SACD / DSD – HDMusic.me

Valery Gergiev’s recordings of Shostakovich’s Sixth through Ninth symphonies were released on Philips, but this disc of the First and Fifteenth symphonies has been issued on the Mariinsky label, which is run by the St. Petersburg theater from which the label takes its name. The performances are disappointing, but not from a technical point of view; Gergiev is one of the finest living Russian conductors, and the Mariinsky Orchestra is one of the best Russian orchestras whose playing here is never less than superb. On an interpretive level, though, Gergiev and the Mariinsky leave much to be desired. The First Symphony lacks fire in the opening Allegretto, drive in the Scherzo, depth in the Lento, and drama in the closing Allegro molto. The performance of the Fifteenth is even less impressive. The composer’s last symphony calls for biting humor and bitter irony in the first and third movements, and enormous sorrow and tremendous terror in the second and fourth movements. Gergiev and the Mariinsky, however, deliver a straight-forward account that leaves the work’s stronger emotions untouched. Recorded in clear but oddly empty digital sound, this disc may satisfy Gergiev fans, but may not do much for fans of the composer.

Tracklist:
01. Symphony No 1: I. Allegretto – Allegro non troppo
02. Symphony No 1: II. Allegro
03. Symphony No 1: III. Lento – Largo
04. Symphony No 1: IV. Allegro molto – Lento – Adagio – Presto
05. Symphony No 15: I. Allegretto
06. Symphony No 15: II. Adagio
07. Symphony No 15: III. Allegretto
08. Symphony No 15: IV. Adagio – Allegretto

Produced by James Mallinson. Engineered by John Newton & Dirk Sobotka
Recorded on July 18, 20 & 25, 2008 at Mariinsky Concert Hall, St Petersburg, Russia
The Orchestra Of Mariinsky Theatre – Conducted by Valery Gergiev.

ISO

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FLAC 24-96

http://hdmusic.pw/dmitry-shostakovich-symphonies-1-15-mariinsky-orchestra-valery-gergiev-2009-official-digital-download-24bit96khz/

My Blueberry Nights is notable not only as the first English-language film by director Wong Kar Wai but also for the acting debut of Norah Jones. It’s surprising, then, that the soundtrack only includes one song from Jones, “The Story,” the only new song on the set and one that Jones has stated reflects her doubts about becoming an actress. It’s not appreciably different than anything else Jones has recorded to this point, a slow, jazzy ballad featuring her moody vocals and piano in a trio setting. As for the rest, it’s an appealing mix of R&B (Mavis Staples, Ruth Brown, Otis Redding), jazz (Cassandra Wilson), a couple of Cat Power tunes, and the ubiquitous Ry Cooder, who always makes any soundtrack worth a listen.

Tracklist:
01. Norah Jones – The Story
02. Cat Power – Living Proof
03. Ry Cooder – Ely Nevada
04. Otis Redding – Try A Little Tenderness
05. Ruth Brown – Looking Back
06. Ry Cooder – Long Ride
07. Mavis Staples – Eyes On The Prize
08. Chikara Tsuzuki – Yumeji’s Theme
09. Amos Lee – Skipping Stone
10. Ry Cooder – Bus Ride
11. Cassandra Wilson – Harvest Moon
12. Hello Stranger – Devil’s Highway
13. Gustavo Santaolalla – Pajaros
14. Cat Power – The Greatest

ISO

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FLAC

https://subyshare.com/iey6p2vrsszo/Vari0usArtistsMyBlueberryNights0ST2008Reissue2016FLAC2488.2.rar.html

This collection of smooth jazz tunes includes such internationally well-known artists such as Tsuyoshi Yamamoto Trio, Jeremy Monteiro Trio, John Whitney Trio and Teresa Perez. Featuring 10 tracks re-mastered for SACD. Maestro Harold Faberman was invited as a consultant for this title and was largely instrumental in selecting this beautifully composed and performed music. Sit back and enjoy. Relax your busy soul with the most soothing sounds Jazz has to offer.

Tracklist:
01. Yamamoto Trio – Theme from Spartacus
02. Jeremy Monteiro Trio – Falling In Love With Love
03. Yuri Honing – Somewhere Over The Rainbow
04. John Whitney Trio – Charade
05. Teresa Perez & The John Whitney Trio – Sweet Sound
06. John Whitney Trio – The Trout
07. Dave Parker with The Jeremy Monteiro Trio – Besame Mucho
08. Yamamoto Trio – Misty
09. John Whitney Trio – Sunrise In Seattle
10. Dave Parker with The Jeremy Monteiro Trio – Deep Purple

ISO

https://subyshare.com/sovahohj9j4r/Vari0usArtistsSm00thJazzFestival2005SACDIS0.part1.rar.html
https://subyshare.com/embzitdjaypr/Vari0usArtistsSm00thJazzFestival2005SACDIS0.part2.rar.html
https://subyshare.com/jn6iz5xqoyes/Vari0usArtistsSm00thJazzFestival2005SACDIS0.part3.rar.html

FLAC

https://subyshare.com/4ykgryfi1why/Vari0usArtistsSm00thJazzFestival2005FLAC2488.2.part1.rar.html
https://subyshare.com/ahukaxxux37o/Vari0usArtistsSm00thJazzFestival2005FLAC2488.2.part2.rar.html

High Lonesome Sound is the seventh studio album from American country music artist Vince Gill. It was released in 1996 on MCA Nashville. Two versions of the title track are included. The one at the end of the album was recorded in a more bluegrass orchestration, backed by Alison Krauss & Union Station.

Vince Gill takes off on a tour of American music on High Lonesome Sound. The title cut steps back to a time he hasn’t visited in a while, drawing on his days as a bluegrass singer and guitarist to create a soaring, harmony-driven sound that applies Appalachian drive to modern country rhythms. Most of the rest of the album’s journey treks in new directions. The aggressive guitar riff that opens “One Dance with You” is straight Chicago blues, while the jaunty feel that enlivens “Down to New Orleans” draws on the Windy City’s funky rhythms with a deft touch worthy of Little Feat – with Lowell George, that is. “Tell Me Lover,” also bearing the trace print of Little Feat, dances through a swampy groove. The arrangements by Gill and producer Tony Brown give traditional sounds a modern sheen while maintaining a distinct regional flavor. Gill gets much more room to show off his impressive guitar prowess than on his past records. A pair of small complaints are that his lyrics don’t match the music (they are steeped in the modern country topical schemes) and he can overly sweeten the blues. Elsewhere, he uses the clichéd aspects of Cajun music in paying homage to Louisiana’s musical heritage (R&B and New Orleans second-line rhythms aren’t here and should be, because he’s musically sophisticated enough to pull them off). Therefore, this album works best when he’s not straining for authenticity: “Worlds Apart,” “Given More Time,” and “Pretty Little Adriana” leaven his tried-and-true formula into arrangements that are more progressively atmospheric than his past hits. Gill owns too many strengths to need to transform himself into Lowell George or Bonnie Raitt at this point in his career; he can leave his own mark on any music he chooses to play and – for the most part – does so here.

Tracklist:
01. One Dance With You
02. High Lonesome Sound
03. Pretty Little Adriana
04. A Little More Love
05. Down To New Orleans
06. Tell Me Lover
07. Given More Time
08. You And You Alone
09. Worlds Apart
10. Jenny Dreamed Of Trains
11. High Lonesome (Acoustic Version – featuring Alison Krauss & Union Station)

ISO

https://subyshare.com/7gh43jx65x8v/VinceGillHighL0nes0meS0und1996Reissue2004SACDIS0.part1.rar.html
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FLAC

https://subyshare.com/ytvh8l4men32/VinceGillHighL0nes0meS0und1996Reissue2004FLACStere02488.2.rar.html

Recorded for Riverside, this set mostly features the influential pianist Wynton Kelly in a trio with his fellow rhythm-section mates from the Miles Davis bands, bassist Paul Chambers and drummer Jimmy Cobb. “Kelly Blue” and “Keep It Moving” add cornetist Nat Adderley, flutist Bobby Jaspar and the tenor of Benny Golson to the band for some variety. Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards (including “Softly, As in a Morning Sunrise” and “Willow Weep for Me”), he was also a strong bop-based soloist too. A fine example of his talents.

Tracklist:
01. Kelly Blue
02. Softly, As In A Morning Sunrise
03. On Green Dolphin Street
04. Willow Weep For Me
05. Keep It Moving (Take 4)
06. Old Clothes
07. Do Nothin’ Till You Hear From Me [Bonus Track]08. Keep It Moving (Take 3) [Bonus Track]

Recorded on February 19 and March 10, 1959
Released in Japan on SHM-SACD # UCGO-9011

Personnel
Wynton Kelly – piano
Nat Adderley – cornet
Bobby Jaspar – flute
Benny Golson – tenor saxophone
Paul Chambers – bass
Jimmy Cobb – drums

ISO

https://subyshare.com/4zro5zku44nl/Wynt0nKellyKellyBlue1959Japan2011SHMSACDIS0.part1.rar.html
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FLAC

https://subyshare.com/ewt05qfh09ub/Wynt0nKellyKellyBlue1959Japan2011FLAC2488.2.part1.rar.html
https://subyshare.com/lowsgd8b0y75/Wynt0nKellyKellyBlue1959Japan2011FLAC2488.2.part2.rar.html

Wynton Kelly Trio and Sextet – Kelly Blue (1959) [Reissue 2004] {PS3 ISO + FLAC}

http://hdmusic.pw/wynton-kelly-trio-and-sextet-kelly-blue-1959-reissue-2004-ps3-iso-flac/

Yu Ya was born as Lin Lihong on December 18, 1953 in Taipei, Taiwan. She was discovered at the age of 16 singing in a hotel, & her recording career soon took off. She was billed as 1 of the “Five Great Asian Divas” during the 1970s & 1980s, along with Teresa Teng, Judy Ongg , Agnes Chan, & Ouyang Feifei. Her stage name literally means “Especially Elegant”. Along with Teresa she went to live in Japan, to pursue her recording career, but unlike Teresa who remained, Yu Ya returned after 2 years to live in Taiwan. She recorded many songs for romantic film makers in the far east (e.g. Hong Kong). She’s remained popular in the East, had a long career & may still be performing.

Tracklist:
01. Summer Kisses Winter Tears
02. River Of No Return
03. Rhythm Of The Rain
04. Sixteen Tons
05. Love You More Than I Can Say
06. Changing Partner
07. Seven Lonely Days
08. Too Young
09. I Really Don’t Want To Know
10. Goodbye Jimmy Goodbye
11. Hittoria De Un Amore
12. Three Coins In The Fountain

Produced by Chris Babida
Recorded and Mixed by Chwei-Ching Yeh at Platinum Studio

Personnel
Yu Ya – Vocals
Chris Babida – Piano
Daniel Perkins – Tenor Sax
Kaneki Yoshinori – Bass
Rich Huang – Drums

ISO

https://subyshare.com/ctkbsdu95sf3/YuYaDreamS0ngsSummerKissesWinterTears2003SACDIS0.rar.html

FLAC

https://subyshare.com/61u368fmdruk/YuYaDreamS0ngsSummerKissesWinterTears2003FLAC2488.2.rar.html

As this is the case with many international stars, Chie Ayado is not a household name in America. In her native Japan, she’s a superstar jazz performer with more than 10 millions of recordings sold. She’s so in demand, she continues to play over forty large-venue concerts a year. Her label, East House Records, is making a name for itself with Three Blind Mice-style analog recordings of unbelievable accuracy and dimension. Vocals are listening-room immediate and the piano is detailed, full and beautifully balanced. Very little processing is used, so you hear Ayado’s unique vocal and piano playing without all the sonic distractions hiding many modern digital recordings.

Tracklist:
01. Ooh Child [+ MCH 5.1]*
02. Feel Like Makin’ Love [+ MCH 5.1]*
03. Ain’t No Sunshine / Lean On Me
04. A Whiter Shade Of Pale
05. Yellow Moon
06. The House Of The Rising Sun
07. Goodbye Pork Pie Hat
08. Don’t Let Me Be Lonely Tonight
09. All Blues
10. You Are So Beautiful

Tracklist:
01. A House Of Gold
02. I Got A Name
03. Imagine
04. God Bless’ The Child
05. With A Little Help From My Friends
06. Without you
07. On And On
08. The River Of No Return
09. Never My Love
10. Fly Me To The Moon
11. Lucille
12. My Dear Life
13. Oh My Darling Clementine
14. My Way

Tracklist:
01. Born To Be Wild
02. I Can’t Stop Loving You
03. Tennessee Waltz
04. Do It Again
05. My Dear Life
06. Was Ich Dir Sagen Will
07. Desperado
08. When The Saints Go Marching In
09. I Fall In Love Too Easily
10. Trouble In Mind
11. Angie

Tracklist:
01. Trav’lin’ Light [+ MCH 5.1]*
02. What A Difference A Day Made [+ MCH 5.1]*
03. Lover Man [+ MCH 5.1]*
04. A Time For Love
05. Gee Baby,Ain’t I Good To You
06. Fools Rush In
07. Solitude
08. Don’t Be Cruel
09. Someday We’ll Be Together
10. Georgia On My Mind
11. Blowin’ In The Wind

Tracklist:
01. If You Love Me (Really Love Me)
02. Always On My Mind
03. Feelings
04. Will You Still Love Me Tomorrow
05. C’est Si Bon
06. Race To The End
07. If You Go Away
08. What Now My Love
09. Greensleeves
10. Try To Remember
11. Swanee
12. Solitaire
13. To Love Somebody
14. Heartbreak Hotel
15. The Green Leaves Of Summer
16. Come In From The Rain
17. Going Home

ISO

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https://subyshare.com/ohwnb9qyybbh/ChieAyad02003ShineSACDIS0.part2.rar.html
https://subyshare.com/zxf50zpgug54/ChieAyad02003ShineSACDIS0.part3.rar.html

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https://subyshare.com/nlu8egmrmxqt/ChieAyad02004SevenSACDIS0.part1.rar.html
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FLAC

https://subyshare.com/noc9x41bzj9h/ChieAyad02003Shine.part1.rar.html
https://subyshare.com/0yf2lh2hjxpk/ChieAyad02003Shine.part2.rar.html

https://subyshare.com/em3u6tkot63q/ChieAyad02003T0Y0u.part1.rar.html
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https://subyshare.com/27cwo79babgu/ChieAyad02004Seven.rar.html

https://subyshare.com/cn4dc1js0hi8/ChieAyad02004Time.part1.rar.html
https://subyshare.com/59n1rjiu9e77/ChieAyad02004Time.part2.rar.html

https://subyshare.com/9ikkvga4ehr4/ChieAyad02007Fifty.part1.rar.html
https://subyshare.com/sktnn2pk51p9/ChieAyad02007Fifty.part2.rar.html

God knows why Bon Jovi felt the need to recut its best songs in an adult alternative style with Patrick Leonard as the producer. In the thorough liner notes — presented as an interview between Jon Bon Jovi and guitarist Richie Sambora — by the suddenly ubiquitous David Wild, Jon claims that the roots of the album derive from a Japanese show he recorded where the intent was to release live, acoustic versions of the band’s standards. Alas, the recordings weren’t up to snuff, so the band reentered the studio and cut versions that have more overdubs than the original releases. To its credit, the band sounds committed to this rather bizarre project, an endeavor so unconnected to reality that actress Olivia d’Abo — best known for either her role on The Wonder Years or her lead in the brilliant ’90s indie film Kicking and Screaming, depending on your viewpoint — provides counterpoint vocals to “Living on a Prayer,” while “Bad Medicine” boasts breathy, echoed vocals that suggest it was conceived as a reflective affair, not as a dumb hard rock song. This holds true throughout the album, and while the arrangements are relatively interesting, they’re rarely improvements on the originals and rarely rise above the level of novelties. And while longtime fans may find it worthwhile on that level, it doesn’t offer proof that the band’s songs are resilient enough to withstand new arrangements, nor does it shed new light on Bon Jovi or prove that the group is maturing gracefully. And all of that is really too bad, because the songs have stood the test of time, sounding better in their original incarnations than they did upon release, plus the group was moving in the right direction with its last album, adjusting to the sound and feel of middle-aged maturity seemingly effortlessly. This, however, sounds simultaneously safe and hazy; it’s the sound of a band that’s earned the right to indulge itself and has followed that inclination here.

Tracklist:
01. Wanted Dead Or Alive
02. Livin’ On A Prayer
03. Bad Medicine
04. It’s My Life
05. Lay Your Hands On Me
06. You Give Love A Bad Name
07. Bed Of Roses
08. Everyday
09. Born To Be My Baby
10. Keep The Faith
11. I’ll Be There For You
12. Always

ISO

https://subyshare.com/ss1cw3fakp77/B0nJ0viThisLeftFeelsRight2003SACDIS0.part1.rar.html
https://subyshare.com/sovwo3q8wvbo/B0nJ0viThisLeftFeelsRight2003SACDIS0.part2.rar.html
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FLAC

https://subyshare.com/xjjkre3ge8qb/B0nJ0viThisLeftFeelsRight2003FLACStere02488.2.part1.rar.html
https://subyshare.com/113s7hogsqfg/B0nJ0viThisLeftFeelsRight2003FLACStere02488.2.part2.rar.html

Given that Bon Jovi successfully pulled off a comeback in 2000 with Crush, a shiny pop album pitched directly at the mainstream, it’s kind of a surprise that they returned two years later with a record as turgid as Bounce. Instead of continuing the colorful blueprint of Crush, they fearlessly backpedal, turning out dull, heavy, serious rock — the kind of music that sounds “serious” even when it’s about trivial things. Of course, much of the record is given over to “serious” topics, as if the band felt that the events of 2001 necessitated a grave response for Bounce, regardless of what they were singing. Such sobriety would not have been a problem if the band had solid material, but they’re not only lacking songs, they’ve inexplicably altered their musical approach. In particular, guitarist Richie Sambora sounds as if he’s aping James Hetfield’s lumbering downstrokes throughout the album, giving the record an oppressively heavy sound that never lets the music breathe. This casts a pall over the record, but this stumble is not the sole reason Bounce is such a misstep for the band. After all, this is a record where Bon Jovi seems to have consciously decided to avoid everything that gives their music character, melody, and muscle, a move that would have been odd at any point during their career, but is particularly puzzling after they delivered an album that found them growing old gracefully. It’s as if they want to undo everything Crush did for them.

Tracklist:
01. Undivided
02. Everyday
03. The Distance
04. Joey
05. Misunderstood
06. All About Lovin’ You
07. Hook Me Up
08. Right Side Of Wrong
09. Love Me Back To Life
10. You Had Me From Hello
11. Bounce
12. Open All Night

ISO

https://subyshare.com/dyf67tbwivbx/B0nJ0viB0unce2002SACDIS0.part1.rar.html
https://subyshare.com/jk2esixsgqjz/B0nJ0viB0unce2002SACDIS0.part2.rar.html
https://subyshare.com/2o8j9pjilh0m/B0nJ0viB0unce2002SACDIS0.part3.rar.html
https://subyshare.com/z5x0tiq2fwc9/B0nJ0viB0unce2002SACDIS0.part4.rar.html

FLAC

https://subyshare.com/gagise9bsnli/B0nJ0viB0unce2002FLACStere02488.2.part1.rar.html
https://subyshare.com/ndlipe3uf4da/B0nJ0viB0unce2002FLACStere02488.2.part2.rar.html

Off the Wall was a massive success, spawning four Top Ten hits (two of them number ones), but nothing could have prepared Michael Jackson for Thriller. Nobody could have prepared anybody for the success of Thriller, since the magnitude of its success was simply unimaginable — an album that sold 40 million copies in its initial chart run, with seven of its nine tracks reaching the Top Ten (for the record, the terrific “Baby Be Mine” and the pretty good ballad “The Lady in My Life” are not like the others). This was a record that had something for everybody, building on the basic blueprint of Off the Wall by adding harder funk, hard rock, softer ballads, and smoother soul — expanding the approach to have something for every audience. That alone would have given the album a good shot at a huge audience, but it also arrived precisely when MTV was reaching its ascendancy, and Jackson helped the network by being not just its first superstar, but first black star as much as the network helped him. This all would have made it a success (and its success, in turn, served as a new standard for success), but it stayed on the charts, turning out singles, for nearly two years because it was really, really good. True, it wasn’t as tight as Off the Wall — and the ridiculous, late-night house-of-horrors title track is the prime culprit, arriving in the middle of the record and sucking out its momentum — but those one or two cuts don’t detract from a phenomenal set of music. It’s calculated, to be sure, but the chutzpah of those calculations (before this, nobody would even have thought to bring in metal virtuoso Eddie Van Halen to play on a disco cut) is outdone by their success. This is where a song as gentle and lovely as “Human Nature” coexists comfortably with the tough, scared “Beat It,” the sweet schmaltz of the Paul McCartney duet “The Girl Is Mine,” and the frizzy funk of “P.Y.T. (Pretty Young Thing).” And, although this is an undeniably fun record, the paranoia is already creeping in, manifesting itself in the record’s two best songs: “Billie Jean,” where a woman claims Michael is the father of her child, and the delirious “Wanna Be Startin’ Something,” the freshest funk on the album, but the most claustrophobic, scariest track Jackson ever recorded. These give the record its anchor and are part of the reason why the record is more than just a phenomenon. The other reason, of course, is that much of this is just simply great music.

Tracklist:
01. Wanna Be Starting Somethin’
02. Baby Be Mine
03. The Girl Is Mine (With Paul McCartney)
04. Thriller
05. Beat It
06. Billie Jean
07. Human Nature
08. P.Y.T. (Pretty Young Thing)
09. The Lady In My Life

ISO

https://subyshare.com/c20ivif5rpg6/MichaelJacks0nThriller1982Reissue1999SACDIS0.part1.rar.html
https://subyshare.com/kt2j5peclvl7/MichaelJacks0nThriller1982Reissue1999SACDIS0.part2.rar.html

FLAC

https://subyshare.com/9ydrbfc5v3qs/MichaelJacks0nThriller1982Reissue1999FLAC2488.2.rar.html

Official Digital Download 24bit/176,4kHz

http://www.hdmusic.me/michael-jackson-thriller-19822013-official-digital-download-24bit1764khz/

Deep Purple – Machine Head (1972) [Japanese SACD 2011] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 41:49 minutes | Scans included | 3,12 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 41:19 mins | Scans included | 963 MB

Released in 1972, Deep Purple’s best-selling album remains a landmark hard rock recording. The album hit #1 in the UK and #7 in the US and was eventually certified Double Platinum. Along with Led Zeppelin and Black Sabbath, Deep Purple-—particularly Machine Head-—paved the way for countless progressive rock bands who followed in their wake.

Tracklist:
01. Highway Star
02. Maybe I’m a Leo
03. Pictures of Home
04. Never Before
05. Smoke on the Water
06. Lazy
07. Space Truckin’
08. When A Blind Man Cries [Bonus Track]

Stereo Mastering by BILL INGLOT & DAN HERSCH at Digiprep.
Surround Sound Remix Produced by JOHN KELLOGG.
Surround Sound Remix Engineered & Mixed by PAUL KLINGBERG at MAGNA VISION STUDIOS, Santa Monica, CA.
Surround Sound Mastering: CHARLIE WATTS at MONDOPHONIX, Glendale, CA.

ISO

https://subyshare.com/vtg89kd49rla/DeepPurpleMachineHead1972Japan2011SACDIS0.part1.rar.html
https://subyshare.com/vin2t88icvdj/DeepPurpleMachineHead1972Japan2011SACDIS0.part2.rar.html
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https://subyshare.com/a8o2mr9yqcw8/DeepPurpleMachineHead1972Japan2011SACDIS0.part4.rar.html

FLAC

https://subyshare.com/8e4rngmg6uhp/DeepPurpleMachineHead1972Japan2011FLAC2488.2.rar.html

Beyoncé Knowles was always presented as the star of Destiny’s Child — which probably shouldn’t be a big surprise since her father managed the group. So it was a natural step for her to step into the diva spotlight with a solo album in 2003, particularly since it followed on the heels of her co-starring role in Mike Myers’ 2002 comedy hit, Austin Powers in Goldmember. Still, a singer takes a risk when going solo, as there’s no guarantee that her/his star will still shine as bright when there’s nobody to reflect upon. Plus, Survivor often sounded labored, as Knowles struggled to sound real. The Knowles clan — Beyoncé and her father Mathew, that is (regrettably, Harry Knowles of “Ain’t It Cool” is no relation) — were apparently aware of these two pitfalls since they pull off a nifty trick of making her debut album, Dangerously in Love, appeal to a broad audience while making it sound relatively easy. Sometimes that ease can translate into carelessness (at least with regard to the final stretch of the album), with a prolonged sequence of ballads that get stuck in their own treacle, capped off by the unbearably mawkish closer, “Gift from Virgo,” where she wishes her unborn child and her husband to be like her daddy. (Mind you, she’s not pregnant or married, she’s just planning ahead, although she gets tripped up in her wishes since there’s “no one else like my daddy.”) Although these are a little formless — and perhaps would have been more digestible if spread throughout the record — they are impeccably produced and showcase Knowles’ new relaxed and smooth delivery, which is a most welcome development after the overworked Survivor. Knowles doesn’t save this voice just for the ballads — she sounds assured and sexy on the dance numbers, particularly when she has a male counterpart, as on the deliriously catchy “Crazy in Love” with her man Jay-Z or on “Baby Boy” with 2003’s dancehall superstar, Sean Paul. These are the moments when Dangerously in Love not only works, but sounds like Knowles has fulfilled her potential and risen to the top of the pack of contemporary R&B divas. It’s just too bad that momentum is not sustained throughout the rest of the record. About halfway through, around the astrological ode “Signs” with Missy Elliott, it starts crawling through its ballads and, while listenable, it’s not as exciting as the first part of the record. Still, the first half is good enough to make Dangerously in Love one of the best mainstream urban R&B records released in 2003, and makes a strong case that Knowles might be better off fulfilling this destiny instead of reuniting with Destiny.

Tracklist:
01. Crazy In Love
02. Naughty Girl
03. Baby Boy
04. Hip Hop Star
05. Be With You
06. Me, Myself And I
07. Yes
08. Signs
09. Speechless
10. That’s How You Like It
11. The Closer I Get To You
12. Dangerously In Love 2
13. Beyoncé Interlude
14. Gift From Virgo
15. Daddy

ISO

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FLAC

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After spending the 1980s moving in an increasingly pop-friendly direction, 1991’s We Can’t Dance marked a return to earlier aesthetics for Genesis. Edgier with more prominent guitars and live drums than on Invisible Touch, the record was the band’s strongest musical statement in over a decade. With “Driving the Last Spike” and the dark “Dreaming While You Sleep” the group revisited one of their forgotten strengths, telling extended stories. That’s not to say the album is a return to The Lamb Lies Down on Broadway or Trick of the Tail. Indeed, while there are several extended pieces on the record, there is none of the eccentricities, odd meters, or extended virtuoso solos of the band’s progressive heyday. The album’s closer, “Fading Lights,” comes the closest, featuring an outstanding instrumental mid-section. Unfortunately, the record also contains some gutless ballads and paeans for world understanding that sound miles away from any immediacy. However, the surprisingly gritty singles “No Son of Mine,” “Jesus He Knows Me,” and “I Can’t Dance” help make up for the album’s weaker moments.

Tracklist:
01. No Son Of Mine
02. Jesus He Knows Me
03. Driving The Last Spike
04. I Can’t Dance
05. Never A Time
06. Dreaming While You Sleep
07. Tell Me Why
08. Living Forever
09. Hold On My Heart
10. Way Of The World
11. Since I Lost You
12. Fading Lights

ISO

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FLAC

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Moments of Genesis are as spooky and arty as those on Abacab — in particular, there’s the tortured howl of “Mama,” uncannily reminiscent of Phil Collins’ Face Value, and the two-part “Second Home by the Sea” — but this eponymous 1983 album is indeed a rebirth, as so many self-titled albums delivered in the thick of a band’s career often are. Here the art rock functions as coloring to the pop songs, unlike on Abacab and Duke, where the reverse is true. Some of this may be covering their bets — to ensure that the longtime fans didn’t jump ship, they gave them a bit of art — some of it may be that the band just couldn’t leave prog behind, but the end result is the same: as of this record, Genesis was now primarily a pop band. Anybody who paid attention to “Misunderstanding” and “No Reply at All” could tell that this was a good pop band, primarily thanks to the rapidly escalating confidence of Phil Collins, but Genesis illustrates just how good they could be, by balancing such sleek, pulsating pop tunes as “That’s All” with a newfound touch for aching ballads, as on “Taking It All Too Hard.” They still rocked — “Just a Job to Do” has an almost nasty edge to its propulsion — and they could still get too silly as on “Illegal Alien,” where Phil’s Speedy Gonzalez accident is an outright embarrassment (although in some ways it’s not all that far removed from his Artful Dodger accent on the previous album’s “Who Dunnit?”), and that’s why the album doesn’t quite gel. It has a little bit too much of everything — too much pop, too much art, too much silliness — so it doesn’t pull together, but if taken individually, most of these moments are very strong, testaments to the increasing confidence and pop power of the trio, even if it’s not quite what longtime fans might care to hear.

Tracklist:
01. Mama
02. That’s All
03. Home By The Sea
04. Second Home By The Sea
05. Illegal Alien
06. Taking It All Too Hard
07. Just A Job To Do
08. Silver Rainbow
09. It’s Gonna Get Better

ISO

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FLAC

https://subyshare.com/fghaekv3m5rp/GenesisGenesis1983RM2007FLAC2488.2.rar.html

Genesis – Invisible Touch (1986) [Remastered Reissue 2007] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 46:15 minutes | Scans included | 2.93 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 963 MB
Features 2.0 Stereo and 5.1 multichannel surround sound

Delivered in the wake of Phil Collins’ massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it’s not hard to see why. Invisible Touch is, without a doubt, Genesis’ poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it’s not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis. There is a difference between Collins and Genesis — on his own, Phil was lighter, and Genesis was often a bit chillier. Of course, the title track is the frothiest thing the band ever did, while “In Too Deep” and “Throwing It All Away” are power ballads that could be seen as Phil projects, but “Land of Confusion” was a protest tune and “Tonight, Tonight, Tonight” was a stark, scary tale of scoring dope (which made its inclusion in a Michelob campaign in the ’80s almost as odd as recovering alcoholic Eric Clapton shilling for the brewery). But those songs had big hooks that excused their coldness, and the arty moments sank to the bottom, obscured by the big, bold pop hooks here — pop that was the sound of the mainstream in the late ’80s, pop that still effortlessly evokes its time.

Tracklist:
01. Invisible Touch
02. Tonight, Tonight, Tonight
03. Land Of Confusion
04. In Too Deep
05. Anything She Does
06. Domino
07. Throwing It All Away
08. The Brazilian

ISO

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FLAC

https://subyshare.com/0pcj7vybh9hc/GenesisInvisibleT0uch1986RM2007FLAC2488.2.rar.html

Aerosmith – Toys In The Attic (1975) [SACD 2002] {2.0 & 5.1}
PS3 Rip | ISO | SACD DSD64 2.0 & DST64 5.1 > 1-bit/2.8224 MHz | 37:28 minutes | Scans included | 3,3 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 780 MB
Features 2.0 Stereo and 5.1 multichannel surround.

After nearly getting off the ground with Get Your Wings, Aerosmith finally perfected their mix of Stonesy raunch and Zeppelin-esque riffing with their third album, Toys in the Attic. The success of the album derives from a combination of an increased sense of songwriting skills and purpose. Not only does Joe Perry turn out indelible riffs like “Walk This Way,” “Toys in the Attic,” and “Sweet Emotion,” but Steven Tyler has fully embraced sleaziness as his artistic muse. Taking his cue from the old dirty blues “Big Ten Inch Record,” Tyler writes with a gleeful impishness about sex throughout Toys in the Attic, whether it’s the teenage heavy petting of “Walk This Way,” the promiscuous “Sweet Emotion,” or the double-entendres of “Uncle Salty” and “Adam’s Apple.” The rest of Aerosmith, led by Perry’s dirty, exaggerated riffing, provide an appropriately greasy backing. Before Toys in the Attic, no other hard rock band sounded like this. Sure, Aerosmith cribbed heavily from the records of the Rolling Stones, New York Dolls, and Led Zeppelin, but they didn’t have any of the menace of their influences, nor any of their mystique. Aerosmith was a gritty, street-wise hard rock band who played their blues as blooze and were in it for a good time; Toys in the Attic crystallizes that attitude.

Tracklist:
01 – Toys In The Attic
02 – Uncle Salty
03 – Adam’s Apple
04 – Walk This Way
05 – Big Ten Inch Record
06 – Sweet Emotion
07 – No More No More
08 – Round And Round
09 – You See Me Crying

Stereo Mastering for SACD by Douglas Sax and Robert Hadley at the Mastering Lab.
5.1 Mastering for SACD by Douglas Sax and James Guthrie at Das Boot Recording.

ISO

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FLAC

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As a means of promoting a DVD reissue of Jean-Luc Godard’s 1970 film Sympathy for the Devil (which depicts the 1968 recording session that produced the Rolling Stones’ song), ABCKO Records has released this seven-track CD single, running over 38 minutes, which contains remixes of “Sympathy for the Devil” by the Neptunes, Fatboy Slim, and Full Phatt (each presented in a “Radio Remix” and a “Full Length Remix”), plus the original Stones track. Since the song has a distinctive percussion part played by Stones drummer Charlie Watts and conga player Rocky Dijon, it’s interesting that all the remixers begin by eliminating that part. But then, that’s in the nature of the “remix” business, which tends to involve newly recorded rhythm tracks. the Neptunes retain Mick Jagger’s vocal and Keith Richards’ guitar solos, their new underlying track at first having an Indian flavor complete with sitar licks. Halfway through, a backing of acoustic guitar and string-like sounds replaces the Indian track. Fatboy Slim likes Nicky Hopkins’ piano part and keeps it along with the vocal, laying in a characteristic stop-and-start electronica percussion part. Full Phatt is also fond of the original piano, and his percussion track has a more bass-heavy feel. Of course, when the original recording comes on at the end, it wipes the floor with the remixers.

Tracklist:
01. “Sympathy For The Devil” – The Neptunes Remix (Radio)
02. “Sympathy For The Devil” – The Neptunes Remix (Full)
03. “Sympathy For The Devil” – Fatboy Slim Remix (Radio)
04. “Sympathy For The Devil” – Fatboy Slim Remix (Full)
05. “Sympathy For The Devil” – Full Phatt Remix (Radio)
06. “Sympathy For The Devil” – Full Phatt Remix (Full)
07. “Sympathy For The Devil” – Original

ISO

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FLAC

https://subyshare.com/zeidzb8ji3bi/TRS_2003SympathyForTheDevilRemixABKCOFLAC2488.2.rar.html

Four years after her tragic death in a place crash at the age of 30, Patsy Cline was still one of the best-loved female vocalists in country music, and in 1967 Decca Records, the label that released the bulk of her hits, responded with this album, a collection of 12 of her most popular songs. There isn’t anything particularly artful about the way this album was compiled or designed, but Patsy Cline’s Greatest Hits certainly delivers what its title promises: these were most certainly the most popular tunes Cline cut during her tenure with Decca, and every one is a stunner, with Cline’s rich, powerful voice gliding over the polished and evocative production by Owen Bradley. Cline and Bradley didn’t invent “countrypolitan,” but precious few artists managed to meld the sophistication of pop and the emotional honesty of country as brilliantly as this music accomplishes with seemingly effortless grace, and these songs still sound fresh and brilliantly crafted decades after the fact. This isn’t the most thorough of the literally dozens of Patsy Cline collections on the market, and it isn’t the best, but this was one of the first efforts to sum up her career in the years after her passing, and in 33 minutes it makes an airtight case that Cline was one of the finest and most versatile singers to ever step before a microphone. No small accomplishment, that.

Tracklist:
01. Walking After Midnight
02. Sweet Dreams
03. Crazy
04. I Fall To Pieces
05. So Wrong
06. Strange
07. Back In Baby’s Arms
08. She’s Got You
09. Faded Love
10. Why Can’t He Be You
11. You’re Stronger Than Me
12. Leavin’ On Your Mind

Mastered by Ryan Smith at Sterling Sound from the Original analog tape.

ISO

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FLAC

https://subyshare.com/kkl2n46v2xxg/PatsyClinePatsyClinesGreatestHits1967AP0Remaster2013FLAC2488.2.rar.html

The Los Angeles Guitar Quartet is a successful multi-guitar ensemble regularly performing, known for its variety of repertory. They are known for using nylon string guitars to imitate a variety of instruments and effects. They have played in many styles; Baroque, Bluegrass, Flamenco, Rock, and New Age are among their repertoire.

A quick check of the Los Angeles Guitar Quartet’s discography reveals its strong grounding in both classical and popular music, and makes clear that the virtuoso ensemble’s success is largely due to finding the right blend to please almost everyone. That’s one reason why Spin, the LAGQ’s 2006 release on Telarc, is a bit of a risky venture, since it features no classical arrangements and presents only pop-inflected pieces by group members William Kanengiser and Andrew York, as well as several similarly flavored selections by rising composers of light and tonal contemporary fare. This agreeable program is commercially viable, and since the music is pleasant and occasionally catchy, few casual listeners will be disappointed with it; but because this collection is extremely mild in its fusion of styles and quite mellow in its moods, adventurous listeners will find absolutely no challenges here. With guest percussionist Colin Currie joining the group on Joe Duddell’s Freaky Dancer and York’s Night Furniture, there are some changes of texture and color that provide relief; but arrangements for guitars dominate the disc, and their timbral blandness tends to pall, especially in music of such limited harmonic and melodic interest. So while this CD has some appealing qualities that LAGQ’s fans will appreciate, it is decidedly lightweight in substance and not required listening for the group’s classical audience.

Tracklist:
01. Turn to the Sea
02. Hidden Realm of Light
03. Spin
04. Freaky Dancer
05. Quiccan
06. Pillow Pretending – Night Furniture
07. Chair with Hands for Feet – Night Furniture
08. Shadowed Credenza – Night Furniture
09. Catwalk
10. Did You See the Moon Last Night?
11. Stairs
12. Solstice Poem Theme
13. Variation 1 – Solstice Poem
14. Variation 2 – Solstice Poem
15. Variation 3 – Solstice Poem
16. Epilogue – Solstice Poem
17. Stirfry
18. Turn to the Sea (composer’s cut)

LAGQ:
– John Dearman
– William Kanengiser
– Scott Tennant
– Andrew York
with Colin Currie: percussion

ISO

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FLAC

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https://subyshare.com/96ppr5pqj1at/LosAngelesGuitarQuartetLAGQsSpin2006FLACStereo2488.2.part2.rar.html

This crossover release by the LAGQ primarily features Latin-flavored pieces by composers ranging from Sting to Copland, with Piazzolla, Rodrigo, and Brouwer thrown in. Most of the pieces were arranged by LAGQ members William Kanengiser and Andrew York. The arrangements and performances capture the spirit of the originals extremely well. Maybe it’s just because of being played on guitars, but the Paisaje Mexicano and Danza de Jalicso by Copland and the Carmen suite in these transcriptions sound even more Latin than the originals. Of the non-arranged works, Forrobodó by Egberto Gismonti and Cuban Landscape with Rain by Leo Brouwer are definitely worth sampling. In Forrobodó, the ensemble work is so skillful that none are thrown off at all by each simultaneously playing a different meter. In Cuban Landscape with Rain, it is easy to discern the different types of rain, from delicate small drops to large drops going splot on the ground. The original work by York, Syzygy, adds flute to the ensemble for a jazzy mélange of flamenco themes. The CD ends with the song En Aranjuez con tu amour, arranged from the slow movement of Rodrigo’s Concierto de Aranjuez. With such a variety of works, the CD is meant to appeal to audiences of the group’s classical albums An Evening in Granada and For Thy Pleasure, as well as of the more contemporary ones, such as L.A.G.Q. and Labyrinth. And although it does offer something for everyone and there is no arguing with their skills and performances, as a whole, LAGQ: Latin may not appeal to those looking for just classical or just smooth jazz with a Latin flavor.

Tracklist:
01. Fragile
02. Hasta Alicia Baila
03. Fuga y Misterio
04. Forrobodo
05. Cuban Landscape with Rain
06. La Trampa
07. Paisaje Mexicano
08. Danza de Jalisco
09. Sevillanas
10. Syzygy
11. Carmen Suite: Aragonaise
12. Carmen Suite: Habanera
13. Carmen Suite: Seguidilla
14. Carmen Suite: Toreadors
15. Carmen Suite: Entr’acte
16. Carmen Suite: Gypsy Dance
17. En Aranjuez con tu amor

LAGQ:
– John Dearman
– William Kanengiser
– Scott Tennant
– Andrew York

ISO

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FLAC

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https://subyshare.com/a81p5lbixdp6/LosAngelesGuitarQuartetLAGQLatin2002FLACStereo2488.2.part2.rar.html

Mariinsky Orchestra, Valery Gergiev – Shostakovich: Symphonies 1 & 15 (2009) [2.0 & 5.0] {PS3 ISO + FLAC}

Various Artists – My Blueberry Nights OST (2008) [Reissue 2016] {PS3 ISO + FLAC}

Various Artists – Smooth Jazz Festival (2005) {PS3 ISO + FLAC}

Vince Gill – High Lonesome Sound (1996) [Reissue 2004] {PS3 ISO + FLAC}

Wynton Kelly – Kelly Blue (1959) [Japanese Limited SHM-SACD 2011] {PS3 ISO + FLAC}

Yu Ya – Dream Songs (Summer Kisses Winter Tears) [2003] {PS3 ISO + FLAC}

Chie Ayado – SACD Collection (2003-2007) {PS3 ISO + FLAC}

Bon Jovi – This Left Feels Right (2003) [2.0 & 5.1] {PS3 ISO + FLAC}

Bon Jovi – Bounce (2002) [2.0 & 5.1] {PS3 ISO + FLAC}

Michael Jackson – Thriller (1982) [Reissue 1999] {PS3 ISO + FLAC}

Deep Purple – Machine Head (1972) [Japanese SACD 2011] {2.0 & 5.1} {PS3 ISO + FLAC}

Beyonce – Dangerously In Love (2003) [2.0 & 5.1] {PS3 ISO + FLAC}

Genesis – We Can’t Dance (1991) [Remastered Reissue 2007] {2.0 & 5.1} PS3 ISO + FLAC

Genesis – Genesis (1983) [Remastered Reissue 2007] {2.0 & 5.1} PS3 ISO + FLAC

Genesis – Invisible Touch (1986) [Remastered Reissue 2007] {2.0 & 5.1} PS3 ISO + FLAC

Aerosmith – Toys In The Attic (1975) [SACD 2002] {2.0 & 5.1} PS3 ISO + FLAC

The Rolling Stones – Sympathy For The Devil: Remix (2003) [2.0 & 5.1] {PS3 ISO + FLAC}

Patsy Cline – Patsy Cline’s Greatest Hits (1967) [Analogue Productions Remaster 2013] {PS3 ISO + FLAC}

LAGQ (Los Angeles Guitar Quartet) – Spin (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

LAGQ (Los Angeles Guitar Quartet) – Latin (2002) [2.0 & 5.1] {PS3 ISO + FLAC}