SACD / DSD – HDMusic.me

Perfecting fusing electronic music with infectiously catchy songwriting, Dare is one of the best selling electronic albums of all time.

Dare! captures a moment in time perfectly — the moment post-punk’s robotic fascination with synthesizers met a clinical Bowie-esque infatuation with fashion and modern art, including pop culture, plus a healthy love of songcraft. The Human League had shown much of this on their early singles, such as “Empire State Human,” but on Dare! they simply gelled, as their style was supported by music and songs with emotional substance. That doesn’t mean that the album isn’t arty, since it certainly is, but that’s part of its power — the self-conscious detachment enhances the postmodern sense of emotional isolation, obsession with form over content, and love of modernity for its own sake. That’s why Dare! struck a chord with listeners who didn’t like synth pop or the new romantics in 1981, and why it still sounds startlingly original decades after its original release — the technology may have dated, synths and drum machines may have become more advanced, but few have manipulated technology in such an emotionally effective way. Of course, that all wouldn’t matter if the songs themselves didn’t work smashingly, whether it’s a mood piece as eerie as “Seconds,” an anti-anthem like “The Things That Dreams Are Made Of,” the dance club glow of “Love Action (I Believe in Love),” or the utter genius of “Don’t You Want Me,” a devastating chronicle of a frayed romance wrapped in the greatest pop hooks and production of its year. The latter was a huge hit, so much so that it overshadowed the album in the minds of most listeners, yet, for all of its shining brilliance, it wasn’t a pop supernova — it’s simply the brightest star on this record, one of the defining records of its time.

Tracklist:
01. The Things That Dreams Are Made Of
02. Open Your Heart
03. The Sound Of The Crowd
04. Darkness
05. Do Or Die
06. Get Carter
07. I Am The Law
08. Seconds
09. Love Action (I Believe In Love)
10. Don’t You Want Me

ISO

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FLAC

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Arriving 12 years after the release of the film, Vangelis’ soundtrack to the 1982 futuristic noir detective thriller Blade Runner is as bleak and electronically chilling as the film itself. By subtly interspersing clips of dialogue and sounds from the film, Vangelis creates haunting soundscapes with whispered subtexts and sweeping revelations, drawing inspiration from Middle Eastern textures and evoking neo-classical structures. Often cold and forlorn, the listener can almost hear the indifferent winds blowing through the neon and metal cityscapes of Los Angeles in 2019. The sultry, saxophone-driven “Love Theme” has since gone on as one of the composer’s most recognized pieces and stands alone as one of the few warm refuges on an otherwise darkly cold (but beautiful) score. An unfortunate inclusion of the 1930s-inspired ballad “One More Kiss, Dear” interrupts the futuristic synthesized flow of the album with a muted trumpet and Rudy Vallée-style croon. However well done (and appropriate in the movie), a forlorn love song that sounds as if it is playing on a distant Philco radio in The Waltons’ living room jarringly breaks the mood of the album momentarily (although with CD technology, this distraction is easily bypassed). Fans of Ridley Scott’s groundbreaking film (as well as those interested in the evolution of electronic music) will warmly take this recording into their plastic-carbide-alloy hearts.

Tracklist:
01. Main Titles
02. Blush Response
03. Wait for Me
04. Rachel’s Song
05. Love Theme
06. One More Kiss, Dear
07. Blade Runner Blues
08. Memories of Green
09. Tales of the Future
10. Damask Rose
11. Blade Runner (End Titles)
12. Tears in Rain

ISO

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Few rock & roll records rock as hard or with as much originality as the Pretenders’ eponymous debut album. A sleek, stylish fusion of Stonesy rock & roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude. Although Chrissie Hynde establishes herself as a forceful and distinctively feminine songwriter, the record isn’t a singer/songwriter’s tour de force — it’s a rock & roll album, powered by a unique and aggressive band. Guitarist James Honeyman-Scott never plays conventional riffs or leads, and his phased, treated guitar gives new dimension to the pounding rhythms of “Precious,” “Tattooed Love Boys,” “Up the Neck,” and “The Wait,” as well as the more measured pop of “Kid,” “Brass in Pocket,” and “Mystery Achievement.” He provides the perfect backing for Hynde and her tough, sexy swagger. Hynde doesn’t fit into any conventional female rock stereotype, and neither do her songs, alternately displaying a steely exterior or a disarming emotional vulnerability. It’s a deep, rewarding record, whose primary virtue is its sheer energy. Pretenders moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Few albums, let alone debuts, are ever this astonishingly addictive.

Tracklist:
01. Precious
02. The Phone Call
03. Up The Neck
04. Tattooed Love Boys
05. Space Invader
06. The Wait
07. Stop Your Sobbing
08. Kid
09. Private Life
10. Brass In Pocket
11. Lovers Of Today
12. Mystery Achievement

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

ISO

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When Bossanova arrived in 1990, it reflected the exhaustion the Pixies felt after Doolittle’s enormous success: For the first time, the band seems to be running out of ideas. Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies’ weakest album – though Francis has said it’s his favorite – most of it finds the band in fine form. Gil Norton’s spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones’ “Cecilia Ann” and the glorious, shimmering closer “Havalina” perfectly. On the theremin-driven “Velouria”, science fiction imagery displaces Francis’ penchant for fetishistic lyrics; next to the token kinky song “Down to the Well”’s tired sound, it’s a refreshing change. The similarly cryptic “All Over the World” and alien abduction tale “The Happening” add to the sci-fi feel. Quirky pop songs like “Allison”, a tribute to jazz cool-cat Mose Allison, and “Dig for Fire”, Francis’ self-professed Talking Heads homage, heighten Bossanova’s playful, slightly off-kilter vibe, but rockers like “Hang Wire” and “Blown Away”, fall flat. However, “Rock Music” is one of the group’s most fiery outbursts, and “Is She Weird”‘s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanova’s strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. Like a straight-A student who suddenly receives a B+, Bossanova might have been a disappointment initially, but its (small) failings emphasize the strengths of the rest of the Pixies’ work.

Tracklist:
01. Cecilia Ann
02. Rock Music
03. Velouria
04. Allison
05. Is She Weird
06. Ana
07. All Over The World
08. Dig For Fire
09. Down To The Well
10. The Happening
11. Blown Away
12. Hang Wire
13. Stormy Weather
14. Havalina

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

ISO

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The title might be French for “fool the world,” but with Trompe le Monde, the Pixies weren’t fooling anyone: this was essentially Black Francis’ solo debut. It focuses on Francis’ sci-fi fascination and lacks any Kim Deal songs; even her backing vocals are far and few between. Yet the band sounds revitalized on Trompe le Monde, as if it were planned as their last hurrah. The raucous “Distance Equals Rate Times Time” and the explosive cover of the Jesus and Mary Chain’s “Head On” are fairly straightforward, but the lyrics remain quirky on “Planet of Sound,” a song about a Martian who lands on Earth, and “Palace of the Brine,” a tribute to sea monkeys and Utah’s Salt Lake. He even disses hipsters and pretentious students — basically, the Pixies’ fan base — with nasty little digs like “Subbacultcha”‘s “I was wearing eyeliner/She was wearing eyeliner” and “U-Mass”‘ “It’s eduuucaaationaal!” Musically, “Trompe le Monde”‘s psychedelic sheen and “Alec Eiffel”‘s atmospheric keyboards prove that the Pixies’ sound wasn’t defined by Steve Albini-style rawness. There’s also more emotional depth: “The Sad Punk” features the strangely poignant bridge “And evolving from the sea/Would not be too much time for me/To walk beside you in the sun,” and “Letter to Memphis” is a heartfelt, if cryptic, love song. Though Trompe le Monde doesn’t sound quite like the Pixies’ other work, Come on Pilgrim’s spooky beginnings, Surfer Rosa’s abrasive assault, Doolittle’s deceptively accessible punk-pop, and Bossanova’s spacy sonics helped make Trompe le Monde a rousing swan song and a precursor to alternative rock’s imminent success. Whether that means their music remained pure or they missed their chance to cash in is debatable; either way, the Pixies are one of America’s greatest, most influential bands.

Tracklist:
01. Trompe Le Monde
02. Planet Of Sound
03. Alec Eiffel
04. The Sad Punk
05. Head On
06. U-Mass
07. Palace Of The Brine
08. Letter To Memphis
09. Bird Dream Of The Olympus Mons
10. Space (I Believe In)
11. Subbacultcha
12. Distance Equals Rate Times Time
13. Lovely Day
14. Motorway To Roswell
15. The Navajo Know

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

ISO

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FLAC

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Out of the Cool, released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis — Sketches of Spain being the final one before this. Evans had learned much from Davis about improvisation, instinct, and space (the trumpeter learned plenty, too, especially about color, texture, and dynamic tension). Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter, and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in “La Nevada,” and “Sunken Treasure.” The middle of the record is filled out by the lovely standard “Where Flamingos Fly,” Kurt Weill-Bertolt Brecht’s “Bilbao Song,” and George Russell’s classic “Stratusphunk.” The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford’s solo — drenched in funky blues — is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break.

Tracklist:
01. La Nevada
02. Where Flamingos Fly
03. Bilbao Song
04. Stratusphunk
05. Sunken Treasure
01. La Nevada
02. Where Flamingos Fly
03. Bilbao Song
04. Stratusphunk
05. Sunken Treasure

ISO

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FLAC

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Cellist Aage Kvalbein and keyboardist Iver Kleive collaborate for this collection of soft music from classical genre and traditional Norse folk tunes. Aage Kvalbein is one of the most well-renowned musicians in Norway. Iver Kleive is known as a Norwegian composer and organist. However, for this recording he makes a leap over to the piano for beautiful recordings with cellist Aage Kvalbein.

At David for 3000 år siden spilte harpe for Kong Saul for å roe hans sinn er historiens første dokumenterte trøstende virkning av musikk. Siden kjenner vi til utallige historier om ulike skalaers effekt på menneskesinnet, og i antikken mente man at visse tonearter hadde spesielt lindrende virkning for sørgende. I vår egen tid hører vi ofte visse innspillinger og musikkopplevelser beskrevet som ”balsam for sjelen”. Det var et slikt siktemål Aage Kvalbein (cello) og Iver Kleive (piano) hadde for øye da de gjennomførte en innspilling i Kulturkirken Jakob 3 dager i oktober i år under overskriften ”Til Trøst”.

Kirkelig Kulturverksted ved produsenten Erik Hillestad presenterte en ønskeliste med sanger og musikkstykker som ofte har blitt brukt i situasjoner hvor mennesker trenger å få klappet og stelt litt med sjelen. Listen ble så supplert av de to musikerne, og med den tyngde og erfaring et langt liv som musiker har gitt begge de to utøverne, falt de hurtig inn i en modus som kreves av musikalske sjelesørgere. Resultatet er blitt en CD med kjente melodier fra salmerepertoaret og en rekke klassiske musikkstykker man ofte hører i begravelser eller som siste sang før det sies god natt i et hus hvor noen lengter etter fred og stillhet. Arrangementene til de kjente melodiene ble gjort av Iver Kleive, de enkelte komponister står ansvarlig for helheten i de sangene som er fra det klassiske repertoaret, men disse er tilrettelagt for cello og piano av de to utøverne i felleskap.

Tracklist:

01. Jag har hört om en stad ovan målnen (Russian Folk Song)
02. Air (Johann Sebastian Bach)
03. Gjendines bånlåt (Norwegian Folk Song)
04. Eg veit i himmerik ei borg (Folk Song From Hallingdal)
05. Tema fra Adagio (Tomaso Giovanni Albinoni)
06. Blott en dag (Oscar Ahnfelt)
07. Etter en drøm (Gabriel Fauré)
08. I himmelen, i himmelen (Folk Song From Heddal)
09. Ave Maria (Johann Sebastian Bach, Charles Gounod)
10. O bli hos meg (William Henry Monk)
11. I ensomme stunde (Ole Bull)
12. Tryggare kan ingen vara (German Traditional Song)
13. Gabriels obo (Ennio Morricone)
14. Eg ser (Bjørn Eidsvåg)
15. Ved Rondane (Edvard Grieg)
16. Velt alle dine veie (Hans Leo Hassler)
17. Bred dina vida vingar (Swedish Folk Song)

Personnel
Aage Kvalbein – cello
Iver Kleive – piano

Arranged by Iver Kleive. Produced by Erik Hillestad.
Recorded in October 2008 at Kulturkirken Jakob by Daniel Wold.
Mixed at Studio Nordraak, Oslo, Norway.

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Young Russian jazz vocalist Anastasia Lyutova and her band of wonderful musicians including Sergey Baulin (tenor sax), Alexey Podymkin (piano), Vladimir Koltsov-Krutov (double bass) and Alexey Bekker (drums), perfom a set of jazz standards.

Tracklist:

01. Some Like It Hot
02. It Ain’t Necessarily So
03. Out Of The Past
04. A Flower Is A Lovesome Thing
05. Fascinating Rhythm
06. Love You Madly
07. Harlem Nocturne
08. I Concentrate On You
09. Satin Doll
10. Lush Life
11. I Can’t Believe That You’re In Love With Me
12. Sunny
13. Why Don’t You Do Right

Produced, Mixed & Mastered by Tetsuo Hara. Engineered by Oleg Timofeev.
Recorded on October 17 & 18, 2018 at Cinelab Studio in Moscow, Russia.
Venus Hyper Magnum Sound Direct Mix. VENUS Japan # VHGD-344.

Personnel
Anastasia Lyutova – vocals
Sergey Baulin – tenor saxophone
Alexey Podymkin – piano
Vladimir Koltsov-Krutov – double bass
Alexey Bekker – drums, piano in “Lush Life”
Roman Sokolov – flute in “A Flower Is A Lovesome Thing”

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A populist programmer, avuncular podium presence, and constant visitor to small-town concert halls and living room televisions, Arthur Fiedler personified orchestral music in America. He was less glamorous, less intellectual, and in many ways less respected than Leonard Bernstein, but those deficiencies worked to Fiedler’s advantage in the minds of ordinary Americans. He also enjoyed greater longevity on his home turf – nearly 50 years in the national limelight, as opposed to Bernstein’s one decade of unmatched glory in New York before running off to Europe to become another gray eminence. Fiedler’s success, though, was also the source of some frustration; he was forever pigeonholed as a pops conductor.

Conductor Arthur Fiedler is a revered name in New England music history and his Boston Pops run through gorgeous Richard Hayman arrangements of familiar favorites on Up, Up and Away. A dramatic rendition of 1967 ‘s “Best Song” from the pen of Jimmy Webb starts off the LP, adding sound colors as the 5th Dimension production did, only without the vocals and different instrumentation, of course. Producer Peter Dellheim gives six paragraphs of insight in his liner notes, identifying that he picked up on the Minuet from J.S. Bach’s Anna Magdalena Bach Notebook after hearing Diana Ross & the Supremes’ version of the tune “A Lover’s Concerto.” The amusing thing is that the Toys were emulating the Supremes’ sound, and the Diana Ross version the Boston Pops got its idea from was a tribute to the tribute. When Ferrante & Teicher recorded the song on their Getting Together album, they called their arrangement “A Familiar Concerto,” denying Toys producers Sandy Linzer and Denny Randell the royalties for the updated composition. Arthur Fiedler & the Boston Pops sprinkle their magic on Paul Mauriat’s hit “Love Is Blue,” along with “Lara’s Theme” from Dr. Zhivago – better known as Ray Conniff’s Top Ten hit from 1966, “Somewhere My Love.” André Previn’s (Theme From) Valley of the Dolls is just perfect for this ensemble, majestic movements that bring out the sadness and despair of the Dionne Warwick classic. “Cabaret” is a fun romp through the campy hit, while the Beatles’ “Yesterday” and “Michelle” melt into the beautiful fabric as easily as the theme from Georgy Girl. Up, Up and Away is the perfection one expects from the Boston Pops, capturing some of the highlights with which 1968’s easy listening community was in tune. The amusing cover photo features an airplane on a runway with Fiedler surrounded by eight beautiful women.

Tracklist:

01. Up Up and Away
02. Valley of the Dolls
03. Georgy Girl
04. Yesterday
05. Piano Concerto No 21 Elvira Madigan
06. Cabaret
07. Michelle
08. Love is Blue
09. A Man and a Woman
10. A Lovers Concerto
11. Lara’s Theme
12. Boston Pops March
13. Symphonic Picture of Porgy and Bess
14. Carnaval Overture Op 45

Tracks “01-11” is “Up, Up and Away” (LP ‘1968)
Tracks “12-14” is “Fiedler’s Choice” (Stereo LP ‘1970) are bonus tracks.
Remastered from the Original Master tapes by Michael J. Dutton.

ISO

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Ástor Pantaleón Piazzolla was an Argentine tango composer and bandoneon player. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music.

Considered by Piazzolla to be his best work, 1986’s Tango Zero Hour was the culmination of a career that began in Argentina in the 1930s. Piazzolla started out auspiciously enough working with one of the brightest lights of the classic tango era, singer Carlos Gardél. After Gardél’s tragic death in 1935 (by turning down an offer to tour with the singer at the age of 13, Piazzolla amazingly avoided the plane crash that killed Gardél), Piazzolla went on to perfect his bandoneón playing in various tango bands during the ’40s and ’50s, eventually studying with Nadia Boulanger in Paris. Like she did with so many other great talents like Aaron Copeland and Quincy Jones, Boulanger encouraged Piazzolla to find a new way of playing his county’s music. Piazzolla began experimenting and soon enough perfected what is now known as “nuevo tango.” Moving tango music into the more serious area of high-art composition, Piazzolla added eccentric and, at times, avant-garde touches to the traditional format; he gained the appreciation of adventurous music lovers worldwide while alienating tango purists back home. Tango Zero Hour is the fruition of his groundbreaking work and one of the most amazing albums released during the latter years of the 20th century. Joined by his Quinteto Tango Nuevo featuring violin, piano, guitar, and bass, Piazzolla offers up seven original tango gems that take in the noirish, “Zero Hour” world found between midnight and dawn. Essential for all music lovers.

Tracklist:

01. Tanguedia III
02. Milonga Del Angel
03. Concierto Para Quinteto
04. Milonga Loca
05. Michelangelo ’70
06. Contrabajísimo
07. Mumuki

Remastered by Greg Calbi at Sterling Sound, NYC, NY.

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Drums of Passion is an album released by Nigerian percussionist Babatunde Olatunji in 1960. Unquestionably, it was the first recording to popularize African music in the west, becoming immensely successful and selling over five million copies. In 2002, it was released as a single layer stereo and 5.1 SACD by Columbia Records. In 2004 the album was added to the National Recording Registry.

Having come to USA. from his native Nigeria to study medicine, percussionist Babatunde Olatunji eventually became 1 of the 1st African music stars in the States. He also soon counted jazz heavyweights like John Coltrane (“Tunji”) & Dizzy Gillespie among his admirers (Gillespie had, a decade earlier, also courted many Cuban music stars via his trailblazing Latin jazz recordings). And, in spite of it being viewed by some as a symbol of African chic, Drums of Passion is still a substantial record thanks to Olatunji’s complex & raw drumming. Along with a cadre of backup singers & 2 other percussionists, Olatunji works through 8 traditional drum & chorus cuts originally used to celebrate a variety of things in Nigeria: “Akiwowo” & “Shango” are chants to a train conductor & the God of Thunder, respectively, while “Baba Jinde” is a celebration of the dance of flirtation & “Odun De! Odun De!” serves as a New Year’s greeting. The choruses do sound a bit overwrought & even too slick at times (partly due to the fact that most of the singers are not African), but thankfully the drumming is never less than engaging. The many curious world music fans who are likely to check this album out should also be sure to look into even better African drumming by native groups like the Drummers of Burundi & the percussion outfits featured on various field recordings. (The 2002 CD reissue on Columbia/Legacy adds the track “Menu Di Ye Jewe (Who Is This?)”, which was recorded at 1 of the 1959 sessions for the album, but was previously unissued in USA).

Tracklist:

01. Akiwowo
02. Oya
03. Odun De! Odun De!
04. Gin-Go-Lo-Ba
05. Kiyakiya
06. Baba Jinde
07. Oyin Momo Ado
08. Shango
09. Menu Di Ye Jewe [Bonus Track]

Recorded on August 14 & 20 and October 1, 1959 in New York City.
Mixed & Mastered in Stereo & 5.1 Mix by Mark Wilder at Sony Music Studios, NYC.

ISO

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FLAC

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The Nigerian-born drum master leads an ebullient ensemble of guitarists, singers and percussionists through a series of spirited meditations on the nature of love. Lust, kinship, sensuality, courtship and spirituality are the themes Olatunji uses to fuel his joyous infectious playing. Highlights include “Mother, Give Me Love”, “Don’t Know Why My Love”, “Spell Mónisola” and more.

The drums were a daily backdrop to life in Babatunde Olatunji’s birthplace, the fishing village of Ajido, some forty miles outside Lagos. He arrived in America in 1950 and traveled on a segregated “Jim Crow” train to study at Morehouse College. “I started the whole music thing to protect my sanity,” he explains. Stunned by the ignorance of his fellow students, who assumed all Africans lived among lions in the jungle, Olatunji began inviting them to drum and sing in his rooms and discovered his life’s mission as Africa’s musical ambassador.

Babatunde Olatunji’s words are sung in his tribal language, Yoruba, and the drums that surround him – his ashiko, the big, curvaceous mother drum, the smaller, cylindrical djembe, the djun-djun and the talking drum – transmit the message as eloquently as the lyrics. Each track invokes another face of love and tells stories of Olatunji’s own life. On “Spell Mónisola”, Olatunji sings of his American-born granddaughter going to study at her grandmother’s school in Ibadan, Nigeria, as he articulates the young girl’s name in drumbeats. The travails of romantic love are addressed on “Saré Tete Wa”, yearning as it begs, “Lover, please come running back to me”. Fear of commitment permeates Long Distance Lover, and a parallel anguish fuels the doomed passion of “Don’t Know Why My Love”. Upbeat dance floor lust grooves through “What’s Your Number, Mama?”, in which a dancer’s devious routine to acquire a love object’s phone number vies with his mental calculations of her measurements. A more abstract love, the intimate conspiracy between dancer and drummer, inspires “Bebí Alolo” and “Love Drum Talk”.

Tracklist:

01. Saré Tete Wa
02. What’s Your Number, Mama?
03. Love Drum Talk
04. Bebí Alolo
05. Spell Mónisola
06. Don’t Know Why My Love
07. Mother, Give Me Love
08. Long Distance Lover

Produced by David Chesky, Hui Cox & Babatunde Olatunji. Engineered by Bob Katz.
Recorded on June 16-19, 1997 at St. Peter’s Episcopal Church, New York.
Edited & Mastered by Nicholas Prout.

ISO

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FLAC

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Recorded in 1993 but only released in 2005, two years after his death, it’s a mystery why this sat in the vault for so long. Here the Nigerian master drummer collaborates with Sikiru Adepoju and Muruga, and the results are as good as anything he released in his prime during the 1960s. He can conjure up a groove out of nothing, making it flow and ebb, while the drummers talk to each other with their instruments. It’s not quite all percussion, however, as the one-string ektar fiddle, synth, chants, and even (surprisingly) hammered dulcimer enter the mix. Each of the six tracks gets time to develop, and it’s the kind of disc that will have listeners performing workouts on their bodies (keeping up, however, is a different matter). It’s readily apparent just how good these guys were during this session, making it sound so easy. Olatunji might no longer be with us, but on this disc he leaves a strong legacy.

Tracklist:
01. Stepping (Isise)
02. Incantations
03. Dawn (Idaji)
04. Embracement
05. Ascension (Igoke)
06. Cosmic Rhythm Vibrations

ISO

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FLAC

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The Stan Getz Quartet – Pure Getz (1982) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST 2.0 & 5.1 > 1-bit/2.8224 MHz | 47:27 minutes | Scans included | 2,96 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 939 MB
Features 2.0 Stereo and 5.1 multichannel surround sound | Concord Records # SACD-1000-6

This enduring Stan Getz recording beautifully reveals the essence of one of jazz’s eternal tenor saxophone masters. His inimitable melodicism, fluid virtuosity, seemingly infinite inventiveness and heartfelt lyricism are pure genius—or, quite simply, Pure Getz. The remarkable clarity and realism of this special Super Audio CD release virtually puts the listener right in the recording studio with Getz and his quartet.

Stan Getz’s 1982 band featured the harmonically advanced pianist Jim McNeely, bassist Marc Johnson and drummer Victor Lewis; Billy Hart fills in for Lewis on three numbers. This date sticks (with one exception) to high-quality jazz standards, some of which (“Sippin at Bell’s”) are not performed all that often. Getz is particularly swinging on “Tempus Fugit” and quite lyrical on Billy Strayhorn’s “Blood Count”.

Tracklist:
01. On the Up and Up
02. Blood Count
03. Very Early
04. Sipping at Bell’s
05. I Wish I Knew
06. Come Rain or Come Shine
07. Tempus Fugit

ISO

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FLAC

https://subyshare.com/t6js6crs82lq/TheStanGetzQuartetPureGetz1982Reissue2003FLACStereo2488.2.rar.html

The Police – Every Breath You Take: The Classics (1995) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 59:15 minutes | Scans included | 3,77 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 59:20 mins | Scans included | 1,13 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

By deleting the 1986 hits collection Every Breath You Take: The Singles and replacing it nearly ten years later with Every Breath You Take: The Classics, A&M improved the original set — but only slightly. Instead of finally adding the missing hits that were mysteriously absent the first time around (“Synchronicity II,” “Demolition Man,” “So Lonely,” etc.), there are only two additional tracks — the original version of “Don’t Stand So Close to Me” and a “New Classic Rock Mix” of “Message in a Bottle.” Again, the included hits speak for themselves — “Roxanne,” “Walking on the Moon,” “Every Little Thing She Does Is Magic,” “Wrapped Around Your Finger,” — but ultimately, The Classics misses the mark. Why would a Police fan who already owns The Singles want to replace it with a modestly different repackaging? A&M should have added some of the missing classics instead of just rehashing what many fans already own.

Tracklist:
01. Roxanne
02. Can’t Stand Losing You
03. Message In A Bottle
04. Walking On The Moon
05. Don’t Stand So Close To Me
06. De Do Do Do, De Da Da Da
07. Every Little Thing She Does Is Magic
08. Invisible Sun
09. Spirits In The Material World
10. Every Breath You Take
11. King Of Pain
12. Wrapped Around Your Finger
13. Don’t Stand So Close To Me ’86
14. Message In A Bottle (New Classic Rock Mix)

ISO

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FLAC

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1995 finally saw the release of the Police’s long-rumored first official live album, the two-CD Live!. The first CD was recorded back in 1979 in Boston, for an FM broadcast during the tour for their second album, Reggatta de Blanc, while the second disc is from their final tour in 1983 during a tour stop in Atlanta. While the first disc is excellent — it captures the Police at their most frantic and energetic — the second disc is pretty darn uninspired (Sting’s vocals in particular), as evidenced by the unnecessary and annoying backup singers that are detected throughout. Highlights abound on disc one, including early faves like “Next to You,” “So Lonely,” “Bring on the Night,” “The Bed’s Too Big Without You,” “Roxanne,” “Walking on the Moon,” and “Can’t Stand Losing You.” And while disc two contains a few standouts (“Tea in the Sahara,” “Every Breath You Take”), those dastardly backup singers make most of the songs sound like blah lounge versions (“King of Pain,” “Synchronicity I,” “De Do Do Do, De Da Da Da”). Still, the first disc of Live! makes it a recommended purchase to the serious Police fan.

Tracklist:
01. Next To You
02. So Lonely
03. Truth Hits Everybody
04. Walking On The Moon
05. Hole In My Life
06. Fall Out
07. Bring On The Night
08. Message In A Bottle
09. The Bed’s Too Big Without You
10. Peanuts
11. Roxanne
12. Can’t Stand Losing You
13. Landlord
14. Born In The 50’s
15. Be My Girl Sally
16. Synchronicity I
17. Synchronicity II
18. Walking In Your Footsteps
19. Message In A Bottle
20. O My God
21. De Do Do Do, De Da Da Da
22. Wrapped Around Your Finger
23. Tea In The Sahara
24. Spirits In The Material World
25. King Of Pain
26. Don’t Stand So Close To Me
27. Every Breath You Take
28. Roxanne
29. Can’t Stand Losing You
30. So Lonely

ISO

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FLAC

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Simultaneously more pop-oriented and experimental than either Ghost in the Machine or Zenyatta Mondatta, Synchronicity made the Police superstars, generating no less than five hit singles. With the exception of “Synchronicity II,” which sounds disarmingly like a crappy Billy Idol song, every one of those singles is a classic. “Every Breath You Take” has a seductive, rolling beat masking its maliciousness, “King of Pain” and “Wrapped Around Your Finger” are devilishly infectious new wave singles, and “Tea in the Sahara” is hypnotic in its measured, melancholy choruses. But, like so many other Police albums, these songs are surrounded by utterly inconsequential filler. This time, the group relies heavily on jazzy textures for Sting’s songs, which only work on the jumping, marimba-driven “Synchronicity I.” Then, as if to prove that the Police were still a band, there’s one song apiece from Stewart Copeland and Andy Summers, both of which are awful, as if they’re trying to sabotage the album. Since they arrive on the first side, which is devoid of singles, they do, making the album sound like two EPs: one filled with first-rate pop, and one an exercise in self-indulgence. While the hits are among Sting’s best, they also illustrate that he was ready to leave the Police behind for a solo career, which is exactly what he did.

Tracklist:
01. Synchronicity I
02. Walking In Your Footsteps
03. Oh My God
04. Mother
05. Miss Gradenko
06. Synchronicity II
07. Every Breath You Take
08. King Of Pain
09. Wrapped Around Your Finger
10. Tea In The Sahara
11. Murder By Numbers

ISO

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FLAC

https://subyshare.com/3fkbndv1wnlw/TP_1983SynchronicityReissue2003FLAC2488.2.rar.html

For their fourth album, 1981’s Ghost in the Machine, the Police had streamlined their sound to focus more on their pop side and less on their trademark reggae-rock. Their jazz influence had become more prominent, as evidenced by the appearance of saxophones on several tracks. The production has more of a contemporary ’80s sound to it (courtesy of Hugh Padgham, who took over for Nigel Gray), and Sting proved once and for all to be a master of the pop songwriting format. The album spawned several hits, such as the energetic “Spirits in the Material World” (notice how the central rhythms are played by synthesizer instead of guitar to mask the reggae connection) and a tribute to those living amid the turmoil and violence in Northern Ireland circa the early ’80s, “Invisible Sun.” But the best and most renowned of the bunch is undoubtedly the blissful “Every Little Thing She Does Is Magic,” which topped the U.K. singles chart and nearly did the same in the U.S. (number three). Unlike the other Police releases, not all of the tracks are stellar (“Hungry for You,” “Omegaman”), but the vicious jazz-rocker “Demolition Man,” the barely containable “Rehumanize Yourself,” and a pair of album-closing ballads (“Secret Journey,” “Darkness”) proved otherwise. While it was not a pop masterpiece, Ghost in the Machine did serve as an important stepping stone between their more direct early work and their more ambitious latter direction, resulting in the trio’s exceptional blockbuster final album, 1983’s Synchronicity.

Tracklist:

01. Spirits In The Material World
02. Every Little Thing She Does Is Magic
03. Invisible Sun
04. Hungry For You
05. Demolition Man
06. Too Much Information
07. Rehumanize Yourself
08. One World (Not Three)
09. Omegaman
10. Secret Journey
11. Darkness

ISO

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FLAC

https://subyshare.com/q551mvosytz1/TP_1981GhostInTheMachineReissue2003FLAC2488.2.rar.html

The stage was set for the Police to become one of the biggest acts of the ’80s, and the band delivered with the 1980 classic Zenyatta Mondatta. The album proved to be the trio’s second straight number one album in the U.K., while peaking at number three in the U.S. Arguably the best Police album, Zenyatta contains perhaps the quintessential new wave anthem, the haunting “Don’t Stand So Close to Me,” the story of an older teacher lusting after one of his students. While other tracks follow in the same spooky path (their second Grammy-winning instrumental “Behind My Camel” and “Shadows in the Rain”), most of the material is upbeat, such as the carefree U.S./U.K. Top Ten “De Do Do Do, De Da Da Da,” “Canary in a Coalmine,” and “Man in a Suitcase.” Sting includes his first set of politically charged lyrics in “Driven to Tears,” “When the World Is Running Down, You Make the Best of What’s Still Around,” and “Bombs Away,” which all observe the declining state of the world. While Sting would later criticize the album as not all it could have been (the band was rushed to complete the album in order to begin another tour), Zenyatta Mondatta remains one of the finest rock albums of all time.

Tracklist:
01. Don’t Stand So Close To Me
02. Driven To Tears
03. When The World Is Running Down, You Make The Best Of What’s Still Around
04. Canary In A Coalmine
05. Voices Inside My Head
06. Bombs Away
07. De Do Do Do, De Da Da Da
08. Behind My Camel
09. Man In A Suitcase
10. Shadows In The Rain
11. The Other Way Of Stopping

ISO

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FLAC

https://subyshare.com/jaanovcqg6fh/TP_1980ZenyattaMondattaReissue2003FLAC2488.2.rar.html

By 1979’s Reggatta de Blanc (translation: White Reggae), nonstop touring had sharpened the Police’s original blend of reggae-rock to perfection, resulting in breakthrough success. Containing a pair of massive hit singles — the inspirational anthem “Message in a Bottle” and the spacious “Walking on the Moon” — the album also signaled a change in the band’s sound. Whereas their debut got its point across with raw, energetic performances, Reggatta de Blanc was much more polished production-wise and fully developed from a songwriting standpoint. While vigorous rockers did crop up from time to time (“It’s Alright for You,” “Deathwish,” “No Time This Time,” and the Grammy-winning instrumental title track), the material was overall much more sedate than the debut — “Bring on the Night,” “The Bed’s Too Big Without You,” and “Does Everyone Stare.” Also included was one of Stewart Copeland’s two lead vocal appearances on a Police album, the witty “On Any Other Day,” as well as one of the band’s most eerie tracks, “Contact.” With Reggatta de Blanc, many picked Sting and company to be the superstar band of the ’80s, and the Police would prove them correct on the band’s next release.

Tracklist:
01. Message In A Bottle
02. Reggatta De Blanc
03. It’s Alright For You
04. Bring On The Night
05. Deathwish
06. Walking On The Moon
07. On Any Other Day
08. The Bed’s Too Big Without You
09. Contact
10. Does Everyone Stare
11. No Time This Time

ISO

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FLAC

https://subyshare.com/r2qo49rb4yyo/TP_1979RegattadeBlancReissue2003FLAC2488.2.rar.html

The Human League – Dare! (1981) [Reissue 2001] {PS3 ISO + FLAC}

Vangelis – Blade Runner (1994) [Audio Fidelity 2013] {PS3 ISO + FLAC}

Pretenders – Pretenders (1980) [MFSL 2014] {PS3 ISO + FLAC}

Pixies – Bossanova (1990) [MFSL 2008] {PS3 ISO + FLAC}

Pixies – Trompe Le Monde (1991) [MFSL 2013] {PS3 ISO + FLAC}

Gil Evans – Out Of The Cool (1960) [Analogue Productions Remaster 2010] {PS3 ISO + FLAC}

Aage Kvalbein & Iver Kleive – Til Trost (2008) [Reissue 2017] {PS3 ISO + FLAC}

Anastasia Lyutova & The Band – Some Like It Jazz (2019) [Japan] {SACD ISO + FLAC}

Arthur Fiedler & The Boston Pops – Up, Up and Away & Fiedler’s Choice (1968 & 1970) [Reissue 2019] {SACD ISO + FLAC}

Astor Piazzolla – Tango: Zero Hour (1986) [Japan 2010] {PS3 ISO + FLAC}

Babatunde Olatunji – Drums of Passion (1960) [REISSUE 2002] {PS3 ISO + FLAC}

Babatunde Olatunji – Love Drum Talk (1997) [Reissue 2004] {2.0 & 5.0} SACD ISO + FLAC

Babatunde Olatunji – Circle Of Drums (2005) [2.0 & 5.1] {PS3 ISO + FLAC}

The Stan Getz Quartet – Pure Getz (1982) [Reissue 2003] {2.0 & 5.1} PS3 ISO + FLAC

The Police – Every Breath You Take: The Classics (1995) [Remastered Reissue 2003] {2.0 & 5.1} PS3 ISO + FLAC

The Police – Live! (1995) [SACD 2003] {PS3 ISO + FLAC}

The Police – Synchronicity (1983) [SACD 2003] {PS3 ISO + FLAC}

The Police – Ghost In The Machine (1981) [SACD 2003] {PS3 ISO + FLAC}

The Police – Zenyatta Mondatta (1980) [SACD 2003] {PS3 ISO + FLAC}

The Police – Regatta de Blanc (1979) [SACD 2003] {PS3 ISO + FLAC}