SACD / DSD – HDMusic.me

The back-to-back success of The Stranger and 52nd Street may have brought Billy Joel fame and fortune, even a certain amount of self-satisfaction, but it didn’t bring him critical respect, and it didn’t dull his anger. If anything, being classified as a mainstream rocker — a soft rocker — infuriated him, especially since a generation of punks and new wave kids were getting the praise that eluded him. He didn’t take this lying down — he recorded Glass Houses. Comparatively a harder-rocking album than either of its predecessors, with a distinctly bitter edge, Glass Houses still displays the hallmarks of Billy Joel the pop craftsman and Phil Ramone the world-class hitmaker. Even its hardest songs — the terrifically paranoid “Sometimes a Fantasy,” “Sleepin’ With the Television On,” “Close to the Borderline,” the hit “You May Be Right” — have bold, direct melodies and clean arrangements, ideal for radio play. Instead of turning out to be a fiery rebuttal to his detractors, the album is a remarkable catalog of contemporary pop styles, from McCartney-esque whimsy (“Don’t Ask Me Why”) and arena rock (“All for Leyna”) to soft rock (“C’etait Toi [You Were the One]”) and stylish new wave pop (“It’s Still Rock and Roll to Me,” which ironically is closer to new wave pop than rock). That’s not a detriment; that’s the album’s strength. The Stranger and 52nd Street were fine albums in their own right, but it’s nice to hear Joel scale back his showman tendencies and deliver a solid pop/rock record. It may not be punk — then again, it may be his concept of punk — but Glass Houses is the closest Joel ever got to a pure rock album.

Tracklist:
01. You May Be Right
02. Sometimes A Fantasy
03. Don’t Ask Me Why
04. It’s Still Rock And Roll To Me
05. All For Leyna
06. I Don’t Want To Be Alone
07. Sleeping With The Television On
08. C’Etait Toi (You Were The One)
09. Close To The Borderline
10. Through The Long Night

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

ISO

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FLAC

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Recording The Nylon Curtain exhausted Billy Joel, and even though it had a pair of major hits, it didn’t rival its predecessors in terms of sales. Since he labored so hard at the record, he decided it was time for a break — it was time to record an album just for fun. And that’s how his homage to pre-Beatles pop, An Innocent Man, was conceived: it was designed as a breezy romp through the music of his childhood. Joel’s grasp on history isn’t remarkably astute — the opener “Easy Money” is a slice of Stax/Volt pop-soul, via the Blues Brothers (quite possibly the inspiration for the album), and the label didn’t break the pop charts until well after the British Invasion — but he’s in top form as a craftsman throughout the record. Only once does he stumble on his own ambition (“This Night,” which appropriates its chorus from Beethoven). For the rest of the record, he’s effortlessly spinning out infectious, memorable melodies in a variety of styles, from the Four Seasons send-up “Uptown Girl” and the soulful “Tell Her About It” to a pair of doo wop tributes, “The Longest Time” and “Careless Talk.” Joel has rarely sounded so carefree either in performance or writing, possibly due to “Christie Lee” Brinkley, a supermodel who became his new love prior to An Innocent Man. He can’t stop writing about her throughout the album — only three songs, including the haunted title track, aren’t about her in some form or fashion. That giddiness is infectious, helping make An Innocent Man an innocent delight that unwittingly closes Joel’s classic period.

Tracklist:
01. Easy Money
02. An Innocent Man
03. The Longest Time
04. This Night
05. Tell Her About It
06. Uptown Girl
07. Careless Talk
08. Christie Lee
09. Leave A Tender Moment Alone
10. Keeping The Faith

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

ISO

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FLAC

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Digitally remastered by Ted Jensen at Sterling Sound, NYC.

ISO

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FLAC

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There’s a reason Turnstiles begins with the Spector-esque epic “Say Goodbye to Hollywood.” Shortly after Streetlife Serenade, Joel ditched California — and, by implication, sensitive Californian soft rock from sensitive singer/songwriters — for his hometown of New York. “Say Goodbye to Hollywood” was a celebration of his move, a repudiation of his past, a fanfare for a new beginning, which is exactly what Turnstiles was. He still was a singer/songwriter — indeed, “Summer, Highland Falls” was his best ballad to date, possibly his best ever — but he decided to run with his musical talents, turning the record into a whirlwind tour of pop styles, from Sinatra to Springsteen. There’s little question that the cinematic sprawl of Born to Run had an effect on Turnstiles, since it has a similar widescreen feel, even if it clocks in at only eight songs. The key to the record’s success is variety, the way the album whips from the bouncy, McCartney-esque “All You Wanna Do Is Dance” to the saloon song “New York State of Mind”; the way the bitterly cynical “Angry Young Man” gives way to the beautiful “I’ve Loved These Days” and the surrealistic apocalyptic fantasy “Miami 2017 (Seen the Lights Go Out on Broadway).” No matter how much stylistic ground Joel covers, he’s kept on track by his backing group. He fought to have his touring band support him on Turnstiles, going to the lengths of firing his original producer, and it was clearly the right move, since they lend the album a cohesive feel. Turnstiles may not have been a hit, but it remains one of his most accomplished and satisfying records, clearly paving the way to his twin peaks of the late ’70s, The Stranger and 52nd Street.

Tracklist:
01. Say Goodbye To Hollywood
02. Summer, Highland Falls
03. All You Wanna Do Is Dance
04. New York State Of Mind
05. James
06. Prelude/Angry Young Man
07. I’ve Loved These Days
08. Miami 2017 (Seen The Lights Go Out On Broadway)

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

ISO

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FLAC

https://subyshare.com/m01hvm6ecgy3/BillyJ0el1976TurnstilesMFSL2010FLAC2488.2.rar.html

Embittered by legal disputes with his label and an endless tour to support a debut that was dead in the water, Billy Joel hunkered down in his adopted hometown of Los Angeles, spending six months as a lounge singer at a club. He didn’t abandon his dreams — he continued to write songs, including “Piano Man,” a fictionalized account of his weeks as a lounge singer. Through a combination of touring and constant hustling, he landed a contract with Columbia and recorded his second album in 1973. Clearly inspired by Elton John’s Tumbleweed Connection, not only musically but lyrically, as well as James Taylor, Joel expands the vision and sound of Cold Spring Harbor, abandoning introspective numbers (apart from “You’re My Home,” a love letter to his wife) for character sketches and epics. Even the title track, a breakthrough hit based on his weeks as a saloon singer, focuses on the colorful patrons, not the singer. If his narratives are occasionally awkward or incomplete, he compensates with music that gives the songs a sweeping sense of purpose — they feel complete, thanks to his indelible melodies and savvy stylistic repurposing. He may have borrowed his basic blueprint from Tumbleweed Connection, particularly with its Western imagery and bluesy gospel flourishes, but he makes it his own, largely due to his melodic flair, which is in greater evidence than on Cold Spring Harbor. Piano Man is where he suggests his potential as a musical craftsman. He may have weaknesses as a lyricist — such mishaps as the “instant pleasuredome” line in “You’re My Home” illustrate that he doesn’t have an ear for words — but Piano Man makes it clear that his skills as a melodicist can dazzle.

Tracklist:
01. Travelin’ Prayer
02. Piano Man
03. Ain’t No Crime
04. You’re My Home
05. The Ballad Of Billy The Kid
06. Worse Comes To Worst
07. Stop In Nevada
08. If I Only Had The Words (To Tell You)
09. Somewhere Along The Line
10. Captain Jack

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

ISO

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FLAC

https://subyshare.com/235b313h9rvg/BillyJ0el1973Pian0ManMFSL2010FLAC2488.2.rar.html

Billy Joel – 52nd Street (1978) [Reissue 1998 (2001)] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 40:10 minutes | Scans included | 3,03 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 40:32 mins | Scans included | 771 MB
Featuring 1998’s remastering & 2.0 Stereo and 5.1 multichannel surround sound

Following up his 1977 breakthrough smash The Stranger was no easy task for Billy Joel; 52nd Street shows he wasn’t quite up to the challenge, though it sold similarly well and kept the momentum for his fast- track career until the more impressive Glass Houses appeared in 1980.

52nd Street isn’t without its moments: “My Life” remains one of Joel’s most memorable hit singles, “Half a Mile Away” is a wonderful slice of infectiously upbeat pop, and “Rosalinda’s Eyes” sways to an alluringly airy Latin feel. But macho poseur numbers such as “Big Shot” and “Stiletto” are embarrassingly overwrought, while the arty “Zanzibar” ultimately comes across more as pretentious than adventurous. The closing title track fails to convince anyone Joel is a cool blues hound.

Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan — indeed, his phrasing and melody for “Zanzibar” is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard à la Steely Dan — but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like “Stiletto,” but when he’s rocking out on “Big Shot.” That isn’t necessarily bad, since Joel’s strong suit turns out to be showmanship — he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs — indeed, “Honesty,” “My Life,” “Until the Night,” and the three mentioned above are among his best — and they all flow together smoothly, thanks to Ramone’s seamless production and Joel’s melodic craftsmanship. It’s remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula — one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement.

Tracklist:
01. Big Shot
02. Honesty
03. My Life
04. Zanzibar
05. Stiletto
06. Rosalinda’s Eyes
07. Half A Mile Away
08. Until The Night
09. 52nd Street
Digitally remastered by Ted Jensen at Sterling Sound, NYC.

ISO

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FLAC

https://subyshare.com/puc8605sqgcp/BillyJ0el197852ndStreetReissue1998FLAC2488.2.rar.html

Erich Kunzel & The Cincinnati Pops Orchestra – Round-Up (feat. Frankie Laine) (1986) [Reissue 2006]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 62:33 minutes | Scans included | 3,99 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,14 GB
Features 2.0 Stereo and 5.1 multichannel surround sound (New Surround Mix!) | Telarc # SACD-60141

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes…

This rootin’-tootin’ salute to Westerns on TV and movie screens was the most popular demonstration disc at the 1987 Consumer Electronics Show in Las Vegas — and it’s easy to hear why. Before you can say Hopalong Cassidy, the disc opens with the stunningly reproduced stereophonic hooting of horses on the range, followed of course by a leisurely trot through the “Hi-O-Silver” section of Rossini’s “William Tell” Overture. Excerpts from Elmer Bernstein’s score for The Magnificent Seven — which contains probably his most memorable theme, along with a Copland pastiche — are given a spectacular arrangement by Christopher Palmer. The usual big-time Hollywood composers of the past, Alfred Newman (How the West Was Won), Dimitri Tiomkin (Gunfight at the OK Corral, High Noon), Franz Waxman (The Furies), and Jerome Moross (Big Country) show up — and collectively they prove that Westerns invariably brought out the best in their craft. A Palmer/Boston Pops-style medley of TV themes with gunfire punctuation turns up, as does a taste of the genuine article, Richard Hayman’s “Pops Hoedown” — complete with whoops from some hired hands on the recording stage. Why, even Frankie Laine, then 73, was lassoed out of semi-retirement in order to authentically resurrect “OK Corral,” “Rawhide,” and his big hit “High Noon.” Laine sounds pretty good, hamming it up in “Rawhide” and delivering “High Noon” in clipped phrases. The weight of Kunzel’s Cincinnati Pops enhances the stature of this music to no end — and Telarc’s pickup of the sound is as broad as a big screen and deep as a desert canyon. This is one of the best of Kunzel’s many discs, and it sounds as if he and the Pops are having a ball recording it.

Tracklist:
01. Sounds of the West (SFX)
02. William Tell Overture: Finale (Lone Ranger Theme)
03. The Magnificent Seven
04. The Furies Suite
05. Round-Up: Anthology of TV Western Themes: Bonanza
06. Round-Up: Anthology of TV Western Themes: Rawhide
07. Round-Up: Anthology of TV Western Themes: Wagon Train
08. Round-Up: Anthology of TV Western Themes: The Rifleman
09. How The West Was Won
10. Gunfight at the OK Corral
11. Pops Hoedown
12. Big Country
13. High Noon
14. Coyote and Crackling Campfire (SFX)
15. Western Medley: Ti Yi Yippee Ay
16. Western Medley: Shenandoah
17. Western Medley: Red River Valley
18. Western Medley: Home On The Range
19. Western Medley: Streets of Laredo
20. Themes From Silverado

ISO

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FLAC

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https://subyshare.com/layjppdp89hm/ErichKunzelTheCincinnatiPopsOrchestraRoundUp1986Reissue2006FLACStereo2488.2.part2.rar.html

Tracklist:
01 – 1812 Overture, Op. 49
02 – Polonoise from Eugene Onegin, Op. 24
03 – Capriccio Italien, Op. 45
04 – Marche Slave, Op. 31
05 – Waltz from Eugene Onegin, Op. 24
06 – Festival Coronation March
07 – Cossack Dance from Mazeppa

+ SACD Layer additionally contains some test tones – FL/C/FR/SL/SR/LFE/All – for help in balancing the SACD player.

ISO:

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FLAC

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The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes.

On Broadway features Erich Kunzel and the Cincinnati Pops Orchestra’s typically robust readings of favorites from the Great White Way: focusing primarily on latter-day stage hits, the collection includes rousing renditions of “He Lives in You,” “Seasons of Love,” “This Is the Moment,” “Cross the Line,” and “Hookers’ Ball. .

Tracklist:
01. Smokey Joe’s Cafe: On Broadway
02. Miss Saigon, Suite: The Heat is On in Saigon / Why God, Why? / The Last Night of the World / Bui Doi / This is the Hour
03. The Lion King: He Lives in You
04. The Secret Garden: Lily’s Eyes
05. City of Angels: You’re Nothing Without Me
06. Into the Woods: Children Will Listen
07. Kiss of the Spider Woman: Gimme Love
08. Les Miserables: Suite: At the End of the Day / I Dreamed a Dream / Master of the House / Bring Him Home / Do You Hear the People Sing?
09. Rent: Seasons of Love
10. Ragtime: Ragtime
11. Jekyll and Hyde: This is the Moment
12. The Scarlet Pimpernel: Into the Fire
13. Grand Hotel: The Grand Waltz
14. Big: Cross the Line
15. The Life: Hookers’ Ball
16. Will Rogers’ Follies: Give a Man Enough Rope
17. Titanic: The Latest Rag
18. Titanic: Godspeed Titanic

ISO

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FLAC

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https://subyshare.com/mdtv4kqhjlcp/ErichKunzelCincinnatiPopsOrchestraOnBroadway1999FLAC2488.2.part2.rar.html

Erich Kunzel & Cincinnati Pops Orchestra – Mega Movies (2000) [Reissue 2006] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:31 minutes | Scans included | 4,51 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,32 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Telarc # SACD-60535

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes.

In the main, this is a collection of film music resembling others by Erich Kunzel and the indefatigable Cincinnati Pops, featuring short excerpts from film scores like those to Star Wars: The Phantom Menace, The Rock, Godzilla, and Titanic. Kunzel’s performances are brisk, a bit subdued compared to those in the original films, technically faultless, and carefully consistent. Anyone who has enjoyed other Kunzel discs will enjoy this one, but this is a film-music disc with a difference: there are five tracks of sound effects included. These are quite short, but they’re well worth hearing. For one thing, they’ll give a full workout even to stereo equipment costing thousands of dollars. The booklet contains various disingenuous warnings about not turning up the volume too high while playing these, but they are in no way oversold. What’s remarkable about them is that for the most part they don’t rely on synthetic sound synthesis. The bee attack in The X-Files: The Movie was recorded by engineer Michael Bishop in a field, with six microphones placed at the entrances of a beehive. It’s uncanny. This may be the only audiophile album in existence whose credits thank a beekeepers’ association. The sound, auditioned on a good conventional stereo, is the main attraction here, and those with the equipment to take full advantage of the glories only hinted out by mere mortals among sound reproduction systems ought to be fully satisfied.

Tracklist:
01. THE MUMMY – The Sand Volcano
02. Don’t Mess with “Z” (SFX)
03. THE MASK OF ZORRO – Main Title
04. AIR FORCE ONE – Main Title / The Parachutes
05. Chopper Flyby (SFX)
06. THE ROCK – End Title
07. CONTACT – End Credits
08. MIGHTY JOE YOUNG – Dedication and Windsong
09. Day at the Races (SFX)
10. STAR WARS: The Phantom Menace – Main Title / The Flag Parade
11. L.A. CONFIDENTIAL – Badge of Honor / L.A. Confidential
12. THE PRINCE OF EGYPT – When You Believe
13. What’s that Hum? (SFX)
14. THE X-FILES – Threnody in X
15. A BUG’S LIFE – The Time of Your Life
16. ELIZABETH – Main Title
17. A Stroll in New York City (SFX)
18. GODZILLA – Main Title
19. SHAKESPEARE IN LOVE – Main Title
20. Iceberg! (SFX)
21. TITANIC – Back to Titanic
22. ARMAGEDDON – Main Title

ISO

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FLAC

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https://subyshare.com/lpda6qactaeo/ErichKunzelCincinnatiPopsOrchestraMegaMovies2000Reissue2006FLACStereo2488.2.part2.rar.html

Erich Kunzel & Cincinnati Pops Orchestra – Got Swing! (2003) [2.0 & 5.1]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 64:26 minutes | Scans included | 4,59 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,35 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Telarc # SACD-60592
with special guests: The Manhattan Transfer, Janis Siegel and John Pizzarelli

The Cincinnati Pops is one of America’s favorite orchestras, playing classical hits, orchestral versions of pop and jazz, movie themes and show tunes…

This is a good, solid pops recording; a disc that’s fun to hear. It’s not necessarily for hardcore jazzheads or swing dancers, but might be just the thing to introduce some of these classic tunes to folks who think they don’t like jazz. Most of these tracks don’t swing hard, but there are a few that even a dedicated dancer would want to try out.

Some real standards of the original swing era are presented here, hot and sweet. “Swingin’ at the Savoy” (this referring to the great Savoy Ballroom of Harlem), “Straighten Up and Fly Right,” “Avalon,” “It Don’t Mean a Thing,” “I’ll Be Seeing You,” and “Flying Home” (Lionel Hampton’s most famous creation) are just a few examples. Many of these songs have great stories behind their creation or earliest recordings. If you don’t love swing already, they’ll start you on your way.

A few have been arranged until their original character is somewhat obscured (“Blues in the Night” now sounds like something from a Rodgers & Hammerstein musical); but the mix is excellent, and the musicians even better, whether the prevailing sound is pops-oriented or swinging.

John Pizzarelli gives particularly standout performances on guitar and vocally. His clever manipulations of music and words mark some of the really swinging tracks. “Avalon” is a great hot take. Pizzarelli, son of jazz guitarist Bucky Pizzarelli, is in good company. Other guest artists include the vocalise group the Manhattan Transfer in various guises, from the ensemble to solo voice and rhythm section.

Got Swing! is an excellent example of why pops orchestras continue to flourish (they’re just fun) and it’s liable to make the listener want to go out one night and see Erich Kunzel and the Cincinnati Pops live.

Tracklist:
01. String of Pearls
02. Stompinn’ at the Savoy
03. Choo Choo Ch’Boogie
04. Straighten Up and Fly Right
05. Sugar
06. Skyliner
07. Blues in the Night
08. Avalon
09. It Don’t Mean a Thing (If It Ain’t Got That Swing)
10. Clouds
11. Jumpin’ at the Woodside
12. Flying Home
13. I’ll Be Seeing You
14. Sweet Georgia Brown

ISO

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FLAC

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From the moment Arthur Fiedler lifted his baton in 1964 to lead the Boston Pops in a wild, surprisingly effective arrangement of “I Want To Hold Your Hand,” symphony orchestras have tried to include Beatles music in their “pops” song bags. The trouble is, the Beatles’ brilliant original recordings are so indelibly embedded in our collective mental hard drives that they are a tough act to follow — despite the high quality of the songs on their own merits, despite the good intentions of those who pay them homage. So it is with Erich Kunzel, the Cincinnati Pops and the British early music/classical/pop vocal sextet The King’s Singers — an undoubtedly sincere labor that gets it all wrong. From this album, a visitor from Saturn would get the idea that the Beatles’ music was all about pretty tunes and satin-smooth harmonies. Yes, but … The orchestral arrangements — some of which are actually credited to Beatles producer and catalyst George Martin, others to in-house arranger Steven Reineke, Paul Hart and Andrew Pryce Jackman — may inflate the sound, yet they reduce the colossal impact and free-thinking guiding spirit of these songs to hum-along background music. The King’s Singers’ approach is, unfortunately, too prissy, too deliberately cute, too sentimental, or too impeccably smooth to do justice to any of them. There are two takes of “Eleanor Rigby that sum things up — an overweight one for orchestra that opens the album, the other an a cappella treatment by the King’s Singers — both of which miss the terse, emotional fervor of Martin’s string octet backing on the original Beatles record. Not even the sumptuous, deep, DSD-derived sound can save it.

Tracklist:
01. Eleanor Rigby (orchestral version)
02. All You Need Is Love
03. When I’m Sixty-Four
04. Michelle
05. Octopus’s Garden
06. Across the Universe
07. Ob-la-di, Ob-la-da
08. Penny Lane
09. Sgt. Pepper’s Lonely Hearts Club Band
10. Eleanor Rigby
11. Because
12. Yesterday
13. Here, There, and Everywhere
14. The Long and Winding Road
15. Hey Jude
16. Let It Be

ISO

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Tracklist:
01. Star Wars: Main Theme from Episode IV: A New Hope
02. Star Wars: Princess Leia from Episode IV: A New Hope
03. Star Wars: Cantina Band from Episode IV: A New Hope
04. Star Wars: The Imperial March from Episode V: The Empire Strikes Back
05. Star Wars: Yoda’s Theme from Episode V: The Empire Strikes Back
06. Star Wars: Luke and Leia from Episode VI: Return of the Jedi
07. Star Wars: Duel of the Fates from Episode I: The Phantom Menace
08. Star Wars: Anakin’s Theme from Episode I: The Phantom Menace
09. Star Wars: Across the Stars from Episode II: Attack of the Clones
10. Star Wars: Battle of the Heroes from Episode III: The Revenge of the Sith
11. Harry Potter: Harry’s Wondrous World from Harry Potter and the Sorcerer’s Stone
12. Harry Potter: The Chamber of Secrets from Harry Potter and the Chamber of Secrets
13. Harry Potter: Aunt Marge’s Waltz from Harry Potter and the Prisoner of Azkaban
14. The Lord of the Rings Trilogy: May It Be & Themes from the Fellowship of the Ring
15. The Lord of the Rings Trilogy: The Hornburg from The Two Towers
16. The Lord of the Rings Trilogy: The Ride of the Rohirrim from The Return of the King

ISO

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Country crooner’s classic collection of easy-going pop standards features the songs Moonlight In Vermont, All Of Me, Don’t Get Around Much Anymore & others. It was arranged by Booker T. Jones & recorded in Willie’s inimitable style in Emmylou Harris’ house.

Willie Nelson has never been one to do the safe or expected, and this Booker T. Jones-produced album of pop standards from the ’30s and ’40s certainly fits the profile. It’s also one of the better albums of Nelson’s career, allowing Willie to dip his fragile, quivering tenor all around the beat in songs like “All of Me” and “Unchained Melody.” Jones’s organ, piano, and string arrangements are low-key and swinging (except on the almost wooden “On the Sunny Side of the Street”), and Nelson’s vocals on “Georgia on My Mind” and “Moonlight in Vermont” are filled with a dignified and slightly jazzy country soul.

At the height of outlaw country, Willie Nelson pulled off perhaps the riskiest move of the entire bunch. He set aside originals, country, and folk and recorded Stardust, a collection of pop standards produced by Booker T. Jones. Well, it’s not entirely accurate to say that he put away country and folk, since these are highly idiosyncratic interpretations of “Georgia on My Mind,” “All of Me,” “Moonlight in Vermont,” and “Don’t Get Around Much Anymore,” blending pop, country, jazz, and folk in equal measures. It’s not that Willie makes these songs his own, it’s that he reimagines these songs in a way that nobody else could, and with his trusty touring band, he makes these versions indelible. It may be strange to think that this album, containing no originals from one of America’s greatest songwriters, is what made him a star, and it continues to be one of his most beloved records, but it’s appropriate, actually. Stardust showcases Nelson’s skills as a musician and his entire aesthetic — where there is nothing separating classic American musical forms, it can all be played together — perhaps better than any other album, which is why it was a sensation upon its release and grows stronger with each passing year.

Tracklist:
01. Stardust
02. Georgia On My Mind
03. Blue Skies
04. All Of Me
05. Unchained Melody
06. September Song
07. On The Sunny Side Of The Street
08. Moonlight In Vermont
09. Don’t Get Around Much Anymore
10. Someone To Watch Over Me

Produced and Arranged by Booker T. Jones. Recorded and Mixed in The Enactron Truck.
Engineers: Bradley Hartman and Donivan Cowart. Mastering Engineer: Bernie Grundman.
String Conductor: Jules Chaiken.

WILLIE NELSON, vocals and guitar
BOBBIE NELSON, piano
PAUL ENGLISH, drums
REX LUDWIG, drums
JODY PAYNE, guitar
BEE SPEARS, bass
CHRIS ETHRIDGE, bass
MICKEY RAPHAEL, harmonica
BOOKER T. JONES, organ and piano

ISO

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At the close of the ’70s, Hall & Oates began inching toward a sleek, modern sound, partially inspired by the thriving punk and new wave scene and partially inspired by Daryl Hall’s solo debut, Sacred Songs, a surprising and successful collaboration with art rock legend Robert Fripp. While 1979’s X-Static found the duo sketching out this pop/soul/new wave fusion, it didn’t come into fruition until 1980’s Voices, which was their creative and commercial breakthrough. Essentially, Voices unveils the version of Hall & Oates that made them the most successful duo in pop history, the version that ruled the charts for the first half of the ’80s. During the ’70s, Hall & Oates drifted from folky singer/songwriters to blue-eyed soulmen, with the emphasis shifting on each record. On Voices, they place their pop craftsmanship front and center, and their production (assisted by engineer/mixer Neil Kernon) is clean, spacious, sleek, and stylish, clearly inspired by new wave yet melodic and polished enough for the mainstream. Thanks to the singles “Kiss on My List” and “You Make My Dreams” (and, to a lesser extent, their remake of the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” and the original version of the heartbreaking ballad “Everytime You Go Away,” later popularized by Paul Young), the mainstream enthusiastically embraced Hall & Oates, and the ubiquitousness of these hits obscures the odder, edgier elements of Voices, whether it’s the rushed, paranoid “United State,” tense “Gotta Lotta Nerve (Perfect Perfect),” the superb Elvis Costello-styled “Big Kids,” the postmodern doo wop tribute “Diddy Doo Wop (I Hear the Voices),” or even John Oates’ goofy “Africa.” Apart from the latter, these are the foundation of the album, the proof that the duo wasn’t merely a stellar singles act, but expert craftsmen as writers and record-makers. The next few albums were bigger hits, but they topped the charts on the momentum created by Voices, and it still stands as one of their great records.

Tracklist:
01. How Does It Feel To Be Back
02. Big Kids
03. United State
04. Hard To Be In Love With You
05. Kiss On My List
06. Gotta Lotta Nerve (Perfect Perfect)
07. You’ve Lost That Lovin’ Feeling
08. You Make My Dreams
09. Everytime You Go Away
10. Africa
11. Diddy Doo Wop (I Hear The Voices)

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

ISO

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FLAC

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Private Eyes solidified Hall & Oates’ status as one of the most popular acts in America in the early ’80s, and with 1982’s H2O, they capitalized on its success, delivering an album that turned out to be bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with “Maneater,” “One on One,” and “Family Man.” Bigger isn’t necessarily better, though, and in comparison to the glistening pop of Private Eyes, H2O pales somewhat, coming across as a little too serious, with its ambitions just being a little too evident. Take the claustrophobic, paranoid “Family Man” — covering an art rocker like Mike Oldfield suggests a far different agenda than crafting a tribute to the Temptations, and while “Family Man” isn’t as key to the album as “Looking for a Good Sign” was to Private Eyes, it does indicate the relatively somber tone of H2O. Not that the album is a tortured dark night of the soul — how could it be, when John Oates kicks off the second side with the proudly silly “Italian Girls”? — but the production and performances are precise and deliberate, effectively muting the pop thrills that spilled over on its predecessor. Even if the album was recorded with Hall & Oates’ touring band — something that the duo and their co-producer Neil Kernon confirm in the excellent liner notes by Ken Sharp in the 2004 reissue — H2O feels as if most songs were cut to a click track, and are just slightly too polished for their own good; when the productions open up a bit, the band still sounds terrific, but they never are given the opportunity to sound as big and bold as they do on Private Eyes. This, coupled with a few drawn-out duds (such as the vaguely atmospheric “At Tension”) means H2O isn’t quite as sharp and bracing as anything the duo had released since X-Static, and the fact that two of the best moments are huge hits — the prowling “Maneater” and “One on One,” perhaps the most seductive song Daryl Hall ever wrote — may suggest that this is closer to singles-plus-filler than it really is. The best of the rest of H2O reveals that Hall & Oates are at a near-peak in their creativity, writing tuneful, soulful fusions of pop, soul, and new wave. “Crime Pays” has an appealing robotic synth pop groove, “Art of Heartbreak” rides a tense guitar line to a great horn line on the chorus, the jealous anthem “Open All Night” slinks by on a stylized late-night groove, “Go Solo” hails back to Hall’s arty Sacred Songs, and “Delayed Reaction” is a sterling piece of propulsive near-power pop. Even if they don’t gel into an album as strong as Voices or Private Eyes, they’re pretty terrific pop in their own right. They’re not just evidence that Hall & Oates’ popularity in the early ’80s was earned and well deserved, they hold up very well decades after H2O ruled the charts.

Tracklist:
01. Maneater
02. Crime Pays
03. Art Of Heartbreak
04. One On One
05. Open All Night
06. Family Man
07. Italian Girls
08. Guessing Games
09. Delayed Reaction
10. At Tension
11. Go Solo

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

ISO

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FLAC

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Hall & Oates were in the middle of recording Private Eyes when Voices suddenly, unexpectedly broke big, with “Kiss on My List” reaching number one not just on the Billboard charts, but in Cashbox and Record World. As the album’s producer, Neil Kernon, admits in Ken Sharp’s liner notes to the 2004 reissue of the album, everybody knew that the new record would have to do better than Voices, but even if Hall & Oates were under a lot of pressure, they were in the fortunate position of not just having reintroduced their modernized, new wave-influenced blue-eyed soul on their previous record, but they already had much of the material nailed down. In other words, the sound and songs on Private Eyes were essentially conceived when the group was confident of the artistic breakthrough of Voices but not swaggering with the overconfidence of being the biggest pop act in America, and the result is one of their best albums and one of the great mainstream pop albums of the early ’80s. Hall & Oates don’t repeat the formula of Voices; they expand it, staying grounded in pop-soul but opening up the stylized production, so it sounds both cinematic and sharp. Lots of subtle effects are layered on the voices, guitars, and pianos as they mingle with synthesized instruments, from the keyboard loops that give “Head Above Water” a restless momentum to the drum machine that lends “I Can’t Go for That (No Can Do)” a sexy, seductive groove.

Tracklist:
01. Private Eyes
02. Looking For A Good Sign
03. I Can’t Go For That (No Can Do)
04. Mano A Mano
05. Did It In A Minute
06. Head Above Water
07. Tell Me What You Want
08. Friday Let Me Down
09. Unguarded Minute
10. Your Imagination
11. Some Men

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

ISO

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FLAC

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Released at the peak of Hall & Oates’ popularity in the early ’80s, 1983’s Rock ‘n Soul, Pt. 1: Greatest Hits effectively chronicles the time when the duo could do no wrong – namely, the period between 1980’s Voices and 1982’s H2O, which includes only one other album, 1981’s excellent Private Eyes. While this reaches back to their early-’70s work for Atlantic for “She’s Gone,” the only big hit they had at the label, and also has their two other big hits from that decade, “Sara Smile” and “Rich Girl,” the bulk of Rock ‘n Soul, Pt. 1 derives from those three albums: “Kiss on My List,” “You Make My Dreams,” “Private Eyes,” “I Can’t Go for That (No Can Do),” “Maneater,” and “One on One.” That’s a long list of singles, but it still misses some terrific singles from this era, including “How Does It Feel to Be Back,” “Did It in a Minute,” “Family Man,” and “You’ve Lost That Lovin’ Feeling” (the latter two were included as bonus tracks on RCA/Legacy’s 2006 reissue). As good as those songs may be, Rock ‘n Soul, Pt. 1 doesn’t necessarily miss them: with the exception of a live version of “Wait for Me” (good, but not essential), this is the cream of the crop of Hall & Oates’ best period, and it makes for a tight, excellent listen, and it’s bolstered by the sublime “Say It Isn’t So” and the good rocker “Adult Education.” Latter-day compilations like 2001’s Very Best of Daryl Hall & John Oates and 2004’s Ultimate (which was reissued a year later under the title Essential) may cover their entire career in more detail – and the duo certainly made great music before and after this era – but as a snapshot of Hall & Oates at their finest, Rock ‘n Soul, Pt. 1: Greatest Hits can’t be beat.

Tracklist:
01 – Say It Isn’t So
02 – Sara Smile
03 – She’s Gone
04 – Rich Girl
05 – Kiss On My List
06 – You Make My Dreams
07 – Private Eyes
08 – Adult Education
09 – I Can’t Go For That (No Can Do)
10 – Maneater
11 – One On One
12 – Wait For Me (Live Version)

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

ISO

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FLAC

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Nefertiti, the fourth album by Miles Davis’ second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes — but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on “Hand Jive.” Yet even when the instrumentalists and soloists are placed in the foreground — such as Miles’ extended opening solo on “Madness” or Hancock’s long solo toward the end of the piece — this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What’s impressive, like on all of this quintet’s sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.

Tracklist:
01. Nefertiti
02. Fall
03. Hand Jive
04. Madness
05. Riot
06. Pinocchio

ISO

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FLAC

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Tracklist:
01. Nefertiti
02. Fall
03. Hand Jive
04. Madness
05. Riot
06. Pinocchio

Personnel
Miles Davis – trumpet
Wayne Shorter – tenor saxophone
Herbie Hancock – piano
Ron Carter – double bass
Tony Williams – drums

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

ISO

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FLAC

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Billy Joel – Glass Houses (1980) [MFSL 2012] {PS3 ISO + FLAC}

Billy Joel – An Innocent Man (1983) [MFSL 2013] {PS3 ISO + FLAC}

Billy Joel – An Innocent Man (1983) [Remastered Reissue 1998 (2001)] {PS3 ISO + FLAC}

Billy Joel – Turnstiles (1976) [MFSL 2010] {PS3 ISO + FLAC}

Billy Joel – Piano Man (1973) [MFSL 2010] {PS3 ISO + FLAC}

Billy Joel – 52nd Street (1978) [Remastered Reissue 1998 (2001)] {2.0 & 5.1} PS3 ISO + FLAC

Erich Kunzel & The Cincinnati Pops Orchestra – Round-Up (features Frankie Laine) (1986) [Reissue 2006] {2.0 & 5.1} PS3 ISO+FLAC

Erich Kunzel & Cincinnati Pops Orchestra – Tchaikovsky: 1812 & Other Orchestral Works (2001) [Reissue 2003] {2.0 & 5.1} PS3 ISO + FLAC

Erich Kunzel & Cincinnati Pops Orchestra – On Broadway (1999) {PS3 ISO + FLAC}

Erich Kunzel & Cincinnati Pops Orchestra – Mega Movies (2000) [Reissue 2006] {2.0 & 5.1} PS3 ISO + FLAC

Erich Kunzel & Cincinnati Pops Orchestra – Got Swing! (2003) [2.0 & 5.1] PS3 ISO + FLAC

Erich Kunzel & Cincinnati Pops Orchestra perform Music of The Beatles, feat. King’ Singers (2011) [2.0 & 5.1] PS3 ISO + FLAC

Erich Kunzel & Cincinnati Pops Orchestra – Great Film Fantasies (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

Willie Nelson – Stardust (1978) [Japanese SACD 2001 #SRGS 4563] {PS3 ISO + FLAC}

Daryl Hall & John Oates – Voices (1980) [MFSL 2013] {PS3 ISO + FLAC}

Hall & Oates – H2O (1982) [MFSL 2014] {PS3 ISO + FLAC}

Daryl Hall & John Oates – Private Eyes (1981) [MFSL 2014] {PS3 ISO + FLAC}

Hall & Oates – Rock ‘N Soul Part 1 (1983) [MFSL 2015] {PS3 ISO + FLAC}

Miles Davis – Nefertiti (1967) [Japanese Reissue 2002] {PS3 ISO + FLAC}

Miles Davis – Nefertiti (1968) [MFSL 2015] {PS3 ISO + FLAC}