SACD / DSD – HDMusic.me

The man who popularized wordless vocal choruses and light orchestral accompaniment on a mix of popular standards and contemporary hits of the 1960s, Ray Conniff was a trombone player for Bunny Berigan’s Orchestra and Bob Crosby’s Bobcats before being hired as an arranger by Mitch Miller for Columbia Records in 1954. After he wrote the charts for several sizeable Columbia hits during the mid-’50s, Conniff became a solo artist as well, applying his arranging techniques to instrumental easy listening for the booming adult album market. The result, 12 Top Ten LPs and well over 50 million total albums sold, cemented his status as one of the top LP sellers of all time, but his increasingly watered-down and commercially focused arrangements gained few young fans by the end of the ’60s. Though he continued recording and touring the world into the ’90s, Conniff’s albums slipped off the charts in the early ’70s. This SACD release combines 2 LP on 1 SACD – “Laughter In The Rain” & “Love Will Keep Us Together”, both were released in 1975.

Tracklist:
01. Laughter in the Rain
02. I Honestly Love You
03. Sundown
04. Angie Baby
05. Mandy
06. Seasons in the Sun
07. Eres Tu
08. Cats in the Cradle
09. Feel Like Makin Love
10. Youre Having My Baby
11. Please Mr Please
12. Midnight Blue
13. Rhinestone Cowboy and Wildfire
14. Feelings
15. My Little Friend
16. Im Sorry
17. At Seventeen
18. Solitaire
19. Love Will Keep Us Together

Tracks “01-10” is “Laughter In The Rain” (LP ‘1975)
Tracks “11-20” is “Love Will Keep Us Together” (LP ‘1975).
Remastered from the Original Master tapes by Michael J. Dutton.

ISO

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FLAC

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Called “the Paganini of the harmonica” by The Los Angeles Times, Robert Bonfiglio has dazzled audiences throughout the world with his ability to play harmonica concertos and turn right around and sizzle on the blues. Bonfiglio has been a concerto soloist with leading orchestras around the world including the Minnesota Orchestra, the Leipzig MDR-Radio Symphony, the Hong Kong Philharmonic, Orchestre National du Capitole de Toulouse, the Madrid Radio Television Espanola Orchestra, the Mexico City Philharmonic as well as the Milwaukee Symphony, the Indianapolis Symphony, Oregon Symphony, Utah Symphony and the Los Angeles Philharmonic.

Tracklist:
01. Aspirations of Libertine
02. Dream of Genius Anoia
03. Dream of Spring
04. Paper Boat
05. Love of Genius Anoia
06. Impress
07. Midnight Whisper
08. Love of Two Stars
09. Love of Tower
10. Gently Smiling
11. I Like a Piece of Cloud

The Project Re-mastered by Povee Chan.

Personnel
Robert Bonfiglio – harmonicas, percussion
Steve Benson – acoustic and classical guitar
Clare Hoffman – flute
Joe Deninzon – violin
Tony Falanga – bass
Carlos De Oliveira – Brazilian percussion

ISO

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FLAC

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Guitarist Robert Wolf has joined the virtuoso cellist Fany Kammerlander & the unbelievable versatile trumpeter Reinhard Greiner to create a chamber music trio. On this album, the trio perform the music by Charlie Haden, Manuel de Falla, Chick Corea, Ennio & Andrea Morricone, and more.

Tracklist:
01. Our Spanish Love Song
02. Flor de la noche
03. El pano moruno
04. Songs of the Birds
05. Layor
06. La vida breve
07. Ack Varmeland
08. Per il mio amore
09. Preludio fantasia
10. Armandos Rhumba
11. Cinema paradiso

ISO

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FLAC

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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
13. Out In The Cold [Bonus Track]14. Smackwater Jack (Live) [Bonus Track]

ISO

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FLAC

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More “Carole King” in Hi-Res

Recorded in Japan in July 1973, this massive, three-LP live album was available outside the United States in 1974 but held back from domestic release in the U.S. It features the same “New Santana Band” that recorded Welcome, and combines that group’s jazz and spiritual influences with performances of earlier Latin rock favorites like “Oye Como Va”.

Tracklist:

01. Going Home
02. A-1 Funk
03. Every Step of the Way
04. Black Magic Woman
05. Gypsy Queen
06. Oye Como Va
07. Yours is the Light
08. Batuka
09. Xibaba (She-Ba-Ba)
10. Stone Flower (Introduction)
11. Waiting
12. Castillos de Arena Pt 1
13. Free Angela
14. Sambo de Sausalito

ISO

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FLAC

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Seiji Ozawa, Boston Symphony Orchestra –
– Respighi: Pini di Roma, Feste Romane, Fontane di Roma (1979/2012)
PS3 SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 61:53 minutes | Artwork included (PDF) | 2,49 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Artwork (PDF) | 1,08 GB
Japanese Limited SHM-SACD ‘2012 | Deutsche Grammophon / Universal Japan # UCGG-9046

This 1979 recording manages to create the best overall balance throughout at four contrasting sections. During the fist, Ozawa skilfully demonstrates how to let the noisy children have fun in the grounds of the Villa Borghese while keeping them under control, summoning plenty of glitter from the percussion department, and maintaining an appropriately lively tempo . . . While he misses no details, Ozawa certainly never overdoes them . . . Ozawa also knows how to sustain the final gigantic crescendo that brings the marching Roman army to the victorious final bar, aided at all times by the rich and sonorous quality of this superbly-engineered Deutsche Grammophon recording. Ozawa pours the full sheen and brilliance of the Boston Symphony Orchestra over the rich score and the end result really is truly overwhelming.

Tracklist:
01. Pini di Roma: 1. I pini di Villa Borghese
02. Pini di Roma: 2. Pini presso una catacomba
03. Pini di Roma: 3. I pini del Gianicolo
04. Pini di Roma: 4. I pini della Via Appia
05. Feste romane: 1. Circenses [Feste romane]06. Feste romane: 2. Il Giubileo
07. Feste romane: 3. L’Ottobrata
08. Feste romane: 4. La befana
09. Fontane di Roma: 1. La fontana di Valle Giulia all’alba
10. Fontane di Roma: 2. La fontana del Tritone al mattino
11. Fontane di Roma: 3. La fontana di Trevi al meriggio
12. Fontane di Roma: 4. La fontana di Villa Medici al tramonto

ISO

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FLAC

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Chrissie Hynde took a long, hard road to rock & roll stardom, but when her band, the Pretenders, finally broke through in 1979, they wasted no time, growing from promising newcomers on the British music scene to major international stardom with a pair of smash albums to their credit in a mere three years. But the Pretenders’ meteoric rise came to a crashing halt in 1982, when drug abuse claimed the life of guitarist James Honeyman-Scott and forced Hynde and drummer Martin Chambers to dump bassist Pete Farndon, who would also succumb to an OD in April 1983. Hynde was forced by circumstance to reinvent the Pretenders for their third album, 1984’s Learning to Crawl, but if the new edition of the group lacked some of the spark of the band that made the first two LPs, through sheer force of will Hynde created a masterpiece. While Hynde hardly held back in her emotionally potent songwriting in the Pretenders’ early work, on Learning to Crawl there’s a gravity to her lyrics that blended with her tough but wiry melodic sense and streetwise intelligence to create a set of truly remarkable tunes. “Back on the Chain Gang” is a touching tribute to her fallen comrades that still sounds bitterly rueful, “Middle of the Road” is a furious rocker that explores the emotional and physical toll of a musician’s life, “Time the Avenger” is a taut, literate examination of a businessman’s adulterous relationship, “My City Was Gone” deals with the economic and cultural decay of the Midwest in a manner both pithy and genuinely heartfelt, and “2000 Miles” is a Christmas number that demonstrates Hynde can be warm without getting sappy. As a guitarist, Robbie McIntosh brought a simpler and more elemental style to the Pretenders than James Honeyman-Scott, but his tough, muscular leads fit these songs well, and bassist Malcolm Foster’s solid punch fits Chambers’ drumming perfectly. Three albums into her recording career, Chrissie Hynde found herself having to put the past to bed and carve out a new beginning for herself with Learning to Crawl, but she pulled it off with a striking mixture of courage, strength, and great rock & roll; with the exception of the instant-classic debut album, it’s the Pretenders’ finest work.

Tracklist:
01. Middle of the Road
02. Back on the Chain Gang
03. Time the Avenger
04. Watching the Clothes
05. Show Me
06. Thumbelina
07. My City Was Gone
08. Thin Line Between Love and Hate
09. I Hurt You
10. 2000 Miles

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

ISO

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FLAC

https://subyshare.com/9kr3c8iccpfq/ThePretendersLearningT0Crawl1984MFSL2012FLAC2488.2.rar.html

After successfully establishing themselves as one of America’s best commercial progressive rock bands of the late ’70s with albums like The Grand Illusion and Pieces of Eight, Chicago’s Styx had taken a dubious step towards pop overkill with singer Dennis DeYoung’s ballad “Babe.” The centerpiece of 1979’s uneven Cornerstone album, the number one single sowed the seeds of disaster for the group by pitching DeYoung’s increasingly mainstream ambitions against the group’s more conservative songwriters, Tommy Shaw and James “JY” Young. Hence, what had once been a healthy competitive spirit within the band quickly deteriorated into bitter co-existence during the sessions for 1980’s Paradise Theater — and all-out warfare by the time of 1983’s infamous Kilroy Was Here. For the time being, however, Paradise Theater seemed to represent the best of both worlds, since its loose concept about the roaring ’20s heyday and eventual decline of an imaginary theater (used as a metaphor for the American experience in general, etc., etc.) seemed to satisfy both of the band’s camps with its return to complex hard rock (purists Shaw and JY) while sparing no amount of pomp and grandeur (DeYoung). The stage is set by the first track, “A.D. 1928,” which features a lonely DeYoung on piano and vocals introducing the album’s recurring musical theme before launching into “Rockin’ the Paradise” — a total team effort of wonderfully stripped down hard rock. From this point forward, DeYoung’s compositions (“Nothing Ever Goes as Planned,” “The Best of Times”) continue to stick close to the overall storyline, while Shaw’s (“Too Much Time on My Hands,” “She Cares”) try to resist thematic restrictions as best they can. Among these, “The Best of Times” — with its deliberate, marching rhythm — remains one of the more improbable Top Ten hits of the decade (somehow it just works), while “Too Much Time on My Hands” figures among Shaw’s finest singles ever. As for JY, the band’s third songwriter (and resident peacekeeper) is only slightly more cooperative with the Paradise Theater concept. His edgier compositions include the desolate tale of drug addiction, “Snowblind,” and the rollicking opus “Half-Penny, Two-Penny,” which infuses a graphic depiction of inner city decadence with a final, small glimmer of hope and redemption. The song also leads straight into the album’s beautiful saxophone-led epilogue, “A.D. 1958,” which once again reveals MC DeYoung alone at his piano. A resounding success, Paradise Theater would become Styx’s greatest commercial triumph; and in retrospect, it remains one of the best examples of the convergence between progressive rock and AOR which typified the sound of the era’s top groups (Journey, Kansas, etc.). For Styx, its success would spell both their temporary saving grace and ultimate doom, as the creative forces which had already been tearing at the band’s core finally reached unbearable levels three years later. It is no wonder that when the band reunited after over a decade of bad blood, all the music released post-1980 was left on the cutting room floor — further proof that Paradise Theater was truly the best of times.

Tracklist:
01. A.D. 1928
02. Rockin’ the Paradise
03. Too Much Time on My Hands
04. Nothing Ever Goes As Planned
05. The Best of Times
06. Lonely People
07. She Cares
08. Snowblind
09. Half-Penny, Two-Penny
10. A.D. 1958
11. State Street Sadie

Mastered for this SACD by Kevin Gray at Cohearent Audio.

ISO

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FLAC

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One album before Styx cut loose with an honest-to-goodness concept album, Kilroy Was Here, they flirted with the idea on Paradise Theater. The concept here has something to do with the decline of America in the ’70s, based on the condemnation and destruction of the Paradise Theater, a famous showplace in the band’s hometown of Chicago. Truth be told, the concept hasn’t held together that well, though the individual songs have, led by the optimistic ballad “The Best of Times,” and the rockers “Too Much Time on My Hands” and “Snowblind.” Dennis DeYoung gives some of his most theatrical performances throughout, presaging his overly ambitious Kilroy concept, but also his successful run performing in the legitimate theater, as Pontius Pilate in Jesus Christ Superstar. Paradise, meanwhile, was about as good as it got for Styx. –Daniel Durchholz

No information about the transfer available (booklet).

ISO

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FLAC

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Georg Friedrich Händel – Sonatas For The Recorder
Dorothee Oberlinger / Ensemble 1700
SACD ISO: 4,44 GB (Stereo + MCH DSD) | FLAC @ 24bit/88.2kHz: 1,42 GB | Full Artwork | 3% Rec. Info
Label/Cat#: Raumklang “Edition Marc Aurel” # MA SA 024 | Country/Year: Germany 2007 (2004)
Genre: Classical | Style: Baroque, Recorder

Review by Blair Sanderson
For its authentic instrumental timbres, exquisite period interpretations, superbly engineered sound, and, above all, the sheer genius of the music, this album of Handel’s recorder trios and sonatas is guaranteed to please connoisseurs of Baroque chamber music, and should catapult Dorothee Oberlinger and her handpicked Ensemble 1700 into international celebrity. A debut release for these exceptional musicians, this remarkable CD reveals both their scrupulous scholarship and enthusiastic participation, and the combination is winning. Oberlinger plays the recorder with a lucid but modest tone, never upstaging the other players but creating an impression of domestic intimacy that surely attended amateur performances in the eighteenth century. Yet these are not fragile or rarefied renditions, for Oberlinger and her companions are quite vigorous in the Allegro movements; the long, lyrical lines in the Larghettos and Adagios are always solidly supported through the soloist’s unerring ornamentation; and the accompaniment is fully realized and strongly characterized, distributed throughout the works to a variety of basso continuo instruments. The illustrated booklet includes an informative essay on the recorder’s history and Handel’s music by Gerhard Braun, and the recording is absolutely clear in details and natural in reproduction. This disc is highly recommended. allmusicguide

SACD Info:

G.F. Handel – Sonatas For The Recorder

Dorothee Oberlinger / Ensemble 1700

Label: Raumklang
Edition: Marc Aurel
Co.Prod.: Deutschlandfunk
Catalog#: MA SA 024
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2007, 2004
Genre: Classical
Style: Baroque, Recorder

Tracklist:

1 Triosonate c-moll HWV 386a op. 2,1 – 1. Andante 3:27
2 Triosonate c-moll HWV 386a op. 2,1 – 2. Allegro 2:26
3 Triosonate c-moll HWV 386a op. 2,1 – 3. Andante 2:52
4 Triosonate c-moll HWV 386a op. 2,1 – 4. Allegro 2:11
5 Sonate für Blockflöte und B.c. d-moll HWV 367a – 1. Largo 2:27
6 Sonate für Blockflöte und B.c. d-moll HWV 367a – 2. Vivace 2:07
7 Sonate für Blockflöte und B.c. d-moll HWV 367a – 3. Furioso 2:04
8 Sonate für Blockflöte und B.c. d-moll HWV 367a – 4. Adagio 1:31
9 Sonate für Blockflöte und B.c. d-moll HWV 367a – 5. Alla breve 1:47
10 Sonate für Blockflöte und B.c. d-moll HWV 367a – 6. Andante 3:05
11 Sonate für Blockflöte und B.c. d-moll HWV 367a – 7. A tempo di minuet 1:33
12 Sonate für Blockflöte und B.c. F-dur HWV 369 – 1. Larghetto 2:15
13 Sonate für Blockflöte und B.c. F-dur HWV 369 – 2. Allegro 2:06
14 Sonate für Blockflöte und B.c. F-dur HWV 369 – 3. Alla Siciliana 1:19
15 Sonate für Blockflöte und B.c. F-dur HWV 369 – 4. Allegro 1:57
16 Sonate für Blockflöte und B.c. B-dur HWV 377 – 1. (Air) 2:00
17 Sonate für Blockflöte und B.c. B-dur HWV 377 – 2. Adagio 1:16
18 Sonate für Blockflöte und B.c. B-dur HWV 377 – 3. Allegro 1:22
19 Sonate für Blockflöte und B.c. a-moll HWV 362 – 1. Larghetto 2:39
20 Sonate für Blockflöte und B.c. a-moll HWV 362 – 2. Allegro 2:29
21 Sonate für Blockflöte und B.c. a-moll HWV 362 – 3. Adagio molto 2:13
22 Sonate für Blockflöte und B.c. a-moll HWV 362 – 4. Allegro 1:47
23 Sonate für Blockflöte und B.c. C-dur HWV 365 – 1. Larghetto 2:33
24 Sonate für Blockflöte und B.c. C-dur HWV 365 – 2. Allegro 2:09
25 Sonate für Blockflöte und B.c. C-dur HWV 365 – 3. Larghetto 2:08
26 Sonate für Blockflöte und B.c. C-dur HWV 365 – 4. A tempo di gavotta 1:18
27 Sonate für Blockflöte und B.c. C-dur HWV 365 – 5. Allegro 1:25
28 Sonate für Blockflöte und B.c. g-moll HWV 360 – 1. Larghetto 2:14
29 Sonate für Blockflöte und B.c. g-moll HWV 360 – 2. Andante 1:39
30 Sonate für Blockflöte und B.c. g-moll HWV 360 – 3. Adagio 0:52
31 Sonate für Blockflöte und B.c. g-moll HWV 360 – 4. Presto 1:10
32 Triosonate F-dur HWV 389 op. 2,4 – 1. Larghetto 2:07
33 Triosonate F-dur HWV 389 op. 2,4 – 2. Allegro 1:24
34 Triosonate F-dur HWV 389 op. 2,4 – 3. Adagio 1:55
35 Triosonate F-dur HWV 389 op. 2,4 – 4. Allegro 1:56
36 Triosonate F-dur HWV 389 op. 2,4 – 5. Allegro 1:42

Credits

Ensemble 1700:
Anton Steck (violin)
Hille Perl (viola da gamba)
Thomas Boysen (lute, theorbo, baroque guitar)
Carsten Erik Ose (bass recorder)
Katharina Braha (bassoon)
Alexander Puliaev (harpsichord)

ISO

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FLAC

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Info+Art

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Vocalion issues a classic LP on their popular series. The RCA release, with the RCA Italiana Orchestra, recorded in the ‘sixties is a welcome addition for many as this was a true highlight of early collection buying, with great recorded sound and excellent performances of four of the composer’s finest concert works.

Tracklist:
01. Overture to a Symphony Concert, Op.26/a
02. Three Hungarian Sketches, Op.14: Capriccio
03. Three Hungarian Sketches, Op.14: Pastorale
04. Three Hungarian Sketches, Op.14: Danza
05. Notturna Ungherese, Op.28
06. Theme Variations and Finale, Op.13: Theme
07. Theme Variations and Finale, Op.13: Variation 1
08. Theme Variations and Finale, Op.13: Variation 2
09. Theme Variations and Finale, Op.13: Variation 3
10. Theme Variations and Finale, Op.13: Variation 4
11. Theme Variations and Finale, Op.13: Variation 5
12. Theme Variations and Finale, Op.13: Variation 6
13. Theme Variations and Finale, Op.13: Variation 7
14. Theme Variations and Finale, Op.13: Variation 8
15. Theme Variations and Finale, Op.13: Finale

Remastered from original analogue tapes by Michael J. Dutton.

ISO

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FLAC

https://subyshare.com/kc5pjtxzh331/Mikl0sR0zsaR0zsaC0nductsR0zsa1965Reissue2017FLACStere02488.2.rar.html

This splendid Dutton SACD, licensed from Sony, contains two organ concertos by Joseph Rheinberger. The concertos are among the finest ever composed for this instrument. Rheinberer included brass soloists and timpani as well as an orchestra. E. Power Biggs is featured along with the Columbia Symphony directed by Maurice Peress, recorded in St. George’s Episcopal Church in New York November 28-29, 1973 on the grand Möller organ. For this reissue, the producers used great imagination taking full advantage of the four channels, separating the instruments most effectively. The equipment indicates that this is a 5.1 recording, which seems rather odd as this was a four-track recording. At any rate, the result is a treat for those who care about quality sound, a thrilling audio experience.

Tracklist:
01. Concerto in F major for Organ, String Orchestra and 3 Horns, Op. 137: 1st Movement – Maestoso
02. Concerto in F major for Organ, String Orchestra and 3 Horns, Op. 137: 2nd Movement – Andante
03. Concerto in F major for Organ, String Orchestra and 3 Horns, Op. 137: 3rd Movement – Con moto
04. Concerto in G minor for Organ, String Orchestra, 2 Trumpets, 2 Horns and Timpani, Op. 177: 1st Movement – Grave
05. Concerto in G minor for Organ, String Orchestra, 2 Trumpets, 2 Horns and Timpani, Op. 177: 2nd Movement – Andante
06. Concerto in G minor for Organ, String Orchestra, 2 Trumpets, 2 Horns and Timpani, Op. 177: 3rd Movement – Con moto
07. A Mini-Discourse by E Power Biggs, part 1
08. A Mini-Discourse by E Power Biggs, part 2

E. Power Biggs – organ
The Columbia Symphony, Conducted by Maurice Peress.

Remastered from original analogue tapes by Michael J. Dutton.

ISO

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FLAC

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Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel’s Breakaway and Paul Simon’s Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren’t necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise. None of his ballads have been as sweet or slick as “Just the Way You Are”; he never had created a rocker as bouncy or infectious as “Only the Good Die Young”; and the glossy production of “She’s Always a Woman” disguises its latent misogynist streak. Joel balanced such radio-ready material with a series of New York vignettes, seemingly inspired by Springsteen’s working-class fables and clearly intended to be the artistic centerpieces of the album. They do provide The Stranger with the feel of a concept album, yet there is no true thematic connection between the pieces, and his lyrics are often vague or mean-spirited. His lyrical shortcomings are overshadowed by his musical strengths. Even if his melodies sound more Broadway than Beatles – the epic suite “Scenes From an Italian Restaurant” feels like a show-stopping closer – there’s no denying that the melodies of each song on The Stranger are memorable, so much so that they strengthen the weaker portions of the album. Joel rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable.

Tracklist:
01. Movin’ Out (Anthony’s Song)
02. The Stranger
03. Just The Way You Are
04. Scenes From An Italian Restaurant
05. Vienna
06. Only The Good Die Young
07. She’s Always A Woman
08. Get It Right The First Time
09. Everybody Has A Dream

Remastered by Ted Jensen at Sterling Sound, NYC.

ISO

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FLAC

https://subyshare.com/5l7smmd2wef7/BillyJ0elTheStranger1977Reissue2017FLACStere024882.rar.html

Billy Joel – The Stranger (1977) [MFSL 2012] {PS3 ISO + FLAC}

http://hdmusic.pw/billy-joel-the-stranger-1977-mfsl-2012-ps3-iso-flac/

Billy Joel – Stranger (1977) [Remastered Reissue 1998 (2001)] {2.0 & 5.1} PS3 ISO + FLAC

http://hdmusic.pw/billy-joel-stranger-1977-remastered-reissue-1998-2001-2-0-5-1-ps3-iso-flac/

Billy Joel – The Stranger (1977/2012) [Official Digital Download 24bit/88,2kHz]

http://hdmusic.pw/billy-joel-the-stranger-19772012-official-digital-download-24bit882khz/

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 at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

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FLAC

https://subyshare.com/btbqcw2bf2ql/B0bDylanB0bDylan1962M0n0MFSL2017FLAC2488.2.rar.html

Bob Dylan – Bob Dylan (1962) [MFSL 2015] {PS3 ISO + FLAC}

http://hdmusic.pw/bob-dylan-bob-dylan-1962-mfsl-2015-ps3-iso-flac/

With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it’s not just that he went electric, either, rocking hard on “Subterranean Homesick Blues,” “Maggie’s Farm,” and “Outlaw Blues”; it’s that he’s exploding with imagination throughout the record. After all, the music on its second side – the nominal folk songs – derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn’t just introspection, either, since the surreal paranoia on “It’s Alright, Ma (I’m Only Bleeding)” and the whimsical poetry of “Mr. Tambourine Man” are individual, yet not personal. And that’s just the tip of the iceberg, really, as he writes uncommonly beautiful love songs (“She Belongs to Me,” “Love Minus Zero/No Limit”) that sit alongside uncommonly funny fantasias (“On the Road Again,” “Bob Dylan’s 115th Dream”). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album.

Tracklist:
01. Subterranean Homesick Blues
02. She Belongs To Me
03. Maggie’s Farm
04. Love Minus Zero/No Limit
05. Outlaw Blues
06. On The Road Again
07. Bob Dylan’s 115th Dream
08. Mr. Tambourine Man
09. Gates Of Eden
10. It’s Alright, Ma (I’m Only Bleeding)
11. It’s All Over Now, Baby Blue

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

ISO

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FLAC

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Bob Dylan – Bringing It All Back Home (1965) [MFSL 2013] {PS3 ISO + FLAC}

http://hdmusic.pw/bob-dylan-bringing-it-all-back-home-1965-mfsl-2013-ps3-iso-flac/

Bob Dylan – Bringing It All Back Home (1965) [SACD 2003] {PS3 ISO + FLAC}

http://hdmusic.pw/bob-dylan-bringing-it-all-back-home-1965-sacd-2003-ps3-iso-flac/

Bob Dylan – Bringing It All Back Home (1965/2014) [Official Digital Download 24bit/96kHz]

http://hdmusic.pw/bob-dylan-bringing-it-all-back-home-19652014-official-digital-download-24bit96khz/

Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn’t afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder’s brilliant guitar, are taken to new territory where they can coexist. It’s as if Washington Phillips’ “Tattler” could have shared a place on the charts with Womack’s “It’s All Over Now” or Little Milton’s “If Walls Could Talk.” That he’s successful on these, as well as the Salvation Army march of “Jesus on the Mainline” or the funky, gospel feel of Blind Willie McTell’s “Married Man’s a Fool,” is not only a credit to Cooder’s talent and ingenuity as an arranger and bandleader, but also to the songs themselves. The album closes with its most stripped-down track, an acoustic guitar and piano duet with jazz legend Earl “Fatha” Hines on the Blind Blake classic “Ditty Wah Ditty.” Here both musicians are given plenty of room to showcase their instrumental prowess, and the results are nothing short of stunning. Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder’s masterpiece.

Tracklist:
01. Tamp ‘Em Up Solid
02. Tattler
03. Married Man’s A Fool
04. Jesus On The Mainline
05. It’s All Over Now
06. I’m A Fool For A Cigarette/Feelin’ Good
07. If Walls Could Talk
08. Mexican Divorce
09. Ditty Wa Ditty

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

ISO

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FLAC

https://subyshare.com/w3w7gumvzqwl/RyC00derParadiseAndLunch1974MFSL2017FLAC2488.2.rar.html

Harmonica and organ – an unusual duo. The world’s smallest and the world’s largest musical instrument; “David and Goliath” together in stunning baroque pieces and Norwegian folk music.

Sigmund Groven and Iver Kleive have collaborated for more than 30 years and have built a repertoire consisting mainly of baroque pieces and Norwegian music, most of which they have composed and arranged themselves. Even though they have chosen very different instruments, and are also quite different personalities in many ways, they have a fundamental musical rapport and understanding and also have many other things in common. They both originate from musical families; born and raised in Telemark, a region of Norway rich in folk-music, they have always had an open mind and taken keen interest in various contemporary and popular musical styles and idioms. They left Norway to study, and their mentors were the best possible role models: In Munich Iver came under the guidance of organist Franz Lehrndorfer and legendary choirmaster, conductor, and organist Karl Richter, whereas Sigmund had the great fortune to study in England with his boyhood idol, the equally legendary Tommy Reilly, one of the great pioneers of serious harmonica-playing.

“In the right hands the harmonica can be an instrument of great beauty and sophistication. Sigmund Groven, like Tommy Reilly and Larry Adler before him, makes full use of the wide range and tonal expressions that the harmonica is capable of. His musicianship is superb, and he now unquestionably reigns supreme as one of the finest exponents of the harmonica in the world”. – Sir George Martin

Tracklist:
01. Sigmund Groven: Gloria
02. Sigmund Groven: Aria
03. JS Bach: Flute Sonata No. 2 in E-Flat Major, BWV 103: I. Allegro Moderato
04. JS Bach: Flute Sonata No. 2 in E-Flat Major, BWV 103: II. Siciliano
05. JS Bach: Flute Sonata No. 2 in E-Flat Major, BWV 103: III. Allegro
06. Sigmund Groven: I Himmelen
07. Iver Kleive: Melodier Fra Koralboka; Vektervers
08. Iver Kleive: Melodier Fra Koralboka; Mitt Hjerte Alltid Vanker
09. Iver Kleive: Melodier Fra Koralboka; Kom Regn Fra Det Høye
10. Iver Kleive: Melodier Fra Koralboka; Kristne, La Oss Søke Sammen
11. Iver Kleive: Melodier Fra Koralboka; Se, Vi Går Opp Til Jerusalem
12. Ludvig M. Linderman: Påskemorgen (arr. Iver Kleive)
13. Sigmund Groven: Lengt
14. Myllargutens Bruremarsj (arr. Sigmund Groven)
15. Iver Kleive: Toccata “Store Gud, Vi Lover Deg”
16. Iver Kleive: Suite Provençale; En Bagatell I Det Store Og Hele, Ikke Noe Å Bry Seg Om
17. Iver Kleive: Suite Provençale; Farvel Kjære Venn – Som Et Pust I Siv
18. Iver Kleive: Suite Provençale; Den Grønne Trøya
19. Iver Kleive: Suite Provençale; Côte D’Azur
20. GF Handel: Recorder Sonata In F Major, Hwv 369; Siciliana & Giga
21. Sigmund Groven: Undring
22. Sigmund Groven: In Memoriam
23. Henning Sommerro: Vårsøg

Personnel
Sigmund Groven – harmonica
Iver Kleive – organ
Recorded in September 2010 at Uranienborg Church, Norway
DSD created from DXD (352.8kHz/24bit).

ISO

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FLAC

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Sir Colin Davis and the London Symphony Orchestra recorded Carl Nielsen’s six symphonies at London’s Barbican between 2009 and 2011, and released them in pairs on the orchestra’s audiophile label, LSO Live. This trimline box set presents those hybrid SACDs, along with a Blu-Ray audio disc of all six performances together, a true convenience for collectors who have the appropriate equipment. Yet however one hears these symphonies, the recordings offer exceptional clarity and depth, and all the details of these complicated works are perfectly audible. Nielsen’s music is noted for its powerful drive, dramatic conflicts, and idiosyncratic use of folk-inspired melodies, and more than any other genre he touched, the symphonies give a clear sense of his progress as a composer. Davis’ readings are coherent and reliable, striking a balance between Nielsen’s natural lyricism and his aggressive rhythms, and while these rigorous, unsentimental interpretations may strike some listeners as a bit cool, they are far from clinical. This is an important cycle that Davis’ many admirers will want to own.

Tracklist:
01. Symphony No 1: I. Allegro orgoglioso
02. Symphony No 1: II. Andante
03. Symphony No 1: III. Allegro comodo
04. Symphony No 1: IV. Finale: Allegro con fuoco
05. Symphony No 6: I. Tempo giusto
06. Symphony No 6: II. Humoreske: Allegretto
07. Symphony No 6: III. Proposta seria: Adagio
08. Symphony No 6: IV. Tema con variazioni: Allegro

Produced by James Mallinson
Symphony No 1 recorded in October 2011, Barbican, London
Symphony No 6 recorded in May & June 2011, Barbican London

ISO

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FLAC

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https://subyshare.com/o5cycc4d9gqi/SirC0linDavisLS0Nielsen.Symph0nies162012FLACStere02488.2.part2.rar.html

Colin Davis and the London Symphony Orchestra serve up a marvelous pair of recordings on this 2011 SACD that offers Carl Nielsen’s Symphony No. 4 (“Inextinguishable”) and the Symphony No. 5. Because of Davis’ late arrival in conducting these works, some Nielsen devotees might be skeptical about the depth of his interpretations. But anyone familiar with his great recordings of the symphonies of Jean Sibelius will be excited at the prospect of hearing him lead the LSO in Nielsen’s most popular symphonies. Davis clearly has a grasp of Nielsen’s style, and his understanding of the music seems to accord with mainstream performances in his tempos and balance choices. The playing is exceptional in these live recordings, and the clarity of the DSD reproduction allows the music to be heard in the full dynamic range. Nielsen’s Fourth falls more or less in the expected range of pianissimo to fortissimo, but the Fifth has a much wider range, from the extremely soft tremolos of the opening to the powerful climax of the first part, with the snare drum playing with demonic fury against the wall of orchestral sound. But this SACD isn’t merely a showcase for the orchestra’s sonorities, for it fills a need for first-rate super audio recordings of these symphonies. Not only has Davis given the state-of-the-art treatment to the Fourth and the Fifth, but the remaining Symphonies No. 1, No. 2, No. 3, and No. 6 will receive the same deluxe presentation from LSO Live. Highly recommended.

Tracklist:
01. Symphony No 4: I. Allegro
02. Symphony No 4: II. Poco allegretto
03. Symphony No 4: III. Poco adagio quasi andante
04. Symphony No 4: IV. Allegro
05. Symphony No 5: I. i. Tempo giusto
06. Symphony No 5: I. ii. Adagio
07. Symphony No 5: II. Allegro – Presto – Andante un poco tranquillo – Allegro (Tempo I)

Produced by James Mallinson
Symphony No 4 recorded May 2009, Barbican, London
Symphony No 5 recorded October 2010, Barbican London

ISO

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FLAC

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https://subyshare.com/un1sr47yx4v0/SirC0linDavisLS0Nielsen.Symph0nies452011FLACStere02488.2.part2.rar.html

Name the best-loved performances of Smetana’s Má Vlast? Vaclav Talich’s passionate 1929 recording, his affectionate 1941 recording, or his magisterial 1954 recording? Rafael Kubelik’s ardent 1952 recording, his lyrical 1971 recording, or his emotional 1990 recording? Right every time. Now name the most forgotten performances of Smetana’s Má Vlast. Paavo Berglund’s uncomprehending 1978 recording, Zubin Mehta’s exaggerated 1991 recording, or Nikolaus Harnoncourt’s excessive 2001 recording? Right again.

While this impromptu musical quiz doesn’t conclusively prove anything, a trend does become obvious – Czechs conduct Má Vlast better than non-Czechs in some ineffable but undeniable way. For a Czech conductor, the six tone poems in Smetana’s symphonic cycle are the musical incarnation of his/her country and every melody, harmony, and rhythm is redolent of his/her homeland. For a non-Czech conductor, Má Vlast is inevitably an acquired taste and so far only the Czech-by-training Charles Mackerras has captured something of the work’s sense of ardent patriotism. Even so sympathetic a conductor as Colin Davis leading so fine an orchestra as the London Symphony cannot quite catch the strong nationalist flavor of Má Vlast. Although Davis’ Dvorák’s recordings are rightly prized for their strength and sensitivity, Davis’ Má Vlast, while superbly conducted and colorfully executed, fails to get beneath the skin of the music. Listeners whose hearts swell at the majestic harp chords of Vysehrad, whose pulse quickens at rolling woodwinds of Vltava, or whose eyes tear up at the heroic brass of Blaník may be left impressed but unmoved by Davis and the LSO’s performance. LSO Live’s sound is a bit dry, a little cramped, and slightly recessed.

Tracklist:
01. Vyšehrad
02. Vltava
03. Šárka
04. Z českých luhů a hájů
05. Tábor
06. Blaník

ISO

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FLAC

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Ray Conniff – Laughter In The Rain & Love Will Keep Us Together (2016) [2.0 & 5.1] {PS3 ISO + FLAC}

Robert Bonfiglio – Bonfiglio Plays Love Songs Of Sam Hui (2005) {PS3 ISO + FLAC}

Robert Wolf and Fany Kammerlander – Faro (2004) [Reissue 2015] {PS3 ISO + FLAC}

Carole King – Tapestry (1971) [Reissue 2017] {PS3 ISO + FLAC}

Santana – Lotus (1974) [Audio Fidelity 2016] {PS3 ISO + FLAC}

Seiji Ozawa, Boston Symphony Orchestra – Ottorino Respighi: Pini di Roma, Feste Romane, Fontane di Roma (1979/2012) {PS3 ISO + FLAC}

The Pretenders – Learning To Crawl (1984) [MFSL 2012] {PS3 ISO + FLAC}

Styx – Paradise Theater (1981) [Audio Fidelity 2014] {PS3 ISO + FLAC}

Styx – Paradise Theater (1981) [Japanese SHM-SACD 2014] {PS3 ISO + FLAC}

G.F. Handel – Sonatas For The Recorder – Dorothee Oberlinger, Ensemble 1700 (2007) {PS3 ISO + FLAC}

Miklos Rozsa, RCA Italiana Orchestra – Rozsa Conducts Rozsa (1965) [Reissue 2017] {PS3 ISO + FLAC}

E. Power Biggs – Rheinberger: Two Concertos for Organ & Orchestra (1973) [Reissue 2017] {PS3 ISO + FLAC}

Billy Joel – The Stranger (1977) [Reissue 2017] {2.0 & 5.1} PS3 ISO + FLAC

Bob Dylan – Bob Dylan (1962) [Monoural – MFSL 2017] {PS3 ISO + FLAC}

Bob Dylan – Bringing It All Back Home (1965) [Monoural – MFSL 2017] {PS3 ISO + FLAC}

Ry Cooder – Paradise And Lunch (1974) [MFSL 2017] {PS3 ISO + FLAC}

Sigmund Groven and Iver Kleive – harmOrgan (2010) [2.0 & 5.1] {PS3 ISO + FLAC}

Sir Colin Davis, London Symphony Orchestra – Carl Nielsen: Symphonies 1 & 6 (2012) {PS3 ISO + FLAC}

Sir Colin Davis, London Symphony Orchestra – Carl Nielsen: Symphonies 4 & 5 (2011) {PS3 ISO + FLAC}

Sir Colin Davis, London Symphony Orchestra – Smetana: Ma vlast (2005) {PS3 ISO + FLAC}