SACD / DSD – HDMusic.icu

James Taylor’s 15th studio album of his first new recordings in 32 years is, if possible, even more familiar and self-referential than ever. By now, it is an article of faith that you could take practically any track from any Taylor album and put it on another one without disturbing the mood, and that is as true of the songs here as it is of those on the other 14. That warm (if slightly deepened) tenor, singing in its odd accent which combines New England and the North Carolina Piedmont, and that acoustic guitar, with its sparkling, unhurried fingerpicking, remain the most prominent elements in the sound. But even more, October Road finds Taylor seemingly intent on evoking his own past. The title track, of course, recalls his song “Country Road,” and “Caroline I See You,” (even if it refers specifically to his wife), inescapably echoes “Carolina in My Mind.” Also, Taylor deliberately recycles themes from his earlier work. “October Road” begins, “Well I’m going back down maybe one more time,” while “My Traveling Star” ends, “And shame on me for sure/For one more highway song.” Throughout, on what seem like the most personal songs he has written in decades, Taylor appears to be commenting on a second chance he feels he has received, and though he couches the negative aspects in humor (“Mean Old Man,” whose subject is the singer, ends with a dog joke, and “Raised Up Family,” which contains recriminations, tosses in a musical reference to Gilligan’s Island), there are strong hints of a man who feels he’s been rescued. As such, it is perhaps fitting (if seasonally curious for an album released in the summer) to conclude with “Have Yourself a Merry Little Christmas,” a holiday song from wartime that reaffirms the importance of family in a world gone awry.

Tracklist:
01. September Grass
02. October Road
03. On The 4th Of July
04. Whenever You’re Ready
05. Belfast To Boston
06. Mean Old Man
07. My Traveling Star
08. Raised Up Family
09. Carry Me On My Way
10. Caroline I See You
11. Baby Buffalo
12. Have Yourself A Merry Little Christmas

ISO

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FLAC

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James Taylor – JT (1977) [Reissue 2002] {2.0 & 5.1}
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 5.1 > 1-bit/2.8224 MHz | 37:28 minutes | Scans included | 3,20 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 38:01 min | Scans included | 744 MB

On his last couple of Warner Brothers albums, Gorilla and In the Pocket, James Taylor seemed to be converting himself from the shrinking violet, too-sensitive-to-live “rainy day man” of his early records into a mainstream, easy-listening crooner with a sunny outlook. JT, his debut album for Columbia Records, was something of a defense of this conversion. Returning to the autobiographical, Taylor declared his love for Carly Simon (“There We Are”), but expressed some surprise at his domestic bliss. “Isn’t it amazing a man like me can feel this way?” he sang in the opening song, “Your Smiling Face” (a Top 40 hit). At the same time, domesticity could have its temporary depressions (“Another Grey Morning”). The key track was “Secret O’ Life,” which Taylor revealed as “enjoying the passage of time.” Working with his long-time backup band of Danny Kortchmar, Leland Sklar, and Russell Kunkel, and with Peter Asher back in the producer’s chair, Taylor also enjoyed the playing of music, mixing his patented acoustic guitar-based folk sound with elements of rock, blues, and country. He even made the country charts briefly with “Bartender’s Blues,” a genre exercise complete with steel guitar and references to “honky tonk angels” that he would later re-record with George Jones. The album’s Top Ten hit was Taylor’s winning remake of Jimmy Jones’ “Handy Man,” which replaced the grit of the original with his characteristic warmth. JT was James Taylor’s best album since Mud Slide Slim and the Blue Horizon because it acknowledged the darkness of his earlier work while explaining the deliberate lightness of his current viewpoint, and because it was his most consistent collection in years. Fans responded: JT sold better than any Taylor album since Sweet Baby James.

Tracklist:
01. Your Smiling Face
02. There We Are
03. Honey Don’t Leave L.A.
04. Another Grey Morning
05. Bartender’s Blues
06. Secret O’ Life
07. Handy Man
08. I Was Only Telling A Lie
09. Looking For Love On Broadway
10. Terra Nova
11. Traffic Jam
12. If I Keep My Heart Out Of Sight

ISO

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FLAC

https://subyshare.com/yambmahn40av/JamesTayl0rJT1977Reissue2002FLACStere02488.2.rar.html

Tracklist:
01. Your Smiling Face
02. There We Are
03. Honey Don’t Leave L.A.
04. Another Grey Morning
05. Bartender’s Blues
06. Secret O’ Life
07. Handy Man
08. I Was Only Telling A Lie
09. Looking For Love on Broadway
10. Terra Nova
11. Traffic Jam
12. If I Keep My Heart Out Of Sight

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

ISO

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FLAC

https://subyshare.com/tkmpp9j1qso6/JamesTayl0rJT1977MFSL2011FLAC2488.2.rar.html

James Taylor followed his double-platinum Columbia Records label debut, JT, with this hodgepodge of a record. There are pointless covers of the Beatles’ “Day Tripper” and the Drifters’ “Up on the Roof,” a remake of Taylor’s own “Rainy Day Man,” songs written for the failed Broadway musical Working, and a few inconsequential new Taylor compositions. The usual brain trust (producer Peter Asher), and the usual backup team (Danny “Kootch” Kortchmar, Dan Grolnick, Leland Sklar, Russ Kunkel) were on board, but the cruise was a snooze.

Tracklist:
01. Company Man
02. Johnnie Come Back
03. Day Tripper
04. I Will Not Lie For You
05. Brother Trucker
06. Is That The Way You Look?
07. B.S.U.R.
08. Rainy Day Man
09. Millworker
10. Up On The Roof
11. Chanson Francaise
12. Sleep Come Free Me

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

ISO

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FLAC

https://subyshare.com/y8ggu3fy4qp8/JamesTayl0rFlag1979MFSL2011FLAC2488.2.rar.html

James Taylor – Hourglass (1997) [Reissue 2001] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 54:50 minutes | Scans included | 4,13 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 53:42 mins | Scans | 1,13 GB

James Taylor stopped pushing himself into new musical and lyrical territories in the late ’70s, so it doesn’t come as a great surprise that Hourglass, his first studio album in six years, doesn’t offer anything new — it’s a collection of pleasant, melodic, simple songs about love, family, and social activism. That’s not necessarily a bad thing, since Taylor has a gift for such material, and on Hourglass, he sounds as good as ever. The music, in many ways, has greater depth than previous records, since it features cameos from such heavy hitters as Stevie Wonder, Yo-Yo Ma, Shawn Colvin, Michael Brecker, Mark O’Connor, and Branford Marsalis. There are a few songs that fall a little flat, failing to make much of an impression one way or the other, but on the whole, Hourglass is a nice addition to his catalog.

Tracklist:
01. Line ‘Em Up
02. Enough To Be On Your Way
03. Little More Time With You
04. Gaia
05. Ananas
06. Jump Up Behind Me
07. Another Day
08. Up Er Mei
09. Up From Your Life
10. Yellow And Rose
11. Boatman
12. Walking My Baby Back Home
13. Hangnail

ISO

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FLAC

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James Taylor – Dad Loves His Work (1981) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 5.1 > 1-bit/2.8224 MHz | 38:52 minutes | Scans included | 3,32 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 38:37 min | Scans included | 805 MB

James Taylor bounced back from the spotty Flag with this all-original album led by his collaboration with J.D. Souther on “Her Town Too,” his biggest pop hit since “Handy Man,” and his biggest non-cover hit since his first, “Fire and Rain,” in 1970. Also included were “Hard Times” and “Summer’s Here,” not to mention the unusually impassioned “Stand and Fight.” After simmering this long, there wasn’t much hope Taylor would ever come to a boil, but that track indicated he could at least heat up now and then.

Tracklist:
01. Hard Times
02. Her Town Too
03. Hour That The Morning Comes
04. I Will Follow
05. Believe It Or Not
06. Stand And Fight
07. Only For Me
08. Summer’s Here
09. Sugar Trade
10. London Town
11. That Lonesome Road

ISO

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FLAC

https://subyshare.com/57nfu7dxyple/JamesTayl0rDadL0vesHisW0rk1981Reissue2003FLACStere02488.2.rar.html

James Taylor helped pioneer the singer-songwriter movement of the late 1960s with songs of surprising musical sophistication and lyrics that were both introspective and gently poetic. For decades to follow, Taylor continued to produce music that was personal, accessible and enjoyable. Here, he has matured into a pop craftsman of the first order. On Dad Loves His Work the arc of his talent continues to rise. The radio-friendly “Hard Times” would make Smokey Robinson proud. “Summer’s Here” is jazzy, breezy and as warm as the season it celebrates. “Her Town Too,” co-written with John David Souther, marked another notch high up on the pop charts for J.T.

Tracklist:
01. Hard Times
02. Her Town Too
03. Hour That The Morning Comes
04. I Will Follow
05. Believe It or Not
06. Stand and Fight
07. Only For Me
08. Summer’s Here
09. Sugar Trade
10. London Town
11. That Lonesome Road

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

ISO

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FLAC

https://subyshare.com/vw7bgxwwtcmc/JamesTayl0rDadL0vesHisW0rk1981MFSL2011FLAC2488.2.rar.html

Reflective yet contemporary, Rebecca’s lovely voice rings with honest, unpretentious confidence and vivid tenderness. While her Celtic melodies set the mood, her lyrics tell stories, full, rich, textured, and open hearted. This amazing talent makes her U.S. debut with The Raven, Chesky Record’s most striking, powerful and fully realized vocal record to date.

Tracklist:
01. Kalerka
02. The Witch
03. The Raven
04. You Need Me There
05. Grandmother
06. You Got Me
07. Heart and Mind
08. Her Man Leaves Town
09. Seven Hours
10. Wendy’s Style Shop
11. The Height of Land
12. Spanish Harlem
13. Remember Me

ISO

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FLAC

https://subyshare.com/egonqcpjut9y/RebeccaPidge0nTheRaven1994Reissue2007FLACStere02488.2.rar.html

Standing at the crossroads of Scottish Folk and Modern Pop, singer/songwriter Rebecca Pidgeon has recorded three wonderfully imaginative albums with Chesky Records over the last decade. In each of Rebecca’s distinct recordings she demonstrates an uncanny ability to span a wide range of vocal and song styles, while consistently propelling her signature sweet voice. Now commemorating the best from each album, this collection offers you the individual titles that together create an exciting mosaic of this amazing singer/songwriter.

ISO

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FLAC

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While somewhat overshadowed by his more famous brother James, Livingston Taylor is a fine singer-songwriter in his own right–superficially, his voice recalls that of his sibling, but Liv is less moody, more folk-like. INK is a “tribute” album of sorts–instead of paying homage to a particular artist, Taylor interprets hit songs by various writers from several eras, leaning a bit toward classic R&B/soul hits. Songs made famous by Ray Charles, the Jackson Five, and Stevie Wonder are re-imagined via the gentle, genial imagination of Livingston Taylor.

Tracklist:
01. Isn’t She Lovely
02. First Time Love
03. Halleluja I Love Her So
04. Fly Away
05. Our Turn To Dance
06. I Must Be doing Somethin
07. The Biggest Part Of Me
08. Get Here
09. Baker Street
10. The More I See You
11. The End Of The Innocence
12. Never Can Say Goodbye
13. Walkin’ My Baby Back Home

ISO

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FLAC

http://www.hdmusic.me/livingston-taylor-ink-19972003-official-digital-download-24bit96khz/

In the 1990s, jazz tribute albums could be incredibly predictable, with young tenor saxophonists paying tribute to John Coltrane by emulating his tone and playing his best-known songs exactly like he played them, or young trumpeters saluting Miles Davis by trying to sound like a carbon copy of him on yet another version of “So What” or “Solar.” Spirit of Django is Martin Taylor’s tribute to fellow guitarist Django Reinhardt, and thankfully, this is one tribute album that’s interesting and unpredictable instead of cliché-ridden. Though Taylor’s love of Reinhardt’s legacy is evident throughout the album, the guitarist never sounds like an outright clone. His individuality comes through on Reinhardt pieces (including “Nuages” and “Minor Swing”), as well as Fats Waller’s “Honeysuckle Rose” and the standards “Night and Day” and “Lady Be Good.” To his credit, Taylor makes some unlikely choices. Pat Metheny’s “James,” for example, isn’t something you’d expect to hear on a Reinhardt tribute, yet Taylor’s interpretation fits in perfectly. This excellent CD is highly recommended to admirers of both Taylor and Reinhardt.

Tracklist:
01. Chez Fernand
02. Minor Swing
03. Night and Day
04. Nuages
05. James
06. Double Top
07. Django’s Dream
08. Swing 42
09. Lady Be Good
10. Honeysuckle Rose
11. Johnny and Mary

ISO

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FLAC

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Mike Marshall is much like Mark O’Connor, a virtuoso on several string instruments, an innovative composer and arranger who refuses to be pigeonholed stylistically, and also an alum of David Grisman’s band. Numerous Grisman alumni turn up on this 1984 release, including violinist Darol Anger, bassists Todd Phillips and Rob Wasserman, guitarist Tony Rice, and even Grisman himself, along with dobro player Jerry Douglas, Béla Fleck on banjo, violinist David Balikrishan (who would later co-found the Turtle Island String Quartet with Anger), and pianist Barbara Higbie. Marshall sticks primarily to mandolin on this mostly progressive bluegrass date, though he’s also heard on mandola, mandocello, violin, and guitar. Highlights include the funky original “Gator Strut,” “Ravel” (a solo effort featuring the leader overdubbed on several instruments while adapting a theme by the French Impressionist composer), a joint arrangement with Anger of John Coltrane’s infrequently performed “Giant Hornpipe,” and a brilliant interpretation of Thelonious Monk’s “‘Round Midnight”.

Tracklist:
01. Dance of the Planktons
02. We Three
03. Gator Strut
04. Chief Sitting in the Rain
05. “Assez Vif – tres Rythme” from Ravel’s String Quartet in F
06. Giant Hornpipe
07. Because
08. Scotch & Swing
09. Bach’s Partita #3 in E for Solo Violin
10. Ybor City
11. ‘Round Midnight
12. Gator’s Dream
13. Wake Up
14. We Three (Reprise)

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

ISO

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FLAC

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This Grammy-nominated disc heralds the origins of the highly acclaimed acoustic duo of Jerry Garcia (guitar/vocals) and David “Dawg” Grisman (mandolin). They had been chums for years by the time they began their direct partnership in earnest on December 7, 1990, with a nine-song set at the Sweetwater in Mill Valley, CA. Over half of that material would be reworked the following spring — for inclusion on this disc — at Grisman’s newly appointed, plush, and well-lit Dawg Studios. Along with David Grisman Quintet members Jim Kerwin (bass) and Joe Craven (percussion/fiddle), Garcia and Grisman revive a few familiar tunes covering every dimension of popular music, ranging from the blues (“The Thrill Is Gone”) to folk-rock (“Friend of the Devil”), as well as pop music standards such as Irving Berlin’s “Russian Lullaby” — which Garcia had previously covered on his 1974 Garcia (Compliments) album — and Hoagy Carmichael’s “Rockin’ Chair.” They also examined the origins of authentic traditional folk (“Walkin’ Boss”/”Two Soldiers”). Additionally, the pair collaborated on the original instrumental “Grateful Dawg,” which coalesces the distinct styles of Grisman’s “Dawg Music” with Garcia’s Grateful Dead intonations. The results are categorically brilliant and undoubtedly helped usher in the contemporary bluegrass and progressive bluegrass movements. Grisman’s sonically perfected studio coupled with his decades of hands-on engineering and producing expertise helped immensely in capturing and accurately reproducing their unaffected acoustic intimacy. Nowhere is this more evident than the 16-plus minute “Arabia” — which would become a showstopper once they hit the road in the early ’90s. The sound quite literally envelopes the listener, who autonomically becomes drawn into the track as it twists and slithers through several different movements — including the central theme, credited in the liner notes as being based on the traditional Cuban melody “Hasta Siempre.” All dimensions of “unplugged” enthusiasts who have not already made Jerry Garcia/David Grisman a top priority are strongly encouraged to do so.

Tracklist:
01. The Thrill Is Gone
02. Grateful Dawg
03. Two Soldiers
04. Friend Of The Devil
05. Russian Lullaby
06. Dawg’s Waltz
07. Walkin’ Boss
08. Rockin’ Chair
09. Arabia

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

ISO

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FLAC

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This 1973 release features what is essentially a Bay Area bar band led by Merl Saund*rs (keyboards) and Jerry Garcia (guitar) during the latter musician’s downtime from the Grateful Dead. Along with the two subsequent “encore” volumes, Live at Keystone includes performances drawn from the quartet’s July 10-11, 1973, run in the intimate confines of Keystone Korners in Berkeley. With the support of Bill Vitt(percussion) and John Kahn (bass), the pair jams their way through an eclectic assortment of covers and a few equally inspired original instrumentals. The clavinet and Hammond B-3-driven “Keepers” (aka “Finders Keepers”) is one such composition from the team of Saund*rs and Kahn. This funky rocker pulsates through some downright greasy interactions that recall a cross between Sly Stone and Billy Preston. Their interpretation of “Positively 4th Street” — the first of two Bob Dylan covers — is laid-back and bluesy, which allows Garcia to stretch out instrumentally between the verses. His impassioned vocals weave between Saund*rs’ alternating murky and billowing organ fills, adding new depths of empathetic noir. Notably, David Grisman’s mandolin runs were not part of the live recording, but overdubbed later. Conversely, Jimmy Cliff’s “The Harder They Come” bops with an infectiously syncopated shuffle that glides along Saund*rs’ ethereal, swirling keyboard accents mimicking the hurdy-gurdy of a calliope. “It Takes a Lot to Laugh, It Takes a Train to Cry” is given a languid and slinky workout that is highlighted by some of Garcia’s most incendiary fretwork in this collection. Joined in progress is “Space” — a bit of jazzy free-form which was initially preceded by “Someday Baby” during the July 10 performance. John Kahn truly shines as he barrels in between Saund*rs’ scatological leads and Garcia’s trippy guitar runs. This distinct ensemble improvisation recalls some of the Grateful Dead’s further-out sonic explorations during seminal mid-’70s performances of “Playing in the Band” and “Eyes of the World.” It likewise foreshadows the direction that the Dead would follow on their highly sophisticated and fusion-influenced Blues for Allah (1975).

Tracklist:
01. Keepers
02. Positively 4th Street
03. The Harder They Come
04. It Takes A Lot To Laugh, It Takes A Train To Cry
05. Space
06. It’s No Use
07. Merl’s Tune

ISO

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Ludwig van Beethoven – Symphonies Nos. 5 & 6
Boston Symphony Orchestra – Charles Munch
SACD ISO (Stereo): 1,16 GB | 24B/88,2kHz Stereo FLAC: 1,13 GB | Full Artwork
Label/Cat#: RCA “Living Stereo” # 82876-67898-2 | Country/Year: Europe 2005 | 3% Recovery Info
Genre: Classical | Style: Viennese School

Amazing DSD resuscitation of a classic Fifth on records

Published on August 23, 2005
BEETHOVEN: Symphony No. 5 in C Minor; Symphony No. 6 in F Major — Boston Symphony Orchestra/ Charles Munch — RCA Living Stereo
Stereo SACD 82876-67898-2 68:45****:

Originally recorded May (C Minor) and August (Pastoral) 1955 in two-track stereo, remastering supervisor John Newton, along with DSD engineer Dirk Sobotka, has revitalized two of the Charles Munch Beethoven symphonies with astonishing results. The C Minor Symphony seems to have a dusty film removed and now pierces the air with a take-no-prisoners aural presence that quite literally recaptures Goethe’s first impression of this Herculean work: “When I reached for my hat at the fading of the last chord, I could not find my head.” The sonic refurbishings are too many to name, but one might hearken to the pipings of the flutes and winds in the second movement, or the tympani ostinati in the segue to the finale from a crisp, ripping Scherzo-Allegro. The purity of playing from Boston Symphony commends itself anew as well, since the brass section, except when heard live at Symphony Hall, never sounded so good.

The sonic gloss for the Pastoral is equally lovely, though I find the Munch approach to the first movement a bit hard-driven, a la Kleiber. The transition from oboe to cello line in the second movement, though, is a model of what superior American ensembles can sound like when discipline is superb. Add whiplash accuracy from clarinet, bassoon, and French horns, and you have a glamorous mix. The conception is in the Toscanini mold, long phrases and a high singing line with no repeats. But Nature unfolds itself in a colossal scheme of arches and rainbow colors. I now wonder how the Reiner Pastoral would emerge in this remastered format. I state my query because the volatility and clean, driven sweep of Munch’s strings equal anything achieved in Chicago. The Peasant Dance has Breughel shaking hands with Wagner. I could not wait for the Thunderstorm; the second time around, I raised the volume and drenched myself again. [The same Living Stereo recording of the Fifth — though not the Sixth — was also on a recent xrcd reissue which we reviewed Here. A/B comparison of the two formats showed the SACD to be sonically superior…Ed.]

–Gary Lemco audiophile audition

SACD Info:

Ludwig van Beethoven – Symphonies Nos. 5 & 6

Boston Symphony Orchestra – Charles Munch

Label: RCA Red Seal
Seriesn: Living Stereo
Catalog#: 82876-67898-2
Format: Hybrid-SACD, Album, Reissue, Stereo Only
Country: Europe
Released: 2005, 1955
Genre: Classical
Style: Viennese School, Orchestral

Tracklist:

01-Allegro con brio
02-Andante con moto
03-Allegro
04-Allegro
05-Awakening of serene impressions upon arriving in the country (Allegro ma non troppo)
06-Scene by the brookside (Andante molto mosso)
07-Jolly gathering of country folk (Allegro)
08-Thunder storm (Allegro)
09-Shepherd’s Song – Gladsome and thankful feelings after the storm (Allegretto)

ISO

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FLAC

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Info+Art
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Antonin Dvorak: Concerto in B minor / William Walton: Cello Concerto
Gregor Piatigorsky, cello – Boston Symphony Orchestra – Charles Munch
SACD ISO (2.0/MCH): 2,86 GB | 24B/88,2kHz Stereo FLAC: 1,25 GB | Full Artwork | 3% Recovery Info
Label/Cat#: RCA Red Seal “Living Stereo” # 82876-66375-2 | Country/Year: Europe 2005, 1950s/1960s
Genre: Classical | Style: Romantic, Contemporary, Cello

A wonderful SACD… I recently heard the Dvorak live and I found myself comparing that performance to that on this disc.

The sound is excellent, with a very wide soundstage that may surprise those not used to hi fi playback. The sense of depth is also fine. The RCA transfer issued in the 1990’s was apparently mastered from a protection or safety dupe and suffered from a horrendous tape splice about seven minutes into the first movement; I used to cringe in anticipation of that evil edit and the change in timbre and lurch it caused in the soundfield. I’m glad to say that edit is not in evidence on this transfer. The sense of Piatigorsky being present is enhanced by the three-channel playback and this is the preferred listening mode if you have the proper equipment.

I had trepidation buying this disc based upon the above review. I almost didn’t, but I finally gave in. My benchmark is Jacqueline Du Pre’s unbelievably passionate performance amidst Sargent’s very supportive conducting.

This disc has an equally passionate performance and it has a better balance. I heard no fatigue, but perhaps what one reviewer hears as fatigue another hears as sensitive meditation from a soloist who actually listens to the orchestra while he’s playing! I’d have to say Piatigorksy’s performance is just a different but equally valid emotion, like comparing gospel singing to Gregorian chant, both equally spiritual, but stylistically very different.

As far as sound goes, it’s the best I’ve heard from Living Stereo and perhaps the best I’ve heard from my stereo period! The soloist to orchestra balance is just about perfectly even, which means the orchestra is considered an equal part by the engineers. I prefer that to the “I’m ready for my closeup now Mr De Mille” balance used by most producers in order to highlight the “STAR”. sa-cd.net

SACD Info:

Antonin Dvorak: Concerto in B minor / William Walton: Cello Concerto

Gregor Piatigorsky, cello – Boston Symphony Orchestra – Charles Munch

Label: RCA Red Seal
Seriesn: Living Stereo
Catalog#: 82876-66375-2
Format: Hybrid-SACD, Album, Reissue, Stereo, Multichannel
Country: Europe
Released: 2005, 1950s/1960s
Genre: Classical
Style: Romantic, Contemporary, Cello

Tracklist:

1 Allegro 15:47
2 Adagio Ma Non Troppo 13:13
3 Finale: Allegro Moderato 13:04
4 Moderato 8:13
5 Allegro Appassionato 6:43
6 Tema Ed Improvvisazioni; Lento; Allegro Moderato 14:24

ISO

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FLAC

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Info+Art

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Had Elvis Presley done nothing else but record “That’s Alright, Mama,” his place in pop music history would be secure. With his first regional hit, Presley fused rhythm and blues with country, put a handsome white face out front for audiences to see, and in so doing legitimized beat music for white audiences. It is no understatement to call Presley the chief catalyst of the rock-and-roll era. During the 1950s, Presley’s records spent a collective 53 weeks in the number one chart position. Only the Beatles can boast similar sales success.

Presley’s monumental accomplishments continued until his untimely death in 1977. After a stint in the Army, he spent a decade making profitable but forgettable movies. Then in 1968 he reestablished his artistic relevance with a spectacular television special and several great albums. During the last decade of his career, Presley’s live show was the hottest ticket in America. A great singer first and last, Presley was equally adept at raunchy blues, lilting boogie, operatic pop, and country tear-jerkers.

Tracklist:
01. Heartbreak Hotel
02. Love Me
03. Don’t Be Cruel
04. Hound Dog
05. Love Me tender
06. All Shook Up
07. (Let Me Be Your) Teddy Bear
08. Jailhouse Rock
09. Wear My Ring Around Your Neck
10. A Big Hunk
11. Stuck On You
12. It’s Now or Never
13. Are You Lonesome Tonight
14. Surrender
15. (Marie’s The Name) His Latest Flame
16. Little Sister
17. Can’t Help Falling In Love
18. Good Luck Charm
19. She’s Not You
20. Return To Sender
21. (You’re The) Devil In Disguise
22. Crying In The Chapel
23. In The Ghetto
24. Suspicious Minds

Mastered for SACD by George Marino at Sterling Sound, NYC.

ISO

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Elvis Is Back! is the tenth album by Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2231, in April 1960. Recording sessions took place on March 20 and April 3, 1960, at RCA Studio B in Nashville, Tennessee. It was Presley’s first album to be released in true stereo. It peaked at number two on the Top Pop Albums chart and is listed, along with his debut and From Elvis in Memphis, in the book 1001 Albums You Must Hear Before You Die. It was certified Gold on July 15, 1999, by the RIAA.

Although they have common recording origins, two of the three singles, “It’s Now or Never” and “Are You Lonesome Tonight,” were very quirky by the standards of Elvis songs at the time — the former inspired by Elvis’s admiration for Tony Martin’s 1949 hit “There’s No Tomorrow,” while the latter was recorded at the request of Col. Parker as a favor to his wife. They add to the diversity of sounds on this record, which shows a mature Elvis Presley. “Dirty, Dirty Feeling” and “It Feels So Right” showed he could still rock out and challenge authority and propriety, while “Reconsider Baby” and “Like a Baby” offer some of his best blues performances; but “The Thrill of Your Love” (a very gospel-tinged number), “Soldier Boy,” “Girl of My Best Friend,” and “Girl Next Door Went a’ Walking,” also displayed the rich, deep vocalizing that would challenge critics’ expectations of Elvis Presley playing rhythm guitar throughout. He also comes off better than on any of his other albums since arriving at RCA, as a musician as much as a “star” (he’d always had a lot more to say about running his sessions than the critics who loathed his RCA years indicated). [The 1999 remastering of this classic album features the complete contents of the March 20, 1960, RCA Hollywood session plus the dawn-to-dusk April 2 Nashville session that rounded out the album, for a total of 18 songs, including the three singles and their B-sides from those sessions. The sound is extraordinarily close yet natural, giving the listener full value for the presence of Scotty Moore, Hank Garland (who also plays bass on a few tracks), D.J. Fontana, Boots Randolph, and Floyd Cramer.]

Tracklist:
01. Make Me Know It
02. Fever
03. The Girl of My Best Friend
04. I Will Be Home Again
05. Dirty, Dirty Feeling
06. Thrill of Your Love
07. Soldier Boy
08. Such a Night
09. It Feels So Right
10. Girl Next Door Went A’Walking
11. Like a Baby
12. Reconsider Baby

Musicians:
Leader & Guitar: Elvis Presley
Guitar: Scotty Moore
Guitar Hank Garland
Drums: DJ. Fontana
Drums: Murray Harman
Piano: Floyd Cramer
Bass: Bob Moore
Sax: Homer “Boots” Randolph

The Jordanaires: Gordon Stoker, Neal Matthews, Jr. Hoyt Hawkins, Raymond C. Walker

ISO

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FLAC

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King Creole was the last movie that Elvis Presley made before he entered the army in the spring of 1958 — it was also his last film in black-and-white, as well as his final effort directed by a serious old-time filmmaker (Michael Curtiz); and, apart from a few isolated, quirky efforts like Flaming Star, Change of Habit, and Charro, this was the last of his serious movies, in which Presley was trying hard, pushing himself as an actor and, really, all through the score, as a musician. This is reflected in the soundtrack, which is one of the stronger film-related releases of his career. The original 11 songs included a hot title track by Jerry Leiber and Mike Stoller that was a dazzling showcase for Scotty Moore’s and Tiny Timbrell’s guitars as well as Elvis’ intense, exciting lead vocal. Leiber and Stoller’s “Trouble” and Claude Demetrius’ “Hard Headed Woman” have Moore’s and Timbrell’s electric guitars competing successfully with a five-man brass and reed section. Even “Dixieland Rock,” if not up to the level of those other two numbers, features good playing and a strong performance by Presley, and “Young Dreams” is a decent midtempo number. The slow ballads are where the soundtrack falls flat, “As Long As I Have You” coming up to standard but “Lover Doll” and “Don’t Ask Me Why” failing to excite or maintain interest; “Crawfish” can only have been included to bring the album up to the minimum acceptable length for an LP.

Tracklist:
01. King Creole
02. As Long As I Have You
03. Hard Headed Women
04. Trouble
05. Dixieland Rock
06. Don’t Ask Me Why
07. Lover Doll
08. Crawfish
09. Young Dreams
10. Steadfast, Loyal And True
11. New Orleans

Mastered by Kevin Gray at Cohearent Audio.

ISO

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FLAC

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The second volume of Essential Elvis offers Elvis in binaural stereo from the January 1957 sessions that produced several hits. (RCA Victor generously filled the disc out with mono masters of the remaining songs to give the consumer a complete version of the sessions.) This is a lot of fun; the gaffes are numerous, obvious, and hilarious, and for ears raised on multi-track recording, it must be amazing to hear an entire record recorded live in the studio!

Tracklist:
01. I Beg Of You (Take 1)
02. Is It So Strange (Take 1)
03. Have I Told You Lately That I Love (Take 2)
04. It Is No Secret (What God Can Do) (Takes 1,2,3)
05. Blueberry Hill (Take 2)
06. Mean Woman Blues (Take 14)
07. There’ll Be Peace In The Valley (Takes 2,3)
08. Have I Told You Lately I Love You (Take 6)
09. Blueberry Hill (Take 7)
10. That’s When Your Heartaches Begin (Takes 4,5,6)
11. Is It So Strange (Takes 7,11)
12. I Beg Of You (Takes 6,8)
13. Peace In The Valley (Take 7)
14. Have I Told You Lately That I Love You (Takes 12,13)
15. I Beg Of You (Take 12)
16. I Believe (Take 4) [Bonus Mono Track]17. Tell Me Why (Take 5) [Bonus Mono Track]18. Got A Lot O’ Livin’ To Do! (Take 9) [Bonus Mono Track]19. All Shook Up (Take 10) [Bonus Mono Track]20. Take My Hand, Precious Lord (Take 14) [Bonus Mono Track]

ISO

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James Taylor – October Road (2002) [2.0 & 5.1] {PS3 ISO + FLAC}

James Taylor – JT (1977) [Reissue 2002] {2.0 & 5.1} PS3 ISO + FLAC

James Taylor – JT (1977) [MFSL 2011] {PS3 ISO + FLAC}

James Taylor – Flag (1979) [MFSL 2011] {PS3 ISO + FLAC}

James Taylor – Hourglass (1997) [Reissue 2001] {2.0 & 5.1} PS3 ISO + FLAC

James Taylor – Dad Loves His Work (1981) [Reissue 2003] {2.0 & 5.1} PS3 ISO + FLAC

James Taylor – Dad Loves His Work (1981) [MFSL 2011] {PS3 ISO + FLAC}

Rebecca Pidgeon – The Raven (1994) [Reissue 2007] {2.0 & 5.0} PS3 ISO + FLAC

Rebecca Pidgeon – Retrospective (2003) [2.0 & 5.0] {PS3 ISO + FLAC}

Livingston Taylor – Ink (2003) [2.0 & 5.1] {PS3 ISO + FLAC}

Martin Taylor – Spirit Of Django (1994) [Reissue 2004] {2.0 & 5.1} PS3 ISO + FLAC

Mike Marshall – Gator Strut (1987) [MFSL 2004] {PS3 ISO + FLAC}

Jerry Garcia & David Grisman – Garcia/Grisman (1991) [MFSL 2014] {PS3 ISO + FLAC}

Jerry Garcia & Merl Saunders – Live at Keystone, Vol. 1 (1973) [Reissue 2004] {PS3 ISO + FLAC}

Living Stereo: Beethoven – Boston SO / Munch – Symphonies 5 & 6 (2005) {PS3 ISO + FLAC}

Dvorak: Concerto in B minor / Walton: Cello Concerto – Gregor Piatigorsky, Munch (2005) {PS3 ISO + FLAC}

Elvis Presley – 24 Karat Hits! (1997) [Analogue Productions’ Remaster 2012] {PS3 ISO + FLAC}

Elvis Presley – Elvis Is Back (1960) [Analogue Productions Remaster 2012] {PS3 ISO + FLAC}

Elvis Presley – King Creole (1958) [Audio Fidelity 2013] {PS3 ISO + FLAC}

Elvis Presley – Essential Elvis Volume 2: Stereo ’57 (1988) [Analogue Productions Remaster 2013] {PS3 ISO + FLAC}