Studio Masters – HDMusic.icu

Young Dutch firebrand Maduk continues to scorch the D&B landscape with his first full length body of work. Showcasing his full spectrum, we stretch from barbed-soul, heads-down rollers such as “One Way” to the poppier, song-based hand-raisers such “The End” and the pumping filtered funk of the title track by way of off-tempo sideswipers such as the 150 breakbeat cut “One Last Picture”. A highly accomplished album: As the entire scene watches his every move, the Liquicity champion continues to make all the right moves.

Tracklist:
01 – Nothing More
02 – Got Me Thinking
03 – One Way
04 – The End (ft. Voicians)
05 – One Last Picture (ft. Kye Sones)
06 – Never Give Up
07 – Stand By You
08 – Not Alone (ft. Duckfront, MVE, & Frae)
09 – Just Be Good (ft. Nymfo)
10 – Don’t Forget
11 – Falling (ft. MVE)
12 – Solarize (ft. Logistics) [Album Mix]

Mastered by Dan Gresham.

Download:

https://subyshare.com/d61h5gm8vdr8/MadukNeverGiveUp2016Jun0D0wnl0ad24441.rar.html

Wilson Pickett – I’m In Love (1968/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 00:25:39 minutes | 559 MB | Genre: Soul, Funk, R&B
Official Digital Download – Source: HDTracks | © Atlantic Records
Recorded: Memphis, TN, July 1 & 3, 1967

Influential soul icon, Wilson Pickett, soared with his stunning 1968 classic, I’m In Love. A collection of his strongest material, the album highlights Pickett’s expressive vocals and maturing musicianship. The record features the beloved cuts, “Jealous Love,” “I’m In Love” and “She’s Lookin’ Good.” The recording is yet another milestone in an always-consistent career.

Surely no one was expecting a “quiet storm” album from Wilson Pickett in 1968, and that sure isn’t what they got with I’m in Love, but the Wicked Pickett sounds a lot more convincing on this album’s romantic numbers than anyone would have had a right to expect from one of the baddest cats of Southern soul. Of course, there aren’t all that many romantic ballads here, but Pickett’s rough-and-ready soul shouting manages to sound just as convincing on “Bring It On Home to Me” and “That Kind of Love” as he does on the pained “Jealous Love” and a properly intense rip through “Stagger Lee.” Pickett makes the most of the songwriting contributions from frequent collaborators Bobby Womack and Don Covay, while Tommy Cogbill and his crew of Muscle Shoals session heavyweights offer music which keeps up with Pickett for guts, soul, and drive — no small statement, considering Pickett’s richly deserved reputation as one of the strongest and most consistent artists of the period. Like most R&B albums of the period, I’m in Love sounds more like a set of tunes than a unified album, but it’s a good set of tunes, performed with Pickett’s usual high level of passion and skill, and if you’re any kind of fan you’ll revel in it. –Mark Deming

Tracklist:
1 Jealous Love 2:49
2 Stagger Lee 2:22
3 That Kind Of Love 2:19
4 I’m In Love 2:32
5 Hello Sunshine 2:33
6 Don’t Cry No More 2:12
7 We’ve Got To Have Love 2:05
8 Bring It On Home To Me 3:12
9 She’s Lookin’ Good 2:26
10 I’ve Come A Long Way 3:09

Personnel:
Wilson Pickett – vocals
Gene “Bowlegs” Miller – trumpet
Charlie Chalmers, King Curtis – tenor saxophone
Floyd Newman – baritone saxophone
Bobby Woods – piano
Bobby Emmons – organ
Bobby Womack – lead guitar
Reggie Young – guitar
Tommy Cogbill – electric bass
Gene Chrisman – drums

Download:

http://subyshare.com/83rgo06j4xkp/Wils0nPickettImInL0ve19689624.rar.html

Wilson Pickett – A Funky Situation (1978/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 00:40:00 minutes | 855 MB | Genre: Soul, Funk, R&B
Official Digital Download – Source: HDTracks | © Atlantic Records
Recorded: Fame Recording Studios, Muscle Shoals, Alabama

On the rare gem, A Funky Situation, Wilson Pickett blends his trademark soul with elements of disco. Produced by Don Daily and Rick Hall, the effort includes horn arrangements done by the great, Harrison Calloway Jr. Released in 1978, the album features one of Pickett’s all time classics, “Lay Me Like You Hate Me,” the perfect showcase of his musical genius.

Tracklist:
1 Dance With Me 4:56
2 She’s So Tight 3:35
3 The Night We Called It A Day 4:10
4 Dance You Down 3:40
5 Hold On To Your Hinie 3:48
6 Groovin’ 3:51
7 Lay Me Like You Hate Me 3:56
8 Funky Situation 3:55
9 Time To Let The Sun Shine On Me 4:32
10 Who Turned You On 3:37

Personnel:
Wilson Pickett – vocals
Randy McCormick – keyboards
Ken Bell, Larry Byrom – guitar
Bob Wray – bass
Roger Clark – drums
Mickey Buckins – percussion
Ava Aldridge, Cindy Richardson, Suzy Storm – background vocals
Muscle Shoals Horns

Download:

http://subyshare.com/lhbm9gxsktnd/Wils0nPickettAFunkySituati0n19789624.rar.html

In The Midnight Hour was Wilson Pickett’s first album for Atlantic Records. The work is a compilation of early singles recorded from 1961 to 1965. An excellent sampler of Pickett’s gospel-trained vocals and raw power, the album includes one of Pickett’s biggest hits, “In The Midnight Hour.” The song would be listed on the Rock and Roll Hall of Fame’s “500 Songs that Shaped Rock and Roll” and Rolling Stone’s “500 Greatest Songs of All Time.” Also included are the gems, “I’m Not Tired” and “Don’t Fight It.” This is an absolute essential recording!

Wilson Pickett’s first album, from 1965, was a bit of a hodgepodge, including singles from as far back as 1962. Three of these tracks were actually issued as singles by The Falcons (for whom Pickett sang lead) before he started his solo career; others were issued as singles before Pickett broke through as a national star with the title track. This 12-track album doesn’t really suffer as a result, however. Besides the all-time classic “In the Midnight Hour,” it includes the Mann/Weil-penned single “Come Home Baby,” covered by several rock and soul artists; “Don’t Fight It,” which reached the R&B Top Ten in late 1965; “I’m Gonna Cry,” a 1964 single Pickett wrote with fellow soul legend Don Covay; and “I Found a Love,” The Falcons single that made the R&B Top Ten in 1962. Working with several collaborators (including Steve Cropper), Pickett himself wrote most of the tunes on this album. The record also featured the first recordings he made with the Stax rhythm section in Memphis — a combination that would yield much fine soul music throughout the rest of the ’60s.

Tracklist:
01 – In The Midnight Hour
02 – Teardrops Will Fall
03 – Take A Little Love
04 – For Better Or Worse
05 – I Found A Love
06 – That’s A Man’s Way
07 – I’m Gonna Cry
08 – Don’t Fight It
09 – Take This Love I’ve Got
10 – Come Home Baby
11 – I’m Not Tired
12 – Let’s Kiss And Make Up

Download:

https://subyshare.com/hgdt530687p0/Wils0nPickettInTheMidnightH0ur1965M0n02012HDTracks2496.rar.html

Epitomizing soul, Wilson Pickett let loose with his 1967 release, The Sound Of Wilson Pickett. The album featured iconic session players, Chips Moman and Spooner Oldham. One of the greatest voices in music history, Pickett wailed on the tunes, “Funky Broadway,” “I Found A Love,” “You Can’t Stand Alone” and “Love Is A Beautiful Thing.” Reaching #7 on Billboard’s R&B charts, the album is widely regarded as his finest of the decade and is a treasured masterpiece.

The Sound of Wilson Pickett was one of the three albums Atlantic issued by the Wicked One in 1967. Produced by Jerry Wexler (who got co-writes on a couple of tracks), it featured great session players like Chips Moman and Spooner Oldham, to name just two. Looking at the track list, it looks like a slew of hits. But it wasn’t. In fact, it was two sides packed with singles. While it contains his absolutely classic, wailing read of “Funky Broadway,” it also features both parts of “I Found a Love” (renamed “I Found a True Love” for the 1968 album The Midnight Mover), the Oldham and Dan Penn suggestive classic “I Need a Lot of Loving Everyday.” Pickett’s reading of the song with a killer female backing chorus smolders with nocturnal nether-hipped fire. Pickett’s version of Rudy Clark’s swaggering “You Can’t Stand Alone” is a burning throw-down with awesome guitar and horn charts and a killer little Farfisa break in the middle. He also sings the deep Memphis blues on “Something Within Me.” The set closes with one of his finest performances, his signature reading of “Love Is a Beautiful Thing.” Arguably, The Sound of Wilson Pickett may be his finest album performance of the entire decade.

Tracklist:
01 – Soul Dance Number Three
02 – Funky Broadway
03 – I Need A Lot Of Loving Every Day
04 – I Found A Love – Part I
05 – I Found A Love – Part II
06 – You Can’t Stand Alone
07 – Mojo Mama
08 – I Found The One
09 – Something Within Me
10 – I’m Sorry About That
11 – Love Is A Beautiful Thing

Download:

https://subyshare.com/4pwquqsaralh/Wils0nPickettTheS0und0fWils0nPickett19672012HDTracks2496.rar.html

Don’t Knock My Love was Wilson Pickett’s final album for Atlantic Records. The atypical soul album exuberated with experimental instrumentation, synthesizers and various background singers. The gritty vocalist belted tunes like “Hot Love,” “Call My Name, I’ll Be There,” “A Mighty Long Way” and “Covering The Same Old Ground.” One of his finest release and a vital addition to 70s music.

Wilson Pickett’s eleventh and final album for the Atlantic label is yet another example of why the ultimate pop-soul singer was not only a consistent hitmaker time after time, but was able to adapt and change with the times, covering tunes a lesser singer would not dare try. By the occasion of this 1971 date, disco was starting to rear its head, and Pickett picked up on the trend while still retaining his native Alabama and longtime Detroit roots. After many years working with bands from the Motor City or Memphis, the singer had just collaborated with the Kenneth Gamble/Leon Huff team in Philadelphia, then returned here to record at the legendary Muscle Shoals studio in ‘Bama, bringing string arranger Wade Marcus, background vocal arranger Dave Crawford, Detroit session guitarist nonpareil Dennis Coffey (spelled wrong as Coffee on the credits, corrected in Gene Sculatti’s excellent updated liner notes) and the Memphis Horns. As he was not much of a songwriter in this latter period of his career, Pickett was fond of covering tunes done by British or American rockers and friends from the Southern soul scene, hoping a couple of them would stick on the charts, which they usually did. For the most part, these tracks segue into each other, a nightmare for radio or club DJs, and a most peculiar trait of this straight CD reissue. Pickett’s two-part title track is half funky rock & roll, half weird synth-drizzled disco instrumental, all with an out-of-tune electric bass guitar from David Hood, though qualified with the lyric “if you don’t like it, don’t knock it”. The slow-burning “Hot Love” showcases the most action from a potent horn section over amorous lyric references, Marcus and Crawford exploit the strings and female vocal backup on the ballad “Pledging My Love,” while the anti-climactic “Woman Let Me Be Down Home” is listless lyrically and musically. The highlights include a version of “Fire & Water” originally done by Paul Rodgers (and co-composer Andy Fraser) of Free before the singer headed up Bad Company. Pickett jumps head first into this classic rock tune-turned-soulful song loaded up with clavinet sounds — it would have been a kick to hear the wicked one cover Free’s other big hit, “The Stealer”. Randy Newman’s “Mama Told Me Not to Come” from the book of Three Dog Night is so much better in the soul sender’s hands, almost campy and somewhat humorous. Stevie Wonder’s minor hit “You Can’t Judge a Book by Its Cover” is done in Pickett’s comfort zone similar to his big Philly-based hit “Engine Engine #9,” alright in this instance, but not spectacular, instead more watered down. The hardest-driving numbers are “A Mighty Long Way” featuring Pickett’s harmonica playing, and the straight pop-funk of “Call My Name, I’ll Be There” with a somewhat cliché lyric post-Damita Jo or the Jackson Five, with Coffey’s thorny guitar as a focal point. “Covering the Same Old Ground” is the downhearted blues Pickett was always capable of doing, but is marred by the syrupy strings. A high point on every track is the spot-on drumming of Roger Hawkins and keyboardist Barry Beckett, nuclei of the true Muscle Shoals sound. This is a recording yielding mixed results, and considering this is the end of his initial prime period as a top drawer R&B icon, understandable that it’s not his best, even though there are many redeeming moments for his still great vocal talent.

Tracklist:
01 – Fire And Water (LP Version)
02 – A Mighty Long Way
03 – Covering The Same Old Ground
04 – Don’t Knock My Love – Part 1
05 – Don’t Knock My Love – Part 2 (Remastered Single Version)
06 – Call My Name, I’ll Be There
07 – Hot Love
08 – Not Enough Love To Satisfy
09 – You Can’t Judge A Book By It’s Cover
10 – Pledging My Love
11 – Mama Told Me Not To Come
12 – Woman Let Me Down Home

Download:

https://subyshare.com/c7vnz83d0kwt/Wils0nPickettD0ntKn0ckMyL0ve19712012HDTracks2496.rar.html

Winter’s Delights – Early Christmas Music and Carols from the British Isles – Quadriga Consort (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 00:58:43 minutes | 1,1 GB | Genre: Classical, Christmas
Official Digital Download – Source: Q0buz | Digital Booklet | @ Deutsche Harmonia Mundi/Sony Music

“Summer hath his joys, and Winter his delights” – these words, written by Thomas Campion (1567–1620) perfectly describe the attraction of the winter season. Although nature may be in a slumber, we people have found ways to amuse ourselves with long evenings of conversation, accompanied by music and wine, or snuggling up in front of the fireplace with a big mug of a nice, warm beverage, or with physical activities such as skiing or tobogganing. We’ve also invented a large number of holidays that we can look forward to and rely on to bring cheer into this dark and sun-less period.

However, despite all attempts at merriment, it cannot be denied that winter is a cruel and inhospitable time of year and it is often used as a metaphor for a cold heart or unrequited love in ancient ballads.
It is this contrast that makes winter so intense: cold and warmth, companionship and solitude, affection and rejection, darkness and light – and, ultimately, life and death.

Tracklist:
1 The First Nowell (English Traditional) 4:11
2 Gloomy Winter (Scottish Traditional) 1:18
3 Leanabh an Àigh (The Blessed Child) (Scottish Traditional) 3:39
4 Tune No. 172 (Irish Traditional) 3:19
5 The Three Kings (English Traditional) 3:06
6 On This Day (English Traditional) 4:40
7 Noël Nouvelet – Sing We Now of Christmas (French/ English Traditional) 3:20
8 Sweet Baby, Sleep! 4:00
9 O Come, O Come, Emmanuel (English Traditional) 3:37
10 The Traveller Benighted in Snow (Scottish Traditional) 3:31
11 Early in the Morning/ The Ivy Leaf/ Christmas Comes But Once a Year (Irish Traditional) 3:06
12 Fare Thee Well, Cold Winter (English Traditional) 4:16
13 Blessed be that Maid Marie (English Traditional) 3:59
14 A Merry Christmas (Irish Traditional) 1:59
15 Winter’s Delights 3:22
16 Gloucestershire Wassail (English Traditional) 2:56
17 The Stormy Scenes of Winter (Nova Scotia Traditional) 4:24

Quadriga Consort:
Elisabeth Kaplan, voice
Angelika Huemer, recorders, treble viol
Karin Silldorff, recorders
Dominika Teufel, tenor viol
Philipp Comploi, basse de violon
Laurenz Schiffermüller, percussion
Nikolaus Newerkla, harpsichord, vibrandoneon, voice, arrangements, composition, direction

Download:

https://subyshare.com/v1owrva7wldr/WintersDelightsEarlyChristmasMusicandCar0lsfr0mtheBritishIsles20159624.part1.rar.html
https://subyshare.com/a0h8o0mwmwa1/WintersDelightsEarlyChristmasMusicandCar0lsfr0mtheBritishIsles20159624.part2.rar.html

After the quartet adventures of Currents and Post Scriptum, Wolfert Brederode returns to a piano trio setting, and Black Ice makes an apt metaphor for his new music, with its gleaming lyricism, transparency, and hint of danger. “I find the combination of danger and beauty intriguing”, he says. There is sleek melodic invention both from the leader and from Icelandic bassist Gulli Gudmundsson, and Jasper van Hulten proves to be a resourceful addition to the team, a tone-sensitive drummer adept at embellishing the sensitive musical language and sense of interplay.

Brederode and Gudmundsson have collaborated often over the years in contexts from free improvisation to theatre music and have a keenly honed intuitive understanding. They met in the 1990s when both were studying at the Royal Conservatory in The Hague and, as Wolfert notes, “immediately had a strong musical connection.” Their creative compatibility first found expression in an earlier Brederode trio, which in turn evolved into a quintet co-led by Wolfert and drummer Eric Ineke. In 2006 Brederode joined Gudmundsson’s Binary Orchid trio, completed by trumpeter Arve Henriksen. And pianist and bassist have continued their association also inside the quartet of Dutch tenorist Yuri Honing.

Tracklist:
01 – Elegia
02 – Olive Tree
03 – Bemani
04 – Black Ice
05 – Cocoon
06 – Fall
07 – Terminal
08 – Conclusion
09 – Curtains
10 – Rewind
11 – Bemani (Variation)
12 – Glass Room
13 – Fall (Variation)

Produced by Manfred Eicher. Engineered by Stefano Amerio.
Recorded July 2015 Auditorio Stelio Molo RSI, Lugano.

Musicians:
Wolfert Brederode – piano
Gulli Gudmundsson – double bass
Jasper van Hulten – drums

Download:

https://subyshare.com/nrldm4rll8zp/W0lfertBreder0deTri0BlackIce2016HRA2496.rar.html

Tracklist:
1 Crown Him with Many Crowns 1:57
2 Where Charity and Love Prevail 1:42
3 Now Thank We All Our God 2:19
4 Sing of Mary 2:35
5 With Hearts Renewed by Living Faith 3:03
6 O Lord with Wondrous Mystery 3:36
7 For All the Saints 2:43
8 Wake, Awake 3:29
9 Let All Mortal Flesh Keep Silence 2:49
10 To Jesus Christ Our Sovereign King 2:36
11 Let That Mind Be Within Us 3:30
12 Praise to the Holiest 1:53
13 Praise to the Lord 1:46

Download:

https://subyshare.com/2fplqb5lbv1b/W00dst0ckJesuitSingersSingt0theL0rdV0l.119659624.rar.html

Eugene Ysaye – Six Sonatas for Solo Violin, Op. 27 – Frederieke Saeijs (2015)
FLAC (tracks) 24 bit/192 kHz | Time – 01:17:52 minutes | 2.51 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: LINN | @ LINN Records
Recorded: October 2014, Philharmonie Haarlem, Netherlands

With inspiration drawn from the great violin masters, Ysaÿe’s Op. 27 has in turn inspired many violinists to transcend technical boundaries and claim their own position among the greats. In a career-defining recording Frederieke delivers a wholly immersive performance full of colour and flair.
Overflowing with poetry and imagination Ysaÿe’s sonatas balance thrilling pyrotechnics with lyrical expression, emotional challenges with ferocious technique. Utilising a broad palette of tones and dynamics Saeijs’ powerful emotional narrative captures the distinct characterisation of each dedicatee: Joseph Szigeti, Jacques Thibaud, Georges Enesco, Fritz Kreisler, Mathieu Crickboom and Manuel Quiroga.
Frederieke performs on her beloved Guarneri violin, which is named after Queen Elisabeth of Belgium ‘Ex Reine Elisabeth’, who herself played the violin and was taught by Ysaÿe.

Tracklist:
Eugène Ysaÿe (1858-1931)
Sonata No. 1 in G minor (Á Joseph Szigeti), Op. 27/1
1 Grave: Lento assai 5:52
2 Fugato: Molto moderato 4:56
3 Allegretto poco scherzoso: Amabile 4:48
4 Finale con brio: Allegro fermo 3:17
Sonata No. 2 in A minor (À Jacques Thibaud), Op. 27/2
5 Obession: Prélude: Poco vivace 2:46
6 Malinconia: Poco lento 3:38
7 Danse des ombres: Sarabande: Lento 4:56
8 Les Furies: Allegro furioso 3:27
9 Sonata No. 3 in D minor ‘Ballade’ (À Georges Enesco), Op. 27/3 8:46
Sonata No. 4 in E minor (À Fritz Kreisler), Op. 27/4
10 Allemanda: Lento maestoso 7:04
11 Sarabande: Quasi lento 3:37
12 Finale: Presto ma non troppo 3:55
Sonata No. 5 in G major (À Mathieu Crickboom), Op. 27/5
13 L’Aurore: Lento assai 5:35
14 Danse rustique: Allegro giocoso molto moderato – Moderato amabile – Tempo 1 – Poco più mosso 6:49
15 Sonata No. 6 in E major (À Mathieu Crickboom), Op. 27/6 8:26

Personnel:
Frederieke Saeijs, violin

Download:

https://subyshare.com/55o2a7h7i6qs/YsaeSixS0natasf0rS0l0Vi0lin0p.27FrederiekeSaeijs201519224.part1.rar.html
https://subyshare.com/6ihgg0lytfss/YsaeSixS0natasf0rS0l0Vi0lin0p.27FrederiekeSaeijs201519224.part2.rar.html
https://subyshare.com/at5o0fwbn38t/YsaeSixS0natasf0rS0l0Vi0lin0p.27FrederiekeSaeijs201519224.part3.rar.html

Legendary guitarist and singer George Benson is joined by a historic band which includes Herbie Hancock, Ron Carter, Billy Cobham, Airto Moreira and more for this 1971 gem. The ensemble performs the ‘60s classic “White Rabbit,” “California Dreamin’” and “Summer Of ’42.” Benson’s guitar is in full blaze on this must-have audiophile download. White Rabbit remains one of Benson’s finest outings.

For George Benson’s second CTI project, producer Creed Taylor and arranger Don Sebesky successfully place the guitarist in a Spanish-flavored setting full of flamenco flourishes, brass fanfares, moody woodwinds and such. The idea works best on “California Dreamin’” (whose chords are based on Andalusian harmonies), where, driven by Jay Berliner’s exciting Spanish rhythm guitar, Benson comes through with some terrifically inspired playing. On “El Mar,” Berliner is replaced by Benson’s protégé Earl Klugh (then only 17) in an inauspicious — though at the time, widely-heralded — recorded debut. The title track is another winner, marred only by the out-of-tune brasses at the close, and in a good example of the CTI classical/jazz formula at work, Heitor Villa-Lobos’ “Little Train of the Caipira” is given an attractive early-’70s facelift. Herbie Hancock gets plenty of nimble solo space on Rhodes electric piano, Airto Moreira contributes percussion and atmospheric wordless vocals, and Ron Carter and Billy Cobham complete the high-energy rhythm section. In this prime sample of the CTI idiom, everyone wins.

Tracklist:
01 – White Rabbit
02 – Theme From “Summer Of ’42”
03 – Little Train (from Bachianas Brasileiras #2)
04 – California Dreamin’
05 – El Mar

Download:

https://subyshare.com/bkwma80ocmvj/GeorgeBensonWhiteRabbit19712013HDTracks2496.rar.html

George Benson – Breezin’ (1976/2005)
FLAC (tracks) 24 bit/96 kHz | Time – 38:50 minutes | 632 MB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover

The 1976 triple-platinum album by 10X Grammy Winner George Benson marked the beginning of the guitarist and singer most successful commercial period. The album garnered 4 Grammys, including Best-Engineered Album, Non Classical and “Record of the Year” for the massive hit (and Leon Russell cover) “This Masquerade,” which topped the Pop, Jazz, and R&B charts.

All of a sudden, George Benson became a pop superstar with this album, thanks to its least representative track. Most of Breezin’ is a softer-focused variation of Benson’s R&B/jazz-flavored CTI work, his guitar as assured and fluid as ever with Claus Ogerman providing the suave orchestral backdrops and his crack then-working band (including Ronnie Foster on keyboards and sparkplug Phil Upchurch on rhythm guitar) pumping up the funk element. Yet it is the sole vocal track (his first in many years), Leon Russell’s “This Masquerade” — where George unveiled his new trademark, scatting along with a single-string guitar solo — that reached number ten on the pop singles chart and drove the album all the way to number one on the pop (!) LP chart. The attractive title track also became a minor hit single, although Gabor Szabo’s 1971 recording with composer Bobby Womack is even more fetching. In the greater scheme of Benson’s career, Breezin’ is really not so much a breakthrough as it is a transition album; the guitar is still the core of his identity.

Tracklist:
01 – Breezin’
02 – This Masquerade
03 – Six To Four
04 – Affirmation
05 – So This Is Love
06 – Lady

Download:

https://subyshare.com/btp04k0z0eoe/GeorgeBensonBreezin19762005HDTracks2496.rar.html

National Endowment of the Arts Jazz Master and Grammy-winning legend George Benson brings his guitar to the forefront in his newest album Guitar Man. The 12-song collection includes a mix of jazz and pop standards – some in a combo setting and some solo, but all of them tied together seamlessly by Benson’s soulful and exploratory signature sound. The album includes masterful takes on such classics as Coltrane’s “Naima,” “Tequila,” The Beatles’ “I Want To Hold Your Hand,” Stevie Wonder’s “My Cherie Amour” and more.

Guitar Man, George Benson’s second offering for Concord stands in contrast to 2009’s Songs and Stories, though is not an about face. While the earlier album focused on Benson’s proven, decades-long formula for pop and smooth jazz — a group of of easy grooving tunes featuring his silky voice and shimmering guitar work — this set focuses (primarily) on Benson as a contemporary jazz guitarist. While slickly produced by John Burk, this full-length is an ambitious but readily accessible collection with lithe, languid grooves and stellar playing. Primarily arranged by musical director/keyboardist David Garfield, Guitar Man contains eight instrumentals, which include beautiful solo readings of the standards “Tenderly,” which opens the disc, and “Danny Boy.” There is a lush, balladic, string-laden arrangement of the Beatles’ “I Want to Hold Your Hand” — a consciously chosen reminder of Benson’s work at A&M. Another highlight is his very contemporary but digified reading of John Coltrane’s “Naima,” which is simply gorgeous. It begins largely solo before the band enters halfway through, led by Harvey Mason’s empathic drumming. The reading of “Tequila” here is warm, funky, and fun, with fine piano work by Joe Sample and percussion by Lenny Castro. Likewise, the reading of Arlen’s and Harburg’s “Paper Moon” displays beautiful interplay between Benson and Sample. Of the vocal tunes, the cover of Stevie Wonder’s “My Cherie Amour” is the standout, but “My One and Only Love,” with a long solo guitar intro, is very fine too. The set ends with two vocal tunes that contrast nicely. First is a very soulful treatment of the Buddy Johnson nugget “Since I Fell for You,” with his voice and guitar accompanied only by Garfield’s piano. Guitar Man finishes with Ronnie Foster’s Latin-tinged groover “Fingerlero.” Sample, Mason, and Castro star on the tune and Benson scats in trademark tandem with his guitar lines, sending it off in a contemporary jazz mode. As a guitarist, Benson is still at the top of his game; his musical eclecticism and his on-target accessibility are refined and equally reflected here.

Tracklist:
01 – Tenderly
02 – I Want to Hold Your Hand
03 – My Cherie Amour
04 – Naima
05 – Tequila
06 – Don’t Know Why
07 – The Lady in My Life
08 – My One and Only Love
09 – Paper Moon
10 – Danny Boy
11 – Since I Fell For You
12 – Fingerlero

Download:

https://subyshare.com/weg1wpxgbf60/GeorgeBensonGuitarMan2011HDTracks2496.rar.html

George Benson – Inspiration: A Tribute To Nat King Cole (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 40:51 minutes | 954 MB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital booklet

Inspiration (A Tribute To Nat King Cole) is one of George Benson’s most compelling albums to date. The recording is one of the most meaningful of Benson’s career and is a testament to the spirit of Cole’s timeless body of work. Benson’s heartfelt renditions of some of Cole’s greatest songs with Nelson Riddle arrangements and the 42-piece Henry Mancini Institute Orchestra are complemented by duets with TONY Award winner Idina Menzel and rising star Judith Hill, along with a special collaboration with multi-GRAMMY and Pulitzer Prize-winning trumpeter Wynton Marsalis.

George Benson’s place as one of the greatest and most successful guitarists in the history of jazz is secure, but what’s easy to forget sometimes is that he began his career as a vocalist, and if this release, a tribute to Nat King Cole, comes as any kind of surprise, it shouldn’t. Benson’s and Cole’s careers are remarkably similar, both becoming known first as instrumentalists, Cole as a pianist, and Benson, of course, as a guitarist, with both eventually easing into the pop mainstream because of their voices. Cole was a one of a kind vocalist, of course, and even Benson wouldn’t claim to equal him as a singer, but Benson has a similarly soothing and lush tenor voice that more than holds its own on these familiar songs. The album is bookended by two versions of the Cole classic “Mona Lisa,” the first a rare recording of Benson at the age of eight singing it sweetly and charmingly while playing ukulele, while the album closes with a full big-band, Nelson Riddle-arranged orchestral version that also features some sweet guitar from Benson. In between are warm, smooth, and soothing versions of “Walking My Baby Back Home” and “I’m Gonna Sit Right Down and Write Myself a Letter,” a bouncing and bopping “Route 66,” and nice takes on “Unforgettable” (featuring Wynton Marsalis), “When I Fall in Love” (featuring Idina Menzel), “Smile” (featuring Till Brönner), and “Too Young” (featuring Judith Hill), all given the full big-band orchestral treatment from the Henry Mancini Institute Orchestra conducted by Randy Waldman (Waldman also arranged several of the pieces here). It all adds up to a sweet and very impressive album, full of warmth and heart, and it swings where it should.

Tracklist:
01 – Mona Lisa – Lil’ Georgie Benson
02 – Just One Of Those Things
03 – Unforgettable (feat. Wynton Marsalis)
04 – Walkin’ My Baby Back Home
05 – When I Fall In Love (feat. Idina Menzel)
06 – Route 66
07 – Nature Boy
08 – Ballerina
09 – Smile (feat. Till Brönner)
10 – Straighten Up And Fly Right
11 – Too Young (feat. Judith Hill)
12 – I’m Gonna Sit Right Down And Write Myself A Letter
13 – Mona Lisa

Musicians:
George Benson: vocals, guitar, ukulele (1);
Randy Waldman: conductor;
The Henry Mancini Institute Orchestra;
Idina Menzel: vocals (5);
Judith Hill: vocals (11);
Wynton Marsalis: trumpet (3);
Till Brönner: trumpet (9).

* Please note: Track “1” was recorded as 24bit/44,1 kHz.

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Live Shit: Binge & Purge is the first live album by Metallica. The initial first pressings contained three CDs or cassette tapes, with songs from concerts in Mexico City on the Nowhere Else to Roam tour, as well as three VHS tapes and a black T-shirt, while a newer version contains two DVDs from concerts in San Diego on the Wherever We May Roam Tour and Seattle on the Damaged Justice Tour. It was originally released as a cardboard box depicting the style of a typical tour equipment transport box.

Prior to the release of Metallica’s first live collection, Live Shit: Binge & Purge, the band issued the following warning to their fans: “expect the unexpected.” What an understatement! Included in this mammoth box set are three compact discs (the cassette version contains two tapes), three videotapes (the DVD version contains two DVDs), a 72-page book chock-full of photos and notes (included on DVD Two on the DVD version), a backstage pass replica, and a stencil drawing courtesy of James Hetfield. The recording contains a full concert taken from a five-night stand at Sports Palace in Mexico City (during Metallica’s two-year-plus world tour behind their self-titled 1991 release). The videos contain a complete concert recorded at the Sports Arena in San Diego, California during the same tour, as well as a concert from their previous tour, in support of their breakthrough And Justice for All album. Name a classic from the band, and chances are it’s here. “Enter Sandman,” “Master of Puppets,” “For Whom the Bell Tolls,” “Seek & Destroy,” “One,” “Battery,” “Creeping Death,” the list goes on and on. If you’re a serious Metallica fan, or just an aficionado of expertly played live heavy metal, Live Shit: Binge & Purge is definitely for you.

Tracklist:
01 – The Ecstasy Of Gold / Enter Sandman
02 – Creeping Death
03 – Harvester Of Sorrow
04 – Welcome Home (Sanitarium)
05 – Sad But True
06 – Of Wolf And Man
07 – The Unforgiven
08 – Justice Medley: Eye Of The Beholder/Blackened/The Frayed Ends of Sanity/And Justice for All/Blackened
09 – Solos (Bass/Guitar)
10 – Through The Never
11 – For Whom The Bell Tolls
12 – Fade To Black
13 – Master Of Puppets
14 – Seek And Destroy
15 – Whiplash
16 – Nothing Else Matters
17 – Wherever I May Roam
18 – Am I Evil?
19 – Last Caress
20 – One
21 – Battery
22 – The Four Horsemen
23 – Motorbreath
24 – Stone Cold Crazy

Recorded at the Palacio de los Deportes, Mexico City, Mexico on February 25, 26, 27, and March 1 and 2, 1993.

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Garage, Inc. is a cover/compilation album by Metallica. The title is a combination of Garage Days Revisited and their song “Damage, Inc.”, from Master of Puppets, and the album’s artwork draws heavily from the 1987 EP. The album features songs by artists that have influenced Metallica, including many bands from the new wave of British heavy metal movement, hardcore punk bands and popular songs. As of August 2013 the album has sold more than 6 million copies worldwide.

For many years, Metallica’s 1987 EP Garage Days Re-Revisited was the most sought-after item in their catalog; it was constantly bootlegged in the ’90s, and often supplemented by a host of covers Metallica had released on singles and compilations throughout the years. By 1998, the band had understandably grown frustrated with this situation and decided to confront the problem head-on by reissuing all these rarities. Savvy businessmen that they are, they also realized they needed to give hardcore fans who already owned all the covers a reason to purchase the new set – hence, the expansion of the Garage Days EP to the double-disc blowout Garage, Inc. The second disc’s rarities are balanced by the first disc’s new covers, the bulk of which were recorded following the Reload tour. It shouldn’t come as a surprise that these covers recall the blooze ‘n’ boogie heavy rock of the Loads, but what is a surprise is that Metallica seems to have found their footing in this style through other people’s songs. Whether it’s Bob Seger, Blue Öyster Cult, Thin Lizzy, Nick Cave, or the all-star jam on Lynyrd Skynyrd’s “Tuesday’s Gone,” the band effortlessly makes the songs seem like their own, through a bizarre mix of respect and ballsy irreverence. Sure, it may not be nearly as raw as early Metallica, but it is a better listen than either of the Load records. And if raw is what you want, the equally diverse disc two provides all the thrills you could hope for. At one time, it might have seemed a little odd that Metallica would cover Budgie, Diamond Head, the Misfits, and Queen, but if Garage, Inc. proves anything, it’s that the group’s musical instincts, risks, and sense of humor have made them the greatest metal band of the ’80s and ’90s.

Tracklist:
01 – Free Speech For The Dumb
02 – It’s Electric
03 – Sabbra Cadabra
04 – Turn The Page
05 – Die, Die My Darling
06 – Loverman
07 – Mercyful Fate
08 – Astronomy
09 – Whiskey In The Jar
10 – Tuesday’s Gone
11 – The More I See
12 – Helpless
13 – The Small Hours
14 – The Wait
15 – Crash Course In Brain Surgery
16 – Last Caress/ Green Hell
17 – Am I Evil?
18 – Blitzkrieg
19 – Breadfan
20 – The Prince
21 – Stone Cold Crazy
22 – So What
23 – Killing Time
24 – Overkill
25 – Damage Case
26 – Stone Dead Forever
27 – Too Late Too Late

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Load is the sixth studio album by Metallica. It sold 680,000 units in its first week, making it the biggest opening week for Metallica and the biggest debut of 1996. Load debuted and spent four consecutive weeks at number one on the Billboard 200 chart. It was certified 5× platinum by the Recording Industry Association of America for shipping five million copies in the United States. The album showed more of a hard rock side of Metallica than the band’s typical thrash metal, which upset their fans. It also featured influences from genres such as Southern rock, blues rock, country rock and alternative rock.

Delivered five years after their eponymous “black” album in 1991, Load captures Metallica settling into an uneasy period of maturation. Under the guidance of producer Bob Rock, Metallica have streamlined their sound, cutting away most of the twisting, unpredictable time signatures and the mind-numbingly fast riffs. What’s left is polished – and disappointingly straightforward – heavy metal. Metallica’s attempts at expanding their sonic palette have made them seem more conventional than they ever have before. They add in Southern boogie rock, country-rock, and power ballads to their bag of tricks, which make them sound like ’70s arena rock holdovers. Metallica’s idea of opening up their sound is to concentrate on relentless midtempo boogie – over half the album is dedicated to songs that are meant to groove, but they simply don’t swing. Metallica sound tight, but with the material they’ve written, they should sound loose. That becomes apparent as the songs drag out over the album’s nearly 80-minute running time – there are only so many times that a band can work the same tempo exactly the same way before it becomes tedious. It isn’t surprising to hear Metallica get stodgier and more conservative as they get older, but it is nonetheless depressing.

Tracklist:
01 – Ain’t My Bitch
02 – 2 X 4
03 – The House Jack Built
04 – Until It Sleeps
05 – King Nothing
06 – Hero Of The Day
07 – Bleeding Me
08 – Cure
09 – Poor Twisted Me
10 – Wasting My Hate
11 – Mama Said
12 – Thorn Within
13 – Ronnie
14 – The Outlaw Torn

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Reload is the seventh studio album by Metallica. The album is a follow-up to Load, released the previous year, and Metallica’s last studio album to feature longtime bassist Jason Newsted. Reload debuted at number one on the Billboard 200, selling 436,000 copies in its first week. It was certified 4× platinum by the Recording Industry Association of America for shipping four million copies in the United States.

Metallica recorded so much material for Load – their first album in five years – that they had to leave many songs unfinished, otherwise they would have missed their deadline. During the supporting tour for Load, they continued to work on the unfinished material, as well as write new songs, and they soon had enough material for a new album, Reload. The title suggests that Reload simply is a retread of its predecessor, and in many ways that’s correct – there’s still too much bone-headed, heavy Southern rock for it to be anything other than the sequel to Load – but there’s enough left curves to make it a better record. Marianne Faithfull’s backing vocals on “The Memory Remains” complement the weird, uneasy melody, and “Where the Wild Things Are” has an eerie menace that Metallica never achieved on Load. There are also a couple of ballads and country-rockers that don’t work quite so well (it’s never a good idea to have an explicit sequel, as on “The Unforgiven II”), and that, along with a few plodding Metallica-by-numbers, is what keeps Reload from being a full success. Still, the towering closer, “Fixxxer,” along with handful of cuts that successfully push the outer edges of Metallica’s sound, make the record worthwhile.

Tracklist:
01 – Fuel
02 – The Memory Remains
03 – Devil’s Dance
04 – The Unforgiven II
05 – Better Than You
06 – Slither
07 – Carpe Diem Baby
08 – Bad Seed
09 – Where The Wild Things Are
10 – Prince Charming
11 – Low Man’s Lyric
12 – Attitude
13 – Fixxxer

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S&M (an abbreviation of Symphony and Metallica) is a live album by the American heavy metal band Metallica, with The San Francisco Symphony conducted by Michael Kamen. It was recorded on April 21–22, 1999 at The Berkeley Community Theatre. This is the final Metallica album to feature Jason Newsted as bassist.

After 1988’s …And Justice for All, Metallica pared down its progressive, heavy metal sound. During the ’90s, the band’s studio releases grew slicker and more produced, resulting in mostly radio-friendly, good ol’ boy metal. By the end of the decade, Metallica was established as the pioneer of modern metal, but the band hadn’t done anything innovative, arguably, in ten years. In April 1999, the group performed two concerts with the San Francisco Symphony, and the result was S&M, a two-disc collection of the concerts. Overall, the album successfully pairs violin strings with guitar strings, but it’s no surprise that the best tracks here are the older songs; their multi-layered, compositional style works well with symphonic arrangements. “Master of Puppets,” “Call of the Ktulu,” “One,” and “For Whom the Bell Tolls” sound richer and fuller with violin, trumpet, clarinet, harp, trombone, and flute accompaniments, but “Sad but True,” “Devil’s Dance,” and especially “Of Wolf and Man” range from haphazard and melodramatic to uninspired. S&M definitely has its moments, and not just with the pre-Black Album material: “Fuel” surpasses the furious pumping energy of the studio version, “Hero of the Day” stays poignant throughout, and “Until It Sleeps” has a wonderfully sinister feel. James Hetfield maintains his madman persona from beginning to end, laughing maniacally and grunting and growling at all the right moments. Overall, the symphony adds a macabre, ghoulish atmosphere – it all sounds like a Broadway freak show or a revved-up Danny Elfman nightmare. Which is exactly what a Metallica album should sound like, even if every song isn’t the best (or most appropriate) in the band’s catalog.

Tracklist:
01 – The Ecstasy Of Gold
02 – The Call Of Ktulu
03 – Master Of Puppets
04 – Of Wolf And Man
05 – The Thing That Should Not Be
06 – Fuel
07 – The Memory Remains
08 – No Leaf Clover
09 – Hero Of The Day
10 – Devil’s Dance
11 – Bleeding Me
12 – Nothing Else Matters
13 – Until It Sleeps
14 – For Whom The Bell Tolls
15 – – Human
16 – Wherever I May Roam
17 – The Outlaw Torn
18 – Sad But True
19 – One
20 – Enter Sandman
21 – Battery

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St. Anger is the eighth studio album by Metallica. It was the band’s last album released through Elektra, thus marking the end of the second-longest timespan between studio albums from Metallica, with nearly six years between the release of Reload and this album. It is also the final collaboration between Metallica and producer Bob Rock, whose relationship began with the band’s fifth studio album, 1991’s Metallica.

Metallica’s first new material in over five years arrived after a flurry of non-musical activity that included a much-publicized spat over Internet file sharing, the departure of bassist Jason Newsted, and a lengthy stay in rehab for James Hetfield that suspended the recording of a new album indefinitely. Hetfield returned to the fold in late 2001. Still without a bass player, Lars Ulrich, Kirk Hammett, and their newly sober frontman recruited longtime producer Bob Rock to man Newsted’s spot, and creation of the album commenced in May 2002. St. Anger arrived a year later as a punishing, unflinching document of internal struggle – taking listeners inside the bruised yet vital body of Metallica, but ultimately revealing the alternately torturous and defiant demons that wrestle inside Hetfield’s brain. St. Anger is an immediate record. Written largely in the first person, it never warns of impending doom, doesn’t struggle with claustrophobia, and has care neither for religion’s safety nor its hypocrisy. (The religious symbolism of its title and artwork seems only to function as a metaphorical device.) Lacking the heavy metal baggage of these past themes, Metallica is left to ponder only itself and its singer’s psychosis, and delivers its diagnosis on slabs of speed metal informed with years of innovation and texture. The record exists as it ends. As the lockstep thrash of the eight-plus minute “All Within My Hands” tumbles toward its final gasp, Hetfield is explicit in his aims. “I will only let you breathe my air that you receive,” he seethes. “Then we’ll see if I let you love me.” Ulrich’s drums sputter in fits and starts, but the guitars are already dying, shutting down as Hetfield stabs at the microphone. “Kill kill kill kill kill,” he screams, and you have to check the wall for a splatter radius. It’s a brutal, ugly end to an album that switches on like a bare light bulb in an underground cave. It blasts each corner with harsh, unfiltered light for 75 minutes, until the bulb is shattered with a combat boot, leaving disquieting after-images exploding on the backs of your eyelids.

Tracklist:
01 – Frantic
02 – St. Anger
03 – Some Kind Of Monster
04 – Dirty Window
05 – Invisible Kid
06 – My World
07 – Shoot Me Again
08 – Sweet Amber
09 – The Unnamed Feeling
10 – Purify
11 – All Within My Hands

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Maduk – Never Give Up (2016) [Official Digital Download 24bit/44,1kHz]

Wilson Pickett – I’m In Love (1968/2012) [Official Digital Download 24bit/96kHz]

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Wilson Pickett – In The Midnight Hour (1965/2012) {MONO} [Official Digital Download 24bit/96kHz]

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Eugene Ysaye – Six Sonatas for Solo Violin, Op. 27 – Frederieke Saeijs (2015) [Official Digital Download 24bit/192kHz]

George Benson – White Rabbit (1971/2013) [Official Digital Download 24bit/96kHz]

George Benson – Breezin’ (1976/2005) [Official Digital Download 24bit/96kHz]

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George Benson – Inspiration: A Tribute To Nat King Cole (2013) [Official Digital Download 24bit/96kHz]

Metallica – Live Shit: Binge & Purge (1993/2016) [Official Digital Download 24bit/96kHz]

Metallica – Garage Inc. (1998/2016) [Official Digital Download 24bit/96kHz]

Metallica – Load (1996/2016) [Official Digital Download 24bit/96kHz]

Metallica – Reload (1997/2016) [Official Digital Download 24bit/96kHz]

Metallica – S & M (1999/2016) [Official Digital Download 24bit/96kHz]

Metallica – St. Anger (2003/2016) [Official Digital Download 24bit/88,2kHz]