David Bowie – Cracked Actor. Live Los Angeles ’74 (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 1:37:03 minutes | 2,04 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Parlophone UK

Finally officially released 20-track live performance from Los Angeles in September 1974, including two songs tracks not on the “David Live” album. Recorded in-between the “Diamond Dogs” and “Philly Dogs” tours.

Driven by an entirely deeper dynamic than most pop artists, David Bowie inhabited a very special world of extraordinary sounds and endless vision. Unwilling to stay on the treadmill of rock legend and avoiding the descent into ever demeaning and decreasing circles of cliché, Bowie wrote and performed what he wanted, when he wanted. His absence from the endless list of “important events” has just fuelled interest. Constant speculation about what the guy was up to has even led some to wonder if this is his greatest reinvention ever.

Tracklist:
01 – Introduction
02 – 1984
03 – Rebel Rebel
04 – Moonage Daydream
05 – Sweet Thing/Candidate/Sweet Thing (Reprise)
06 – Changes
07 – Suffragette City
08 – Aladdin Sane
09 – All The Young Dudes
10 – Cracked Actor
11 – Rock ‘N’ Roll With Me
12 – Knock On Wood
13 – It’s Gonna Be Me
14 – Space Oddity
15 – Diamond Dogs
16 – Big Brother
17 – Time
18 – The Jean Genie
19 – Rock ‘N’ Roll Suicide
20 – John, I’m Only Dancing (Again)

Produced by David Bowie.
Recorded live at Universal Amphitheatre, Los Angeles on September 5, 1974.
Mixed by Tony Visconti at Human Studios, NYC in October/November 2016.
Mastered at Air Mastering, London.

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David Bowie – Five Years 1969-1973 (2015)
FLAC (tracks) 24 bit/192 kHz | Time – 4:03:50 minutes | 9,22 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Digital booklet | @ Parlophone Records, Warner Music

The musical chameleon’s 6 studio albums from 1969-1973. In just a short amount of time you can see Bowie turn and surprise at each album. The accompanying book features technical notes about each album from the producers Tony Visconti and Ken Scott, an original press review for each album and a short foreword by an artist of note.

Includes the legendary albums:

David Bowie (aka Space Oddity)
The Man Who Sold The World
Hunky Dory
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
Aladdin Sane
PinUps

The first in a series of career-spanning comprehensive box sets, Five Years 1969-1973 chronicles the beginning of David Bowie’s legend by boxing all of his officially released music during those early years. This amounts to six studio albums — 1969’s David Bowie (aka Space Oddity); 1970’s The Man Who Sold the World; 1971’s Hunky Dory; 1972’s The Rise & Fall of Ziggy Stardust & the Spiders from Mars; Aladdin Sane, and Pin Ups (both from 1973); a pair of live albums (Ziggy Stardust: The Motion Picture Soundtrack and Live in Santa Monica ’72, both released long after these five years) and a two-CD collection of non-LP tracks called Re:Call, plus Ken Scott’s 2003 mix of Rise & Fall of Ziggy Stardust. That list suggests how “officially released” is a guideline that’s easily bent. Live in Santa Monica ’72 is a bootleg that became canonical in 1995, and the soundtrack to Ziggy Stardust didn’t appear until 1983, but both are welcome because they either showcase the Spiders from Mars at their prime (Santa Monica) or at their end (Ziggy). Considering the number of edits, alternates, and B-sides Bowie released during this period, Re:Call is also a needed supplement, but it has some willful blind spots due to that “officially released” maxim: namely, any outtake released as a bonus on the Rykodisc reissues of the early ’90s, including such major items as “Lightning Frightening,” “Bombers,” and “Sweet Head.” Such absences are an irritant but not a major one because the box itself is quite handsome — whether in its CD or LP incarnation, each record is packaged as a replica of its original release — and the remastering is excellent, with Space Oddity, The Man Who Sold the World, Hunky Dory, and Pin Ups given upgrades to match the anniversary remasters of Ziggy and Aladdin Sane from the 2010s. The improved audio alone makes Five Years 1969-1973 a desirable box for serious Bowie fans, but the whole set does justice to one of the great creative runs in rock history.

David Bowie – David Bowie (Space Oddity) (1969/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 46:19 minutes | 1,96 GB

Originally released as Man of Words/Man of Music, Space Oddity was David Bowie’s first successful reinvention of himself. Abandoning both the mod and Anthony Newley fascinations that marked his earlier recordings, Bowie delves into a lightly psychedelic folk-rock, exemplified by the album’s soaring title track. Bowie actually attempts a variety of styles on Space Oddity, as if he were trying to find the ones that suited him best. As such, the record isn’t very cohesive, but it is charming, especially in light of his later records. Nevertheless, only “Wild Eyed Boy from Freecloud” and “Memory of a Free Festival” rank as Bowie classics, and even those lack the hooks or purpose of “Space Oddity”.

Tracklist:
01 – Space Oddity
02 – Unwashed And Somewhat Slightly Dazed
03 – Letter To Hermione
04 – Cygnet Committee
05 – Janine
06 – An Occasional Dream
07 – Wild Eyed Boy From Freecloud
08 – God Knows I’m Good
09 – Memory Of A Free Festival

David Bowie – The Man Who Sold The World (1970/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 41:16 minutes | 1,62 GB

Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie’s classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie’s strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie’s bizarre, paranoid futuristic tales melded to Ronson’s riffing and the band’s relentless attack. Musically, there isn’t much innovation on The Man Who Sold the World — it is almost all hard blues-rock or psychedelic folk-rock — but there’s an unsettling edge to the band’s performance, which makes the record one of Bowie’s best albums.

Tracklist:
01 – The Width Of A Circle
02 – All The Madmen
03 – Black Country Rock
04 – After All
05 – Running Gun Blues
06 – Saviour Machine
07 – She Shook Me Cold
08 – The Man Who Sold The World
09 – The Supermen

David Bowie – Hunky Dory (1971/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 41:49 minutes | 1,56 GB

After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs (“Song for Bob Dylan,” “The Bewlay Brothers”), but he again flirted with Anthony Newley-esque dancehall music (“Kooks,” “Fill Your Heart”), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowie’s sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronson’s guitar is pushed to the back, leaving Rick Wakeman’s cabaret piano to dominate the sound of the album. The subdued support accentuates the depth of Bowie’s material, whether it’s the revamped Tin Pan Alley of “Changes,” the Neil Young homage “Quicksand,” the soaring “Life on Mars?,” the rolling, vaguely homosexual anthem “Oh! You Pretty Things,” or the dark acoustic rocker “Andy Warhol.” On the surface, such a wide range of styles and sounds would make an album incoherent, but Bowie’s improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pop’s traditions into fresh, postmodern pop music.

Tracklist:
01 – Changes
02 – Oh! You Pretty Things
03 – Eight Line Poem
04 – Life On Mars?
05 – Kooks
06 – Quicksand
07 – Fill Your Heart
08 – Andy Warhol
09 – Song For Bob Dylan
10 – Queen Bitch
11 – The Bewlay Brothers

David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (1972/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 38:37 minutes | 1,51 GB

Borrowing heavily from Marc Bolan’s glam rock and the future shock of A Clockwork Orange, David Bowie reached back to the heavy rock of The Man Who Sold the World for The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Constructed as a loose concept album about an androgynous alien rock star named Ziggy Stardust, the story falls apart quickly, yet Bowie’s fractured, paranoid lyrics are evocative of a decadent, decaying future, and the music echoes an apocalyptic, nuclear dread. Fleshing out the off-kilter metallic mix with fatter guitars, genuine pop songs, string sections, keyboards, and a cinematic flourish, Ziggy Stardust is a glitzy array of riffs, hooks, melodrama, and style and the logical culmination of glam. Mick Ronson plays with a maverick flair that invigorates rockers like “Suffragette City,” “Moonage Daydream,” and “Hang Onto Yourself,” while “Lady Stardust,” “Five Years,” and “Rock ‘n’ Roll Suicide” have a grand sense of staged drama previously unheard of in rock & roll. And that self-conscious sense of theater is part of the reason why Ziggy Stardust sounds so foreign. Bowie succeeds not in spite of his pretensions but because of them, and Ziggy Stardust — familiar in structure, but alien in performance — is the first time his vision and execution met in such a grand, sweeping fashion.

Tracklist:
01 – Five Years
02 – Soul Love
03 – Moonage Daydream
04 – Starman
05 – It Ain’t Easy
06 – Lady Stardust
07 – Star
08 – Hang On To Yourself
09 – Ziggy Stardust
10 – Suffragette City
11 – Rock ‘N’ Roll Suicide

David Bowie – Aladdin Sane (1973/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 41:48 minutes | 1,68 GB

Ziggy Stardust wrote the blueprint for David Bowie’s hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers “Watch That Man,” “Cracked Actor,” and “The Jean Genie.” Bowie follows the hard stuff with the jazzy, dissonant sprawls of “Lady Grinning Soul,” “Aladdin Sane,” and “Time,” all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic “Drive-In Saturday” is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of “Panic in Detroit,” as well as on his oddly clueless cover of “Let’s Spend the Night Together.” For all the pleasures on Aladdin Sane, there’s no distinctive sound or theme to make the album cohesive; it’s Bowie riding the wake of Ziggy Stardust, which means there’s a wealth of classic material here, but not enough focus to make the album itself a classic.

Tracklist:
01 – Watch That Man
02 – Aladdin Sane
03 – Drive-In Saturday
04 – Panic In Detroit
05 – Cracked Actor
06 – Time
07 – The Prettiest Star
08 – Let’s Spend the Night Together
09 – The Jean Genie
10 – Lady Grinning Soul

David Bowie – Pin Ups (1973/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 34:02 minutes | 1,35 GB

Pin Ups fits into David Bowie’s output roughly where Moondog Matinee (which, strangely enough, appeared the very same month) did into the Band’s output, which is to say that it didn’t seem to fit in at all. Just as a lot of fans of Levon Helm et al. couldn’t figure where a bunch of rock & roll and R&B covers fit alongside their output of original songs, so Bowie’s fans — after enjoying a string of fiercely original LPs going back to 1970’s The Man Who Sold the World — weren’t able to make too much out of Pin Ups’ new recordings of a brace of ’60s British hits. Ziggy Stardust and Aladdin Sane had established Bowie as perhaps the most fiercely original of all England’s glam rockers (though Marc Bolan’s fans would dispute that to their dying day), so an album of covers didn’t make any sense and was especially confusing for American fans — apart from the Easybeats’ “Friday on My Mind” and the Yardbirds’ “Shapes of Things,” little here was among the biggest hits of their respective artists’ careers, and the Who’s “I Can’t Explain” and “Anyway Anyhow Anywhere” were the only ones whose original versions were easily available or played very often on the radio; everything else was as much a history lesson, for Pink Floyd fans whose knowledge of that band went back no further than Atom Heart Mother, or into Liverpool rock (the Merseys’ “Sorrow”), as it was a tour through Bowie’s taste in ’60s music. The latter was a mixed bag stylistically, opening with the Pretty Things’ high-energy Bo Diddley homage “Rosalyn” and segueing directly into a hard, surging rendition of Them’s version of Bert Berns’ “Here Comes the Night,” filled with crunchy guitars; “I Wish You Would” and “Shapes of Things” were both showcases for Bowie’s and Mick Ronson’s guitars, and “See Emily Play” emphasized the punkish (as opposed to the psychedelic) side of the song. “Sorrow,” which benefited from a new saxophone break, was actually a distinct improvement over the original, managing to be edgier and more elegant all at once, and could easily have been a single at the time, and Bowie’s slow version of “I Can’t Explain” was distinctly different from the Who’s original — in other words, Pin Ups was an artistic statement, of sorts, with some thought behind it, rather than just a quick album of oldies covers to buy some time, as it was often dismissed as being. In the broader context of Bowie’s career, Pin Ups was more than an anomaly — it marked the swan song for the Spiders from Mars and something of an interlude between the first and second phases of his international career; the next, beginning with Diamond Dogs, would be a break from his glam rock phase, going off in new directions. It’s not a bad bridge between the two, and it has endured across the decades — and the CD remasterings since the late ’90s have made it worth discovering all over again.

Tracklist:
01 – Rosalyn
02 – Here Comes The Night
03 – I Wish You Would
04 – See Emily Play
05 – Everything’s Alright
06 – I Can’t Explain
07 – Friday On My Mind
08 – Sorrow
09 – Don’t Bring Me Down
10 – Shapes Of Things
11 – Anyway, Anyhow, Anywhere
12 – Where Have All The Good Times Gone

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David Bowie – Who Can I Be Now? [1974-1976] (2016)
FLAC (tracks) 24-bit/192 kHz | Time – 03:49:57 minutes | 8,58 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet | © Parlophone UK

The boxed set, which is named after a track recorded in 1974 but not officially released until the 1990s, includes a huge set of studio recordings of some of David Bowie’s most memorable tracks. Driven by an entirely deeper dynamic than most pop artists, David Bowie inhabits a very special world of extraordinary sounds and endless vision. Unwilling to stay on the treadmill of rock legend and avoiding the descent into ever demeaning and decreasing circles of cliché, Bowie writes and performs what he wants, when he wants. His absence from the endless list of “important events” has just fuelled interest. Constant speculation about what the guy was up to has even led some to wonder if this is his greatest reinvention ever.

Digital Download 192kHz/24bit Boxed Set:
Diamond Dogs (Remastered)
David Live (Original Mix) (Remastered)*
The Gouster*
Young Americans (Remastered)
Station To Station (Remastered)
* Exclusive to WHO CAN I BE NOW? (1974-1976)

Parlophone Records are proud to announce David Bowie – Who Can I Be Now?, the second in a series of box sets spanning his career from 1969. The box set features all of the material officially released by Bowie during the so-called American phase of his career from 1974 to 1976. The boxed set, which is named after a track recorded in 1974 but not officially released until the 1990s, includes a huge set of studio recordings of some of David Bowie’s most memorable tracks.

A sequel to the 2015 box Five Years 1969-1973, 2016’s Who Can I Be Now? (1974-1976) covers just three years but this stretch in the mid-’70s happens to be the peak of David Bowie’s superstardom. That much can be gleaned from the number of albums within the set: three studio albums – Diamond Dogs, Young Americans, Station to Station, each released in a subsequent year – along with the double live album David Live from 1974. Four albums in three years is plenty but to that core canon Who Can I Be Now? add an early version of Young Americans called The Gouster. The latter seems to bend the rules of this extensive Bowie catalog reissue project, which is to preserve the officially released canon and keep unreleased tracks – whether they surfaced on the ’90s Rykodisc reissues or remain unheard – locked up in the vaults. The Gouster contains “Who Can I Be Now?” and “It’s Gonna Be Me,” both originally released on the 1990 Ryko edition of Young Americans, along with alternate versions of “Can You Hear Me?” and “Right,” plus the disco version of “John, I’m Only Dancing,” but otherwise it plays like Young Americans, only not quite as good. Furthermore, its presence calls into question why the unreleased outtake “Shilling the Rubes” is left behind alongside the “Dodo” that showed up on the Ryko CD of Diamond Dogs: if the door is opened for some outtakes, it’s hard not to miss those that are absent. Still, this is quibbling. The Who Can I Be Now? box set remains as beautifully produced as Five Years, and a deep dive into its contents produces many rewards. Perhaps the alternate album mixes are only slightly different, but it’s hard not to be impressed by the rapid development of Bowie’s music during these three years. The distance between Diamond Dogs and Station to Station is vast, and the addition of the live albums accentuates how deeply he cared for strong, deeply etched funk to offset his art. Listening to all this music in a concentrated blast, such progression is a wonder to behold.

David Bowie – Diamond Dogs (1974/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 38:33 minutes | 1,43 GB
Studio Master, Official Digital Download | Artwork: Front cover

David Bowie fired the Spiders From Mars shortly after the release of Pin Ups, but he didn’t completely leave the Ziggy Stardust persona behind. Diamond Dogs suffers precisely because of this – he doesn’t know how to move forward. Originally conceived as a concept album based on George Orwell’s 1984, Diamond Dogs evolved into another one of Bowie’s paranoid future nightmares. Throughout the album, there are hints that he’s tired with the Ziggy formula, particularly in the disco underpinning of “Candidate” and his cut-and-paste lyrics. However, it’s not enough to make Diamond Dogs a step forward, and without Mick Ronson to lead the band, the rockers are too stiff to make an impact. Ironically, the one exception is one of Bowie’s very best songs – the tight, sexy “Rebel Rebel.” The song doesn’t have much to do with the theme, and the ones he does throw in to further the story usually fall flat. Diamond Dogs isn’t a total waste, with “1984,” “Candidate,” and “Diamond Dogs” all offering some sort of pleasure, but it is the first record since Space Oddity where Bowie’s reach exceeds his grasp.

Tracklist:
01 – Future Legend
02 – Diamond Dogs
03 – Sweet Thing
04 – Candidate
05 – Sweet Thing
06 – Rebel Rebel
07 – Rock ‘N’ Roll With Me
08 – We Are The Dead
09 – 1984
10 – Big Brother
11 – Chant Of The Ever Circling Skeletal Family

David Bowie – David Live (1974/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 81:24 minutes | 2,63 GB
Studio Master, Official Digital Download | Artwork: Front cover

The supporting tour for Diamond Dogs was supposed to be a theatrical extravaganza, yet as he headed out on the road, David Bowie became infatuated with Philly soul and changed his entire approach to reflect his new interest, as well as his backing band in the process. As a result, the double-album David Live captures Bowie in transition, as he moves from glam rock to plastic soul. The set list draws heavily from Ziggy Stardust-era songs, yet there are a few surprises, like a stilted cover of “Knock On Wood” and an inspired version of “All the Young Dudes,” a song Bowie gave Mott the Hoople. Since Bowie’s attempts at soul are a little awkward at this stage, David Live is primarily of interest as a historical document, yet there’s enough good material to make it worthwhile for fanatics.

Tracklist:
01 – 1984
02 – Rebel Rebel
03 – Moonage Daydream
04 – Sweet Thing/Candidate/Sweet Thing
05 – Changes
06 – Suffragette City
07 – Aladdin Sane
08 – All The Young Dudes
09 – Cracked Actor
10 – Rock ‘N’ Roll With Me
11 – Watch That Man
12 – Knock On Wood
13 – Diamond Dogs
14 – Big Brother
15 – The Width Of A Circle
16 – The Jean Genie
17 – Rock ‘N’ Roll Suicide

David Bowie – The Gouster (Previously Unreleased as Album)
FLAC (tracks) 24-bit/192 kHz | Time – 40:05 minutes | 1,54 GB
Studio Master, Official Digital Download | Artwork: Front cover

A lost album from David Bowie might seem like the holy grail of pop music. Yet here is the peculiarly named The Gouster, raised from the archives as the centre piece of a handsome new box set, Who Can I Be Now? (1974-76). The 27-year-old Bowie stares from the sleeve, draped in a newspaper and the American flag, looking unusually anxious, as if wondering what posterity might make of a collection of recordings he himself deemed unfit for release. He needn’t have worried. The Gouster turns out to be a minor joy from a major artist, a soulful stepping stone on the way to inventing a whole new genre of music.

Tracklist:
01 – John, I’m Only Dancing (Again)
02 – Somebody Up There Likes Me
03 – It’s Gonna Be Me (Without Strings)
04 – Who Can I Be Now?
05 – Can You Hear Me
06 – Young Americans
07 – Right

David Bowie – Young Americans (1975/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 40:53 minutes | 1,53 GB
Studio Master, Official Digital Download | Artwork: Front cover

David Bowie had dropped hints during the Diamond Dogs tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn’t hurt the album – it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul. What does hurt the record is a lack of strong songwriting. “Young Americans” is a masterpiece, and “Fame” has a beat funky enough that James Brown ripped it off, but only a handful of cuts (“Win,” “Fascination,” “Somebody up There Likes Me”) comes close to matching their quality. As a result, Young Americans is more enjoyable as a stylistic adventure than as a substantive record.

Tracklist:
01 – Young Americans
02 – Win
03 – Fascination
04 – Right
05 – Somebody Up There Likes Me
06 – Across The Universe
07 – Can You Hear Me
08 – Fame

David Bowie – Station To Station (1976/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 38:25 minutes | 1,42 GB
Studio Master, Official Digital Download | Artwork: Front cover

Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie’s cocaine-induced paranoia and detached musical persona. At its heart, Station to Station is an avant-garde art-rock album, most explicitly on “TVC 15” and the epic sprawl of the title track, but also on the cool crooning of “Wild Is the Wind” and “Word on a Wing,” as well as the disco stylings of “Golden Years.” It’s not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk.

Tracklist:
01 – Station To Station
02 – Golden Years
03 – Word On A Wing
04 – TVC15
05 – Stay
06 – Wild Is The Wind

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Emmylou Harris & Rodney Crowell – Old Yellow Moon (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 40:40 minutes | 430 MB | Genre: Country
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Nonesuch

2013 collaboration between two of Country Music’s most respected artists. Old Yellow Moon features four songs written by Crowell as well as interpretations of songs such as Hank DeVito’s ‘Hanging Up My Heart,’ Roger Miller’s ‘Invitation to the Blues,’ and Allen Reynolds’ ‘Dreaming My Dreams,’ among others. Produced by Brian Ahern (Johnny Cash, George Jones, Roy Orbison),Old Yellow Moon is the first official collaboration from the duo since Crowell joined Harris’ Hot Band as guitarist and harmony singer in 1975. In addition to Harris and Crowell, the album features world-renowned musicians including Stuart Duncan, Vince Gill, and Bill Payne, as well as members of the original Hot Band.

This was a long time coming; given its relaxed execution, one wonders what took so long. Old Yellow Moon is an album of duets between Emmylou Harris and Rodney Crowell. He was a rhythm guitarist and backing vocalist in her Hot Band in the mid-’70s. After he left, he continued contributing songs to her recordings for nearly two decades. This marks a reunion of more than just Harris and Crowell. Brian Ahern, who produced her early Warner recordings helms these sessions with Hot Band members James Burton, John Ware, and Bill Payne making appearances, as well as heavy hitters Vince Gill, Stuart Duncan, and Steuart Smith, to name a few. Though recorded in Nashville, the sound of this recording is posited somewhere between the Southern California country sound of the early ’70s and some of Music City’s more adventurous sounds in the middle and late years of that decade. The song choices are as eclectic as one would expect. Some of the set’s highlights include a smokin’ redo of “Bluebird Wine,” which appeared as the opening cut on Harris’ classic Pieces of the Sky album. This version has some fine-tuned lyrics in the first two verses – Crowell was only 21 when he wrote it. The readings of Roger Miller’s “Invitation to the Blues” and Allen Reynolds’ “Dreaming My Dreams” are beautifully executed standards. There are three excellent cuts here by Hank DeVito, another original member of the Hot Band. They include the midtempo, hard country opener “Hanging Up My Heart,” the bluesy “Black Caffeine,” and the title cut, a lilting waltz that closes the record. Crowell also contributed “Open Season on My Heart” (originally recorded by Tim McGraw), the languid pedal steel honky tonk ballad “Here We Are,” and the back porch “Bull Rider.” Kris Kristofferson’s “Chase the Feeling” is given a rumbling, punchy, country-rock treatment here. Harris largely goes it alone on Patti Scialfa’s “Spanish Dancer,” in a radically different reading than the songwriter’s, but Gill’s gut string guitar, Jim Hoke’s spare accordion, and Crowell’s hushed harmony on the chorus offer a more picaresque take. The only misstep here should have been a natural: Matraca Berg’s wonderful “Back When We Were Beautiful,” recorded by the songwriter in 1997, feels forced; it lacks the stark drama of the original, replacing it instead it with a nostalgia that isn’t true to the song. While this doesn’t carry the weight of an “historic” recording, it is thoroughly enjoyable. Harris is in better voice than she’s been in years and Crowell is a natural as a duet partner. Let’s hope they consider Old Yellow Moon more than just a one-off, “bucket list” album.

Tracklist:
01 – Hanging Up My Heart
02 – Invitation to the Blues
03 – Spanish Dancer
04 – Open Season on My Heart
05 – Chase the Feeling
06 – Black Caffeine
07 – Dreaming My Dreams
08 – Bluebird Wine
09 – Back When We Were Beautiful
10 – Here We Are
11 – Bull Rider
12 – Old Yellow Moon

Produced by Brian Ahern.

Download:

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FM – Indiscreet 30 (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:17:40 minutes | 973 MB | Genre: Rock
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Frontiers Music s.r.l

30 years on from it’s original release, British Rock band FM have decided to record a modern-day version of their now classic debut album, Indiscreet The band was asked many times to consider re-recording some of these tracks using today’s modern technology and recording techniques to give the songs a makeover and now that wish has finally been granted. In addition to the re-recording of the original album, Indiscreet 30 also features seven bonus tracks including brand new song Running On Empty and a new recording of Let Love Be The Leader.

Indiscreet was originally released in 1986 and is one of the finest AOR albums you’ll find from a British band of the period. Unsurprisingly then, it has come to be something of a sacred classic among fans of the genre, making it extremely risky business for FM to decide to release a full re-recorded version to celebrate its thirtieth birthday.

Of course, the band are acutely aware of the significance of the record and have trodden carefully. A few minor tweaks aside, it’s essentially a carbon copy of the original in terms of the arrangements. Every riff, orchestra hit and dive-bomb is unchanged and in its rightful place, so you diehards can breathe easy: no major crimes have been committed. Sonically though, the album is supercharged: the guitars are crunchier, the keyboards are chunkier and the drums pound harder. This won’t be to everyone’s taste of course – part of the charm of the mid-eighties rock is in the thin, reverb-drenched production of the time – but the result is a record that’s brimming with energy, clarity and punch. This is no mean feat, as there is plenty of pep in the original release but this modern sound, while arguably less nuanced, suits the digital listening age and sees the material conforming to more current production trends.

One of the most striking things to note is in the lead vocals: Steve Overland’s voice has weathered phenomenally well. Although many of the tracks here are in a lower key – which contributes to a darker, tougher sound – it’s practically impossible to make a distinction between the Overland of 1986 and 2016. This is a boast that almost none of the frontman’s contemporaries can make.

The seven bonus tracks are a really mixed bag: there’s a noodly acoustic rendition of ‘That Girl’; a new ‘original’ version of the huge Ozzy Osbourne hit ‘Shot In The Dark’ (taken from 2012’s Only Foolin’ EP) which is of historical importance to the band (Steve and Chris Overland have never received credit for the track despite having co-written the song with Phil Soussan way back in their pre-FM days in the band Wildlife) and ‘Let Love Be The Leader’, a new recording of an archive track, likewise in keeping with the Indiscreet era. The band have chosen to add more recent material too, I guess to introduce fans of yore to the sound of present-day FM. So, also included is the brand new song ‘Running On Empty’; hard rocking ‘Love & Hate’; the feelgood ‘Bad That’s Good In You’ (from the 2014 Futurama EP) and the Bryan Adams-influenced ‘Rainbow’s End’ which blends the band’s melodic sense with the soul/blues sound they cultivated in the early 90s.

Indiscreet was only recently given the smart Rock Candy reissue treatment but some new liner notes for this release would have been really nice. Just a little something more than the perfunctory track listing and writing/production credits would seem in order, given the calibre of the music FM made then and have lovingly recreated now. That, and the slightly random nature of the bonus tracks, is my only real complaint. Indiscreet was a very big deal in 1986 (it secured them a support on the UK leg of Bon Jovi’s Slippery When Wet tour after all) and FM have brought it up to date, thirty years on, in a most respectful and quite delectable way.

Tracklist:
01 – That Girl
02 – Other Side Of Midnight
03 – Love Lies Dying
04 – I Belong To The Night
05 – American Girls
06 – Hot Wired
07 – Face To Face
08 – Frozen Heart
09 – Heart Of The Matter
10 – Let Love Be The Leader [Bonus Track]11 – Running On Empty [Bonus Track]12 – Rainbow’s End [Bonus Track]13 – Shot In The Dark [Bonus Track]14 – Bad That’s Good In You [Bonus Track]15 – Love And Hate [Bonus Track]16 – That Girl (Acoustic Version) [Bonus Track]

Download:

https://subyshare.com/evkylotdqniw/FMIndiscreet302016Q0buz24441.rar.html

FM – Transformation (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 48:16 minutes | 1,07 GB | Genre: Rock
Studio Master, Official Digital Download – Source: ProStudioMasters | Front Cover | © Esoteric Recordings

The progressive rock group known as FM formed in Toronto, Canada, in 1976, and, after more than nine years apart and 28 years its last album, Canadian progressive rock band FM is back with this 2015 release Transformation. Founding member, keyboardist and singer Cameron Hawkins resurrected the group with longtime drummer Paul DeLong and two violin players, following in the footsteps of former members Nash the Slash and Ben Mink.

“Call it FM Mark 3 if you will but I feel I owe it to the FM legacy to release at least one more record. I feel a sense of responsibility to keep the band’s spirit alive. To be able to walk back on stage and perform these songs in concert one more time is an opportunity I can’t pass up”. – Cameron Hawkins

Tracklist:
01 – Brave New Worlds
02 – Cosmic Blue
03 – Reboot Re-awaken
04 – Children Of Eve
05 – Safe And Sound
06 – Tour Of Duty
07 – The Love Bomb (Universal Love)
08 – Soldiers Of Life
09 – Heaven On Earth

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Golden Caves – Collision (2017)
FLAC (tracks) 24-bit/48 kHz | Time – 44:43 minutes | 559 MB | Genre: Rock
Studio Master, Official Digital Download – Source: Bandcamp | Front Cover | ©  FREIA Music

The first full length release of this young Dutch band is finally there. Collision is much anticipated both by press and their growing number of fans. The music of Golden Caves is best described as a Crossover between mainstream music and Atmospheric/Progressive Rock.

Golden Caves is a prime example of the new generation of progressive rock bands. All five members were students at the famous Dutch arts university Codarts (Rotterdam) when they met in 2013. Soon after, the band started composing their first songs.

In December 2013 they released their first EP, and soon after they played their first gigs in smaller venues in and around their home town Rotterdam. In the second half of 2014 they reached the finals of the Sena Grand Prix of Rotterdam where they were runners up. Later that year the band won Band Boost 2014 which secured them a spot on the Wantijpop 2015 festival playing in front of 20.000 people.

In April 2015 the band released their first single My Demons Hunt. After the release of the single and their gig at Wantijpop the band concentrated on graduating from Codarts. By the end of 2015 the band recorded their second single Bring Me to the Water together with producer Christiaan Bruin. It will be released early 2016 by FREIA Music on EP together with remastered versions of their earlier songs. 2016 will see them performing live as much as possible plus recording their first full length album early 2017.

Nature is the main theme of the band, a theme which is reflected in their music, artwork and live performance. The music of Golden Caves intertwines musical and theatrical elements from different sources and styles. This all results in a unique style, a blend of progressive and alternative elements.

Tracklist:
01 – Child Of Mine
02 – Doctor’s Prescription
03 – Mother
04 – Bring Me To The Water
05 – Maze
06 – Paradox
07 – My Demons Hunt
08 – Keep Running
09 – When The Rain Falls Down

Musicians:
Romy Ouwerkerk – vocals
Alex Ouwehand – guitar
Elise Polman – keyboards
Tim Wensink – bass
Erik Stein – drums

Download:

https://subyshare.com/fudw4ozti9yd/G0ldenCavesC0llisi0n2017Bandcamp2448.rar.html

Keely Smith – Little Girl Blue, Little Girl New (1963) {Expanded Edition 2017}
FLAC (tracks) 24 bit/96 kHz | Time – 40:14 minutes | 860 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Real Gone Music

You can’t get any more popular in American entertainment than Keely Smith was in the early ‘60s. Having blown the doors out in Las Vegas, winning a Grammy, having hit after hit and lighting up television screens playing straight “man” to husband Louis Prima, she’d navigated the tricky waters of a professional and personal divorce, striking out on her own and starting her own record label, Keely Records, in partnership with close friend and mentor Frank Sinatra, under the auspices of his Reprise label. A groundbreaking businesswoman, as well as recording artist, Keely recorded 5 classic albums for Reprise. Because she’d seen enough show business shenanigans to last a lifetime, a generation before it became standard practice to do so, she retained the rights to her masters.

The first side, “Little Girl Blue,” offered such lovelorn fare as “Here’s That Rainy Day,” “Willow Weep for Me, and the title tune, while the second side, “Little Girl New,” was epitomized by the spirit of its closing track, “Blue Skies.” Taken as a whole, Little Girl Blue, Little Girl New is a uniquely powerful listening experience and stands as one of the first concept albums ever recorded by a female artist. We’ve added Keely’s first Reprise single (produced by Don Costa), “When You Cry” and “Going Through the Motions,” (mixed to stereo for the first time ever!) to the original stereo album for this Expanded Edition, which is remastered by Mike Milchner at SonicVision from original tape sources. Oh, and one more thing…the whole thing is arranged and conducted by the great Nelson Riddle!

Following her split with husband and creative partner Louis Prima, vocalist Keely Smith signed with Frank Sinatra’s Reprise Records for a series of finely curated and well-received albums designed to showcase her voice and relaunch her career. The first of these, 1963’s Little Girl Blue/Little Girl New, featured arrangements by Sinatra’s longtime collaborator, the illustrious Nelson Riddle, and was conceptualized in two parts with Side A, “Little Girl Blue,” featuring ballads and Side B, “Little Girl New,” focusing on more upbeat numbers. The result was a tour de force of an album that presented Smith as the solo star she deserved to be – and which Sinatra had known she could be for many years prior. Thankfully, as per all of Sinatra’s Reprise contracts, the artists kept the rights to the master recordings, which is where they remained until Smith struck her own deal with Real Gone Music for a series of reissues, including this 2017 expanded edition of Little Girl Blue/Little Girl New. Though she had recorded solo albums for Dot during her years with Prima, she had been somewhat overshadowed by the kitschy, flamboyant tone (and Grammy-winning success) of their performances, which often found her playing the cheeky straight man to her trumpeter husband’s swing-era clown. Afforded far greater freedom on Sinatra’s label, she was presented on Little Girl Blue/Little Girl New as an urbanely sophisticated hipster and a clarion diva in the mold of such similarly inclined contemporaries as June Christy, Anita O’Day, and Kay Starr. Cuts like her yearning take on “Here’s That Rainy Day” and her languorously sensual reading of “I’ll Never Be the Same Again” reveal her as a mature and knowing performer in contrast to the lighter, more comedic tone of her work with Prima. That said, she can still knock ’em dead as she does on the latter half of the album, her highly resonant voice slicing through uptempo swinger’s like “I’m Gonna Live ’til I Die” and “I’ve Got a Lot of Livin’ to Do.” Ultimately, listening to Smith and her pointed yet dusky, golden-toned voice pouring out of Riddle’s shimmering, sky-blue arrangements, one can easily see why Sinatra jumped at the chance to work with her.

Tracklist:
01 – Little Girl Blue
02 – Here’s That Rainy Day
03 – Gone with the Wind
04 – Willow Weep for Me
05 – I’ll Never Be the Same
06 – Guess I’ll Hang My Tears Out to Dry
07 – I’m Gonna Live Till I Die
08 – It’s Good to Be Alive
09 – A Lot of Livin’ to Do
10 – Once in a Lifetime
11 – New Sun in the Sky
12 – Blue Skies
13 – When You Cry
14 – Going Through the Motions

The Album Arranged & Conducted by Nelson Riddle.
Remastered by Mike Milchner at SonicVision from original tape sources.

Download:

https://subyshare.com/vzjckd5bgvla/KeelySmithLittleGirlBlue.LittleGirlNew1963ExpandedEditi0n2017HDTracks2496.rar.html

Kula Shaker – K (1996/2011/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 49:20 minutes | 1,05 GB | Genre: Alternative, Indie
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © BMG Rights Management (UK) Ltd

Kula Shaker are an English Psychedelic Rock band. Led by frontman Crispian Mills, the band came to prominence during the Post-Britpop era of the late 1990s. “K” is the band’s debut album. When it was released, it became the fastest selling debut album in Britain since Elastica’s debut the previous year. The album reached the #1 position in the UK charts, however in America it stalled at #200 in the Billboard charts. The Grateful Dead’s Psychedelic Rock style is an influence on Kula Shaker’s first and second albums.

Kula Shaker take their name from a 9th-century Indian King, and their debut album, K further reveals their obsession with Eastern mysticism: the band sing in Sanskrit on “Tattva” and “Govinda” is based on an ancient Indian chant. On the strength of these and other hit singles, the band were voted Best Newcomers at the 1996 BRIT Awards and K went into the album charts at Number One–the fastest selling debut since Oasis’ Definitely Maybe. A mixture of classic rock and 60’s psychedelia, Kula Shaker were treated with critical derision that seemed to counteract their chart success. But the blend of East and West obviously struck a chord with the public, making this an interesting and exciting debut.

By the mid-’90s, most bands had abandoned the sounds and sensibilities of late-’60s psychedelia, which is what makes Kula Shaker’s debut album, K, such a weird, bracing listen. The band doesn’t simply revive the swirling guitar and organ riffs of psychedelia, it embraces the mysticism and Eastern spirituality that informed the music. On both “Tattva” and “Govinda,” lead singer Crispian Mills has adapted portions of Sanskrit text for the lyrics, chanting Indian mantras without a hint of embarrassment. Similarly, Kula Shaker are unashamed about their devotion to Hendrix, Traffic, and the Beatles, cutting their traditionalist tendencies with an onslaught of volume, overdriven guitars, and catchy melodies – though they have a song called “Grateful When You’re Dead,” all of their psychedelic sensibilities derive from British rock, not the more experimental American counterpart. Kula Shaker may play well – they have a powerful rush that makes you temporarily forget how classicist their music actually is – but they still have trouble coming up with hooks. About half the record (“Hey Dude,” “Tattva,” “Govinda,” “Grateful When You’re Dead”) has strong melodies, while the rest just rides by on the band’s instrumental skills. Consequently, much of K doesn’t stick around once the record is finished, but the singles remain excellent blasts of colorful neo-psychedelia.

Tracklist:
01 – Hey Dude
02 – Knight On The Town
03 – Temple Of Everlasting Light
04 – Govinda
05 – Smart Dogs
06 – Magic Theatre
07 – Into The Deep
08 – Sleeping Jiva
09 – Tattva
10 – Grateful When You’re Dead / Jerry Was There
11 – 303
12 – Start All Over
13 – Hollow Man (Parts 1 & 2)

Musicians:
Crispian Mills – Singing, Electric & Acoustic Guitars, Tamboura.
Alonza Bevan – Bass, Piano, Tabla, Backing Vocals
Paul Winterhart – Drums
Jay Darlington – Organ, Mellotron, Piano.

Guest musicians:
Wajahat Kahn – sarod (on “Sleeping Jiva”)
Himangsu Goswami – tabla (on “Govinda” and “Jerry Was There”)
Gauri – backing vocals (on “Govinda”)
The Kick Horns – horns (on “Start All Over”)

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Liam Gallagher – As You Were {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 56:36 minutes | 714 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Warner Bros. Records

As You Were is the debut studio album by English singer and songwriter Liam Gallagher. After igniting the writing process with the heavy duty soul-rock of ‘Bold’, ‘As You Were’ was recorded in two locations. Greg Kurstin performed all of the instruments on the four songs that he produced (‘Wall Of Glass’, ‘Paper Crown’, ‘Come Back To Me’ and the psychedelic whoosh of ‘It Doesn’t Have To Be That Way’), while Dan Grech-Marguerat produced the remainder of the album at Snap! Studios in London. The result is exactly what you would have hoped a Liam Gallagher solo album would sound like: the passion for the classic 60s/70s influence that he’s always had has been updated for the here and now. This Deluxe Edition features 3 additional tracks.

Always operating in the shadow of his brother Noel, Liam Gallagher had difficulty separating himself from Oasis. Maybe that’s his fault, since he retained nearly the entire lineup of Oasis for Beady Eye, the group he formed after splitting with his sibling in 2009, but that band never gained traction – which had the unfortunate side effect of slowing Liam’s momentum. He pulled the plug on Beady Eye in 2014 and spent a couple of years regrouping, re-emerging in 2017 with As You Were. The very title suggests Gallagher is picking up where Oasis left off, a sentiment that also applied to Beady Eye’s 2011 debut, Different Gear, Still Speeding, but As You Were is clean and focused in a way Liam has never been on his own. Proud classicist that he is, Gallagher doesn’t attempt to adopt a new aesthetic here, but thanks to producer Greg Kurstin – who won a boatload of Grammys through his work with Adele and has also helmed records for Foo Fighters, Tegan and Sara, Kelly Clarkson, and Elle Goulding – he does freshen up his sounds. Beady Eye attempted a similar sonic shakeup on their final album, BE, but producer Dave Sitek encouraged a hazy neo-psychedelia, which is the sonic opposite of the clean snap Kurstin brings to As You Were. Clear and modern, buttressed with slight rhythmic loops and digital manipulation, As You Were doesn’t sound retro even though it is, in essence, a throwback to a throwback – a re-articulation of Liam’s ’90s obsession with the ’60s. That production does Gallagher a favor but so does Kurstin’s presence as a co-songwriter, helping to rein in Liam’s wandering ear and sharpen his melodies. Ranging from the icy onslaught of “Wall of Glass” to the stark swirl of “Chinatown,” this is his best record in nearly a decade, and they add up to an album that illustrates exactly who Liam Gallagher is as an artist. Now in his middle age, he’s a richer, nuanced singer than he was during Oasis’ heyday, yet he’s retained his charisma and, unlike his brother, he favors color and fire in his records, elements that not only enhance this fine collection of songs but make this the best post-Oasis album from either Gallagher to date.

Tracklist:
01 – Wall Of Glass
02 – Bold
03 – Greedy Soul
04 – Paper Crown
05 – For What It’s Worth
06 – When I’m In Need
07 – You Better Run
08 – I Get By
09 – Chinatown
10 – Come Back To Me
11 – Universal Gleam
12 – I’ve All I Need
13 – Doesn’t Have To Be That Way
14 – All My People / All Mankind
15 – I Never Wanna Be Like You

Download:

https://subyshare.com/iqhyasm5uqdz/LiamGallagherAsY0uWereDeluxeEditi0n2017HDTracks24441.rar.html

Lucky Peterson – Tribute to Jimmy Smith (2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:00:16 minutes | 704 MB | Genre: Soul
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Jazz Village

When you utter the words Hammond B-3, one name and one name only comes to mind: Jimmy Smith! It is to this master of the organ who Lucky Peterson pays homage to on his aptly named album Tribute To Jimmy Smith. The disc will appear on the label Jazz Village on 13th October 2017 (with pre-orders available as of today on Qobuz in Hi-Res 24-Bit!), where Peterson is surrounded by virtuosic partners among which we find Kelyn Crapp, the young guitar prodigy from San Francisco. Throughout the album, Peterson proves to be an agent of a long musical history that is anchored in blues yet remains very open to other influences. We find here a clear jazz pulse, the groove of rhythm’n’blues as well as the energy of rock’n’roll. As for the repertoire, the classics from Smith (The Sermon, The Champ) mix beautifully with other jazz’n’blues gems. From the very first few bars of Night Train by Jimmy Forest (featuring the French trumpeter Nicolas Folmer) one finds that groove takes off instantly and that Lucky Peterson sets the B-3 on fire as fast as lightening! It’s impossible to not tap your feet along to the beat for the whole hour of this wonderful tribute.

Tracklist:
01. Night Train
02. The Sermon
03. The Champ
04. Jimmy Wants to Groove
05. Singin this Song 4 U
06. Jimmy’s Jumpin
07. Misty
08. Back at the Chicken Shack
09. Blues for Wes

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Mal Waldron Trio – Left Alone (1959/2014)
FLAC (tracks) 24-bit/96 kHz | Time – 38:28 minutes | 456 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: ProStudioMasters | Front Cover | © Bethlehem Records

Pianist Mal Waldron had a brooding chordal style, initially influenced by Thelonious Monk but quite individual. He was flexible enough to fit into both hard bop and avant-garde settings. Originally Waldron played jazz on the alto sax and classical music on piano but, while at Queens College, he decided to switch to jazz piano. His associations with Charles Mingus from 1954 to 1956 and with Billie Holiday as her last accompanist from 1957 to her death in 1959 gave him a much higher profile. This 1959 session yielded a concept album of sorts; subtitled Mal Waldron Plays Moods of Billie Holiday, it’s dedicated to Holiday. Frequent collaborator Jackie McLean plays alto sax on Waldron’s signature tune, the title track, which Waldron co-wrote with Lady Day.

“… Waldron expanded the horizons of jazz pianists with his hard bop, post bop, and free jazz leanings. His classical training, dedication to Monk’s musical legacy and sustained individuality combined to create one of jazz’s most fascinating discographies …”  – Jazz.com

Tracklist:
01 – I’m Left Alone (with Jackie McLean – alto sax)
02 – Catwalk
03 – You Don’t Know What Love Is
04 – Minor Pulsation
05 – Airegin
06 – The Way He Remembers Billy Holiday (Interview with vibraphonist Teddy Charles)

Recorded on February 24, 1959 in New York.
Remastered in 2014.

Musicians:
Mal Waldron – piano
Julian Euell – bass
Al Dreares – drums

Download:

https://subyshare.com/mg0zytb3rczv/MalWaldr0nLeftAl0ne19592014Pr0Studi0Masters2496.rar.html

Pink – Beautiful Trauma (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 51:12 minutes | 592 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records

“What About Us” is the first official single from P!NK’s highly anticipated seventh studio album, ‘Beautiful Trauma!’ While P!NK co-wrote all 13 tracks on the album, she worked with a variety of songwriters and producers including Steve Mac, Johnny McDaid, Max Martin, Shellback, Jack Antonoff, Julia Michaels, Greg Kurstin, busbee and so many more. There is no denying that P!NK has had one of the most successful careers in the music industry, with a track record proving that Australia can’t get enough of her. Since her debut in 2000, P!NK has released six studio albums, 1 greatest hits album, sold over 42 million albums, over 75 million singles, over 2.4 million DVDs worldwide and has had 15 singles in the top 10 on the Billboard Hot 100 chart (four at #1). In addition, she is the recipient of three Grammy Awards, one Daytime Emmy Award, three Billboard Music Awards, six MTV Video Music Awards, two MTV Europe Awards, two People’s Choice Awards and was named Billboard’s Woman of the Year in 2013.

Tracklist:
01. Beautiful Trauma
02. Revenge (feat. Eminem)
03. Whatever You Want
04. What About Us
05. But We Lost It
06. Barbies
07. Where We Go
08. For Now
09. Secrets
10. Better Life
11. I Am Here
12. Wild Hearts Can’t Be Broken
13. You Get My Love

Download:

https://subyshare.com/w65k3xtrp4kz/PnkBeautifulTrauma2017HDTracks2444.1.rar.html

Paul Weller – Saturns Pattern {Deluxe Edition} (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 53:04 minutes | 636 MB | Genre: Rock
Studio Master, Official Digital Download |  Source:highresaudio.com | Front cover | © Parlophone / Warner Music

Continuing his ever soaring creative peak, Paul Weller releases his 12th studio album, „Saturn’s Pattern“. Paul continues to push the boundaries with another kaleidoscopic tour de force delivered with a verve and ambition to shame his contemporaries as he continues to adapt and evolve to stay one step ahead of the pack.

Passion, progression, languid grooves and, as ever, spine-tingling Rock’n’Roll – Paul Weller has, yet again, delivered another masterpiece.

Who best to describe Paul Weller’s first album for the Parlophone label other than Paul himself: “I think it’s one of the best things I’ve done. I can’t compare it to any of my other albums. I think it’s different – not just for me, but different for what else is around. It’s defiantly 21st-Century music.” (Uncut).

Nearly 40 years into his recording career, Paul continues to challenge and excite both himself and the listener, by constantly evolving as a song-writer and musician, always moving forwards and pursuing fresh creative avenues and Paul’s new album Saturns Pattern does not disappoint.

„Parting ways with Simon Dine, the chief collaborator on every one of the records in his great new millennial revival, Paul Weller settles into a celestial groove on Saturn’s Pattern. Aligning himself with Jan “Stan” Kybert, a producer who has been in his orbit since 2002’s Illumination, Weller veers left from the bright modernism of 2012’s Sonik Kicks, choosing to soften his edges and expand his horizons. As the album comes crashing into view via the heavy blooze of “White Skies” — a collaboration with neo-psychedelic pranksters Amorphous Androgynous that seems closer to Black Keys than Humble Pie and not all that trippy, either — it doesn’t seem that Saturn’s Pattern would get quite so mellow, but it doesn’t take long before Weller happily lets himself drift away in a haze. So spacy is Saturn’s Pattern that when it circles back toward a heavier blues on “Long Time” or “In the Car,” the riffs get deliberately chopped and halted in favor of the kind of spiraling, soulful harmonies that populate the rest of the record. These production twists aren’t belabored: they’re slid in, adding atmosphere and texture to a record that already relies on vibe. Such subliminal accents freshen Weller’s longstanding obsessions with ’60s soul and expansive ’70s rock, turning Saturn’s Pattern into something that feels nearly as modern as Sonik Kicks. When he indulges in a wash of Vox organ and a rush of 12-string guitars, or when he updates Curtis Mayfield on “Phoenix,” they play like transmissions from the past on an album that is focused on the now, and the willful, harmonious collisions of history and the future give Saturn’s Pattern its kick, while the warm thrum of the grooves gives it its soul.“ (Stephen Thomas Erlewine, AMG)

Tracklist:
01 – White Sky
02 – Saturns Pattern
03 – Going My Way
04 – Long Time
05 – Pick It Up
06 – I’m Where I Should Be
07 – Phoenix
08 – In The Car…
09 – These City Streets
10 – (I’m A) Roadrunner [Bonus Track]11 – Dusk Til Dawn [Bonus Track]12 – White Sky (Prof.Kybert vs. The Moons Remix) [Bonus Track]

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Paul Weller – A Kind Revolution {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 2:10:20 minutes | 1,43 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Parlophone UK

After folding in psychedelic electronics and rollicking rock to his soulboy style in recent years, the changing man continues to surprise with this tonally rich new album. Work began on the new record immediately after finishing 2015’s “Saturns Pattern” and once again features the full spectrum of Weller’s influences, from rock to R&B, soul to jazz, and funk to folk. This new album from The Modfather with two BONUS discs of remixes, instrumentals and rarities! Includes reworkings by Villagers, Syd Arthur, Toy and others. Cameos by PP Arnold, Boy George and Robert Wyatt.

There’s gentleness at the heart of the title A Kind Revolution, a suggestion that Paul Weller is getting softer as he approaches the age of 60. In 2017, he’s still a few years away from that milestone but he’s letting himself take things a little slower, absorbing the spaciness of 2015’s Saturn’s Pattern and reviving the sculpted soulful grooves of Wild Wood. This combination means A Kind Revolution feels straighter than any record Weller has released in the past decade – in other words, anything he’s done since he started his collaboration with Simon Dine, who acrimoniously parted after 2012’s Sonik Kicks – but where As Is Now hit hard, this has an easy touch even when the events kick off with the raver “Woo Sé Mama.” This isn’t the only time guitars are cranked on A Kind Revolution – “Satellite Kid” descends into an extended jam – but soul is Weller’s guiding star on this record, leading him to the well-manicured upscale Boy George duet “One Tear” and the sharp funk of “She Moves with the Fayre,” which features a cameo from Robert Wyatt. These guest appearances, particularly Wyatt’s, suggest how Weller isn’t content to settle into a familiar groove – the lovely vocal harmonies on the closing “The Impossible Idea” are further indication of that – but A Kind Revolution nevertheless feels cozy, a record designed to provide nothing but comfort and that’s an unusual twist for Paul Weller.

Tracklist:
01 – Woo Sé Mama
02 – Nova
03 – Long Long Road
04 – She Moves with the Fayre
05 – The Cranes are Back
06 – Hopper
07 – New York
08 – One Tear
09 – Satellite Kid
10 – The Impossible Idea
11 – Woo Sé Mama (Instrumental)
12 – Nova (Instrumental)
13 – Long Long Road (Instrumental)
14 – She Moves with the Fayre (Instrumental)
15 – The Cranes are Back (Instrumental)
16 – Hopper (Instrumental)
17 – New York (Instrumental)
18 – One Tear (Instrumental)
19 – Satellite Kid (Instrumental)
20 – The Impossible Idea (Instrumental)
21 – Alpha
22 – She Moves with the Fayre (Villagers Remix)
23 – New York (Nightwatch) (Prof. Kybert Remix)
24 – Nova (Toy Remix)
25 – One Tear (Club Cut) (Prof. Kybert Remix)
26 – Hopper (White Label Remix)
27 – Satellite Kid (Syd Arthur Remix)
28 – She Moves with the Fayre (Breakdown Instrumental) (Prof. Kybert Remix)
29 – Woo Sé Mama (E & TC Remix)

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Queens Of The Stone Age – Villains (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 48:00 minutes | 0,99 GB | Genre: Rock
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Matador

Gone are the times when these masters of stoner rock waved their throbbing heavy guitars while scrunching their eyebrows… Twenty years after forming their band under the Californian sun and palm trees, Queens Of The Stone Age have skilfully evolved without ever selling out. With Villains, Josh Homme and his crew have even taken on a rather unexpected passenger in the name of… Mark Ronson! Two years after his giant hit Uptown Funk carried by the voice of Bruno Mars, the Londoner who exploded onto the mainstream scene with his work on Amy Winehouse’s Back To Black, finds himself producing QOTSA’s seventh album, which unlike usual doesn’t feature any guest. And the result fits in perfectly with this iconoclastic partnership: the band’s usual virile and sparkly rock’n’roll (irresistible on their single The Way You Used To Do) is beefed up by an energetic production. And Ronson’s funky and groovy DNA blends in with the Californians’, more Bowiesque than ever (obvious on Un-Reborn Again). By the way, isn’t the title Villains echoing the Thin White Duke’s Heroes?

Tracklist:
01 – Feet Don’t Fail Me
02 – The Way You Used To Do
03 – Domesticated Animals
04 – Fortress
05 – Head Like A Haunted House
06 – Un-Reborn Again
07 – Hideaway
08 – The Evil Has Landed
09 – Villains of Circumstance

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The Beach Boys – Pet Sounds (1966/2015/2017)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 1:14:41 minutes | 2,94 GB
FLAC (tracks) 24-bit/176,4 kHz | Time – 1:14:41 minutes | 3,25 GB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Digital Booklet,  Front Cover
Genre: Rock, Pop | ©  Analogue Productions

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It’s considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. It’s been ranked No. 1 in several music magazines’ lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone’s 500 Greatest Albums of All Time list.

Brian Wilson, the primary songwriter for The Beach Boys, stated that he was inspired to write this album from the Beatles’ Rubber Soul album. In turn, Pet Sounds went on to inspire Lennon and McCartney to write Sgt. Pepper’s Lonely Hearts Club Band. Indeed, the album is a musical masterpiece in a number of ways. Brian painstakingly recorded session after session in the studio with the other brothers until he finally arrived at the exact music and vocal quality he wanted. As a result, with its professionalism and diversity, Pet Sounds sounds like no other Beach Boy album. Many have said that Brian reached his creative peak during these sessions and influenced so many other recording artists with his unique, new style.

Tracklist:
01 – Wouldn’t It Be Nice (Stereo)
02 – You Still Believe In Me (Stereo)
03 – That’s Not Me (Stereo)
04 – Don’t Talk (Put your head on My Shoulder) (Stereo)
05 – I’m Waiting for the Day (Stereo)
06 – Let’s Go Away for Awhile (Stereo)
07 – Sloop John B (Stereo)
08 – God Only Knows (Stereo)
09 – I Know There’s An Answer (Stereo)
10 – Here Today (Stereo)
11 – I Just Wasn’t Made for These Times (Stereo)
12 – Pet Sounds (Stereo)
13 – Caroline No (Stereo)
14 – Wouldn’t It Be Nice (Mono)
15 – You Still Believe In Me (Mono)
16 – That’s Not Me (Mono)
17 – Don’t Talk (Put your head on My Shoulder) (Mono)
18 – I’m Waiting for the Day (Mono)
19 – Let’s Go Away for Awhile (Mono)
20 – Sloop John B (Mono)
21 – God Only Knows (Mono)
22 – I Know There’s An Answer (Mono)
23 – Here Today (Mono)
24 – I Just Wasn’t Made for These Times (Mono)
25 – Pet Sounds (Mono)
26 – Caroline No (Mono)

Original Mono mix produced by Brian Wilson.
Stereo mix produced by Mark Linett under the supervision of Brian Wilson. Mixed by Mark Linett.
Pet Sounds was mixed from an assembled digital multi-track master that synced the original 4 track master instrumental with the 4 or 8 track vocal overdub master.
The stereo mix was mixed to 15 ips 1/4″ analog tape with SR noise reduction.
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available.
DSD Download authored by Gus Skinas.

DSD64

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FLAC

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The Beach Boys – Pet Sounds …the definitive authorized story of the album (2016) Blu-ray 1080p AVC DTS-HD MA 5.1

http://hdmusic.pw/the-beach-boys-pet-sounds-the-definitive-authorized-story-of-the-album-2016-blu-ray-1080p-avc-dts-hd-ma-5-1/

Beethoven 5, Schubert 7 – Deutsches Symphonie-Orchester Berlin, Yutaka Sado (2014)
FLAC (tracks) 24-bit/96 kHz | Time – 01:00:40 minutes | 1,04 GB | Genre: Classical
Studio Master, Official Digital Download – Source: e-Onkyo | Front Cover | © Avex Classics
Recorded: February 2014, The Church of Jesus Christ, Berlin

佐渡 裕、ついに『運命』に挑む!
最高の録音環境を得て、西洋音楽の伝統の頂上を目指す意欲作の誕生!
佐渡 裕が満を持して挑んだ究極の『運命』『未完成』!
重厚なドイツのサウンドを現代に受け継ぐ名門ベルリン・ドイツ交響楽団をベルリン、イエス・キリスト教会で指揮し、名だたる過去の名盤に正攻法で挑んだ話題盤!
圧倒的な興奮と感動、そして天上的な美しさを併せ持つ新たなる名盤の誕生!

While he was still in school in Japan, Yutaka Sado acquired an assistantship with the Kansai Nikikai, a Japanese opera company, where he had the opportunity to work with the New Japan Philharmonic and the Kyoto Symphony Orchestra while learning operatic repertory. In 1987 he traveled to the United States on a fellowship to the Tanglewood Music Festival, where he studied with Seiji Ozawa, and won the Davidoff Special Prize at a competition in Schleswig-Holstein. He returned to Japan as assistant to Ozawa, and made his debut with the New Japan Philharmonic; he then studied with Charles Dutoit, Gennady Rozhdestvensky, and Leonard Bernstein. He served as Bernstein’s assistant on a tour of Germany and the Soviet Union. In 1990 he became a regular participant in the Pacific Music Festival of Sapporo, Japan. His debut outside Japan was conducting at the 39th annual International Young Conductors’ Competition in Besançon, France in 1989, where he took first prize. In 1993 he worked with the Orchestra of Bordeaux-Aquitaine, where he drew the attention of members of the long-established Orchestra des Concerts Lamoureux of Paris, who extended an invitation to conduct. “At first the sound was horrible,” he admitted in an interview, “but the musicians immediately responded to my instructions. We understood each other immediately. We did not know each other and yet it was like finding a very close friend again.” The concert by the unknown and youthful Japanese conductor was an unexpected success. Parisian critics threw away all reserve, writing of his “charisma” and “authority” and referring to his “sunlike radiance” and the “magnificently controlled fury” of his performance. “The orchestra has found its energy again,” one wrote. The orchestra had also found its next principal conductor, a post Sado assumed in 1993. Sado centers his repertory on the late nineteenth and early twentieth centuries, from the time of Strauss, Mahler and Franck to that of Ravel, but his total repertory is very wide, mingling all periods and styles. He has stressed the history of the Lamoureux Orchestra in building its programs, presenting famous works it premiered over its 12-decade life from the pens of such composers as Fauré, Saint-Saëns, Franck, Chabrier, Dukas, Debussy, Ravel, Roussel, Ibert, and others. In June 1995 the Syndicate of Professional Drama and Music Critics of Paris awarded him the prize as “Musical Revelation of the Year.” In the same year he won the First Prize in the Leonard Bernstein Competition of Jerusalem. This was shortly followed by his recording Bernstein’s Third Symphony (“Kaddish”) and Chichester Psalms. He has conducted widely in France, including the French Radio Philharmonic, the National Orchestra of France, and the orchestras of Lyons, Monte Carlo, Marseille, Toulouse, Bordeux, and Lille. He has also conducted the principal orchestras of Stuttgart, Zürich, Jerusalem, Budapest, the Hague, Bratislava, and Prague. He led the Lamoureux’s first recording of the digital age, a well-received all-Ibert disc for Naxos, and planned a series of “Lamoureux Premiere” recordings. In 2011, he took his first turn conducting the Berlin Philharmonic with music from Takemitsu and Shostakovich. Later recordings include The Puccini Experience (2007), Tchaikovsky’s Symphony No. 5 (2010), and Rachmaninov’s Piano Concerto No. 2 (2011).

Tracklist:

Ludwig Van Beethoven (1770-1827)
Symphony No.5 in C minor, Op.67
1 I. Allegro con brio 7:29
2 II. Andante con moto 10:12
3 III. Allegro 5:18
4 IV. Allegro 10:53

Franz Schubert (1797–1828)
Symphony No. 7 (8) in B minor, D.759 ‘Unfinished’
5 I. Allegro moderato 14:53
6 II. Andante con moto 11:46

Personnel:
Deutsches Symphonie-Orchester Berlin
Yutaka Sado, conductor

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Beethoven, Brahms – Triple & Double Concertos – Geza Anda, Wolfgang Schneiderhan, Pierre Fournier, Janos Starker, Radio-Symphonie-Orchester Berlin, Ferenc Fricsay (1961/1962/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:11:23 minutes | 1,35 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Deutsche Grammophon
Recording date: #1-3 in June 1960, #4-6 in June 1961 ; Recording Location: Jesus Christ Church, Berlin, Germany

Fricsay conducts concertos by Beethoven and Brahms: Friendship is the connecting link between the two works here. Beethoven is thought to have written his Triple Concerto in 1803 – 04 for his favorite pupil, the Archduke Rudolph. Brahms composed his Double Concerto in 1887 as a peace offering, to heal a breach with his friend the violinist Joseph Joachim. It seems to have done the trick; and it was canny of Brahms, who conducted the first performance (Cologne, October 1887), to have the cellist of the Joachim Quartet, Robert Hausmann, sharing solo hon- ours – it would have been difficult for Brahms and Joachim to have a row with a third party present. I do not know how friendly the soloists on these two famous recordings were, but I recall what a strong “house style” manated from Deutsche Grammophon productions in the 1950s and early 1960s.

It is hard to remember back to a time when this cover photograph — three geezers in ties and dark suits, two of them bald and one with thick, horn-rimmed glasses — could have been considered hip. But, even then, of course, the last thing Deutsche Grammophon Gesellschaft wanted in a recording of Brahms’ Double Concerto was hip. What DGG wanted was the big-boned tone of cellist Janos Starker, the hard-muscled technique of violinist Wolfgang Schneiderhan, and, most of all, the clear-eyed modernism of the RSO Berlin under Ferenc Fricsay. And that’s exactly what it got: a Brahms’ Double that had plenty of power and precision but that was cold-blooded in its execution. But, even coupled with Fricsay’s recording of Beethoven’s Triple Concerto again with Schneiderhan, but partnered this time with Pierre Fournier and Géza Anda, it’s hard to imagine anyone in these digital times will find these performances hip. Fricsay was a cool and clear conductor with a lean and sinewy approach to tempo and form and, while his Beethoven Triple is lyrical, it is more objective than subjective, more steel than silk. While back in the early ’60s, these recordings along with the three geezers on the cover might have been hip, one wonders if digital listeners will be able to dig it, daddy-o. DG’s original early stereo sound was warmer and deeper than many of its original early digital recordings. —AllMusic Review by James Leonard

Tracklist:

Ludwig Van Beethoven (1770-1827)
Concerto for Piano, Violin, Cello and Orchestra in C major, Op.56 ‘Triple Concerto’
1. 1. Allegro 18:19
2. 2. Largo 05:03
3. 3. Rondo alla Polacca 13:43

Johannes Brahms (1833-1897)
Concerto for Violin, Cello and Orchestra in A minor, Op.102 ‘Double Concerto’
4. 1. Allegro 16:54
5. 2. Andante 08:09
6. 3. Vivace non troppo 09:16

Personnel:
Janos Starker, cello (#4-6)
Pierre Fournier, cello (#1-3)
Géza Anda, piano (#1-3)
Wolfgang Schneiderhan, violin
Radio Symphonie Orchester Berlin
Ferenc Fricsay, conductor

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Benjamin Beilman – Spectrum (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:09:21 minutes | 618 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Warner Classics
Recorded: 18–21.VIII.2015, Fraser Performance Studio, WGBH, Boston

Violinist Benjamin Beilman makes his debut as an exclusive Warner Classics artist with Spectrum, an album uniting works by Schubert, Janáček, Stravinsky and Kreisler. With his regular duo partner, pianist Yekwon Sunwoo – a fellow alumnus of Philadelphia’s prestigious Curtis Institute – Beilman explores a multitude of colours and expressive possibilities, evoking them with the finest technical nuances.
The title of this debut release by violinist Benjamin Beilman appears to mean nothing more than that he performs a wide variety of music. But that he indeed does, not even touching on one of the Beethoven sonatas that is conventional in such a situation. Beilman’s range is wide, and he’s aided by a relaxed, organic relationship with pianist Yekwon Sunwoo, his fellow Curtis Institute of Music graduate. Start your sampling at the very beginning: Beilman’s reading of the limpid yet suddenly expansive Violin Sonata in A major, D. 574 (“Grand Duo”), of Schubert has a strikingly rich lyrical tone in the best American East Coast tradition. Beilman pivots to the emotionally intense Violin Sonata of Leos Janácek, mashing through its increasingly brutal language as if anchored to sanity by Sunwoo, and in the transcription of music from Stravinsky’s Le Baiser de la Fée by Kreisler student Samuel Dushkin he is as crisp and affectless as one could wish. Only in the finale Viennese Rhapsodic Fantasietta of Kreisler himself, a rather odd work, does one wish for a bit more otherworldly nostalgia. This is a young violinist to watch, one who has already mastered many styles and is working toward breakthroughs of his own in some of them.

Tracklist:

Franz Schubert (1797-1828)
Sonata in A, D574 (Grand Duo)
1. I. Allegro moderato 09:04
2. II. Scherzo (presto) 04:03
3. III. Andantino 03:55
4. IV. Allegro vivace 05:18

Leos Janáček (1854-1928)
Sonata for violin & piano, JW. 7/7
5. I. Con moto 05:07
6. II.Ballada 05:05
7. III. Allegretto 02:29
8. IV. Adagio 05:10

Igor Stravinsky (1882-1971)
Divertimento from Le baiser de la fee
9. I. Sinfonia 06:10
10. II. Danses Suisses 04:28
11. III. Scherzo (Au Moulin) 01:12
12. IV. Pas de deux – a) Adagio 03:08
13. IV. Pas de deux – b) Variation 01:12
14. IV. Pas de deux – c) Coda 02:14

Fritz Kreisler (1875–1962)
15. Viennese Rhapsodic Fantasietta 08:55

Personnel:
Benjamin Beilman, violin
Yekwon Sunwoo, piano

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