-Ject Phono Box II
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400

Rec+Cleaning Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 —> Wave 32 bit/96 kHz
De-Clicking (if needed) with ClickRepair, significant clicks manually removing, no De-Noising

You hear some clicks and pops here and there? Who cares? I better let some light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.

Converting Wave 32bit/96kHz —> Flac 24bit/96kHz: Twisted Wave
Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

Side one
1. ”Mustapha”
2. ”Fat Bottomed Girls”
3. ”Jealousy”
4. ”Bicycle Race”
5. ”If You Can’t Beat Them”
6. ”Let Me Entertain You”
Side two
1. ”Dead on Time”
2. ”In Only Seven Days”
3. ”Dreamer’s Ball”
4. ”Fun It”
5. ”Leaving Home Ain’t Easy”
6. ”Don’t Stop Me Now”
7. ”More of That Jazz”

Queen – Jazz (US Promo Vinyl Pressing in 24/96 and 16/44.1)

Posted by CreatineLuster @ February 28th, 2012

Queen – Jazz
Vinyl Rip in 24/96 and 44.1|FLAC|Artwork|RS
Original US Promo

Jazz is the seventh studio album by British rock band Queen, released in November 1978.

EQUIPMENT

Turntable – Marantz 6270Q
Cartridge – AT440MLA
Phono – Pioneer silver face SA 7500-II
ADC – EMU 1212M
Software – Recorded in Audition CS 5.5 at 24/192

All albums are hand washed and then wood glued before being recorded.

Only manual adjustments were made in iZotope RX Advanced 2.02. This includes cleaning up noise, clicks, pops, anomalies, resampling and/or dithering.
No click repair or fades were used for these files, unless specified.

This promo was cut by George Marino (his handwriting).

01. One Vision
02. A Kind Of Magic
03. One Year Of Love
04. Pain Is So Close To Pleasure
05. Friends Will Be Friends
06. Who Wants To Live Forever
07. Gimme The Prize
08. Don't Lose Your Head
09. Princes Of The Universe

Vinyl Ripping Process/Equipment

Vinyl Cleaning Process
- 3 Liter Ultrasonic Cleaner (Tap water with Sporicidin) on custom rotating assembly at 1 RPM for one hour
- Vacuum off with Nitty Gritty
- AIVS Premium Record Cleaner Formula No. 15 applied with Mofi Brush while rotating on VPI 16.5
- McCulloch MC-1275 Heavy-Duty Steam Cleaner applied with Mofi Brush while rotating on VPI 16.5
- Vacuum off with VPI 16.5
- L'Art du Son Record Cleaning Fluid applied with VPI Bristle brush
- Vacuum off with VPI 16.5
- Whole Foods Deionized Water applied with Mofi Brush (Separate from AIVS Mofi Brush)
- Vacuum off with VPI 16.5
- Flip record and repeat
- Place record on Plate Demgnetizer

Turntable Equipment Profile
- VPI Scoutmaster with inverted bearing and 300 RPM motor
- VPI Center Record Weight
- VPI Periphery Ring Clam
- Gingko Cloud 11 Vibration Control Platform
- VPI Synchronous Drive System turntable motor speed controller and line isolator
- Trans-Fi Audio Terminator T3Pro tangential tracking air bearing tonearm
- Zyx Airy 3X-SB cartridge

Phono Stage Profile
- Musical Surroundings Phonomena Phono Preamplifier
- Musical Surroundings Battery Power Supply

Analog/Digital Convertion
- E-MU 1212M (the 1212M contains the same A/D converters used in Digidesign's ProTools HD 192 I/O interface)
- Adobe Audition 3.01 running on Windows XP in a Shuttle PC form factor

Post Processing Of Audio
- Run thru ClickRepair(if necessary) at level 7 with
- Pitch Protection | off
- Reverse | on
- Simple
- Resample to 96khz in Izotope Rx2 using the default preset
- Manually listen to album in Adobe Audition cleaning any clicks/anomalies
- Flac with Xrecode II for hi-rez files

What is this Final Master stuff
After years of trying to improve both my ripping/cleaning process and upgrading my equipment to a level I feel comfortable sticking with I am proud to present these final versions of the best sources I can find.So I am happy to say that more than likely this is the last mother fucking copy you are ever going to need...or your money back

Quote:From The Badger's Den
Some folks don't like this LP, I love it, not in the greatest of shape but I was able to clean it up nicely I think

A Word On Redbook Files
I will not be posting redbook files, if you want redbook files you can create them yourself using these files. If you do not know how to create redbook files from hi-rez sources there are plenty of tutorials on the Internet.

A Word On Requests
I appreciate the enthusiasm this hobby inspires but I do these in my spare time and really have no time to entertain requests.

A1 Innuendo
A2 I’m Going Slightly Mad
A3 Headlong
A4 I Can’t Live With You
A5 Ride The Wild Wind

B1 All God’s People
B2 These Are The Days Of Our Lives
B3 Delilah
B4 Don’t Try So Hard
B5 The Hitman
B6 Bijou
B6 The Show Must Go On

Queen – Innuendo {Europa Pressing} 24 bit/96 kHz

Posted by AlfredoCatalani @ March 22nd, 2012

Queen – Innuendo – 1991

Vinyl rip in 24 bit & 96 kHz | 1 LP | no cue & log | HQ Artwork | 1.11 GB
Rock | Europa Pressing | EMI 068 7 95887 | HotFile

It’s hard to believe that this is the last album Queen released as a foursome. Released in 1991, not too long before Freddie’s death, this truly shows Queen at their finest. It’s one of those albums you can listen to all the way through. Starting with the six-minute epic “Innuendo”, and ending with the powerful “The Show Must Go On,” this album is a must have for any Queen fan, or any rock fan for that matter.

It was 1991 when one of Britain’s best loved bands released their last studio album to include all new material titled Innuendo. Although not quite the band’s last album all together, 1995?s Made In Heaven was a posthumous album but did feature some reworkings of various solo material that had already been released earlier. From the late 80s, it was largely publicised that Queen vocalist Freddie Mercury hadn’t been looking particularly healthy and although these accusations were denied, it eventually became fairly obvious. In terms of the band’s career, the band had struck huge stardom with their performance at 1985?s Live Aid. Mercury went on to release some solo material until the band released 1989?s The Miracle which focused on the 80s commercial sound and today is regarded as one of the band’s least worthy offerings. Mercury knew and the band knew that time was running out due to Mercury’s declining health. From early 1989 to late 1990, the group worked hard in the studio to release what would be their final album. Queen’s final hour proved to be Innuendo.

Innuendo saw the band focusing on making a true farewell. Upon release, the album was hugely successful worldwide although overall the album received mixed reviews from critics. Today, critical reception has changed and Innuendo is regarded as one of the band’s greatest works. The album topped the charts in many countries including the UK, Ireland and Switzerland whilst peaking at #30 in America. The leading single Innuendo peaked at number one in the UK. I’m Going Slightly Mad followed and became a minor success, peaking at #22 in the UK. Headlong was the first single released in America and third in Europe, peaking at #14 in the UK, #3 on the American mainstream rock chart but failing to enter the top 100 singles in America. The Show Must Go On was released in late 1991 and peaked at #16 in the UK and #40 on the mainstream rock chart in America. These Are The Days of Our Lives was released as a double a-side with Bohemian Rhapsody after Mercury’s death, peaking at #1 in the UK. Ride The Wild Wind was released as a single exclusive to Poland where it topped the chart. Finally, I Can’t Live With You was remixed by Brian Malouf and released as a promotional single in America where it peaked at #28 on the American mainstream rock chart. Overall, each single was widely successful worldwide, especially throughout Europe although America didn`t seem very interested in the band at the time until Mercury’s death when Bohemian Rhapsody peaked at #2 in the American top 100 singles chart.

On the whole I highly recommend this album to any rock or pop fan. This album features an eccentric mix of tracks, all strong in their own way with perfect production that is consistent throughout the album. Since the mid-80s, Queen had released material that sounded more and more commercial for the times. This album returned the band to their 70s roots whilst maintaining that commercial sound along with plenty of maturity. The album was a perfect farewell from Mercury and marked the end of the original band. Innuendo is a splendid album, the perfect swansong for Queen, bursting with creativity and memorable performances from each member of the band.

Track Listing

A1 Innuendo
A2 I’m Going Slightly Mad
A3 Headlong
A4 I Can’t Live With You
A5 Ride The Wild Wind

B1 All God’s People
B2 These Are The Days Of Our Lives
B3 Delilah
B4 Don’t Try So Hard
B5 The Hitman
B6 Bijou
B6 The Show Must Go On

Credit

Bass Guitar, Keyboards – John Deacon
Drums, Percussion, Keyboards, Other [Harmonies], Vocals – Roger Taylor
Engineer, Producer – David Richards
Guitar [Guitars], Keyboards, Vocals, Other [Harmonies] – Brian May
Lead Vocals, Keyboards – Freddie Mercury
Mastered By – Kevin Metcalf
Music By, Lyrics By – Queen (tracks: A1 to A5, B2 to B7)
Producer – Queen

Ripping Infos

RCM: Okki Nokki
TT: Clearaudio Champion Level II + Special Edition Denon DL 103 –> Clearaudio Smartphono
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III –> Pro-Ject Phono Box II
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400

Rec+Cleaning Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 —> Wave 32 bit/96 kHz
Light De-Clicking (if needed), significant clicks manually removing, no De-Noising
Converting Wave 32bit/96kHz —> Flac 24bit/96kHz: Twisted Wave
Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

A1 It’s A Beautiful Day
A2 Made In Heaven
A3 Let Me Live
A4 Mother Love
A5 My Life Has Been Saved
B1 Was Born To Love You
B2 Heaven For Everyone
B3 Too Much Love Will Kill You
B4 You Don’t Fool Me
B5 A Winter’s Tale
B6 It’s A Beautiful Day (reprise)

Queen – Made in Heaven {English White Vinyl Pressing} 24 bit/96 kHz

Posted by AlfredoCatalani @ March 23rd, 2012

Queen - Made in Heaven – 1994

Vinyl rip in 24 bit & 96 kHz | 1 LP | no cue & log | HQ Artwork | 1.16 GB
Rock | English White Vinyl Pressing | Parlophone 7243 8 36088 | HotFile

“Made in Heaven” is the fourteenth and final studio album by Queen. It was released on November 23 1995. After Freddie Mercury’s death in 1991, the remaining band members John Deacon, Roger Taylor and Brian May recorded new lyrics and mixed them together with vocals that Mercury recorded before he died. Both stages of recording, before and after Mercury’s death, were completed at the band’s studio in Montreux, Switzerland, pictured on the cover of the album behind Mercury.
Freddie Mercury was without a doubt the best singer that ever lived. After his death the remaining band members decided they should honor his memory, because as we all know, Freddie said “The show must go on”. The result was Made in Heaven. In my opinion this is ironically Queen’s finest album.

Normally, when a band takes some older songs and re-works them the result is just bad. In this case it’s the complete opposite. They took songs from Freddie Mercury’s solo album Mister Bad Guy and turned them into something truly special.

The album begins with “It’s a beautiful day”, and until the end of the album which is a reprise of the first track, you almost feel as though the sun is setting on the life of something precious and beautiful. “Let me live” is a soulful number where we also get to hear Brian and Roger sing. It’s a classic Queen song. “Mother Love” is the most somber piece on the album. “Heaven for everyone” was a song originally done by Roger Taylor’s band The Cross. “A Winter’s Tale” probably captures the spirit of the album best. It’s an intensely beautiful song.

I could tell you about the rest of the songs too, but my thoughts on all of them are pretty much the same. These songs are all very special and it’s obvious that Queen put some real effort and talent into making these songs sound nothing less than the best of Queen.

The ending tracks are something very special too, and in a way they end this very special album and perfectly reflects the life of one very special person and the talent therein. It’s a must-have especially for any fan of Queen.

credit

Arranged By, Producer – Queen
Artwork – Richard Gray (2)
Artwork [Sculpture] – Irena Sedlecka

Backing Vocals [Extra] – Catherine Porter (tracks: 3), Gary Martin (2) (tracks: 3), Miriam Stockley (tracks: 3), Rebecca Leigh-White (tracks: 3)
Bass Guitar, Keyboards – John Deacon
Co-producer, Engineer – David Richards, Joshua J. Macrae, Justin Shirley-Smith
Design [Sleeve] – Queen, Richard Gray (2)
Drums, Percussion, Keyboards, Vocals – Roger Taylor
Guitar, Keyboards, Vocals – Brian May
Management – Jim Beach (2)
Management [Publicity] – Phil Symes
Management [Queen Office] – Julie Glover, Sally Gallagher
Mastered By – Kevin Metcalfe
Mixed By [Mixing Supervision By] – David Richards
Photography By [Cover Photograph] – Richard Gray (2)
Recorded By [Additional Material Recorded By] – Mack (2)
Technician [Studio Equipment Co-ordination] – Martin Groves, Peter Malandrone, Steve PriorVocals,
Piano, Keyboards – Freddie Mercury

Ripping Infos

RCM: Okki Nokki
TT: Clearaudio Champion Level II + Special Edition Denon DL 103 –> Clearaudio Smartphono
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III –> Pro-Ject Phono Box II
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400

Rec+Cleaning Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 —> Wave 32 bit/96 kHz
Light De-Clicking (if needed), significant clicks manually removing, no De-Noising
Converting Wave 32bit/96kHz —> Flac 24bit/96kHz: Twisted Wave
Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5