Studio Masters – HDMusic.me

The pairing of the two works on this album is unique in that one comes from the dawn, the other from the dusk of Ludwig van Beethoven’s career. Indeed, whereas the composer wrote the Quintet for winds and piano, Op. 16 when he was only 26 – the talented young man also excelled as a successful pianist –, he did not finish his String Quartet Op. 130 until a year before his death. The direct comparison of these two works on the same disc intelligently sheds light on the fantastic distance the composer covered between these two points in time. Two years after the success of their Schubert album, very warmly received by the press and public alike, the Edding Quartet and Northernlight felicitously join together once again on the same album to give new readings of these masterpieces of the chamber music repertoire. Having become major interpreters of the Classical and Romantic repertoires, the two ensembles offer expert performances, refined and precise, of two of the German composer’s finest scores.

Tracklist:
Ludwig van Beethoven (1770-1827)
String Quartet no.13 in B-flat Major, op.130
1 I. Adagio ma non troppo – Allegro 14:45
2 II. Presto 02:05
3 III. Poco scherzoso. Andante con moto ma non troppo 07:15
4 IV. Alla danza tedesca (Allegro assai) 03:41
5 V. Cavatina (Adagio molto espressivo) 07:16
6 VI. Overtura – Fuga. Allegro – Meno mosso e moderato – Allegro molto e con brio (Grosse Fuge in B-Flat Major, Op. 133) 15:08
Quintet for Piano and Winds in E-flat Major, op.16
7 I. Grave – Allegro ma non troppo 12:55
8 II. Andante cantabile 06:25
9 III. Rondo (Allegro ma non troppo) 05:47

Personnel:
Edding Quartet
Nothernlight
Maude Gratton, conductor

Download:

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https://subyshare.com/f1oezq8d9lls/EddingQuartetBeeth0venStringQuartetN0.13Quintetf0rPian0Winds20162496.part2.rar.html

“The Weird and Wonderful Marmozets” is the debut studio album by the English alternative rock band Marmozets. Recently picked by Rolling Stone magazine as one of “10 New Artists You Need To Know”, Marmozets staked their claim amongst the best records of 2014. Alternative Press placed “The Weird And Wonderful Marmozets” at #5 on their “10 essential albums of 2014” list, Metal Hammer placed “The Weird And Wonderful Marmozets” at #8 on their “2014 Critics Choice” list and Big Cheese named “The Weird And Wonderful Marmozets” their #1 album of 2014. Furthermore, Marmozets were voted “Best New Band” in the 2014 Kerrang!

Google Marmozets – two sets of siblings, some still in their teens – and you’ll see them described, forebodingly, as a math-rock band. But while there are fiddly time signatures and intricate drum patterns on the Yorkshire quintet’s debut album, they take a distant second place in the list of priorities to metallic hooks and melodies. Singer Becca Macintyre keeps her own accent as she skips from sweetness to rage, and even if some of the lyrical sentiments don’t really merit scrutiny, they serve to provide huge choruses for Born Young and Free, Why Do You Hate Me? and Is It Horrible. Best of all, though, is the dynamism of the music: although songs flit around from riff to riff, as if Marmozets were bursting to fill each song with ideas, they are never too full, never just exercises in technique. It sounds, simply, as if Marmozets are the rock equivalent of Jordan from The Great British Bake Off, who wanted to make a cake that contained every single one of his favourite ingredients. And why not?

Tracklist:
01 – Born Young And Free
02 – Why Do You Hate Me
03 – Captivate You
04 – Is It Horrible
05 – Cover Up
06 – Particle
07 – Cry
08 – Weird And Wonderful
09 – Vibetech
10 – Love You Good
11 – Hit The Wave
12 – Move, Shake, Hide
13 – Back To You

Musicians:
Becca Macintyre – vocals
Sam Macintyre – guitar, vocals
Jack Bottomley – guitar
Will Bottomley – bass, vocals
Josh Macintyre – drums

Download:

https://subyshare.com/mn9o9ymwela8/Marm0zetsTheWeirdAndW0nderfulMarm0zets2014Q0buz24441.rar.html

Blue Lines is the landmark debut by trip-hop band, Massive Attack. Rolling Stone declared the album “one of the most influential records of the Nineties.” It is a stylish combination of rap, dub and soul. Included on Rolling Stone’s “500 Greatest Albums of All Time,” the masterpiece includes the massive hit “Safe from Harm.” It is featured on various “Best Of” lists including Spin, Q, NMEand Vibe.

Chart History/Awards
On Rolling Stone‘s “500 Greatest Albums of All Time.”
On Q‘s “90 Best Albums of the 1990s.”
#8 on Q‘s “Best 50 Albums of Q‘s Lifetime.”
On Spin‘s “90 Greatest Albums of the ’90s.”
On Vibe‘s “100 Essential Albums of the 20th Century.”
On NME‘s “Greatest Albums of All Time.”

The first masterpiece of what was only termed trip-hop much later, Blue Lines filtered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance. The album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap (vocals and production) heard up to that point, occasionally on the same track. The opener “Safe from Harm” is the best example, with diva vocalist Shara Nelson trading off lines with the group’s own monotone (yet effective) rapping. Even more than hip-hop or dance, however, dub is the big touchstone on Blue Lines. Most of the productions aren’t quite as earthy as you’d expect, but the influence is palpable in the atmospherics of the songs, like the faraway electric piano on “One Love” (with beautiful vocals from the near-legendary Horace Andy). One track, “Five Man Army,” makes the dub inspiration explicit, with a clattering percussion line, moderate reverb on the guitar and drums, and Andy’s exquisite falsetto flitting over the chorus. Blue Lines isn’t all darkness, either – “Be Thankful for What You’ve Got” is quite close to the smooth soul tune conjured by its title, and “Unfinished Sympathy” – the group’s first classic production – is a tremendously moving fusion of up-tempo hip-hop and dancefloor jam with slow-moving, syrupy strings. Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time.

Tracklist:
01 – Safe From Harm
02 – One Love
03 – Blue Lines
04 – Be Thankful For What You´ve Got
05 – Five Man Army
06 – Unfinished Sympathy
07 – Daydreaming
08 – Lately
09 – Hymn Of The Big Wheel

The original analogue recordings were transferred from analogue tape at 24/48 and then upsampled to 24/96 before being mixed on an analogue desk and printed at 24/96 through Benchmark converters. The final mixes were mastered at 24/96 by John Dent at LOUD Mastering. The audio files are in 96/24 format.

Download:

https://subyshare.com/uur3ylmly83z/MassiveAttackBlueLines19912012MixMasterHDTracks2496.rar.html

Not every musician can pull off a program in front of an audience that ranges through a wide variety of jazz styles, but Monty Alexander does so, even within the opener, “On Green Dolphin Street.” Starting this familiar standard in a bop mode, he detours into boogie-woogie until guitarist Ernest Ranglin takes over. His lovely improvised introduction to “Emily” gives way to a much slower than typical arrangement, which emphasizes the beauty of Henry Mancini’s original conception, though with a few changes incorporated by the leader. Alexander likely lifted a few eyebrows when he began playing Scott Joplin’s classic rag “The Entertainer.” After one straight-ahead chorus, he segues into a hard bop setting, trading hot licks with Ranglin. “Chameleon,” Herbie Hancock’s funk masterpiece from the fusion era, is next, but Alexander’s quartet eschews any electronic keyboards or special effects, just digging into it with gusto. The leader also contributed two strong originals to the date. Recorded for the German label MPS, this highly recommended LP is long overdue to be reissued.

Tracklist:
01 – Green Dolphin Street
02 – Emily
03 – Alypso
04 – The Entertainer
05 – Chameleon
06 – Unlimited Love

Produced & Recorded by Hans Georg Brunner-Schwer.
Recorded in October, 1974 for MPS label.
Digitally Remastered.

Musicians:
Monty Alexander – piano
Ernest Ranglin – guitar
Eberhard Weber – bass
Kenny Clare – drums

Download:

https://subyshare.com/ol6tkplg3a0w/M0ntyAlexanderM0ntyStrikesAgain19762014HRA24882.rar.html

“Perception” is 1974’s album by American (born in Jamaica) pianist / composer Monty Alexander, who started as a young prodigy and later on recorded many albums for the German MPS (Musik Produktion Schwarzwald) label in the 1970s and early 1980s.

Tracklist:
01 – Concerto d’Aranjuez
02 – Ben
03 – Battle Hymn of the Republic
04 – Carnival in Jamaica
05 – For All We Know
06 – Rude Old Man
07 – Shaft

Produced by MPS Records. Engineered by Paul Goodman.
Recorded on June 18 1973. Digitally Remastered.

Musicians:
Monty Alexander – piano
Eugene Wright – bass
Bobby Durham – drums

Download:

https://subyshare.com/lfuykgjk6ga4/M0ntyAlexanderPercepti0n19742014HRA24882.rar.html

Monty Alexander’s „The Duke Ellington Song Book“ featuring John Clayton on bass, playing some of the best jazz material you could ask for! This rare recording and High-Res remaster is a must-have for. This reissue is a part of the ‘MPS – Most Perfect Sound Edition’. The original master tapes were transferred to digital with dCS 904.

Tracklist:
01 – I Let a Song Go Out of My Heart
02 – Sophisticated Lady
03 – Things Ain’t What They Used to Be
04 – Love You Madly
05 – Eastside, Westside
06 – In a Mellow Tone
07 – Caravan
08 – Just Squeeze Me
09 – In a Sentimental Mood
10 – C Jam Blues

Produced & Engineered by Hans Georg Brunner-Schwer.
Recorded on March 29, 1983 at MPS Studio, Villingen, Germany.
Digitally Remastered.

Musicians:
Monty Alexander – Steinway Concert Grand piano
John Clayton – bass

Download:

https://subyshare.com/hwjp3u9oebhc/M0ntyAlexanderTheDukeEllingt0nS0ngB00k19842014HRA24882.rar.html

“The Way It Is” is 1979’s album by American (born in Jamaica) pianist / composer Monty Alexander, who started as a young prodigy and later on recorded many albums for the German MPS (Musik Produktion Schwarzwald) label in the 1970s and early 1980s.

Tracklist:
01 – People Make the World Go Round
02 – What Are You Doing With the Rest of Your Life?
03 – Bluesology
04 – Soft Winds
05 – Come Sunday
06 – That’s the Way It Is
07 – Bossa Nova do Marilla

Produced by Hans Georg Brunner-Schwer.
Digitally Remastered.

Musicians:
Monty Alexander – piano
John Clayton – bass
Jeff Hamilton – drums

Download:

https://subyshare.com/wqngl2rclp8q/M0ntyAlexanderTheWayItIs19792014HRA24882.rar.html

Monty Alexander’s career was beginning to take off at the time of this 1971 club date at the Monticello in Rochester, NY. Accompanied by Dave Brubeck’s former bassist, Eugene Wright, and veteran drummer Bobby Durham, who was recording extensively with Oscar Peterson, the young pianist kicks off the set with an ambitious, quote-filled rendition of a great standard “It Could Happen to You.” The inclusion of several familiar popular tunes of the period, namely Michel Legrand’s haunting “Summer of ’42 Theme,” Henry Mancini’s bittersweet “Love Story Theme,” and even “We’ve Only Just Begun” (a mega-hit for the Carpenters which actually began life as background music for a bank commercial), doesn’t detract from the album in the least, due to Alexander’s imaginative approaches to each of the tunes. The one original of the date is Alexander’s funky “Monticello.” This well-recorded date has been out of print since BASF quit manufacturing records in the U.S. in the mid-’70s, so it may be somewhat difficult to acquire.

Tracklist:
01 – It Could Happen to You
02 – Summer of ’42 Theme
03 – Monticello
04 – We’ve Only Just Begun
05 – I’ve Never Been in Love Before
06 – Love Story Theme
07 – Blue Alexander

Produced by Don Schlitten.
Recorded on December 1, 1971 at the Monticello, NYC.
Digitally Remastered.

Musicians:
Monty Alexander – piano
Eugene Wright – bass
Bobby Durham – drums

Download:

https://subyshare.com/ecf677ltjel4/M0ntyAlexanderWeve0nlyJustBegun19722014HRA24882.rar.html

Originally released on MPS Records, this is a subtle and fairly creative duet set featuring pianist Monty Alexander and the Jamaican guitarist Ernest Ranglin. On seven standards (including “Just Friends”, “If I Should Lose You” and “Fly Me To The Moon”) and three originals, Alexander and Ranglin listen closely to each other and indulge in some tight musical interaction. Although boppish, the music is not overly predictable; the musicians’ mutual respect is obvious. Well worth searching for.

Tracklist:
01 – Just Friends
02 – If I Should Lose You
03 – Taboo
04 – Cruxian Dance
05 – Con Alma
06 – Fools Rush In
07 – Consider
09 – Lullaby of the Leaves
08 – Mountain Melody
10 – Fly Me to the Moon

Produced & Engineered by Hans Georg Brunner-Schwer.
Recorded on December 17-18, 1980 at MPS Studio, Villingen, W. Germany.
Digitally Remastered.

Musicians:
Ernest Ranglin – guitar
Monty Alexander – piano, electric piano, melodica

Download:

https://subyshare.com/hbvlmrb6rnqe/M0ntyAlexanderErnestRanglinUntitledakaJustFriends19812014HRA24882.rar.html

The Nordic Jazz Quintet was formed in 1974 with one musicians selected from each of the Nordic countries. This release features the Nordjazz Suite, by Ole Kock Hansen, as well as two more originals from the transnational group.

Tracklist:
01 – Nordjazz
02 – Hysterical
03 – Silvana

Recorded on October 8, 1974.
This album contains high-resolution digital transfers of material originating from an analogue master source.

Musicians:
Ole Kock Hansen – piano
Knut Riisnæs – flute, tenor sax
Jukka Tolonen – guitar
Kjell Jansson – bass
Petur Östlund – drums

Download:

https://subyshare.com/lgj2djhc8u9u/N0rdicJazzQuintetN0rdjazz19752017HDTracks2496.rar.html

Prayer for Peace is North Mississippi Allstars 8th studio album and self-produced by the Dickinson Brothers. It was recorded across the country at 6 different studios: including the famous Royal Studios in Memphis with Boo Mitchell & their legendary father Jim Dickinson’s Zebra Ranch in Hernando, MS. Special guests on the album include bassist Oteil Burbridge (Allman Brothers Band, Dead & Company), Graeme Lesh (Midnight North, The Terrapin Family Band), vocalist Sharisse Norman, bassist Dominic Davis (Jack White), and singer/fife player Shardé Thomas, daughter of Mississippi blues giant Otha Turner. North Missisippi Allstars is a 3 time Grammy nominated band for Best Contemporary Blues Album

The North Mississippi Allstars celebrate their 20th anniversary (21st, actually) by going all the way back to their roots. Prayer for Peace is a set comprised mostly of blues and folk covers played by Luther & Cody Dickinson assisted by a cast of friends and longstanding collaborators. While five tracks were tracked at Grand Royal Studios in Memphis with co-producer Boo Mitchell, the remainder of the 11 tunes were cut all over the country with a host of guest musicians.

The title track is an original deep blues tune with a slippery, funky backbeat. Longtime collaborator Sharde Thomas (granddaughter of blues pioneer Otha Turner and the leader of the Rising Star Fife & Drum Ensemble) adds a duet harmony vocal and her fife to Luther’s shouting guitar, Cody’s funky snare, and guest Oteil Burbridge’s bumping bassline. The Allstars pay righteous homage to heroes here, too. The riotous take on R.L. Burnside’s “Long Haired Doney” is one of three associated with the Delta bluesman — who personally mentored the Dickinsons. The other two are the house rockin’ “Miss Maybelle,” and the moaning, crash-and-burn take on “Bird Without a Feather.” Fred McDowell’s “You Got to Move” (that features Hill Country guitar ace Kenny Brown) offers an update to the Rolling Stones’ read with its tight, funky snare, dirty-ass slide, and the entwined voices of Luther and bassist Danielle Nicole. “61 Highway” is even more unhinged, with roiling distortion and clattering drum kit — it juxtaposes the deep Delta juke joint blues against the showier Chicago style read through McDowell’s own steely bird’s-eye view. The Dickinsons deliver a wonderful take on the American traditional folk-country-blues “Deep Ellum.” The tune pays homage to the historic black Dallas neighborhood that gave the world Blind Lemon Jefferson, Blind Willie Johnson, and Lead Belly. It was first recorded in the early 20th century by the Cofer Brothers (as Georgia Black Bottom) and later covered by everyone from the Shelton Brothers in the ’30s to Jerry Lee Lewis in the ’50s and the Grateful Dead in the ’80s. It’s done here as a party boogie with Dominic Davis on bass and Sharise Norman adding glorious harmony vocals. The set-closer is a sweet, tender cover of the country gospel standard “Bid You Goodnight.” The song dates back to the 19th century, but its two most famous versions are Joseph Spence & the Pindar Family’s from the ’50s, and the Dead’s in the late ’60s.This take retains the sweet country feel with Luther’s slide playing the role of another singing voice. The North Mississippi Allstars have given us one of their finest recordings simply by being true to themselves. This music is eternal, and their obvious reverence for it is shown in how easily they just let it come through. No matter where it was recorded or who plays on it, the feel is the same: Open, willing, and wooly. ~ Thom Jurek

Tracklist:
01 – Prayer For Peace
02 – Need To Be Free
03 – Miss Maybelle
04 – Run Red Rooster
05 – Stealin
06 – Deep Ellum
07 – Bird Without A Feather
08 – You Got To Move
09 – 61 Highway
10 – Long Haired Doney
11 – Bid You Goodnight
12 – P4P2017

Download:

https://subyshare.com/8j04d8lm6bdh/N0rthMississippiAllstarsPrayerF0rPeace2017Q0buz2496.rar.html

Jutta Hipp Quintet – New Faces-New Sounds From Germany (1954/2015)
FLAC (tracks) 24 bit/192kHz | Time – 00:27:17 minutes | 844 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | © Blue Note Records
Recorded: Frankfurt Am Main, West Germany, April 24, 1954

Incredible postwar bop recordings by one of the hippest groups in Germany! During the 50s, pianist Jutta Hipp cut a number of straighter sides for Blue Note that were recorded in the US – but this album features earlier German recordings, some later issued by Blue Note – all done with a killer quintet that features a young Joki Freund on tenor sax and Emil Mangelsdorff on alto!

Jutta’s core trio features Hans Kresse on bass and Karl Sanner on drums – but the real charm of the records is the horn players – working with amazing interplay that really makes the record shine – working in unison on many of the intros to the songs, cutting back and forth like a double-edged sword, then breaking out into wonderfully compact solos that easily rival the best of the west coast at the time!

“This date, rather brief at under 28 minutes, originally appeared as a 10″ LP in the U.S., although it was recorded in Frankfurt-am-Main, Germany. It features Jutta Hipp leading an all-German quintet through a session consisting mostly of American standards, including ‘Variations,’ an enjoyable group improvisation based on the chord changes to ‘Tea for Two.’ Alto saxophonist Emil Mangelsdorff has a soft, dry tone comparable to Paul Desmond, most noticeable in ‘Ghost of a Chance.’ Tenor saxophonist Jaki Freund’s ‘Cleopatra’s’ sound could easily be mistaken for West Coast jazz. Hipp is joined by the rhythm section only for the intriguing fugue-like treatment of ‘What’s New’ and a brisk run through ‘Don’t Worry ‘Bout Me.’ She also wrote ‘Mon Petit,’ which has superb interplay between the two saxophonists. This reissue is labeled as part of the RVG series, though legendary recording engineer Rudy Van Gelder’s name is never specifically listed in English anywhere in the packaging, he evidently did the remastering. Long out of print on LP and an unlikely reissue candidate for Blue Note due to its brevity and obscurity, this session was briefly available as a CD reissue through the Japanese label Toshiba-EMI, but was soon deleted.” —Ken Dryden, AllMusic

Tracklist:
1. Cleopatra 03:21
2. Don’t Worry ‘Bout Me 03:06
3. I Don’t Stand A Ghost Of A Chance 03:33
4. Mon Petite 03:26
5. What’s New 04:45
6. Blue Skies 02:50
7. Laura 03:07
8. Variations 03:09

Personnel:
Jutta Hipp, piano
Emil Mangelsdorff, alto saxophone
Joki Freund, tenor saxophone
Hans Kresse, bass
Karl Sanner, drums

Download:

https://subyshare.com/9d4pr8it98zi/JuttaHippQuintetNewFacesNewS0undsFr0mGermany195419224.rar.html

During Autumn 2016, Kacy Anderson and Clayton Linthicum crossed paths with Jeff Tweedy. The leader of Wilco loved these two Canadians, distant cousins from Saskatchewan, so much that he invited them to his famed Chicago studio, The Loft. There, Kacy & Clayton created their fourth album produced by Tweedy. Supported by Mike Silverman on drums and Shuyler Jansen on bass, the album is denser and a lot less streamlined than its predecessors. The Siren’s Song not only combines psychedelic folk with the spirit of 60s and 70s British revival folk, but also draws inspiration from southern music from the Appalachians and country rock (Buffalo Springfield, Gram Parsons, Gene Clark, Sir Douglas Quintet). With her voice strongly reminiscent of Grace Slick from Jefferson Airplane (particularly striking on the album’s opening song The Light of Day), Kacy Anderson brilliantly glorifies each song. Superb!

Tracklist:
01 – The Light Of Day
02 – Just Like A Summer Cloud
03 – Cannery Yard
04 – A Lifeboat
05 – White Butte Country
06 – A Certain Kind Of Memory
07 – This World Have Seven Wonders
08 – The Siren’s Song
09 – Go And Leave Me

Download:

https://subyshare.com/z67nipv6jtz8/KacyClayt0nTheSirensS0ng2017Q0buz24441.rar.html

During a stint as one of Kanye West’s backing dancers on his 2013 Yeezus Tour, the rapper signed former model Kacy Hill to his G.O.O.D. label after hearing her home-recorded track “Experience.” Four years later and Hill is set to release her debut full-length record. The album’s release was preceded by the singles “Hard to Love” and “Like a Woman,” which demonstrate the slightly trippy, sparse folktronica that recalls artists like James Blake. Kanye West served as executive producer on Like a Woman. ~ Bekki Bemrose

Tracklist:
01 – Like A Woman
02 – Keep Me Sane
03 – Cruel
04 – Hard To Love
05 – Static
06 – First Time
07 – Arm’s Length (Revised)
08 – Interlude (Kacy Hill/Like A Woman)
09 – Clarity
10 – Lion (Album Version)
11 – Say You’re Wrong
12 – Am I

Download:

https://subyshare.com/3x0obzm5o9xx/KacyHillLikeAW0man2017Q0buz24441.rar.html

Kaleo’s brand new album, A/B, featuring “Way Down We Go”, “No Good”, and “All The Pretty Girls”. Kaleo is a four-piece Icelandic band that blends together gorgeous folk, blues, country, and rock.

Hotly tipped Icelandic quartet Kaleo deliver A/B, their debut album for Atlantic Records. Blending soulful indie folk ballads and smoldering, riffy rockers, the young quartet explore their fascination with American blues and roots rock on this ten-song effort co-produced by Nashville’s Jacquire King (Kings of Leon, City and Colour). In spite of some of the more Americana-leaning acoustic fare like “All the Pretty Girls” and “Automobile,” a big, bluesy garage rock approach takes center stage on A/B, with bangers like “Glass House” and “No Good” (as heard on the trailer for HBO series Vinyl) leading the charge.

Tracklist:
01 – No Good
02 – Way Down We Go
03 – Broken Bones
04 – Glass House
05 – Hot Blood
06 – All the Pretty Girls
07 – Automobile
08 – Vor í Vaglaskógi
09 – Save Yourself
10 – I Can’t Go on Without You

Download:

https://subyshare.com/ky6of80xtb9j/Kale0A.B2016HDTracks24441.rar.html

Kasabian – For Crying Out Loud {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 02:08:58 minutes | 1,55 GB | Genre: Alternative, Indie
Studio Masters, Official Digital Download – Source: Q0buz | Booklet, Front Cover | © Columbia

Deluxe double album edition with bonus content. 2017 release, the sixth album from the British hitmakers. Kasabian are back with an explosive, career best album brimming with confidence, swagger and huge tunes. Written and produced by Kasabian wizard Serge Pizzorno, and recorded at the Sergery, his Leicester studio, For Crying Out Loud features 12 tracks that encapsulate everything that makes Kasabian one of this country’s best ever bands. Lead singer Tom Meighan has never sounded so good, wrapping himself around the addictive hooks.

The hotly anticipated sixth studio long-player from the chart-topping Leicester quartet, For Crying Out Loud delivers the usual Kasabian goods — a truly awful album cover, nostalgia, escapism, good-natured hedonism, and more than a few festival-ready indie rock bangers with pint-smashing choruses. Any enjoyment derived from the band’s particular brand of musical populism — Oasis wanted to be the Beatles and Kasabian wanted to be Oasis — depends largely on the listener’s love for the overall brand. For Crying Out Loud certainly doesn’t disappoint on that front, deploying a well-paced set of bro-ish, politically incorrect stadium jams that employ just enough swatches of sonic modernity to appeal to the indie/electropop crowd. Standouts like the swaggering opener “Ill Ray (The King),” its equally snide sibling and lead single “You’re in Love with a Psycho,” the rousing “Bless This Acid House,” and the unapologetically Fab Four-inspired closer “Put Your Life on It” stick their landings because they never skimp on the fun. Simply put, For Crying Out Loud works because the band knows exactly what its listeners want. ~ James Christopher Monger

Tracklist:
CD1 #01 – Ill Ray (The King)
CD1 #02 – You’re In Love With a Psycho
CD1 #03 – Twentyfourseven
CD1 #04 – Good Fight
CD1 #05 – Wasted
CD1 #06 – Comeback Kid
CD1 #07 – The Party Never Ends
CD1 #08 – Are You Looking for Action?
CD1 #09 – All Through the Night
CD1 #10 – Sixteen Blocks
CD1 #11 – Bless This Acid House
CD1 #12 – Put Your Life On It

CD2 #01 – Underdog (Live at King Power Stadium)
CD2 #02 – Bumblebeee (Live at King Power Stadium)
CD2 #03 – Shoot the Runner (Live at King Power Stadium)
CD2 #04 – Eez-eh (Live at King Power Stadium)
CD2 #05 – Fast Fuse (Live at King Power Stadium)
CD2 #06 – Days Are Forgotten (Live at King Power Stadium)
CD2 #07 – I.D. (Live at King Power Stadium)
CD2 #08 – British Legion (Live at King Power Stadium)
CD2 #09 – Doberman / Take Aim (Live at King Power Stadium)
CD2 #10 – Put Your Life On It (Live at King Power Stadium)
CD2 #11 – Stuntman (Live at King Power Stadium)
CD2 #12 – L.S.F. (Live at King Power Stadium)
CD2 #13 – Stevie (Live at King Power Stadium)
CD2 #14 – Vlad the Impaler (Live at King Power Stadium)
CD2 #15 – Fire (Live at King Power Stadium)

Download:

https://subyshare.com/m98kidnftxfq/KasabianF0rCrying0utL0udDeluxeEditi0n2017Q0buz24441.part1.rar.html
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“Witness” is the fifth full-length release for the pop artist. The album features guest appearances from Skip Marley, Migos, and Nicki Minaj. It received mixed reviews from music critics. It topped the charts in Canada, Spain, and the United States while reaching the top five in 13 other nations.

Katy Perry achieved maturation with Prism, the 2013 album anchored on the self-empowerment anthem “Roar” and the club smash “Dark Horse.” Considering how “Roar” scored the closing stages of Hillary Clinton’s 2016 campaign, it would’ve seemed like a logical move for Perry to build upon its adult alternative affirmation but she’s instead chosen to use “Dark Horse” as a blueprint for Witness, the long-awaited 2017 successor to Prism. Perhaps Perry shifted her approach after “Rise,” the “Roar”-alike written for the 2016 Olympics that she also performed at that year’s Democratic National Convention, failed to crack the Top Ten, perhaps she always planned to construct this album with electronic beats and synths, but Witness is so slick with synths it seems slippery. It also feels relentless and a shade desperate. Some of this is due to timing. Arriving on the heels of Prism, a record littered with AAA crossover ballads, the dance-heavy Witness feels like a slide backwards into adolescence, even if the album is filled with songs where Perry attempts to address big cultural issues while walking a musical cutting edge. These conflicting desires surface on a tune as effervescent as “Chained to the Rhythm” – the only track here that could be called that, although “Pendulum” comes close – and a song as somnolent as “Bigger Than Me,” the second of two ballads on the record and the one that addresses the fallout of the 2016 presidential election. Despite some sociological broad strokes, Perry generally keeps her focus personal – and usually romantic, although “Swish Swish” plays like a swipe at another superstar – a decision that, when married to aggressive EDM-pop, erodes whatever adult contemporary progress Perry made with Prism. So, Witness is a conceptual muddle but that incoherence could’ve been excused if there were hooks in either its grooves or melodies. Instead, Witness is populated with busy, tuneless tracks that seemed designed to pulsate in the background of a regrettable night. Perry’s insistence on delving deep into electronic dance doesn’t play like a pop visionary charting new directions forward; it seems anxious, as if she can sense her youth – and perhaps more importantly, her stardom among youth – slipping away.

Tracklist:
01 – Witness
02 – Hey Hey Hey
03 – Roulette
04 – Swish Swish
05 – Déjà Vu
06 – Power
07 – Mind Maze
08 – Miss You More
09 – Chained To The Rhythm
10 – Tsunami
11 – Bon Appétit
12 – Bigger Than Me
13 – Save As Draft
14 – Pendulum
15 – Into Me You See

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Singer-songwriter Keren Ann’s 2016 album. All songs were composed by Keren Ann. The record was produced by Renaud Letang.

You’re Gonna Get Love is the first album in five years from singer/songwriter Keren Ann Zeidel. Since 2011, she’s contributed six songs to the soundtrack of Yossi, an Israeli film by Etyan Fox, and gave birth to her first child. Becoming a mother changed the way she worked. Rather than writing and recording for days whenever inspiration struck, she methodically carved out time each day. The singer and her trio performed many basic takes live from the studio floor with assistance from producer Renaud Letang (Feist); overdubs were done later. Half the tracks also include strings.

The bouncy bassline, thin snare, and reverbed guitars on the title track — with a string arrangement by Eumir Deodato — sharply recall Lee Hazlewood’s work with Nancy Sinatra. “Bring Back” is a devastating narrative waltz about a son lost in war from the point of view of his bereft mother. A repetitive bassline and haunted, wordless backing vocals (provided choral style by Zeidel), trilling strings, and eerie organ, highlight its power. “The Separated Twin” is a quiet anthem to grief, almost an homage to Leonard Cohen. The root of its melodically ascendant verse and lyric imagery dance between “Hallelujah” and “Suzanne.” “Where Did You Go?” is a melancholy love song that marries elegant, pillowy ’60s pop to spiraling backdrop synths, lilting horns, strings, and flutes (Deodato again). The pulsing bassline and drum track in “Easy Money” evokes vintage Can (think “Father Cannot Yell”), while its angular pop melody channels early-’80s post-punk. “My Man Is Wanted But I Ain’t Gonna Turn Him In,’ is a sensual, layered, future blues and one of the finest cuts here. “Again and Again” and “The River That Swallows All the Rivers” find Zeidel referencing Dusty Springfield’s influence. Closer “You Have It All” is a tender melange of gauzy, classy pop (think middle period Everything But the Girl), framed by deep, moody rhythms. Maxime Moston’s elegant string and horn charts bridge that contrast with exquisite taste.

The many influences Zeidel utilizes here don’t get in the way of her singular manner of storytelling. She is never less that poetic, her voice as fully invested in her lyrics as her guitar playing — the latter is not something we’ve heard before. Letang’s production is steady yet adventurous. If there is a criticism of You’re Gonna Get Love, it’s that as finely written, performed, and produced as its songs are, they don’t vary enough in tempo, and blur together a bit. Still, it’s a small complaint; this remains an excellent as well as a overdue, return. ~~ AllMusic Review by Thom Jurek

Tracklist:

1. You’re Gonna Get Love
2. Bring Back
3. The Separated Twin
4. Insensible World
5. Where Did You Go?
6. Easy Money
7. My Man Is Wanted But I Ain’t Gonna Turn Him In
8. You Knew Me Then
9. Again and Again
10. The River That Swallows All the Rivers
11. You Have It All to Lose

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On her excellent comeback record, Rainbow, Kesha channels that drama into the best music of her career – finding common ground between the honky-tonks she loves and the dance clubs she ruled. Between glossy beats, epic ballads and grimy guitar riffs. This third full-length studio release for the pop artist features guest appearances from The Dap-Kings Horns, Eagles Of Death Metal, Dolly Parton.

A rainbow is a beautiful trick of the light that arises after a thunderstorm, a fact that is not lost on Kesha, who experienced more than her share of tumult after her second album, 2012’s Warrior. Two years after its release, the singer/songwriter filed a lawsuit against her producer and collaborator Dr. Luke, alleging emotional and sexual abuse, and he returned the volley with countersuits. Kesha’s career crawled to a halt during the ensuing legal battles, and while they had not been resolved by the time she released Rainbow in August of 2017, the involved parties reached a détente to allow the album’s appearance. Given how all her problems were laid bare in public, it’s no surprise that Kesha opens Rainbow by singing “Don’t let the bastards get you down/Don’t let the a******* wear you out,” a none-too-subtle allusion to her trials and tribulations. It’s a theme that she returns to throughout Rainbow, framing it as a lament, an anthem of defiance and ultimately inspiration. As she sings on “Learn to Let Go” – a song whose title is key to the whole record – “the past can’t haunt me if I don’t let it,” and if that lyric smacks of self-help, it’s also true Kesha doesn’t seem haunted by days gone by on Rainbow. Even when she’s hinting at her pain, she’s not wallowing in it: the whole point of the album is that she’s found a path toward peace. Kesha’s newfound serenity is underscored by how she still finds plenty of space to cut loose on Rainbow, cranking out a pair of metallic glam-rockers with Eagles of Death Metal, pouring glitter on Johnny Cash (“Hunt You Down”), pushing the neon pulse of “Boots,” and even indulging in a bit of twee folk on “Godzilla.” Still, the heart of Rainbow lies in its stirring ballads, and while these odes to self-empowerment are endemic to 2010s pop, Kesha’s emotions feel earned not because we know her backstory but because her songs are specific, not generic. Sometimes she’ll slide into cliché, usually by recycling therapy-speak, but how she pairs these credos with veiled confessions is as striking and moving as her party songs are weird and funny. By slyly alternating between these two extremes throughout Rainbow, Kesha winds up with a comeback that’s fully realized emotionally and musically.

Tracklist:
01 – Bastards
02 – Let ‘Em Talk (feat. Eagles Of Death Metal)
03 – Woman (feat. The Dap-Kings Horns)
04 – Hymn
05 – Praying
06 – Learn To Let Go
07 – Finding You
08 – Rainbow
09 – Hunt You Down
10 – Boogie Feet (feat. Eagles Of Death Metal)
11 – Boots
12 – Old Flames (Can’t Hold A Candle To You) (feat. Dolly Parton)
13 – Godzilla
14 – Spaceship

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Kevin Puts – To Touch the Sky – Conspirare, Craig Hella Johnson; Baltimore Symphony, Marin Alsop (2013)
FLAC (tracks) 24 bit/88.2kHz | Time – 00:59:43 minutes | 894 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | © Harmonia Mundi
Recorded: Tracks 1-10 recorded in September/October, 2012 at St. Martin’s Lutheran Church, Austin, Texas. Tracks 11-14 recorded live in June, 2012 at Joseph Meyerhoff Symphony Hall, Baltimore, Maryland.

Pulitzer Prize-winning composer Kevin Puts (born 1972) is known for his distinctive and richly colored musical voice. Making their label début, Marin Alsop and the Baltimore Symphony Orchestra perform Kevin Puts’ Symphony No.4 (“From Mission San Juan”), inspired by Native American melodies. Opening this program of world première recordings, Craig Hella Johnson leads Conspirare in two choral settings of texts by women poets: “To Touch the Sky” and “If I Were a Swan”.

Michigan-raised composer Kevin Puts has been touted as a successor to John Corigliano, as a composer whose music is tonal and accessible, but reflects the values of serious composition. This release of his music by the major Harmonia Mundi USA label should come as welcome news to his supporters, and those curious about his music after his 2012 reception of the Pulitzer Prize for music may find it an attractive sampler (it consists of two separate performances of Puts’ music, recorded in different places and different times). The two a cappella choral works, If I Were a Swan and To Touch the Sky, are both set to poetry by women; the latter work is a collection of poems from various times and places touching loosely on the “divine feminine.” Whether the specificities of these poems can be subsumed so broadly is open to debate, but Puts’ style is undeniably attractive. He uses pedal points to anchor the sound, building stacks of harmony around and above them; with the pedal in the background, these can be very closely shaded to reflect ideas in the text, and the overall effect is quite persuasive. The work of the Texas vocal group Conspirare is impressive, and they are very clearly recorded in an Austin church that until now has not been known as an audiophile venue; this is impressive work all around. The other half of the program is not quite as successful and somehow fails to make a satisfying whole when combined with the choral works; the Symphony No. 4 (“From Mission San Juan”) is said to be based on Native American musical materials from the area of the mission in California that commissioned the work. The symphony, performed by the Baltimore Symphony Orchestra and its indefatigable conductor, Marin Alsop, features a sort of jockeying between these materials and the hymn tunes of white colonizers, but it is questionable whether anyone other than a well-briefed listener would extract the program successfully. Still, on the strength of the choral pieces here, the forecasts about Puts seem to be coming true. –AllMusic Review by James Manheim

Tracklist:
Kevin Puts (b. 1972)
01 If I Were A Swan 06:31
To Touch the Sky
02 I. Annunciation (Magnificat) 03:12
03 II. Unbreakable 02:23
04 III. The Fruit of Silence 01:20
05 IV. Falling Snow 01:17
06 V. At Castle Wood 05:43
07 VI. Epitaph 01:06
08 VII. Who has seen the wind? 00:51
09 VIII. With my two arms 01:27
10 IX. Most noble evergreen 07:37
Symphony No. 4, From Mission San Juan
11 I. Prelude: Mission San Juan Bautista, ca.1800 05:50
12 II. Arriquetpon (the diary of Francisco Arroyo de la Cuesta, 1818) 08:02
13 III. Interlude 06:11
14 IV. Healing Song 08:22

Personnel:
Conspirare, Craig Hella Johnson (#1-10)
Baltimore Symphony, Marin Alsop (#11-14)

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