Bob Dylan – Bob Dylan (1962) [MFSL 2015] {SACD-R + FLAC 24-88.2}

August 15, 2015, 3:14 am

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Bob Dylan’s first album is a lot like the debut albums by the Beatles and the Rolling Stones — a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist’s own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-’60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan’s release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over “Man of Constant Sorrow” and “Pretty Peggy-O,” as well as the two originals here, the savagely witty “Talkin’ New York” and the poignant “Song to Woody”; and it’s also hard to believe that he wasn’t aware of Jimmie Rodgers and Roy Acuff when he cut “Freight Train Blues.” But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan’s presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There’s a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie’s classic ’40s and early-’50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist’s more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan’s stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here — his version of “House of the Rising Sun” here is worthwhile, but the version that was the inspiration for the Animals’ recording was the one by Josh White.

Tracklist:
01. You’re No Good
02. Talkin’ New York
03. In My Time of Dyin’
04. Man of Constant Sorrow
05. Fixin’ to Die
06. Pretty Peggy-O
07. Highway 51
08. Gospel Plow
09. Baby, Let Me Follow You Down
10. House of the Risin’ Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean

Mastered by Shawn R. Britton, Assisted by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD-R

http://www.datafile.com/d/TVRFNU16Z3lPVE0F9/BobDylanBobDylan1962MFSL2015SACDISO.part1.rar
http://www.datafile.com/d/TVRFNU16Z3lPVFUF9/BobDylanBobDylan1962MFSL2015SACDISO.part2.rar
http://www.datafile.com/d/TVRFNU16Z3lPVFEF9/BobDylanBobDylan1962MFSL2015SACDISO.part3.rar
or
http://rapidgator.net/file/691525b4128c1fccbb76d794a0edec41/BobDylanBobDylan1962MFSL2015SACDISO.part1.rar.html
http://rapidgator.net/file/9bb884947374eb2bcaa31b837553b430/BobDylanBobDylan1962MFSL2015SACDISO.part2.rar.html
http://rapidgator.net/file/eb0dedca8fdfd5b97ec978f38642cff3/BobDylanBobDylan1962MFSL2015SACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3lPVEkF9/BobDylanBobDylan1962MFSL2015FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16Z3lPRGcF9/BobDylanBobDylan1962MFSL2015FLAC2488.2.part2.rar
or
http://rapidgator.net/file/f958bb71340ba19ea697d117dee847d7/BobDylanBobDylan1962MFSL2015FLAC2488.2.part1.rar.html
http://rapidgator.net/file/cf1f2e68d0de33e93ba8529ff991a68d/BobDylanBobDylan1962MFSL2015FLAC2488.2.part2.rar.html

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Bob Dylan & The Band – Before The Flood (1974) [MFSL 2015] {SACD-R + FLAC 24-88.2}

October 18, 2015, 8:41 am

≫ Next: Bob Marley – Young Mystic (2004) [Audio Fidelity SACD #AFZ-021] {SACD-R + FLAC 24-88.2}

≪ Previous: Bob Dylan – Bob Dylan (1962) [MFSL 2015] {SACD-R + FLAC 24-88.2}

Bob Dylan and the Band both needed the celebrated reunion tour of 1974, since Dylan’s fortunes had been floundering since Self Portrait and the Band stumbled with 1971’s Cahoots. The tour, with its attendant publicity, definitely returned both artists to center stage, and it definitely succeeded, breaking box office records and earning great reviews. Before the Flood, a double-album souvenir of the tour, suggests that these were generally dynamic shows, but not because they were reveling in the past, but because Dylan was fighting the nostalgia of his audience — nostalgia, it must be noted, that was promoted as the very reason behind these shows. Yet that’s what gives this music such kick — Dylan reworks, rearranges, reinterprets these songs in ways that are still disarming, years after its initial release. He could only have performed interpretations this radical with a group as sympathetic, knowing of his traits as the band, whose own recordings here are respites from the storm. And this is a storm — the sound of a great rocker, surprising his band and audience by tearing through his greatest songs in a manner that might not be comforting, but it guarantees it to be one of the best live albums of its time. Ever, maybe.

Tracklist:
DISC ONE
01. Most Likely You Go Your Way (And I’ll Go Mine)
02. Lay Lady Lay
03. Rainy Day Women #12 & 35
04. Knockin’ On Heaven’s Door
05. It Ain’t Me, Babe
06. Ballad Of A Thin Man
07. Up On Cripple Creek
08. I Shall Be Released
09. Endless Highway
10. The Night They Drove Old Dixie Down
11. Stage Fright
DISC TWO
01. Don’t Think Twice, It’s All Right
02. Just Like A Woman
03. It’s Alright, Ma (I’m Only Bleeding)
04. The Shape I’m In
05. When You Awake
06. The Weight
07. All Along The Watchtower
08. Highway 61 Revisited
09. Like A Rolling Stone
10. Blowin’ In The Wind

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EY3lNalUF9/BobDylanTh3BandB3for3Th3Flood1974MFSL2015FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EY3lNalkF9/BobDylanTh3BandB3for3Th3Flood1974MFSL2015FLAC2488.2.part2.rar
http://www.datafile.com/d/TVRNek9EY3lNamMF9/BobDylanTh3BandB3for3Th3Flood1974MFSL2015FLAC2488.2.part3.rar
or
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http://rapidgator.net/file/8b1957995cc10c09e2afea08995903c9/BobDylanTh3BandB3for3Th3Flood1974MFSL2015FLAC2488.2.part2.rar.html
http://rapidgator.net/file/fbdff5f43f6e604bc48590d6080f9fa8/BobDylanTh3BandB3for3Th3Flood1974MFSL2015FLAC2488.2.part3.rar.html

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Bob Marley – Young Mystic (2004) [Audio Fidelity SACD #AFZ-021] {SACD-R + FLAC 24-88.2}

October 18, 2015, 8:44 am

≫ Next: Bryan Ferry – Frantic (2002) [2.0 & 5.1] {SACD-R + FLAC 24-88.2}

≪ Previous: Bob Dylan & The Band – Before The Flood (1974) [MFSL 2015] {SACD-R + FLAC 24-88.2}

Recorded under the auspices of revolutionary reggae producer Lee “Scratch” Perry, this compilation includes early versions of many of the songs that were later to make Bob Marley and the Wailers internationally famous. Previously a fairly run-of-the-mill Jamaican vocal group, the band were molded by Perry into a rootsy, Rasta-centric outfit. The polite ska rhythm of the ’60s is gone, replaced by upfront rhythm guitar and bass and Carlton Barrett’s exemplary one-drop reggae drumming, and Marley’s vocals are tough and confident. “Small Axe” is a Jamaican proverb shaped to suit the turbulent political times, while “Soul Rebel” is an early manifestation of Marley’s later persona, and “Kaya”‘s bass line is an inspired lift from Glenn Miller’s 1940s big band hit, “Tuxedo Junction”.

Tracklist:
01. Soul Shakedown Party
02. Small Axe
03. Duppy Conqueror
04. African Herbsman
05. Sun Is Shining
06. Soul Rebel
07. Try Me
08. Soul Almighty
09. Jah Is Mighty
10. Fussing And Fighting
11. All In One
12. Reaction
13. Keep On Moving
14. Kaya
15. Stand Alone

Recorded in Kingston, Jamaica at Randy’s Studio 17 and Dynamic Sound Studios, between 1969 – 1972.
Compiled & Mastered by Steve Hoffman from The Original Master Tapes at AcousTech Mastering, Camarillo, CA.
DSD “Master” Engineered by Lon Neumann.

Remastering Note:
We feel that this disc contains the best sounding versions of these classic Wailers songs ever released. We went back to the original Jamaican master tape “splits” (music and vocals on two separate channels) to master the songs. In a few cases the splits no longer exist and we used the original mono mixes instead. For the most part, you are hearing the true sound of the original session masters for the first time here. Even though these songs were recorded crudely by Western standards, they still have a lot to offer sonically as you will near! Since we bypassed the usual “production masters” we also bypassed a great deal of added distortion, compression and over trie top equalization used by other releases of this historic material. You will notice when you listen to this SACD/CD hybrid that the vocals now have a warm lifelike sound that is dynamic and realistic. I did not use any compression when mastering this disc. In fact, these mixes are unique to this release and were done live to DSD and PCM without any processing, insuring that you will hear the “breath of life” that has been hidden in these performances for 35 years. Audio Fidelity has really gone the extra mile in bringing these le performances to you. Enjoy! — Steve Hoffman, June 2004.

SACD-R

http://www.datafile.com/d/TVRNek9EY3lOVEkF9/BobMarl3yYoungMysticAudioFid3lity2004SACDISO.part1.rar
http://www.datafile.com/d/TVRNek9EY3lOVFEF9/BobMarl3yYoungMysticAudioFid3lity2004SACDISO.part2.rar
http://www.datafile.com/d/TVRNek9EY3lOVFUF9/BobMarl3yYoungMysticAudioFid3lity2004SACDISO.part3.rar
or
http://rapidgator.net/file/7b9e8a87cacbe8ab982973638286f2be/BobMarl3yYoungMysticAudioFid3lity2004SACDISO.part1.rar.html
http://rapidgator.net/file/05b272de1189c6518bd09af732f8e5ce/BobMarl3yYoungMysticAudioFid3lity2004SACDISO.part2.rar.html
http://rapidgator.net/file/15f42084013c2bb53aedd1b3846448be/BobMarl3yYoungMysticAudioFid3lity2004SACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EY3lOVEEF9/BobMarl3yYoungMysticAudioFid3lity2004FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EY3lOREkF9/BobMarl3yYoungMysticAudioFid3lity2004FLAC2488.2.part2.rar
or
http://rapidgator.net/file/1c13b5e61d46261f88ade580f41873af/BobMarl3yYoungMysticAudioFid3lity2004FLAC2488.2.part1.rar.html
http://rapidgator.net/file/1004020544ae7048592fb97335392647/BobMarl3yYoungMysticAudioFid3lity2004FLAC2488.2.part2.rar.html

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Bryan Ferry – Frantic (2002) [2.0 & 5.1] {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:03 am

≫ Next: Bryan Ferry – Japanese SHM-SACD Reissue Series (2015, 6x SACDs) {SACD-R + FLAC 24-88.2}

≪ Previous: Bob Marley – Young Mystic (2004) [Audio Fidelity SACD #AFZ-021] {SACD-R + FLAC 24-88.2}

Frantic manages to touch upon virtually every musical style of Bryan Ferry’s career. Ferry has proved to be as interested in covering other artists’ material as penning original songs, and he straddles a smart mix of originals and covers here. Two brilliant Bob Dylan songs appear among the opening tracks: “It’s All Over Now Baby Blue” sees a return to the eclectic, energetic experimentation of Ferry’s early albums with Roxy Music as a lush modern swirl of instruments mingles with the singer’s stylized vocals and throwback harmonica; “Don’t Think Twice It’s Alright” completes the Dylan pair, as Ferry intones with confidence and again takes up harmonica over Colin Good’s rolling piano. The reverent Leadbelly cover “Goodnight Irene” reimagines Ferry as a kind of blues troubadour. “One Way Love” sees the Drifters’ song reworked as a squall of distorted guitars and keyboards. Almost half of Frantic’s songs originated from late-’90s sessions with Eurythmics’ Dave Stewart, and Stewart is given a co-writer credit for these songs. Though the Stewart songs tend to favor edginess over songwriting, a few of them manage to break through the bombast. “Goddess of Love” is probably the best song about Marilyn Monroe since Kitchens of Distinction’s “When in Heaven,” and there’s a passing musical resemblance to that great song. “Hiroshima” works like an ominous take on Roxy Music’s synth-heavy Avalon period, with raging guitar dynamics contributed by Radiohead’s Jonny Greenwood. Roxy Music fans will find more reasons to rejoice with the superb album closer, “I Thought,” which was co-written with Brian Eno, who sings backing vocals and plays keyboards. Some listeners might suggest that an album this varied has an identity crisis, but with standout tracks as glorious as the Dylan covers and the Eno closer, Frantic is a fascinating addition to Bryan Ferry’s accomplished discography.

Tracklist:
01. It’s All Over Now, Baby Blue
02. Cruel
03. Goin’ Down
04. Goddess Of Love
05. Don’t Think Twice, It’s All Right
06. Nobody Loves Me
07. Ja Nun Hons Pris
08. A Fool For Love
09. Goodnight Irene
10. Hiroshima…
11. San Simeon
12. One Way Love
13. I Thought

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EY3lOVGsF9/BryanF3rryFrantic2002FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EY3lOVGMF9/BryanF3rryFrantic2002FLAC2488.2.part2.rar
or
http://rapidgator.net/file/bd00ebe3b8ceff5613de16abff564c88/BryanF3rryFrantic2002FLAC2488.2.part1.rar.html
http://rapidgator.net/file/15036effe28f3378dff97d5ef47dab7f/BryanF3rryFrantic2002FLAC2488.2.part2.rar.html

↧

Bryan Ferry – Japanese SHM-SACD Reissue Series (2015, 6x SACDs) {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:09 am

≫ Next: Captain Beefheart – Doc At The Radar Station (1980) [Japanese Limited SHM-SACD 2015] {SACD-R + FLAC 24-88.2}

≪ Previous: Bryan Ferry – Frantic (2002) [2.0 & 5.1] {SACD-R + FLAC 24-88.2}

2015’s collection of released in Japan SHM-SACDs of Bryan Ferry. Features new DSD flat transfer from the original analogue master tapes. Includes the albums: These Foolish Things (1973), Another Time, Another Place (1974), Let’s Stick Together (1976), In Your Mind (1977), The Bride Stripped Bare (1978), Boys And Girls (1985).

While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group’s final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.

These Foolish Things Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group’s arty glam rock, These Foolish Things established the path that all of Ferry’s solo work — as well as the final Roxy Music records — would take, focusing on elegant synth pop interpretations of ’60s hits like Bob Dylan’s “A Hard Rain’s A-Gonna Fall,” the Rolling Stones’ “Sympathy for the Devil,” and the Beatles’ “You Won’t See Me,” all rendered in the singer’s distinct, coolly dramatic manner.
Another Time, Another PlaceRoxy Music remained Ferry’s primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from “You Are My Sunshine” to “It Ain’t Me, Babe” to “Smoke Gets in Your Eyes.” His third venture, 1976’s Let’s Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry’s first collection of completely original material; the following year’s The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.
Boys and GirlsFerry did not record another solo album until 1985’s Boys and Girls, a sleek, seamless effort that was his first “official” solo release following the Roxy breakup. For 1987’s Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering “The Right Stuff,” and notched his only U.S. Top 40 hit with “Kiss and Tell.” Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band’s first jaunt out in more than a decade.
Frantic In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010’s Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album featured his band re-recording some of his biggest hits in a 1920s jazz style. Ferry returned to the studio in 2014 to record his 14th studio album with longtime collaborator Rhett Davies. The resulting Avonmore — which included guest spots from Johnny Marr, Nile Rodgers, and Marcus Miller and revived Ferry’s mid-’80s sound — appeared in November.

Much like his contemporary David Bowie, Ferry consolidated his glam-era success with a covers album, his first full solo effort even while Roxy Music was still going full steam. Whereas Bowie on Pin-Ups focused on British beat and psych treasures, Ferry for the most part looked to America, touching on everything from Motown to the early jazz standard that gave the collection its name. Just about everyone in Roxy Music at the time helped out on the album — notable exceptions being Andy Mackay and Brian Eno. The outrageous take on Bob Dylan’s “A Hard Rain’s A-Gonna Fall,” with Ferry vamping over brassy female vocals, sets the tone for things from the start. All this said, many of the covers aim for an elegant late-night feeling not far off from the well-sculpted Ferry persona of the ’80s and beyond, though perhaps a touch less bloodless and moody in comparison. In terms of sheer selection alone, meanwhile, Ferry’s taste is downright impeccable. There’s Leiber & Stoller via Elvis’ “Baby I Don’t Care,” Lesley Gore’s “It’s My Party” (with narrative gender unchanged!), Smokey Robinson and the Miracles’ “The Tracks of My Tears,” and more, all treated with affection without undue reverence, a great combination. Ferry’s U.K. background isn’t entirely ignored, though, thanks to two of the album’s best efforts — the Beatles’ “You Won’t See Me” and the Stones’ “Sympathy for the Devil.” Throughout Ferry’s instantly recognizable croon carries everything to a tee, and the overall mood is playful and celebratory. Wrapping up with a grand take on “These Foolish Things” itself, this album is one of the best of its kind by any artist.

Tracklist:
01. A Hard Rain’s A-Gonna Fall
02. River Of Salt
03. Don’t Ever Change
04. Piece Of My Heart
05. Baby I Don’t Care
06. It’s My Party
07. Don’t Worry Baby
08. Sympathy For The Devil
09. The Tracks Of My Tears
10. You Won’t See Me
11. I Love How You Love Me
12. Loving You Is Sweeter Than Ever
13. These Foolish Things

DSD flat transferred from UK original analogue master tapes
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

Another Time, Another Place isn’t as immediately thrilling as Ferry’s solo debut, but still is a great listen. The same core band that backed Ferry up on the earlier record stays more or less in place here. If, like Roxy over the years, this collection is a touch less frenetic at points in comparison to Ferry’s earlier solo stab, the opening blast through “The ‘In’ Crowd” doesn’t show it. Porter’s guitar rips along as intensely as Phil Manzanera’s can, and the whole thing makes Dobie Gray’s original take seem pretty tame. Beyond that, things will be familiar to anyone who’s heard These Foolish Things — same general atmosphere, same overall approach of Ferry taking classic originals and putting his own proto-lounge-lizard stamp on them, mixing energetic versions with far calmer ones. A very intriguing development is his inclusion of efforts from up-and-coming country writers and singers — thus, a loud and groovy cover of “Funny How Time Slips Away” by Willie Nelson and another of Kris Kristofferson’s “Help Me Make It Through the Night.” Other country atmospheres slip in here and there via another nod to Elvis (“Walk a Mile in My Shoes,” originally by Joe South), while other classics get tapped with versions of “Smoke Gets in Your Eyes” and Sam Cooke’s “(What A) Wonderful World.” The album as a whole feels a touch more formal than its predecessor, but Ferry and company, plus various brass and string sections, turn on the showiness enough to make it all fun. A harbringer of solo albums to come appears at end — the title track, a Ferry original.

Tracklist:
01. The ‘In’ Crowd
02. Smoke Gets In Your Eyes
03. Walk A Mile In My Shoes
04. Funny How Time Slips Away
05. You Are My Sunshine
06. (What A) Wonderful World
07. It Ain’t Me Babe
08. Fingerpoppin’
09. Help Me Make It Through The Night
10. Another Time, Another Place

DSD flat transferred from UK original analogue master tapes
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

As Roxy approached its mid- to late-’70s hibernation, Ferry came up with another fine solo album, though one of his most curious. With Thompson and Wetton joined by U.K. journeyman guitarist Chris Spedding, Ferry recorded an effort that seemed as much of a bit of creative therapy as it was music for its own sake. On the one hand, he followed the initial formula established for his solo work, looking back to earlier rock, pop, and soul classics with gentle gusto. The title track itself, a cover of the fluke Wilbert Harrison ’60s hit, scored Ferry a deserved British hit single, with great sax work from Chris Mercer and Mel Collins and a driving, full band performance. Ferry’s delivery is one of his best, right down to the yelps, and the whole thing chugs with post-glam power. Other winners include the Everly Brothers’ “The Price of Love” and the Beatles’ “It’s Only Love,” delivered with lead keyboards from Ferry and a nice, full arrangement. On the other hand, half of the album consisted of Ferry originals — but, bizarrely, instead of creating wholly new songs, he re-recorded a slew of earlier Roxy classics. Fanciful fun or exorcising of past demons? It’s worth noting that most of the songs come from the Eno period of the band, and consequently the new versions stear clear of the sheer chaos he brought to the original Roxy lineup. As it is, the end results are still interesting treats — “Casanova” exchanges the blasting stomp of the original for a slow, snaky delivery that suggests threat without sounding too worried about it. “Re-Make/Re-Model,” meanwhile, turns downright funky without losing any of its weird lyrical edge. Others have subtler differences, as when the stark, stiff midsection of “Sea Breezes” becomes a looser, slow jam.

Tracklist:
01. Let’s Stick Together
02. Casanova
03. Sea Breezes
04. Shame, Shame, Shame
05. 2HB
06. The Price Of Love
07. Chance Meeting
08. It’s Only Love
09. You Go To My Head
10. Re-Make / Re-Model
11. Heart On My Sleeve

DSD flat transferred from UK original analogue master tapes
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

With Roxy Music set aside for the time being, Ferry took the solo plunge with an album of totally original material. As such, the underrated In Your Mind makes a logical follow-on from Roxy’s Siren, especially since usual suspects — Thompson, Manzanera, Wetton, and many more — assist him in the brief eight-song effort. While lacking early Roxy’s long-gone freakouts In Your Mind still burns more fiercely than both the later solo and group albums, at least on certain tracks – like Siren, it balances between rockier and smoother paths, most often favoring the former. Ferry’s lyrics remain in his own realm of intelligent, romantic dissipation, and are some of his best efforts. The strong opener “This Is Tomorrow” starts with Ferry and keyboards before moving into a big, chugging full band arrangement and a wistful chorus: “This is tomorrow callin’/Wish you were here.” When Ferry aims for a calmer mood, rather than stripped-down melancholia, he lets everyone play along. Sometimes the arrangements almost swamp the songs, but “One Kiss’” combination of female backing vocals, sax, and straight-up rock for instance, make it a great woozy, end-of-the-night singalong before the bars close. There are a few blatant misfires — “Tokyo Joe” has the chugging, dark funk/rock beat down cold, but the lyrics play around too much with Asian stereotypes (and let’s not mention the opening gong and all too obvious attempts at “atmosphere” via the strings). On balance, though, In Your Mind remains the secret highlight of Ferry’s musical career, an energetic album that would have received far more attention as a full Roxy release.

Tracklist:
01. This Is Tomorrow
02. All Night Operator
03. One Kiss
04. Love Me Madly Again
05. Tokyo Joe
06. Party Doll
07. Rock Of Ages
08. In Your Mind

DSD flat transferred from UK original analogue master tapes
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

When Jerry Hall, front-cover model on Roxy’s Siren, left Ferry for Mick Jagger, his response was this interesting album, not a full success but by no means a washout. In part Ferry returned to the model of his solo work before In Your Mind, with half the tracks being covers of rock and soul classics. Thus, Sam and Dave’s “Hold On (I’m Coming),” Al Green’s “Take Me to the River” (which arguably sounds like a strong influence on Talking Heads’ near contemporaneous version) and even the Velvet Underground’s “What Goes On,” among others, take a bow. Unfortunately Ferry’s backing performers, mostly drawing on studio pros like Waddy Wachtel, don’t seem to have the real affinity for the material like his earlier solo-effort cohorts did. If anything, though, there’s also the sense of Ferry channeling his romantic gloom through a number of the songs, giving them a strong personal bite. The guitar and bass-only version of the traditional folk tune “Carrickfergus” works best of all, its lovelorn sentiments and slow pace connecting just right. As for Ferry’s originals, his sentiments are all the more clear, right from the abbreviated charge of the opening “Sign of the Times,” its fractured sentiments of disturbed, vicious romance matched by the clipped punch of the music and Ferry’s own brisk delivery. The other originals don’t cut quite so bloodily, but the sense of loss and confusion is all there, from the opening line “Well I rush out blazin’/My pulse is racin’” on “Can’t Let Go” to the lonely sense of mystery on “This Island Earth,” the album’s conclusion.

Tracklist:
01. Sign Of The Times
02. Can’t Let Go
03. Hold On (I’m Coming)
04. The Same Old Blues
05. When She Walks In The Room
06. Take Me To The River
07. What Goes On
08. Carrickfergus
09. That’s How Strong My Love Is
10. This Island Earth

DSD flat transferred from UK original analogue master tapes
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

Having at last laid Roxy to bed with its final, intoxicatingly elegant albums, Ferry continued its end-days spirit with his own return to solo work. Dedicated to Ferry’s father, Boys and Girls is deservedly most famous for its smash single “Slave to Love.” With a gentle samba-derived rhythm leading into the steadier rock pace of the song, it’s ’80s Ferry at his finest, easy listening without being hopelessly soporific. As a whole, Boys and Girls fully established the clean, cool vision of Ferry on his own to the general public. Instead of ragged rock explosions, emotional extremes, and all that made his ’70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match. Co-producer Rhett Davies, continuing his role from the latter Roxy albums, picks up where Avalon left off right from the slinky opening grooves of “Sensation.” The range of people on the album is an intriguing mix, from latterday Roxy members like Andy Newmark and Alan Spenner to avid Roxy disciples like Chic’s Nile Rodgers. Everyone is subordinated to Ferry’s overall vision, and as a result there’s not as much full variety on Boys and Girls as might be thought or hoped. The album’s biggest flaw is indeed that it’s almost too smooth, with not even the hint of threat or edge that Ferry once readily made his own. As something that’s a high cut above the usual mid-’80s yuppie smarm music, though, Boys and Girls remains an enjoyable keeper that has aged well.

Tracklist:
01. Sensation
02. Slave To Love
03. Don’t Stop The Dance
04. A Waste Land
05. Windswept
06. The Chosen One
07. Valentine
08. Stone Woman
09. Boys And Girls

DSD flat transferred from UK original analogue master tapes
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

SACD-R

FLAC 24-88.2

↧

Captain Beefheart – Doc At The Radar Station (1980) [Japanese Limited SHM-SACD 2015] {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:11 am

≫ Next: Carl Cleves & Parissa Bouas – Out Of Australia (2010) {SACD-R + FLAC 24-88.2}

≪ Previous: Bryan Ferry – Japanese SHM-SACD Reissue Series (2015, 6x SACDs) {SACD-R + FLAC 24-88.2}

Generally acclaimed as the strongest album of his comeback, and by some as his best since Trout Mask Replica, Doc at the Radar Station had a tough, lean sound owing partly to the virtuosic new version of the Magic Band (featuring future Pixies sideman Eric Drew Feldman, New York downtown-scene guitarist Gary Lucas, and a returning John “Drumbo” French, among others) and partly to the clear, stripped-down production, which augmented the Captain’s basic dual-guitar interplay and jumpy rhythms with extra percussion instruments and touches of Shiny Beast’s synths and trombones. Many of the songs on Doc either reworked or fully developed unused material composed around the time of the creatively fertile Trout Mask sessions, which adds to the spirited performances. Even if the Captain’s voice isn’t quite what it once was, Doc at the Radar Station is an excellent, focused consolidation of Beefheart’s past and then-present.

Tracklist:
01. Hot Head
02. Ashtray Heart
03. A Carrot Is As Close As A Rabbit Gets To A Diamond
04. Run Paint Run Run
05. Sue Egypt
06. Brickbats
07. Dirty Blue Gene
08. Best Batch Yet
09. Telephone
10. Flavor Bud Living
11. Sheriff Of Hong Kong
12. Making Love To A Vampire With A Monkey On My Knee

DSD flat transferred from U.K. original analogue master tapes.
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2015.

SACD ISO

http://www.datafile.com/d/TVRNek9EY3pOakUF9/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015SHMSACDISO.part1.rar
http://www.datafile.com/d/TVRNek9EY3pOamcF9/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015SHMSACDISO.part2.rar
http://www.datafile.com/d/TVRNek9EY3pOamMF9/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015SHMSACDISO.part3.rar
or
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http://rapidgator.net/file/1dc68016face0acb33f03502296518b6/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015SHMSACDISO.part2.rar.html
http://rapidgator.net/file/d87469f5a75457cefda16e88b7ae0aba/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015SHMSACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EY3pOakEF9/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EY3pOVEUF9/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015FLAC2488.2.part2.rar
or
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http://rapidgator.net/file/ef267ccf2fb29ce9da892e9613536a53/CaptainB33fh3artDocAtTh3RadarStation1980Japan2015FLAC2488.2.part2.rar.html

↧

Carl Cleves & Parissa Bouas – Out Of Australia (2010) {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:15 am

≫ Next: Carole King – Music (1971) [MFSL 2011] {SACD-R + FLAC 24-88.2}

≪ Previous: Captain Beefheart – Doc At The Radar Station (1980) [Japanese Limited SHM-SACD 2015] {SACD-R + FLAC 24-88.2}

Carl Cleves & Parissa Bouas – Out Of Australia
SACD ISO (2.0/MCH): 3,12 GB | 24B/88,2kHz Stereo FLAC: 969 MB | Full Artwork | 3% Recovery Info
Label/Cat#: Stockfisch Records # SFR 357.4060.2 | Country/Year: Germany 2010
Genre: Folk, World, & Country | Style: Folk, Acoustic

Musical travelogue is distinguished by stunning vocals and unique instrumentation.

Flemish born singer/songwriter Carl Cleves and Greek-Australian vocalist Parissa Bouas have captured the hearts of folk enthusiasts in Australia. They are celebrated for their unique acuity for global storytelling, reflected in relevant social and political narratives. Together since 1991, as members of the Cleves-formed band, The Hottentots, the duo continue to perform and record together. In the tradition of authentic folk music, they travel extensively, integrating different cultures and auditory influences into original compositions. Cleves, who holds degrees in Law, African Music and Contemporary Composition, inhabits the aura of an international beat poet. Influenced by a collage of inspirational artists like Bob Marley, Abdullah Ibrahim, Arthur Rimbaud, Townes Van Zandt, and Kurt Weill, passion and conscience become recurrent contexts.

Out Of Australia, consisting of twelve original songs, is a ruminating perspective on worldwide society. Coalesced by folk-based guitar constructs and emotional vocals, each track has a unique feel. A centerpiece, “The Bethlehem Bell Ringer” examines the plight of innocent victims in the Palestinian struggle. Parissa Bousa’s incandescent voice is heartfelt, and the hymnal chorus, no less than exultant. The use of a tambura (string drone instrument) adds a somber Middle Eastern tone. The plights of diamond mine workers (“Way Down In The Mines”) in Johannesburg, and ethnic genocide (The Coniston Massacre”), are recounted without overindulgence. Framed by the steady guitar of Cleves, and his idiosyncratic baritone (not unlike Scottish troubadour Donovan), there is a consistent lyrical aesthetic.

Not all of the serious minded themes find a proper elucidation. “Graceful” attempts to juxtapose a breezy tenor and HIV reference, with incongruous results.
African spirit is rendered with joyous abandon on the folk chant “Mother’s Song”. Backup singer Lea Morris blends with Bouas in perfect harmony. “Sharpening A Knife”, an adaptation of a poem by Nanao Sakaki has a Gaelic cadence, with chorus repetition and a soaring lead vocal. In addition to the milieu of international social mores and politics, there is a sensitive coloration by various Middle Eastern and African instruments.

This nomadic anthology captures the pathos of the human condition with originality and verve.
Multichannel SACD is an ideal medium for this music. The understated nuances of the various stringed instruments are reproduced with clear acoustics, whether it’s a prominent rhythm guitar, or delicate lute. Tonal quality of the voices is flawless. The depth and texture of the vocals (in particular the ensembles) refine the musical eminence. Audiophile Audition

Carl und Parissa sind ein Duo, das in seiner australischen Heimat beträchtliche Popularität genießt. Dass man beim Plattentitel Out Of Australia unwillkürlich an Out Of Africa denken muss, ist wohl mehr als Zufall. Scheint doch in Out of eine tiefe emotionale Verbundenheit mit einem Land, seiner Natur und Kultur zum Ausdruck zu kommen. Eine Vermutung, die sich zur Gewissheit steigert, wenn dieses Album sich mit jedem Stück weiter entwickelt.

Parissas glockenreine Stimme mutet an wie eine Einladung der Baumgeister und Flussnymphen, scheint einem Traumpfad zu folgen. Carls warme Stimme und sein Gitarrenspiel erden diesen Gesang, halten ihn auf einem Teppich dezent keltischer Melodielinien, in dem die poetische Auseinandersetzung mit der Welt eingewirkt ist zwischen Freudentanz und lebensweisem Annehmen der Schattenbereiche. Ein Vegemite-Sandwich mit Lebensthemen, Ätherisches über der heißen Erde des Kontinents Down Under: Hörer, kommst Du zum Folk, so sage, Du habest uns hier singen hören wie das Land es befahl. in-akustic

SACD Info:

Carl Cleves & Parissa Bouas – Out Of Australia

Label: Stockfisch Records
Catalog#: SFR 357.4060.2
Format: Hybrid-SACD, Album, Stero & Multichannel
Country: Germany
Released: 2010
Genre: Folk, World, & Country
Style: Folk

Tracklist:

1    Into The Light     04:04.03
2    Eclipse Of The Sun 02:24.07
3    Don’t Flowers Grow 03:29.31
4    The Bethlehem Bell Ringer 05:19.76
5    Way Down 03:56.60
6    House Of Sorrow 04:01.40
7    Mother’s Song 03:38.93
8    The Coniston Massacre 05:00.17
9    Graceful 04:30.67
10    Zeco 04:57.43
11    Sharpening A Knife 03:48.51
12    Carmen 04:45.33

Notes:

Produced and recorded by Günter Pauler
Surround-Mix, -Mastering and CD-PreMastering by Hans-Jörg Maucksch at Pauler Acoustics
Mastering monitors: B&W Nautilus-801 D

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EYzBNREkF9/CarlCl3v3sParissaBouasOutOfAustraliaST3R3OFLAC.part1.rar
http://www.datafile.com/d/TVRNek9EY3pPVGMF9/CarlCl3v3sParissaBouasOutOfAustraliaST3R3OFLAC.part2.rar
or
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http://rapidgator.net/file/14ceafe1cf89d81c29c65a89e67f6705/CarlCl3v3sParissaBouasOutOfAustraliaST3R3OFLAC.part2.rar.html

Info+Art

http://www.datafile.com/d/TVRNek9EY3pOamsF9/CarlCl3v3sParissaBouasOutOfAustraliaInfoArt.rar
or
http://rapidgator.net/file/e28b028e6a62a43bdbc002572e8740b6/CarlCl3v3sParissaBouasOutOfAustraliaInfoArt.rar.html

↧

Carole King – Music (1971) [MFSL 2011] {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:18 am

≫ Next: Carole King – Tapestry (1971) [MFSL 2013] {SACD-R + FLAC 24-88.2}

≪ Previous: Carl Cleves & Parissa Bouas – Out Of Australia (2010) {SACD-R + FLAC 24-88.2}

Music, official name Carole King: Music, is the third album by American singer-songwriter Carole King. The album was released in December 1971 and quickly rose to the top of the charts. It features songs such as “It’s Going to Take Some Time” (US No. 12 by The Carpenters), “Sweet Seasons,” a No. 9 hit for Carole King, and “Brother, Brother”. Carole King: Music experienced immediate success and was certified gold on December 9, 1971, days after release. It was certified platinum on July 17, 1995.

After years as one of the most prolific and successful songwriters in pop music, Carole King emerged in the ’70s with Tapestry, an album that catapulted her to the forefront of the singer/songwriter movement. While she had mined her back catalog for that album, she relied more heavily on songs written with new collaborator Toni Stern for Music. Coming out on the heels of the classic Tapestry, it’s hard not to feel like this album was a bit of a letdown. However, time has shown this album to be one of her finest. While these songs lyrically lack the simplistic beauty of Gerry Goffin-penned tunes, the melodies are very strong and Carole King adds some nice texture to her piano-based tunes with the tasteful percussion of Bobbye Hall. When King goes for grand statements, however, it doesn’t always work. Her call for peace and brotherhood works on songs like the opening track, “Brother, Brother,” but her voice is not strong enough and does not convey enough emotion to prevent uplifting tunes like “Carry Your Load” from sounding a bit hollow and preachy. But her songwriting is still in peak form, and there are many highlights including “It’s Gonna Take Some Time” (also made into a hit by the Carpenters) and “Song of Long Ago” (with backing vocals by James Taylor).

Tracklist:
01. Brother, Brother
02. It’s Going To Take Some Time
03. Sweet Seasons
04. Some Kind of Wonderful
05. Surely
06. Carry Your Load
07. Music
08. Song of Long Ago
09. Brighter
10. Growing Away From Me
11. Too Much Rain
12. Back to California

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD-R

http://www.datafile.com/d/TVRNek9EYzBNVFEF9/Carol3KingMusic1971MFSL2011SACDISO.part1.rar
http://www.datafile.com/d/TVRNek9EYzBNVGMF9/Carol3KingMusic1971MFSL2011SACDISO.part2.rar
http://www.datafile.com/d/TVRNek9EYzBNVGsF9/Carol3KingMusic1971MFSL2011SACDISO.part3.rar
or
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http://rapidgator.net/file/8f757ab507fdac677cafc6ab7e0e2c2a/Carol3KingMusic1971MFSL2011SACDISO.part2.rar.html
http://rapidgator.net/file/83b8967ee93e1c8b713b0a508d28df4a/Carol3KingMusic1971MFSL2011SACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EYzBNRGMF9/Carol3KingMusic1971MFSL2011FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EYzBNRFEF9/Carol3KingMusic1971MFSL2011FLAC2488.2.part2.rar
or
http://rapidgator.net/file/e35b56a032517e2e22a44c325f8d42d3/Carol3KingMusic1971MFSL2011FLAC2488.2.part1.rar.html
http://rapidgator.net/file/2b227665421fca8b271c3d14fd5e3d1c/Carol3KingMusic1971MFSL2011FLAC2488.2.part2.rar.html

↧

Carole King – Tapestry (1971) [MFSL 2013] {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:21 am

≫ Next: Carole King – Tapestry (1971) [Remaster 1999] {SACD-R + FLAC 24-88.2}

≪ Previous: Carole King – Music (1971) [MFSL 2011] {SACD-R + FLAC 24-88.2}

Carole King brought the fledgling singer/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it’s a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits “It’s Too Late” and “I Feel the Earth Move” rank solidly with past glories, while songs like “Will You Still Love Me Tomorrow,” and “(You Make Me Feel Like) A Natural Woman” take on added resonance when delivered in her own warm, compelling voice. With its reliance on pianos and gentle drumming, Tapestry is a light and airy work on its surface, occasionally skirting the boundaries of jazz, but it’s also an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later.

Tracklist:
01. I Feel The Earth Move
02. So Far Away
03. It’s Too Late
04. Home Again
05. Beautiful
06. Way Over Yonder
07. You’ve Got A Friend
08. Where You Lead
09. Will You Love Me Tomorrow?
10. Smackwater Jack
11. Tapestry
12. (You Make Me Feel Like) A Natural Woman

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD-R

http://www.datafile.com/d/TVRNek9EYzBNelEF9/Carol3KingTap3stry1971MFSL2013SACDISO.part1.rar
http://www.datafile.com/d/TVRNek9EYzBNemcF9/Carol3KingTap3stry1971MFSL2013SACDISO.part2.rar
http://www.datafile.com/d/TVRNek9EYzBORFkF9/Carol3KingTap3stry1971MFSL2013SACDISO.part3.rar
or
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http://rapidgator.net/file/ef76ba8a90484c577b82bc3c830d455b/Carol3KingTap3stry1971MFSL2013SACDISO.part2.rar.html
http://rapidgator.net/file/12d68b43db7be4d6bcb7615722f0ae37/Carol3KingTap3stry1971MFSL2013SACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EYzBNamMF9/Carol3KingTap3stry1971MFSL2013FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EYzBNalUF9/Carol3KingTap3stry1971MFSL2013FLAC2488.2.part2.rar
or
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http://rapidgator.net/file/7abc34d36f1e14f09c7ea40e30090626/Carol3KingTap3stry1971MFSL2013FLAC2488.2.part2.rar.html

↧

Carole King – Tapestry (1971) [Remaster 1999] {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:23 am

≫ Next: Carole King – The Carnegie Hall Concert: June 18, 1971 (1996) [MFSL 2011] {SACD-R + FLAC 24-88.2}

≪ Previous: Carole King – Tapestry (1971) [MFSL 2013] {SACD-R + FLAC 24-88.2}

Carole King – Tapestry (1971) [Remaster 1999] {SACD 2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 50:44 minutes | Scans included | 3,33 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 50:57 min | Scans included | 1 GB
Features 2.0 Stereo and 5.1 multichannel surround. | Genre: Pop

Carole King was famous as a writer of girl-group hits in the ’60s. In 1971, she became more famous. That’s the year Tapestry became one of the biggest-selling LPs of all time. It’s easy to hear why–the music is loose, earthy, L.A. session-pop. King is casual, intimate, and tough; she covers all the emotional ground of the post-liberated woman with ease. She brings adult nuance to “Will You Still Love Me Tomorrow?” and comes up with hits (“It’s Too Late,” “I Feel the Earth Move”) whose white-soul realism and maturity put pop hits to shame.

SACD Stereo Mix Produced by Bob Irwin.
Engineered by Bob Irwin and Vic Anesini.
Mastered by Vic Anesini at Sony Music Studios, NY.
5.1 Surround Mix Produced by Paul Kingberg at Glenwood Place Studios, Burbank, CA.

Mastered by Steve Hall at Future Disc Systems, Hollywood, CA.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EYzBOVE0F9/Carol3KingTap3stry1971R3mast3r1999FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EYzBOVEUF9/Carol3KingTap3stry1971R3mast3r1999FLAC2488.2.part2.rar
or
http://rapidgator.net/file/9de2f65168a675191be7710f68b04eb2/Carol3KingTap3stry1971R3mast3r1999FLAC2488.2.part1.rar.html
http://rapidgator.net/file/4e3c3913c7ffa925bd42cc134ce0d6cf/Carol3KingTap3stry1971R3mast3r1999FLAC2488.2.part2.rar.html

↧

Carole King – The Carnegie Hall Concert: June 18, 1971 (1996) [MFSL 2011] {SACD-R + FLAC 24-88.2}

October 19, 2015, 9:26 am

≫ Next: Lee Morgan – Lee-Way (1960) [APO Remaster 2008] {SACD-R + FLAC 24-88.2}

≪ Previous: Carole King – Tapestry (1971) [Remaster 1999] {SACD-R + FLAC 24-88.2}

Archive live album from the songstress, an unmissable Tapestry-era performance recorded live at Carnagie Hall. With her album Tapestry on it’s way to selling millions upon millions of copies, Carole sounds relaxed, joyful and in total control of her audience. During this set, King performs 17 of her most well-known songs including, “I Feel The Earth Move”, “(You Make Me Feel Like) A Natural Woman”, “It’s Too Late” and “You’ve Got A Friend” (performed with James Taylor, who joins her for her encore).

Anyone who took the gray-striped kitty on the cover of Tapestry as a totem, from your hip junior-high English teacher to Ben Folds, will recognize the import of Carnegie Hall, recorded the week “It’s Too Late” went to No. 1. Mostly solo at the piano, King brought home 10 of that already emblematic album’s tunes with a smattering of other numbers. Some of the latter are more callow than absolutely necessary, with “Carry Your Load” way too bouncy and “Snow Queen” too glib. But when she digs out “No Easy Way Down” (immortalized by Dusty Springfield on Dusty in Memphis) and “A Natural Woman,” it’s a little bit of heaven, even when her voice starts cracking. Actually, her nervousness is charming, though some of her between-song wisecracks fail to wow the very partisan crowd, much less the CD listener a quarter-century later. Guess that’s only natural for someone just coming into her own in public after a decade or so behind the curtain, and no one seems to mind much anyway. As the history books tell us, this was a pretty polite rock moment; to further prove it, James Taylor shows up for the encores. Though Tapestry remains the essential item, this one gets by on the grace of King’s heart.

Carnegie Hall Concert: June 18, 1971 is 17-song set recorded just as Tapestry was topping the charts and making Carole King a superstar. Featuring most of Tapestry and a few songs from Writer and Music this is, in a sense, Carole King unplugged (although that terminology was not yet in use). King performs the first half-dozen songs alone at the piano; bassist Charles Larkey, guitarist Danny “Kootch” Kortchmar, and a string quartet back her (in varying combinations) throughout the rest of the program. Tapestry wasn’t exactly a high-wattage affair to begin with, so these rearrangements aren’t radical, but they’re different enough from the studio versions to merit attention by serious King fans. James Taylor, then at the peak of his own popularity, joins King on vocals for a medley of some of her old Brill Building hits, “Will You Still Love Me Tomorrow”/”Some Kind of Wonderful”/”Up on the Roof”.

Tracklist:
01. I Feel The Earth Move
02. Home Again
03. After All This Time
04. Child Of Mine
05. Carry Your Load
06. No Easy Way Down
07. Song Of Long Ago
08. Snow Queen
09. Smackwater Jack
10. So Far Away
11. It’s Too Late
12. Eventually
13. Way Over Yonder
14. Beautiful
15. You’ve Got A Friend
16. Medley: Will You Still Love Me Tomorrow? / Some Kind Of Wonderful / Up On The Roof
17. (You Make Me Feel Like) A Natural Woman

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRNek9EYzBPRFEF9/Carol3KingTh3Carn3gi3HallConc3rt1996MFSL2011FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRNek9EYzBPRFUF9/Carol3KingTh3Carn3gi3HallConc3rt1996MFSL2011FLAC2488.2.part2.rar
or
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↧

Lee Morgan – Lee-Way (1960) [APO Remaster 2008] {SACD-R + FLAC 24-88.2}

November 29, 2015, 2:27 am

≫ Next: Beethoven – Berliner Philharmoniker / Herbert von Karajan – Symphony No. 7 & No. 8 (2003) {SACD-R + FLAC 24-88.2}

≪ Previous: Carole King – The Carnegie Hall Concert: June 18, 1971 (1996) [MFSL 2011] {SACD-R + FLAC 24-88.2}

This date was one of trumpeter Lee Morgan’s more obscure Blue Note sessions, but fortunately, it has been reissued on SACD. Matched with altoist Jackie McLean, pianist Bobby Timmons, bassist Paul Chambers, and drummer Art Blakey, Morgan interprets two of Cal Massey’s compositions, McLean’s “Midtown Blues” and his own blues “The Lion and the Wolf.” The music is essentially hard bop with a strong dose of soul; the very distinctive styles of the principals are the main reasons to acquire this enjoyable music.

Tracklist:
01. These Are Soulful Days
02. The Lion and the Wolf
03. Midtown Blues
04. Nakatini Suite

Mastered by Kevin Gray & Steve Hoffman at AcousTech Mastering.

Personnel
Lee Morgan – trumpet
Jackie McLean – alto sax
Bobby Timmons – piano
Paul Chambers – bass
Art Blakey – drums

SACD-R

http://www.datafile.com/d/TVRReE56azROVGcF9/L33MorganL33Way1960APOR3mast3r2008SACDISO.part1.rar
http://www.datafile.com/d/TVRReE56azROalkF9/L33MorganL33Way1960APOR3mast3r2008SACDISO.part2.rar
http://www.datafile.com/d/TVRReE56azROVGsF9/L33MorganL33Way1960APOR3mast3r2008SACDISO.part3.rar
or
http://rapidgator.net/file/c13c39ba9d542eeae8a487049fb2b364/L33MorganL33Way1960APOR3mast3r2008SACDISO.part1.rar.html
http://rapidgator.net/file/b6cb1e7226ece9994508c2df33a3a4d2/L33MorganL33Way1960APOR3mast3r2008SACDISO.part2.rar.html
http://rapidgator.net/file/5f086fb85426e30a54551ffe6940aef8/L33MorganL33Way1960APOR3mast3r2008SACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRReE56azROVEEF9/L33MorganL33Way1960APOR3mast3r2008FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRReE56azRORFEF9/L33MorganL33Way1960APOR3mast3r2008FLAC2488.2.part2.rar
or
http://rapidgator.net/file/75673b05c1a709725dc0c214d32c5fab/L33MorganL33Way1960APOR3mast3r2008FLAC2488.2.part1.rar.html
http://rapidgator.net/file/3bdbf433c299b86e8cf17594fa3b9500/L33MorganL33Way1960APOR3mast3r2008FLAC2488.2.part2.rar.html

↧

Beethoven – Berliner Philharmoniker / Herbert von Karajan – Symphony No. 7 & No. 8 (2003) {SACD-R + FLAC 24-88.2}

November 29, 2015, 2:31 am

≫ Next: Nicki Parrott – Moon River (2008) [Japanese SACD Reissue 2014] {SACD-R + FLAC 24-88.2}

≪ Previous: Lee Morgan – Lee-Way (1960) [APO Remaster 2008] {SACD-R + FLAC 24-88.2}

Ludwig van Beethoven – Symphony No. 7 in A major, op. 92 & No. 8 in F major, op. 93
Berliner Philharmoniker / Herbert von Karajan
SACD ISO (Stereo): 2,43 GB | 24B/88,2kHz Stereo FLAC: 1,08 GB | Full Artwork | 3% Recovery Info
Label/Cat#: Deutsche Grammophon # 474 604-2 G SA6 | Country/Year: Germany 2003, 1963
Genre: Classical | Style: Viennese School, Orchestral

[review on the complete reissue series] I acquired this set, originally recorded in sessions in 1961 and 1962, as part of the process of comparing performances of Beethoven’s 5th on SACD and have since been listening to the other symphonies. Except for the 8th and 9th symphonies, this was my first exposure to this Karajan cycle. I acquired those LP’s of the 8th and 9th in the early 70’s, and then acquired the entire mid-seventies set, again on LP. Critical consensus at the time was that the newer set superseded the earlier one, so I saw no need to acquaint myself with it until now. I haven’t heard the later set for many years now, so I’m not in a position to do a detailed comparison.

In general, I like this cycle very much, although it has its flaws. If Sony were to release the slightly earlier Szell/Cleveland complete on SACD I could easily imagine preferring that one virtually across the board, and as I noted, I also think Vanska’s new 5th symphony is superior to Karajan’s. However, there is a lot of spirit and joy in this cycle, something Karajan wasn’t always accused of. It proves that it always pays to listen with open ears before passing judgment.

Generalizing, I find the textures to be string dominated, with brass and wind relatively recessed. Masur, for example, in his set (I bought that one, too, review to come) does a better job than Karajan in bringing out wind detail. Percussion is quite emphatic, however, and it sounds like the timpanist is using hard sticks. A combination of the reverberant acoustic in the Jesus Christus Kirche, free bowing (more below) and a tendency for under articulation leads to a sweet, even gooey (don’t know how else to describe it) string sound. The composer/conductor Bruno Maderna once referred to Karajan’s “chocolate” Beethoven, and I now understand what he meant.

Richard Osborne’s excellent biography of Karajan (Herbert von Karajan, a Life in Music) relates that Karajan allowed his string players to bow freely. Given HvK’s reputation, I found this hard to believe when I read it, even from as authoritative source as Osborne, but hearing these recordings I can well believe it. Most conductors require their string players to bow in unison, and typically mark the parts to show the bowings they want. With free bowing, you get a lusher but also less precise string sound, which is evident in many of these recordings. There are even a few instances (such as the first movement of the 4th) where the ensemble lapses are noticeable, possibly due to the use of free bowing. Leopold Stokowski was another famous advocate of free bowing, by the way.

With a few exceptions, tempos are relatively swift, and Karajan has a tendency to insert retards before codas and at the end of movements. Repeats are not taken in the first movements of the Eroica, Pastoral and 7th.

The most successful performances are the Eroica, the 4th, (despite a few retards announcing the trio sections in the scherzo), the 5th, and the 9th. These will sweep you along, but without slighting the music. I’m not crazy about Kmentt (the tenor) in the 9th, but the rest of the vocalists are superb, as are the Wiener Singverein. Karajan sets tempos that make utter sense in the context of the music, and pays close attention to tempo relationships as well. I am convinced by Karajan’s way with the 7th for the first and second movements, but he loses me in the scherzo where he follows the tradition of converting the trio into a virtual dirge. While the score indicates a much slower tempo than the presto, listen to Toscanini (the incandescent 1936 NYPO recording) for an object lesson in the tempo relationships in this movement. To be fair, most conductors follow the tradition here for a very slow trio, but it is way more effective played up to the tempo indicated in the score. In the last movement, I feel that Karajan overplays the countermelody at the expense of the main line.

Karajan’s Pastoral is controversial, with a very fast tempo in the first movement. I’m in a minority to think it works, mostly due to the beautiful string playing from the Berliners, but I too prefer a slightly slower pace, and a repeat if I can get one. Great storm. I have found that my own first choice for the Pastoral is idiosyncratic, since no one else seems to share this – Reiner and the CSO-just an absolutely beautiful performance, relaxed, limpid, stunning. Hope it comes out on SACD.

The first two symphonies feel overblown to me-large orchestra, emphatic rhythms, relatively moderate pacing of the scherzos-not bad, but not as good as these can be played. The 4th symphony, as noted, is very good. The 8th is quite good for 3 of the 4 movements, but I’ve always felt that Karajan’s tempo for the 3rd movement is just too slow. Osborne, in his notes to the set, calls Karajan’s tempo “ponderous” – I totally agree.

I cannot comment on the sound of this release vs. earlier incarnations – my LP’s of the 8th and 9th are long gone. In general, the sound is good, but over reverberant for my taste, which leads to a certain opaqueness-at times I feel like I have to peer through a slightly fogged over window to see the performance, if I can use an analogy.

The packaging of this is first class. I really appreciate the layout – symphonies are coupled consecutively, which I much prefer. There is the bonus rehearsal disc (haven’t heard it yet), and some excellent notes from Osborne. As individual recordings, the discs of the Eroica and 4th symphonies, and the 9th are highly recommended; however, I believe there is a lot of merit in listening to an entire cycle, and certainly this one afforded hours of unexpected pleasure; even with the flaws I’ve mentioned. ~sa-cd.net

SACD Info:

Ludwig van Beethoven – Symphony No. 7 in A major, op. 92 & No. 8 in F major, op. 93

Berliner Philharmoniker / Herbert von Karajan

Label: Deutsche Grammophon
Catalog#: 474 604-2 G SA6
Format: Hybrid-SACD, Album, Reissue, Stereo only!
Country: Germany
Released: 2003, 1963
Genre: Classical
Style: Viennese School, Orchestral

Tracklist:

1 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-01 Vivace 11:27
2 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-02 Allegretto 8:02
3 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-03 Presto 7:48
4 Beethoven, Ludwig Van: Sym No 7 in A major, Op 92 – 7-04 Allegro con brio 6:46
5 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-01 Allegro vivace e con brio 9:22
6 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-02 Allegretto scherzando 3:58
7 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-03 Tempo di Menuetto 5:59
8 Beethoven, Ludwig Van: Sym No 8 in F major, Op 93 – 8-04 Allegro vivace 7:18

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE56azVNakUF9/LudwigvanB33thov3nSymphonyNo.78FLAC.part1.rar
http://www.datafile.com/d/TVRReE56azVNalUF9/LudwigvanB33thov3nSymphonyNo.78FLAC.part2.rar
or
http://rapidgator.net/file/11ee25b08b6e5e300a579366363f0b2c/LudwigvanB33thov3nSymphonyNo.78FLAC.part1.rar.html
http://rapidgator.net/file/a740c683026f80cc61f5f618d10a1609/LudwigvanB33thov3nSymphonyNo.78FLAC.part2.rar.html

Info+Art

http://www.datafile.com/d/TVRReE56azVNakkF9/LudwigvanB33thov3nSymphonyNo.78InfoArt.rar
or
http://rapidgator.net/file/575c41efb4b75a4d22d536904dc76264/LudwigvanB33thov3nSymphonyNo.78InfoArt.rar.html

↧

Nicki Parrott – Moon River (2008) [Japanese SACD Reissue 2014] {SACD-R + FLAC 24-88.2}

November 29, 2015, 2:33 am

≫ Next: Sandy Lam – SACD Best Collection 16 (2002) {SACD-R + FLAC 24-88.2}

≪ Previous: Beethoven – Berliner Philharmoniker / Herbert von Karajan – Symphony No. 7 & No. 8 (2003) {SACD-R + FLAC 24-88.2}

Nicki Parrott is a premier jazz vocalist and string bass player. Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15. “Moon River” is Nicki Parrott’s debut as a leader. The album received Swing Journal’s “Best Jazz Vocal Album” award.

Since leaving her native Australia to settle in the U.S., bassist/singer Nicki Parrott has settled into the New York City jazz scene and the jazz party circuit, with occasional recording opportunities coming her way as a leader. These 2007 sessions recorded for the Japanese Venus label showcase her engaging vocals and bass chops, backed by pianist John Di Martino, guitarist Paul Meyers, drummer Billy Drummond, and on some tracks, tenor saxophonist Harry Allen. She doesn’t showboat as a singer, opting to glide gently around the core of each melody, with a light, swinging style that proves highly effective. Especially fun are her renditions of “You’d Be So Nice to Come Home To” (which is seductive) and a hip, bluesy “Makin’ Whoopee.” Warmly recommended.

Tracklist:
01. Moon River
02. Is You Is Or Is You Ain’t My Baby?
03. Say It Isn’t So
04. You’d Be So Nice To Come Home To
05. Takin’ A Chance On Love
06. I Don’t Know Enough About You
07. Makin’ Whoopee
08. Cry Me A River
09. What A Difference A Day Made
10. Besame Mucho
11. I Can’t Give You Anything But Love
12. Nicki’s Blues
13. The More I See You

Produced by Tetsuo Hara. Engineered by Katherine Miller.
Recorded at The Studio in New York on June 7-8, 2007.
Mixed and Mastered by Tetsuo Hara.

Personnel
Nicki Parrott – vocal & bass
Harry Allen – tenor sax
John Di Martino – piano
Paul Myers – guitar
Billy Drummond – drums

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE56azVOamcF9/NickiParrottMoonRiv3r2008Japan2014FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRReE56azVOak0F9/NickiParrottMoonRiv3r2008Japan2014FLAC2488.2.part2.rar
or
http://rapidgator.net/file/ad5a76806909d8685476d68dbd2b64e6/NickiParrottMoonRiv3r2008Japan2014FLAC2488.2.part1.rar.html
http://rapidgator.net/file/b44dc6f5dbb2f119d54561b095096a8a/NickiParrottMoonRiv3r2008Japan2014FLAC2488.2.part2.rar.html

↧

Sandy Lam – SACD Best Collection 16 (2002) {SACD-R + FLAC 24-88.2}

November 30, 2015, 2:26 am

≫ Next: Sara K. – Made In The Shade (2009) {SACD-R + FLAC 24-88.2}

≪ Previous: Nicki Parrott – Moon River (2008) [Japanese SACD Reissue 2014] {SACD-R + FLAC 24-88.2}

Sandy Lam, also known as Lam Yik Lin (林憶蓮), is a Chinese singer who sings in Cantonese, Mandarin, English, and Japanese.

Sandy Lam, whose parents are migrants from Shanghai, was born in Hong Kong and began her career at the age of sixteen, getting a job as a D.J. for Commercial Radio Hong Kong. She began her singing career in 1984 when she was signed to CBS Sony. Her first single was I Don’t Know About Love. Sandy Lam has recorded not only with CBS Sony in the 1980s, but also with Warner Music, Rock Records (Taiwan’s largest independent label), Virgin Records, and now Capitol Music.
Sandy Lam started her singing career in Hong Kong in the mid-80s with a string of up-tempo Japanese style songs. She then issued some “City-Rhythm” R&B tracks. In 1991 she released the ground breaking coming-of-age “Wildflower” album to rave reviews, part of the “unplugged” craze in the Cantopop scene.
Lam gained popularity in Taiwan with her debut Mandarin release “愛上一個不回家的人” (Home Again Without You) in 1991. In 1995 she teamed up with Jonathan Lee, Taiwanese music producer, and released her 4th Mandarin album Love, Sandy featuring a hit single “傷痕” (Scars), which became one of the all time best selling Chinese language albums. Since then Sandy has moved beyond the Hong Kong music scene and spent most of her time in Taiwan, China, and Japan. Her 2006 Mandarin language album “Breathe Me” was recorded in Korea, Taiwan, mainland China and Hong Kong.
Lam returned to the music scene with a hit single “至少還有你” (At Least I Still Have You) from her first album with Virgin in 2000. A Korean remake of the song, sung by Super Junior-M, a sub-group of the K-Pop band Super Junior, was released in their Me album titled 당신이기에 (Tangshiniki-e) in 2008. In December 2001 she released a Mandarin-language album entitled “Truly Sandy”, on which she co-wrote four songs. In the same year, Lam appeared as cast member of an Andrew Lloyd Webber concert Masterpiece, which also featured West End and Broadway star Elaine Paige and China’s all-time best-selling recording artist, American-Chinese Kris Phillips. This concert was sold out with an audience of over 17,700 people.
Lam has won many awards in the course of her career, including Best Regional Performing Female Artist, Best Album, Best Female Vocalist, the Asia Pacific Most Outstanding Female Artist, and an honorary Music Award for her contributions to the music industry.
Lam won a total of four awards at the 24th Golden Melody Awards in 2013. These include “Best Female Singer” as well as “Best Mandarin Album”, “Best Album Producer” & “Best Musical Arranger” for her album “Gaia”.

Tracklist:
01. You’re Unforgetable
02. In The Middle Of The Night
03. It’s So Late… There Is No Excuse
04. And… On
05. You Are My Man
06. Talk Too Much
07. Still
08. Escape From The City
09. Burning
10. No No No
11. Sliding
12. You Make My Sexy
13. Last Life
14. Rush Rush
15. In Love With The Wrong Man
16. Tears From The Lover Eyes

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQXdNelkF9/SandyLamSACDB3stColl3ction162002FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRReE9EQXdORGMF9/SandyLamSACDB3stColl3ction162002FLAC2488.2.part2.rar
http://www.datafile.com/d/TVRReE9EQXdNemsF9/SandyLamSACDB3stColl3ction162002FLAC2488.2.part3.rar
or
http://rapidgator.net/file/1a148b6535716e6dfb817dbcb7ea7cb3/SandyLamSACDB3stColl3ction162002FLAC2488.2.part1.rar.html
http://rapidgator.net/file/51a98ab5a26bfdfa500e45564a5ff678/SandyLamSACDB3stColl3ction162002FLAC2488.2.part2.rar.html
http://rapidgator.net/file/2dd106bb0d442e585b311754c8416a70/SandyLamSACDB3stColl3ction162002FLAC2488.2.part3.rar.html

↧

Sara K. – Made In The Shade (2009) {SACD-R + FLAC 24-88.2}

November 30, 2015, 2:29 am

≫ Next: VA – Sennheiser HD 800 Experience (2009) {SACD-R + FLAC 24-88.2}

≪ Previous: Sandy Lam – SACD Best Collection 16 (2002) {SACD-R + FLAC 24-88.2}

Texas-born singer songwriter Sara K. is well known to audiophiles for her superb albums released by Chesky Records. Her latest, Made In The Shade comes from a German audiophile label Stockfisch Records. Like good wine, this one has it all–that inner glow, that shining light that is the true sign of real art. Guitars, fretless bass and exotic instruments including the concert harp and various percussions form an ideal backdrop for the singer, with Sara K. sounding articulate to the highest degree.

Sara K’s songs reflect folk-blues, rock and jazz sensibilities, and together with her intelligent lyrics they are in a class by themselves. As is the case with her prior recordings, Made In The Shade is beautifully recorded with stunning, vivid details that move the listener. If you care about good sound and have a good stereo system, you will be able to savor all the details, textures and nuances of the wonderful performance.

Tracklist:
01. Whatґs A Little More Rain
02. After Thereґs A Blizzard
03. Aura Of The Blade
04. Gypsy Eyes
05. Your Name
06. Watching You Fall Into Sleep
07. Manchild
08. Made In The Shade
09. Sizzlin’
10. Don’t I Know You From Somewhere?
11. When I Didnґt Care
12. There It Is

Produced and Recorded by Gunter Pauler

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQXdPVEkF9/SaraK.Mad3InTh3Shad32009FLACSt3r3o2488.2.part1.rar
http://www.datafile.com/d/TVRReE9EQXdPRGMF9/SaraK.Mad3InTh3Shad32009FLACSt3r3o2488.2.part2.rar
or
http://rapidgator.net/file/a5ac7cf1af714a3a9e35a4ab6a130016/SaraK.Mad3InTh3Shad32009FLACSt3r3o2488.2.part1.rar.html
http://rapidgator.net/file/a654410ad0a39e8e39016b2421553117/SaraK.Mad3InTh3Shad32009FLACSt3r3o2488.2.part2.rar.html

↧

VA – Sennheiser HD 800 Experience (2009) {SACD-R + FLAC 24-88.2}

November 30, 2015, 2:32 am

≫ Next: Simon Rattle, Berliner Philharmoniker – Brahms: The Symphonies (2009) [Reissue 2011, 3x SACD] {SACD-R + FLAC 24-88.2}

≪ Previous: Sara K. – Made In The Shade (2009) {SACD-R + FLAC 24-88.2}

VA – Sennheiser HD 800: Klang Von Meisterhand
SACD ISO (Stereo): 932 MB | 24B/88,2kHz Stereo FLAC: 409 MB | Full Artwork | 3% Recovery Info
Label/Cat#: Stockfisch Records # SFR 457.9801.2 | Country/Year: Germany 2009
Genre: Folk, Acoustic | Style: Singer/Songwriter

SACD Info:

Various – Sennheiser HD 800 – Klang Von Meisterhand

Label: Stockfisch Records
Catalog#: SFR 457.9801.2
Format: CD, SACD, Compilation
Country: Germany
Released: 2009
Genre: Blues, Folk, World, & Country

Tracklist:

1 Beo Brockhausen – Wolkenmeer 5:16
2 Chris Jones – No Sanctuary Here 3:44
3 Sara K. – When I Didn’t Care 4:15
4 Steve Strauss – Closer 4:15
5 Bassface Swing Trio, The – I Love Paris 4:41

Barcode and Other Identifiers:

Barcode: 4 013357 980129
Matrix Number: A0101562482-A911 16
Other (SID Master): IFPI L556
Other (SID Mould): IFPI 94A8

Discogs Url: http://www.discogs.com/release/2489484

SACD-R

http://www.datafile.com/d/TVRReE9EQXdNekkF9/S3nnh3is3rHD800ISO.part1.rar
http://www.datafile.com/d/TVRReE9EQXdNVFkF9/S3nnh3is3rHD800ISO.part2.rar
or
http://rapidgator.net/file/5dfe2d4ac795421081796da37c04274e/S3nnh3is3rHD800ISO.part1.rar.html
http://rapidgator.net/file/2e4bc0d5d57907a965a9a548277e1bf5/S3nnh3is3rHD800ISO.part2.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQXdNRGMF9/S3nnh3is3rHD800FLAC.rar
or
http://rapidgator.net/file/d4077eb8b4e38e6154f162c88d995849/S3nnh3is3rHD800FLAC.rar.html

↧

Simon Rattle, Berliner Philharmoniker – Brahms: The Symphonies (2009) [Reissue 2011, 3x SACD] {SACD-R + FLAC 24-88.2}

November 30, 2015, 2:35 am

≫ Next: Sir Colin Davis, London Symphony Orchestra – Beethoven: Mass in C (2008) {SACD-R + FLAC 24-88.2}

≪ Previous: VA – Sennheiser HD 800 Experience (2009) {SACD-R + FLAC 24-88.2}

This recording of Brahms’ four symphonies suggests that Simon Rattle has given little thought to the works. Rattle leads the Berliner Philharmoniker in respectable performances, with the details all in place, the tempos all moving forward, the harmonies all connected, and the themes and their developments all coherent. The Berlin musicians play with unsurpassable virtuosity. From the brilliant brass in the First’s finale’s coda to the characterful woodwinds in the Second and Third’s central movements to the sumptuous strings of the Fourth’s second movement, the orchestra demonstrates that it is manifestly one of the world’s very best. There is nothing here, though, to indicate that Rattle is truly involved in the performances. One listens in vain for a conductor’s trademark interpretive touches: faster or slower tempos, bigger or smaller accelerandos and ritardandos, unusual and unlikely inner voices. But nothing disturbs the surface of the music as it rolls onward without any untoward — or even interesting — incidents to impede its stately progress. A comparison of Rattle’s cool interpretations with any of the orchestra’s great performances of Brahms’ symphonies (notably the robust heroics of Abbado, the lush lyricism of Karajan, or the monumentality of Furtwängler) shows how much the English conductor is missing in these scores. Abbado, Karajan, Furtwängler, and many others reveal Brahms’ symphonies as the finest works in the form since Beethoven’s. Rattle makes them sound like just four more Austro-Germanic symphonies between Beethoven’s and Mahler’s, more interesting than Bruch’s, perhaps, but nothing special. EMI’s live digital recording is thick and heavy, with too little light and color.

Tracklist:
SACD ONE
01. Brahms Symphony No. 1 in C Minor, Op. 68: Un poco sostenuto – Allegro – Meno Allegro
02. Brahms Symphony No. 1 in C Minor, Op. 68: Andante sostenuto
03. Brahms Symphony No. 1 in C Minor, Op. 68: Un poco Allegretto e grazioso
04. Brahms Symphony No. 1 in C Minor, Op. 68: Adagio – Piu Andante – Allegro non troppo, ma con brio – Piu Allegro

DISC TWO
01. Brahms Symphony No. 2 in D Major Op. 73: Allegro non troppo
02. Brahms Symphony No. 2 in D Major Op. 73: Adagio non troppo
03. Brahms Symphony No. 2 in D Major Op. 73: Allegretto Grazioso (Quasi Andantino)
04. Brahms Symphony No. 2 in D Major Op. 73: Allegro con spirito
05. Brahms Symphony No. 3 in F Major Op. 90: Allegro con brio
06. Brahms Symphony No. 3 in F Major Op. 90: Andante
07. Brahms Symphony No. 3 in F Major Op. 90: Poco Allegretto
08. Brahms Symphony No. 3 in F Major Op. 90: Allegro

DISC THREE
01. Brahms Symphony No. 4 in E Minor Op. 98: Allegro non troppo
02. Brahms Symphony No. 4 in E Minor Op. 98: Andante moderato
03. Brahms Symphony No. 4 in E Minor Op. 98: Allegro giocoso
04. Brahms Symphony No. 4 in E Minor Op. 98: Allegro energico e passionate

SACD-R

FLAC 24-88.2

↧

Sir Colin Davis, London Symphony Orchestra – Beethoven: Mass in C (2008) {SACD-R + FLAC 24-88.2}

November 30, 2015, 2:37 am

≫ Next: Sir Colin Davis, LSO & Chorus – James MacMillan: St John Passion (2008) [2xSACD] {SACD-R + FLAC 24-88.2}

≪ Previous: Simon Rattle, Berliner Philharmoniker – Brahms: The Symphonies (2009) [Reissue 2011, 3x SACD] {SACD-R + FLAC 24-88.2}

It’s not clear exactly what the “live” component is in this disc from the London Symphony Orchestra’s LSO Live series. The Beethoven Mass in C major, Op. 86, & the “Prisoners’ Chorus” from Fidelio are specified as having been recorded live on 2 different occasions at London’s Barbican concert hall, but if there was an audience any traces of its existence have been very carefully edited out. The performance, however, has the positive tension associated with a successful live performance, as well as the occasional flaws. Colin Davis, nearly 80 when the recording was made, turns in a fine interpretation of the work that was called “unbearably ridiculous & detestable” by Prince Nikolaus Esterhбzy II, patron of the aged Haydn & the commissioner, as well as of his 6 late masses. A good performance of the mass will get at why the prince didn’t like it: it fits the model of the late Haydn masses, but, at every point where Haydn went for confident, crowd-pleasing moves, it takes on an interior quality. The music has to have both a festive tone & the personal feel that distinguishes almost all of Beethoven’s music. Davis delivers the right kind of contrast, a bit splashy, yet with conviction in the big fugues & the rather unorthodox layout of the Credo. He is helped by a stellar quartet of soloists, most notably the fabulous Italian alto Sara Mingardo. The pairing with the “Prisoners’ Chorus,” although it wasn’t part of the original concert, is an intelligent stroke: Davis shows the connections between the Mass in C major & Fidelio, both of which kept Beethoven away from his customary sonata forms but which contained deep personal statements nevertheless. A very strong candidate for any buyer wanting a 1st copy of Beethoven’s 1st mass setting.

Tracklist:
01. Mass in C: Kyrie
02. Mass in C: Gloria
03. Mass in C: Credo
04. Mass in C: Sanctus
05. Mass in C: Benedictus
06. Mass in C: Agnus Dei
07. Fidelio: O welche Lust!

Recorded February 2006 at the Barbican, London.
Track 7 recorded May 2006 at the Barbican, London.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQXlOakEF9/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part1.rar
http://www.datafile.com/d/TVRReE9EQXlOVFUF9/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part2.rar
or
http://rapidgator.net/file/b71288a80c02c8eceff5c8e91a76f99f/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part1.rar.html
http://rapidgator.net/file/9dd94dfa18b0082176f5458c935aa90f/SirColinDavisLondonSymphonyOrch3straB33thov3n.MassinC2008FLACSt3r3o2488.2.part2.rar.html

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Sir Colin Davis, LSO & Chorus – James MacMillan: St John Passion (2008) [2xSACD] {SACD-R + FLAC 24-88.2}

November 30, 2015, 2:40 am

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≪ Previous: Sir Colin Davis, London Symphony Orchestra – Beethoven: Mass in C (2008) {SACD-R + FLAC 24-88.2}

James MacMillan’s St. John Passion, completed and premiered in 2008, was commissioned by a consortium that included the London Symphony Orchestra, the Royal Concertgebouw Orchestra, the Boston Symphony Orchestra, and the Berlin Radio Choir. Scored for large orchestra, chorus, chamber choir, and baritone, it’s one of MacMillan’s biggest works and the weight of its significance must have felt like a burden on the composer, a devout Roman Catholic, a constraint on the characteristic freedom of his imagination in the expectation of creating an appropriately magisterial work. The melodic contour of much of the choral writing, particularly for the small Narrator Chorus, is derived from plainchant and has the character of a meandering choral recitative. Jesus’ vocal lines are so floridly melismatic that they come across as precious and mannered rather than plainly communicative. The work has moments of effectiveness, though; by the end of the third movement, MacMillan generates real excitement in the choral writing, and the fourth movement ends in a stunning chorale. He’s at his strongest in the expansively lyrical and powerful final movement, which is for orchestra alone. Overall, though, the Passion falls short of conveying the depth and eloquence for which the composer was clearly aiming. It receives an intense and dedicated performance by the London Symphony Chorus and Orchestra, led with conviction by Colin Davis, to whom it is dedicated. Christopher Maltman has a secure and resonant baritone and makes the most of the thankless solo role. The SACD recording is taken from a live performance and is clean and well balanced, although stray vocal sounds, perhaps coming from Davis, are occasionally distracting.

Tracklist:
SACD 1:
01. St John Passion: Part I: i. The arrest of Jesus
02. St John Passion: Part I: ii. Jesus before Annas and Caiaphas. Peter disowns him
03. St John Passion: Part I: iii. Jesus before Pilate
04. St John Passion: Part I: iv. Jesus is condemned to death

SACD 2:
01. St John Passion: Part II: v. The Crucifixion
02. St John Passion: Part II: vi. Christ’s garments divided
03. St John Passion: Part II: vii. Jesus and his Mother
04. St John Passion: Part II: viii. The Reproaches
05. St John Passion: Part II: ix. The death of Jesus
06. St John Passion: Part II: x. Sanctus Immortalis, miserere nobis

Produced by James Mallinson
Recorded live April 2008 at the Barbican, London

Personnel
Christopher Maltman – baritone
Narrator Chorus
London Symphony Chrorus
London Symphony Orchestra
Sir Colin Davis – conductor

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRReE9EQTBOalkF9/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRReE9EQTBOekEF9/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part2.rar
http://www.datafile.com/d/TVRReE9EQTBOamMF9/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part3.rar
or
http://rapidgator.net/file/b71e37e5a310650645c4fcbbb71f277b/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part1.rar.html
http://rapidgator.net/file/5431a0f054aefe410ea0201dab89d3b7/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part2.rar.html
http://rapidgator.net/file/aac5d2bc2929d4dc3eacb1a8d15b85ec/SirColinDavisLSOChorusJam3sMacMillan.StJohnPassion2008FLAC2488.2.part3.rar.html

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