DetailsThe Singers Unlimited - Magic Voices (1998) 7 CD Box Set MusicPosted by Designol at March 9, 2017The Singers Unlimited - Magic Voices (1998) 7 CD Box SetEAC | FLAC | Tracks (Cue&Log) ~ 2.45 Gb (incl 5%) | Mp3 (CBR320) ~ 1.18 Gb (incl 5%) | Scans ~ 1 GbVocal Jazz, Acapella, Harmony Vocal Group | Label: MPS | # 539 131/137 | Time: 08:45:50This vocal quartet originally started life as an extension of jazz band the Hi-Lo’s. From that prominent '50s band came Don Shelton, who decided to form Singers Unlimited after the Hi-Lo’s broke up in 1964. After retreating to Chicago, Illinois, where he worked on a series of television commercials, he enlisted fellow Hi-Lo’s veteran Gene Puerling of Milwaukee, Wisconsin, to join him in the city in 1967. The group was formed along with Len Dresslar and Bonnie Herman, with the express intention of recording commercials in the doo wop/vocal group idiom. Shelton’s connections in the industry ensured the group was able to exploit the market successfully, and lucrative work rolled in. However, the 30-second snatches of songs hardly satisfied their artistic ambitions, and when they found themselves with studio time left over after one session, they recorded a take on the Beatles' "The Fool on the Hill." Through visiting jazz pianist Oscar Peterson, the demo of the a cappella recording was passed to MPS Records in Germany. DetailsPiano Magic - Life Has Not Finished With Me Yet (2012) MusicPosted by aasana at March 6, 2017Piano Magic - Life Has Not Finished With Me Yet (2012)post-rock, indie, electronic, alternative, indie rock, experimental | 51:07 mins | MP3, 320 kbps | 117 MBLabel: Second Language | Year Of Release: 2012Life Has Not Finished With Me Yet, Piano Magic's 11th official album sees them emerging from beneath the wreckage of previous guitar-heavy releases to re-investigate the darker, more electronic sonic themes of their earlier work. Instant parallels will inevitably be drawn with the ghostly chamber pop of 1999's Artists Rifles and the even-earlier surreal romanticism of Low Birth Weight. At the core, once again, Glen Johnson's unashamedly nihilistic ruminations on the human condition, though now shrouded in foggy analogue synth washes, pulsing heart beats, cathedral reverbs and Joe Meek-esque spectral vox. Indeed, this is an album of beautiful, indispensable baroque ghostliness, of disconnected hearts and oceans. Touchstones would be the new, airless beauty of Regis and Raim; the timeless gravitas of Dead Can Dance and the urban, though melodic isolationist output of late 70's/early 80's Factory Records.