Studio Masters – HDMusic.me

Over four decades since securing worldwide recognition as one of the finest musicians of her generation, Maria João Pires continues to transfix audiences with the spotless integrity, eloquence and vitality of her art.

This recital, recorded live in the splendid Wigmore Hall acoustics, is clearly a red-letter event for chamber music connoisseurs. Pires is partnered by Antonio Meneses, cellist with the Beaux Arts Trio and artist of great wisdom and imagination.

Maria João Pires is one of the reigning pianists of our times, with numerous recordings spanning more than two decades on Deutsche Grammophon. One of the label’s flagship artists, she carefully handpicks her concert appearances and recordings projects, making this release a document of extraordinary value.

The album features a collection of some of the most intimately beautiful pieces, including the Songs without Words by Mendelssohn, the Intermezzi op. 117 and Cello Sonata op. 38 by Brahms, and the eternal “Arpeggione” Sonata by Schubert.

Pires’s abiding concern for poetic shading draws the listener towards the spiritual essence of the works she performs. An exceptional live encounter between two legendary musicians at the height of their powers, here documented for the first time.

Tracklist:
01. Schubert: Sonata For Arpeggione And Piano In A Minor, D.821-1. Allegro moderato (Live)
02. Schubert: Sonata For Arpeggione And Piano In A Minor, D.821-2. Adagio (Live)
03. Schubert: Sonata For Arpeggione And Piano In A Minor, D.821-3. Allegretto (Live)
04. Brahms: Intermezzi, Op.117-No. 1 In E Flat Major-Andante moderato (Live)
05. Brahms: Intermezzi, Op.117-No. 2 In B Flat Minor-Andante non troppo e con molto espressione (Live)
06. Brahms: Intermezzi, Op.117-No. 3 In C Sharp Minor-Andante con moto (Live)
07. Mendelssohn: Song Without Words For Cello And Piano In D, Op.109, MWV Q 34 (Live)
08. Brahms: Sonata For Cello And Piano No.1 In E Minor, Op.38-1. Allegro non troppo (Live)
09. Brahms: Sonata For Cello And Piano No.1 In E Minor, Op.38-2. Allegretto quasi minuetto (Live)
10. Brahms: Sonata For Cello And Piano No.1 In E Minor, Op.38-3. Allegro-Più presto (Live)
11. J.S. Bach: Pastorale In F, BWV 590-Arr. For Cello And Piano (Live)

Personnel:
Maria João Pires, piano
Antonio Meneses, cello

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In 1730, the catalogue of Couperin’s works that headed his Fourth book of harpsichord pieces mentioned ‘pieces for viol with figured bass’, but apparently no such collection had ever appeared in his name. Musicians long regretted that they must do without these compositions, which seemed to be lost, or even never published. There the matter rested until the early twentieth century, when a perspicacious musicologist discovered a book of pieces for viol by a mysterious Mr. F. C. and connected it with Couperin. Then the pieces of the puzzle fell perfectly into place: the initials the date of 1728 on the title page, the book’s title, Pièces de violes avec la basse chiffrée, and even its retail price of ‘6 livres tournois’ as in the announcement in the catalogue. Upon perusing the score, any final doubts melted away. In addition to the use of embellishments typical of Couperin, the broad style, the flavoursome harmony and the obscure titles of the second suite fully reflect Couperin’s artistry and confirm the paternity of these pieces. It is curious, given the exquisite quality of the set, that the composer preferred to conserve a certain form of anonymity. Should we see in this no more than the coquetry of someone who cultivated a taste for enigma throughout his life, or a sign of respect in dealing with an instrument that was not his own? The pieces by Forqueray that punctuate this recording come from scattered manuscript sources. While Antoine Forqueray’s output for viol was essentially transmitted by his son Jean-Baptiste, who published a posthumous Livre in 1747, certain pieces – those on this recording in particular – have survived as copies. The three pieces do not stand completely apart from the rest of Forqueray’s œuvre, but they do display a style closer to that of the early eighteenth century and they are sometimes marked by an Italianate flavour that recalls the sonatas of Corelli. Atsushi Sakai plays on a copy of a French bass viol dated 1687, Christophe Rousset a copy of a Flemish Ruckers harpsichord of 1624, Marion Martineau a copy of a Parisian bass viol of 1693 and Isabelle Saint-Yves another copy of exactly the same instrument!

Tracklist:
01. Première Suite en Mi Mineur: I. Prélude
02. Première Suite en Mi Mineur: II. Allemande
03. Première Suite en Mi Mineur: III. Courante
04. Première Suite en Mi Mineur: IV. Sarabande
05. Première Suite en Mi Mineur: V. Gavotte
06. Première Suite en Mi Mineur: VI. Gigue
07. Première Suite en Mi Mineur: VII. Chaconne ou Passacaille
08. Les Goûts réunis, dixième concert: III. Plainte pour les violes
09. Pièce à trois violes en Ré Mineur: I. Allemande
10. Pièce à trois violes en Ré Mineur: II. Courante
11. Pièce à trois violes en Ré Mineur: III. Sarabande
12. La Girouette
13. Deuxième Suite en La Mineur: I. Prélude
14. Deuxième Suite en La Mineur: II. Fuguette
15. Deuxième Suite en La Mineur: III. Pompe funèbre
16. Deuxième Suite en La Mineur: IV. La Chemise blanche

Composers:
Couperin, François (1668-1733)
Forqueray, Antoine (1671-1745)

Personnel:
Atsushi Sakai, viola de gamba
Marion Martineau, viola de gamba
Christophe Rousset, harpsichord

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Beethoven began composing the Missa solemnis in 1819, when he learned that his patron (and pupil) Archduke Rudolph was going to be appointed Cardinal Archbishop of Olmütz. The plan was for the mass to be ready for performance at the enthronement celebrations in March 1820, but one year proved to be too little time. It wasn’t until almost three years later, in January 1823, that Beethoven was able to complete the work.

As might be expected, it was unparalleled in every respect – although composed for use during church services, even Beethoven’s contemporaries found that it exceeded the bounds of the genre. Beethoven himself was quite aware of both the dimensions and the importance of the work: in a letter he described it as ‘my greatest work’. It is also a work which over its course encompasses great contrasts: from the solemnity of the Kyrie and the intense excitement at the opening of the Gloria to the disturbing intimations of war during the closing Dona nobis pacem.

Originally founded with the aim of performing the choral works of Bach, the Bach Collegium Japan and Masaaki Suzuki are now taking another great leap, after their recent release of Mozart’s Great Mass in C minor. Described as ‘refreshingly open-hearted, spontaneous and natural’ their interpretation received a 2017 Gramophone Award. Joined by an eminent quartet of vocal soloists, the team now applies its expertise in period performance to Beethoven’s masterpiece.

Tracklist:
Ludwig van Beethoven (1770 – 1827)
1. Missa Solemnis, op. 123 : Kyrie
2. Missa Solemnis, op. 123 : Gloria: Gloria in excelsis Deo
3. Missa Solemnis, op. 123 : Gloria: Qui tollis peccata mundi
4. Missa Solemnis, op. 123 : Gloria: Quoniam tu solus sanctusAnn-Helen Moen06:10
5. Missa Solemnis, op. 123 : Credo: Credo in unum Deum
6. Missa Solemnis, op. 123 : Credo: Et incarnatus est
7. Missa Solemnis, op. 123 : Credo: Et resurrexit tertia die
8. Missa Solemnis, op. 123 : Sanctus: Sanctus Dominus Deus Sabaoth
9. Missa Solemnis, op. 123 : Sanctus: Praeludium – Benedictus
10. Missa Solemnis, op. 123 : Agnus Dei: Agnus Dei
11. Missa Solemnis, op. 123 : Agnus Dei: Dona nobis pacem

Personnel:
Ann-Helen Moen, soprano
Roxana Constantinescu, mezzo-soprano
James Gilchrist, tenor
Benjamin Bevan, baritone
Bach Collegium Japan
Masaaki Suzuki, conductor

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The pairing of Welsh bass-baritone Bryn Terfel with the Mormon Tabernacle Choir might be thought a purely commercial venture, but in fact Terfel has announced an affinity with the Mormon faith, has pointed out that many of the original Mormon pioneers in Utah were of Welsh descent, and appears to have flirted with conversion. In any event, beyond the presence of the choir and the arrangements, mostly by its conductor, Mack Wilberg, the music is not specifically Mormon. Instead you get a selection of classic American hymns from both the white and black branches of the tradition, mixed in with folk tunes, pop, contemporary inspirational songs like the extraordinarily widely distributed title track by Marta Keen, and miscellaneous classical pieces old and new. Most but not all of the music is religious. One’s underlying attitude toward Terfel, Mormonism, and crossover music in general may determine much of one’s reaction here, but there’s no question that Terfel displays an unexpected affinity for much of the material. The proceedings get off to a slightly uncomfortable start with Louis Armstrong’s “What a Wonderful World,” where Terfel tries to split the difference between “myself” and “mahself,” but in general he is at home with American diction and a certain conversational tone that characterizes American hymnody. His reading of the Billy Graham-associated hymn “How Great Thou Art” is especially effective. Wilberg’s arrangements have an admirable simplicity, and those tired of the heavy orchestration of releases by the likes of Sarah Brightman may well find Terfel a breath of fresh air. This is very much a Bryn Terfel album; he takes the lead role on most of the numbers rather than accompanying the choir. But the Mormon Tabernacle Choir and Utah’s Orchestra at Temple Square ably uphold Salt Lake City’s long tradition of superior classical music-making for such a small place. An affecting and even intriguing turn in Terfel’s career, guaranteed to please for most.

Tracklist:
01. Weiss: What A Wonderful World
02. Keen Thompson: Homeward Bound
03. Stennett: Bound For The Promised Land
04. Mealor: Faith’s Call
05. Shall We Gather At The River
06. Traditional: How Great Thou Art
07. Hughes: Guide Us, O Thou Great Jehovah
08. Traditional: Blow The Wind Southerly
09. Traditional: Shenandoah
10. Jenkins: Ave verum Corpus
11. Traditional: The Dying Soldier
12. Traditional: Battle Hymn Of The Republic
13. Traditional: Deep River
14. Boatner: When The Saints Go Marching In
15. Kelley: Home On The Range
16. Fauré: Requiem, Op.48-6. Libera me
17. Handel: Rinaldo, HWV 7a-Laschia ch’io pianga
18. Andersson: Give Me My Song

Personnel:
Bryn Terfel, bass-baritone
The Mormon Tabernacle Choir
Tamara Mumford, soprano
Sissel Kyrkjebø, soprano
Orchestra at Temple Square
Mack Wilberg, Choir Music Director

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Camerata Bern & Antje Weithaas – Tchaikovsky: Violin Concerto & String Quartet No. 3 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:16:23 minutes | 1,3 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © CAvi-music

“Admittedly, it is quite exceptional for an orchestra and a soloist to record the Tchaikovsky Violin Concerto without a conductor. Some members of Camerata Bern were less worried about this project; others – including myself – had their misgivings at first.

Essential questions remained with us throughout: how do we stay in sync while ensuring that the music remains lively and flexible; how can we go on interacting? What we are applying here is indeed a chamber music approach, which is supposed to allow us to gain in terms of freedom and clarity.

Otherwise, such a project would not be justified. Now, listening to the result, I must concede that the adventure was well worth the effort, even though such projects can only succeed when the soloist and the orchestra know one another very well, as is the case with myself and the Camerata. After several days of intense recording sessions, I feel thoroughly grateful to all members of the ensemble and to the marvellous additional wind section for the incredibly stimulating, creative time

we spent together. The shared atmosphere created a kind of energy that released unforeseen potential in us and inspired everyone involved. Of course we could already look back on our previous collaborations: in the Beethoven Violin Concerto, and particularly in the Brahms. Now, recording the Tchaikovsky, we found those experiences extremely helpful.

I wanted to record Tchaikovsky for several reasons. Most importantly, I love Tchaikovsky’s music, particularly the two works featured on this recording. I wanted to coax the Tchaikovsky Violin Concerto out of the corner of virtuoso tradition it has occupied until now. In certain aspects, an established way of playing it has become somewhat cemented over the last decades. But neither do I see that approach justified in the score, nor does it correspond with my view of Tchaikovsky as a musician and as a human being. We all found it thrilling to challenge and question our previous experience with this piece, both as performers and as listeners, and to tackle it as if it was new to us. I had played the Tchaikovsky Concerto a lot as a student, but had not returned to it for over ten years. Besides, German violinists are generally not often called upon to interpret Russian composers. What better point in time than this one to learn the piece once more, almost from scratch? I purchased a new score; I intensely studied the Henle Urtext edition and tried to develop a fresh approach, daring to question tradition by taking Tchaikovsky’s tempo relations, dynamics and articulation utterly seriously.

I view Tchaikovsky as a gracefully elegant, thoroughly aristocratic Russian, and I wanted to help the listener clearly discern his moving sadness and yearning: however, this music always remains elegant and noble in spite of its emotional depth. These aspects are thoroughly Russian, but in a very fine, subtle way. I extend my heartfelt thanks to all members of Camerata Bern for this thrilling production.

What a luxury to be able to make music together in this way!”

Tracklist:
Piotr Ilitch Tchaïkovski (1840 – 1893)
1 Violin Concerto in D Major, Op. 35: I. Allegro moderato 19:18
2 Violin Concerto in D Major, Op. 35: II. Canzonetta. Andante 07:02
3 Violin Concerto in D Major, Op. 35: III. Finale. Allegro vivacissimo 10:58
4 String Quartet No. 3 in E-Flat Minor, Op. 30: I. Andante sostenuto – Allegro moderato 16:51
5 String Quartet No. 3 in E-Flat Minor, Op. 30: II. Allegretto vivo e scherzando 04:18
6 String Quartet No. 3 in E-Flat Minor, Op. 30: III. Andante funebre e doloroso, ma con moto 11:40
7 String Quartet No. 3 in E-Flat Minor, Op. 30: IV. Finale. Allegro non troppo e risoluto 06:16

Personnel:
Antje Weithaas, solo violin, direction
Camerata Bern

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Canada’s National Arts Centre Orchestra & Alexander Shelley – New Worlds (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:01 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Groupe Analekta, Inc

Themes of migration and crossing borders are as hot topics today as they ever were. This recording explores two works written in the so-called “New World” by composers from the “Old World”.

Ana Sokolovic left war-torn Yugoslavia for a new home in Montréal, and her piece Golden slumbers kiss your eyes… looks back to European lullabies. It features Canadian-Korean counter-tenor David DQ Lee and several Ottawa choirs, and was commissioned by the NAC Orchestra in honour of its founding conductor, Mario Bernardi.

Antonín Dvořák wrote his famous symphony when he lived in North America, and there is still discussion about how much of the “New” and “Old” Worlds are to be found in it. It was taken to the moon, presumably because it contains some of the most recognizable and moving music ever written, and Neil Armstrong considered that the next “New World.”

Tracklist:
Ana Sokolovic (b.1968)
01. Golden slumbers kiss your eyes…: I. À la claire fontaine
02. Golden slumbers kiss your eyes…: II. Golden slumbers kiss your eyes…
03. Golden slumbers kiss your eyes…: III. Mie mama mata mata, Lazarice
04. Golden slumbers kiss your eyes…: IV. Tarantella del Gargano
05. Golden slumbers kiss your eyes…: V. Guter Mond
06. Golden slumbers kiss your eyes…: VI. Durme, durme
07. Golden slumbers kiss your eyes…: VII. Dodole, À la claire fontaine
Antonin Dvorak (1841-1904)
08. Symphony No. 9 in E Minor, Op. 95 “From the New World”: I. Adagio – Allegro molto
09. Symphony No. 9 in E Minor, Op. 95 “From the New World”: II. Largo
10. Symphony No. 9 in E Minor, Op. 95 “From the New World”: III. Molto vivace
11. Symphony No. 9 in E Minor, Op. 95 “From the New World”: IV. Allegro con fuoco

Personnel:
Canada’s National Arts Centre Orchestra
Alexander Shelley (director)
David DQ Lee (countertenor)

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Bô is a new stage show, premiered in Paris in Spring 2018. Described as ‘a musical journey’, it is the work of French singer-songwriter and violinist Catherine Lara and Italian choreographer and director Giuliano Peparini. Its theme is the search for beauty, and through its seven diverse characters – and through music, song, acting, dance, acrobatics and imagery – it explores such issues as tolerance, social exclusion, sexuality, disability and, inevitably, love.

Tracklist:
01 Almach 5:00
02 S l ne (with I Muvrini) 6:22
03 Alhena 3:33
04 Nodus 4:10
05 Nunki 5:08
06 Azaleh 3:07
07 Toliman 5:09
08 Naos 3:59
09 Aldhibah 5:11
10 Stagioni: Alta s, Sarga, Zania, Sa ph 9:09
11 Minthaka 1:54

Personnel:
Catherine Lara, violin
Rémi Delangle, clarinet
Didier Malherbe, flute
Eric Mouquet, keyboards
Cyrille Lehn, piano
Philippe Aïche, violin
Orchestre Lamoureux

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Choeur de Chambre de Namur, Les Solistes, Bruno Boterf – Henry Du Mont: Pour les Dames Religieuses (2011)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:05:34 minutes | 599 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Ricercar

Henri Du Mont first made provision for the performance of a number of his compositions by women’s voices in his Cantica Sacra (1652) and thus made it possible for these works to be sung in convents. This recording includes not only the motets intended for these institutions but also one of the Messes Royales in plainsong and several organ pieces from his Meslanges composed for the Dames religieuses qui touchent l’orgue.
This recording is the second in a systematic exploration of the several collections of music by Henry du Mont that were published in Paris. The first recording in this series was devoted to the Cantica Sacra and was released in 2010 to mark the 400th anniversary of the composer’s birth.

Tracklist:
Henry du Mont (1610-1684)
01. Pour les Vêpres: I. Magnificat
02. Pour les Vêpres: II. Prélude à 2
03. Pour les Vêpres: III. Vulnerasti cor meum
04. Messe pour les couvents (Messe du sixième ton): I. Kyrie
05. Messe pour les couvents (Messe du sixième ton): II. Gloria
06. Messe pour les couvents: III. Symphonia à 3
07. Messe pour les couvents (Messe du sixième ton): IV. Credo
08. Messe pour les couvents (Messe du sixième ton): V. Sanctus
09. Messe pour les couvents: VI. O Panis angelorum
10. Messe pour les couvents (Messe du sixième ton): VII. Benedictus
11. Messe Pour Les Couvents (Messe Du Sixième Ton): VIII. Agnus Dei
12. Messe pour les couvents: IX. Domine salvum
13. Pour les fêtes de l’année: I. Prélude à 3
14. Pour les fêtes de l’année: II. Bernardus doctor, Hymnus in festo Sancti Bernardi
15. Pour les fêtes de l’année: III. Vide homo, Pour le Vendredi Saint
16. Pour les fêtes de l’année: IV. Laudibus cives, Hymnus de Sancto Benedicto
17. Pour les fêtes de l’année: V. Veni creator spiritus, Pour la fête de la Pentecôte
18. Pour les fêtes de l’année: VI. Symphonia à 4
19. Pour les fêtes de l’année: VII. Litaniae Beatae Mariae Virginis

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Christian Thielemann & Münchner Philharmoniker – Mahler: Wunderhorn Lieder & Symphony No. 10 (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 59:00 minutes | 563 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Warner Classics

Gustav Mahler and the Munich Philharmonic share a very special connection. As a composer he sustainably linked the 19th-century Austro-German tradition and the modernism of the early 20th century. His works have been a substantial part of the Munich Philharmonic’s core repertoire ever since and the orchestra has excelled on many occasions.

The Munich Philharmonic is opening up its vast archives, giving listeners the opportunity to enjoy one of the richest collections of recordings by legendary artists. On the centenary of Gustav Mahler’s death, Christian Thielemann conducted a concert programme with Mahler’s songs to poems from “Des Knaben Wunderhorn” by Friedrich Rückert sung by the renowned Michael Volle, as well as the Adagio from Mahler’s unfinished Symphony No. 10. The live recording of this exact concert performance has been exclusively lifted from our orchestra’s historical archives and will be released on the MPHIL label for the very first time this spring.

The adagio finds Thielemann at his expansive best, getting playing of the highest quality from his then orchestra and sustaining a Parsifal-like breadth and intensity over the entire 25-minute span of the movement…this is a highly collectible Mahler performance from one of today’s most compelling German conductors. – Sunday Times

Tracklist:
Gustav Mahler (1860-1911)
01. Des Knaben Wunderhorn: I. Der Schildwache Nachtlied
02. Des Knaben Wunderhorn: IV. Wer hat dies Liedlein erdacht?
03. Des Knaben Wunderhorn: VII. Rheinlegendchen
04. Des Knaben Wunderhorn: IX. Wo die schönen Trompeten blasen
05. Des Knaben Wunderhorn: VIII. Lied des Verfolgten im Turm
06. Des Knaben Wunderhorn: V. Das irdische Leben
07. Des Knaben Wunderhorn: XII. Der Tamboursg’sell
08. Des Knaben Wunderhorn: XI. Urlicht
09. Symphony No. 10: I. Adagio

Personnel:
Michael Volle, baritone
Münchner Philharmoniker
Christian Thielemann, conductor

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Recorded on July 3, 2016, in front of a rapturous audience of more than 65,000 fans, Tapestry: Live at Hyde Park celebrates the 45th anniversary of a zeitgeist-shifting touchstone album that established Carole King as the quintessential singer-songwriter, a “Natural Woman” who gave voice to the emotions and experiences of millions of listeners around the world. With songs that are literally woven into the fabric of pop culture, Tapestry struck a universal chord, topping the Billboard 200 for 15 weeks and staying on the chart for six years. King took home four Grammy Awards for the album, including Album, Record and Song of the Year. And the songs, including “So Far Away,” “It’s Too Late,” “I Feel The Earth Move,” “You’ve Got a Friend” and others remain timeless standards and radio staples.

The artist’s largest concert since her legendary 1973 show in Central Park, Carole King’s historic Hyde Park performance marked her first British concert since1989 and the first time she’d performed Tapestry on stage in its entirety. The album showcases Carole leading a full band (including guitarist Danny “Kootch” Kortchmar, who played on the original Tapestry album) through the album with the bonus addition of some of her personal favorite compositions from her formidable songbook. Guest performers include her daughter, Louise Goffin, who joins Carole on several tracks including “Where You Lead” (which the duo re-recorded as the theme song to the popular television series “Gilmore Girls”) plus the Laurence Olivier Award-winning West End cast of “Beautiful: The Carole King Musical.”

Originally released in 1971, Tapestry established Carole King–already a noted songwriter of smash hits for Aretha Franklin, The Everly Brothers, The Monkees, The Drifters and many others–as an extraordinary performer who defines the singer-songwriter genre from the 1970s onward.

Additional performances on Live at Hyde Park include a Gerry Goffin/Carole King medley featuring “Take Good Care of My Baby,” “It Might As Well Rain Until September,” “Go Away Little Girl,” “I’m Into Something Good,” “One Fine Day” and more.

Tracklist:
01. I Feel the Earth Move (Live)
02. So Far Away (Live)
03. It’s Too Late (Live)
04. Home Again (Live)
05. Beautiful (Live)
06. Way over Yonder (Live)
07. You’ve Got a Friend (Live)
08. Where You Lead (Live)
09. Will You Love Me Tomorrow? (Live)
10. Smackwater Jack (Live)
11. Tapestry (Live)
12. (You Make Me Feel Like) A Natural Woman (Live)
13. Medley Intro (Live)
14. Goffin/King Medley: (Live)
15. Hey Girl (Live)
16. Chains (Live)
17. Jazzman (Live)
18. Up On the Roof (Live)
19. Locomotion (Live)
20. I Feel the Earth Move (Reprise) (Live)
21. You’ve Got a Friend (Reprise) (Live)

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The compilation tribute to the jazz repertoire of Claude Nougaro. In 2004, his last album, more than ever dedicated to jazz, seemed to be the end of a career in which the “swing-eater” was devoured by the passion of the music of Louis Armstrong and Wayne Shorter. From “Jazz à la Java” to “Dansez sur moi” through “A bout de souffle”, Claude Nougaro carried the marriage of the French language with jazz music. The present selection, illustrated and embellished with testimonials from his fellow musicians, invites you to rediscover the “troubadour cathare” as he liked to be called through his adaptations of the compositions of the masters of jazz. As if to better understand how jazz music was his predestination. His soul.

Tracklist:
01. Le jazz et la java (Album Version)
02. A tes seins (Album Version)
03. Armstrong (Album Version)
04. Ca fait mal (Album Version)
05. Les Mains D’Une Femme Dans La Farine (Album Version)
06. À bout de souffle (Album Version)
07. Mon Disque D’Eté (Album Version)
08. Bidonville (Album Version)
09. Brésilien (Album Version)
10. Le piano de mauvaise vie (Jeru)
11. Nobody Knows (Album Version)
12. Sing Sing Song (Work Song)
13. Docteur (Fever)
14. Autour de minuit (Album Version)
15. Hymne (Con Alma) (Album Version)
16. Dansez sur moi (Album Version)
17. Comme une Piaf (Alternative Version)
18. Soeur âme (Album Version)
19. Le chat (Album Version)
20. Gloria (Album Version)
21. Tu verras (Album Version)
22. Tendre
23. Un été (Album Version)

Download:

https://subyshare.com/jlrl6ttk4mmz/ClaudeN0ugar0QuandLeJazzEstL20142444.1.rar.html

After less than 3 years in existence, and some 15 million albums sold, „Goodbye“ was Cream’s farewell release. Baker, Bruce and Clapton indicated at the time that they were burned out on the concept, the touring, the improvisational ‘battles,’ and each other. The live cuts (‘I’m So Glad,’ ‘Politician’ and ‘Sitting On Top Of The World’) are indicative of how the band’s concert chemistry had evolved from earlier live recordings (such as those on „Wheels Of Fire“ and Live Cream Vol. 1 & 2). But what’s most striking about „Goodbye“ is the charm and craftsmanship of their last studio tracks, indicating that Cream was far from played out creatively, and illustrating how strong their songwriting skills really were.

The Beatles’ influence is readily apparent on each studio track, the most famous being Clapton’s ‘Badge,’ featuring George Harrison. Bruce’s ‘Doin’ The Scrapyard Thing,’ with its mixture of funk and the English music hall, points to the directions he would pursue on „Songs For A Tailor“ and his other underrated solo albums, while Baker’s use of odd meters on ‘What A Bringdown’ anticipates ‘Do What You Like’ on Blind Faith.

Tracklist:
01. I’m So Glad (Live At The Forum, Los Angeles / 1968)
02. Politician (Live At The Forum, Los Angeles / 1968)
03. Sitting On Top Of The World (Live At The Forum, Los Angeles / 1968)
04. Badge
05. Doing That Scrapyard Thing
06. What A Bringdown

Personnel:
Eric Clapton – vocals, guitar
Jack Bruce – vvocals, harmonica, piano, organ, keyboards
Ginger Baker – vvocals, drums, percussion
George Harrison – vguitar
Felix Pappalardi – viola, piano, Mellotron, bass

Download:

https://subyshare.com/uh3ddpl2sxc9/CreamG00dbye201424192.part1.rar.html
https://subyshare.com/7pqmp0iphzvl/CreamG00dbye201424192.part2.rar.html

Jenks is the debut album from UK/French quartet DBFC and follows a run of singles for Different Recordings. Drawing on influences such as techno, French house, Kraut, and psych rock, the duo entered the studio and let the jams flow, creating an album of free-flowing, indie-tinged electronica. The lead single “Sinner” is included. ~ Rich Wilson

DBFC are pleased to announce their debut LP Jenks that will be released on June 2nd, 2017 through Different Recordings. Along with this announcement, the band have also shared new track “Sinner”. On this first cut the band postulate a simple but potent manifesto: “We like the idea of saying, let’s keep it free. Let’s see where it takes us. What is more human than human… It’s magic, and it’s fun, and it’s inspiring…” Manchester-born David Shaw and French artist Dombrance met in 2012, drawn together by a Parisian underworld that flitted between techno and psychedelia, club culture and rock mythology. Refusing to place down boundaries, they simply went into the studio, turned on their equipment and jammed – debut album Jenks followed naturally. Striking out at the cynicism of the everyday, the pair seem able to cut straight to the heart of the matter. “What we sing about is the universal theme, which is love,” David explains. “As corny as it sounds, that’s in fact what we’re talking about: tolerance and love.” Reminiscent of Primal Scream’s halcyon era, or New Order’s ground-breaking run of 12 inch singles, DBFC thrive on the intersection between electronic and organic, on the communication between technology and common humanity. “The club is very important to us,” says Dombrance. “For us, club music is more than about having a party, it’s about having a way of life. It’s a way of finding a bond between people. It’s so tough today. The world is quite scary. And music, and that feeling of being in a club, changed my life.” At times, the heavenly elements of psychedelia in Jenks reach toward absolute bliss; at others, the Krautrock-tinged paranoia plummets into the depths. Always, DBFC try to nail those fleeting moments of beauty, to transform the temporary into something strikingly permanent. “It’s not being nostalgic,” David states. “It’s about taking that feeling of what we experienced, and being able to reproduce it, to reinterpret it, into the song.” And what songs they are. Title cut “Jenks” is an ode to a life-changing experience in a Blackpool club, while “In The Car” takes DBFC on a mystical road trip across a lonesome desert. “Autonomic” is the perfect single, an infectious fusion of dance abandon and clinical pop, whereas “New Life” is a simple, touching request for peace in a world increasingly beset by division, hatred, and conflict. A group aware of the intense duty that sits on their shoulders, debut album Jenks is shot through with a distrust of authority, with a desire to question the world around them and bring people together. “To be a musician today is a kind of political act,” explains Dombrance. “Because you choose to be free, to explore things. Because you can break the rules. I think our album is about fucking the algorithm.” Stepping outside the rules, the fluid creativity that governs DBFC has a spiritual air. “I think we have a strong mystical feeling between us,” reveals Dombrance. “Sometimes, we have this feeling that the other one thinks the same thing at the same time.

Tracklist:
01. Jenks
02. Bad River
03. Disco Coco
04. In the Car
05. The Ride
06. New Life
07. Autonomic
08. Staying Home
09. Sinner
10. The Rest of the World

Download:

https://subyshare.com/ty833la1xrmw/DBFCJenks20172444.1.rar.html

Born in Brazil, raised in Cologne and based in Berlin, Dominique Dillon de Byington, aka Dillon, has always had a clear vision of her art. She already has two albums under her belt, and she actually regards these as part of the same work, since they tell a coherent story. This has always been apparent in her live shows, which are carried by a magical interchange between the dark-melodic songs of both albums. When the Berlin Foreign Affairs Festival asked her, in 2015, to develop a unique concert idea, she decided on a performance with a six-piece women’s choir, which accompanied her and Tamer Fahri Özgönenc, her collaborator and co-producer of her first two albums, in the live performance at the Haus der Berliner Festspiele in July 2015. “I felt the need to work with vocals and to create an additional layer that breathes in this space between the electronic music and myself. I was very attracted to this idea, so Tamer and I wrote and arranged the choir parts together,” Dillon explains. The choir injects a new physical layer into her music, which is dominated by piano and electronic sounds, and her own voice dances longingly in this space. The newly released live recording of the concert reveals just how naturally this new element slots into her dramatically minimal music. “When I started writing my new album The Unknown I already knew it would be a continuation of This Silence Kills in terms of both music and content. Now the two albums are being brought together as a release, as well as in the live shows. For me, this album could be called This Silence Kills The Unknown, the 28-year-old reveals. A film of the concert at the Haus der Berliner Festspiele is being released alongside the live album. And in 2017 this will be followed by a third studio album, this time entirely separate from the works that came before, which Dillon herself describes as an “album of love”.

First a roar steadily builds, then we hear the first piano tone of The Unknown – along with the voice of Dominique Dillon de Byington. There it is again, the unique timbre of the young Berlin-based artist who captivated the music press and arts critics alike with her 2011 debut album on BPitch Control This Silence Kills. With songs like “Tip Tapping”, “Thirteen Thirtyfive” and “You Are My Winter” Dillon, originally from Brazil, left an impression on more than just the indie scene. This Silence Kills was sweet and enticing enough to establish itself as a pop record with singer-songwriter passion and experimental enough to be taken seriously as an art project. It was described as chanson-pop, sensuous electronic music featuring a voice comparable to Feist, Björk or Joanna Newsom. There followed two sold-out tours and numerous festival gigs all over the world – a life on the road. For Dillon this was completely unexplored territory.

“The Unknown” is not only the first song she wrote for her eponymous second album, it is how Dillon evokes that thing in life that has no name, no description no boundaries. The Unknown can be anything: longing, love, loss, transience, fear or desire. In keeping with the cover art for The Unknown the twelve new tracks have a more direct, natural and candid feel: “The lyrics are a lot more abstract and open, although they are just as personal and introverted,” says Dillon about the songs she wrote between May and November 2013. Tracks like “In Silence” and “4ever” are sometimes pensive, they exude this profound contemplation which must not always be characterised as melancholy.

Whereas the majority of the debut album, with all its melodies and arrangements, had been written before it was recorded, The Unknown came about more as a conceptual work. Yet despite the new approach, it should still be understood as a sequel to The Silence Kills. The foundation for album number two was laid within three weeks at the same studio and even in the same room of Clouds Hill Recordings in Hamburg. Once more she worked with Thies Mynther (Phantom/Ghost) and Tamer Fahri Özgönenc (MIT): “I didn’t see any sense in working with someone else. Back then we began a dialogue that, in my eyes, was never concluded.”

The result of these creative exchanges is a narrative gem that is eager to retain some malaise around the edges. From the ballad-like lead single “A Matter of Time” to the chamber music style “Forward” – Dillon’s impressive voice comes even more to the fore on The Unknown. The piano is not only present on almost every song, it also conveys an incredible depth that complements the playful naivety of the debut album. Although the bass drum makes its presence felt as a silhouette on “Into The Deep” and the club-infused “Nowhere” develops this electronic substructure further, The Unknown is more puristic, more enigmatic and certainly not a dance album.

“I wrote poems. For me these are all poems I’m singing. The album is more like a book of spoken words and pictures than an album in the classical sense,” the 25-year-old says about The Unknown. It can all be so simple: a piano, a voice and a story – these elements alone suffice for Dillon to spread her magic. A magic that can create drama as well as lament, that can confidently put personal scars and doubting thoughts on display. The Unknown is a dense, compact work from an extraordinary artist whose journey has only just begun. Or, as Antoine De Saint-Exupery once said: Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.

Tracklist:
01. Nowhere (Live at Haus der Berliner Festspiele)
02. From One to Six Hundred Kilometers (Live at Haus der Berliner Festspiele)
03. A Matter of Time (Live at Haus der Berliner Festspiele)
04. You Cover Me (Live at Haus der Berliner Festspiele)
05. You Are My Winter (Live at Haus der Berliner Festspiele)
06. Thirteen Thirtyfive (Live at Haus der Berliner Festspiele)
07. Your Flesh Against Mine (Live at Haus der Berliner Festspiele)
08. Tip Tapping (Live at Haus der Berliner Festspiele)
09. The Unknown (Live at Haus der Berliner Festspiele)
10. This Silence Kills (Live at Haus der Berliner Festspiele)
11. Don’t Go (Live at Haus der Berliner Festspiele)
12. Lightning Sparked (Live at Haus der Berliner Festspiele)
13. Abrupt Clarity (Live at Haus der Berliner Festspiele)

Download:

https://subyshare.com/2faojhny7v52/Dill0nLiveatHausderBerlinerFestspiele20162444.1.rar.html

Earl St. Clair a name you should know if you’re a fan of R&B. For that matter, actually, you should know his name if you flat out love great music. While he is classified mainly as an R&B artist, his music is soul through and through, peppered with roots and even perhaps a hint of bluegrass influences. St. Clair is making wholesome old school music sound new on his latest album My Name Is Earl. Spanning seven tracks, the production is a strong, upbeat compilation of effective, pure lyrics and throaty, powerful vocals.

Usually backed up by no more than some light horns, a steady drum beat and perhaps some guitar, St. Clair’s vocals blaze the way on this triumphant release. While he traffics in old school instrumental and melodic styles, his lyrics are fresh and contemporary. He sings of heartache and romance, his voice sinking down to the gutters before surging skywards alongside blazing horns with the refrain. His music is upbeat and victorious in sound, spiritually transcendent in message and lyrically complex. Bottom line, this music is straight up fun. You can’t help but to gently bob your head or tap your foot to the steadily rolling blues-rock style beats. And once Earl sinks his teeth into the melody, forget about it. This is peak breakup music, peak old school American blues, and beak Earl St. Clair.

My favorite track is perhaps the most classically elegiac blues-rock in tone, entitled ‘Three Story Home’. He croons soulfully, “This house ain’t no home, whenever she gone, these nights can get long, in my three story home, I see I was wrong, I guess I’m not that strong, now I’m all alone, in my three story home.” This is the powerful refrain that characterizes the track, and the album itself, each track carrying a piece of Earl himself. It is a rare talent that can translate the old, boxy sound of bluesy R&B into contemporary appeal. It is as though Earl is using the mainstream against itself by essentially creating the best version of this style of music.

Earl St. Clair belongs on our radar. His music is too good to go underrated and under streamed, and his latest album My Name Is Earl simply proves it. As the album title suggests, Earl is uncompromising and irreverently declaring himself on each of the seven tracks of the album. This is Earl, unpolished, honest, dark and beautiful.

Tracklist:
01. Pain with Jessie McGinty
02. Three Story Home
03. Criminal
04. Bad Love
05. Feeling Alive
06. Ain’t Got It Like That
07. Beautiful War

Download:

https://subyshare.com/gz0ljd4jqsn9/EarlSt.ClairMyNameIsEarl20172444.1.rar.html

20 years into their recording career Embrace are making an epic and emphatic return with their seventh studio album. With three #1 albums, six Top 10 singles, sold out arena shows and over two million album sales behind them, Embrace returned to the music scene three years ago with their Top 5 self-titled album Embrace. Already being hailed as a return to “classic” Embrace, new album ‘Love is a Basic Need’ was recorded in the first half of 2017 at the band’s own Magnetic North Studio, produced by Richard McNamara. With tracks such as the emotive and powerful Never, ‘Love is a Basic Need’ sees Embrace return to the classic sound that first made us fall in love with them. The album’s overriding theme is one surrounding love and Danny McNamara says: “We set out to make an album where every song on it would stand up against the best songs we’ve ever written, and I’m pretty confident we’ve done just that.”

Tracklist:
01. The Finish Line
02. Never
03. Wake Up Call
04. Snake Oil
05. Where You Sleeping
06. All That Remains
07. Rabbit Hole
08. Horseshoe In My Glove
09. My Luck Comes In Threes
10. Love Is A Basic Need

Download:

https://subyshare.com/h3f7sf8rj0mn/EmbraceL0veisaBasicNeed20182444.1.rar.html

“Right Away” is the new album by the Calabrian pianist Giampiero Locatelli. The album, due out on February 23rd for Auand (Goodfellas distribution) was recorded in a trio with Gabriele Evangelista on double bass and Enrico Morello on drums. The choice of the trio turns out to be the most suitable formation to completely realize the musical vision and is an ideal and logical consequence of the compositional approach of Locatelli and the consequent manipulation of the musical material. The contribution of Evangelista and Morello, which actively contributed to giving the music the definitive form, is fundamental in this process.

Thanks to its heterogeneous musical training, not limited to a precise musical field but that ranges from contemporary to improvised music, the result differs considerably from the classic trio piano to take on new features: the trio is conceived as an operative nucleus with respect to a musical vision in which the material oscillates between improvisation and written parts.

Even if it comes from a background that is not exclusively melodic, Locatelli is endowed with an extraordinary communicative capacity that nevertheless manages to give a touch of immediacy to the complex constructions of his compositions. Among the 8 original songs we find Bachian sounds (Inspire Me), Escherian inspirations (Toward … Backward), ballads, jazz or minimal (From the last Frame and Like a Gentle Mood), and a subversion of the conception of the trio piano of the piece that gives the title to the album, Right Away.

Tracklist:
01. Fizzle, Deed Slow, Whistle (feat. Gabriele Evangelista, Enrico Morello)
02. Path (feat. Gabriele Evangelista, Enrico Morello)
03. Toward Backward (feat. Gabriele Evangelista, Enrico Morello)
04. From the Last Frame (feat. Gabriele Evangelista, Enrico Morello)
05. Inspire Me (feat. Gabriele Evangelista, Enrico Morello)
06. Right Away (feat. Gabriele Evangelista, Enrico Morello)
07. Like a Gentle Mood (feat. Gabriele Evangelista, Enrico Morello)
08. From Afar (feat. Gabriele Evangelista, Enrico Morello)

Personnel:
Giampiero Locatelli – piano
Gabriele Evangelista – double bass
Enrico Morello – drums

Download:

https://subyshare.com/61plxwbu6vbm/Giampier0L0catelliRightAway20182496.part1.rar.html
https://subyshare.com/4yy08y6yuu7s/Giampier0L0catelliRightAway20182496.part2.rar.html

Gill Landry has a lovely, lilting voice, and a real gift for melody and lyrics. The songwriting isn’t complex, but it is brilliant. There are fantastic moments. My favourites are Just Like You – with incredibly evocative lyrics (Hung up and wasted in an artless town/thinking of old loves in wedding gowns) hung on a wonderfully sad melody, and Take This Body, with the added bonus of a Laura Marling guest appearance. But the whole album is a beautiful piece, which matches some of my moods in ways that no other music I have does.

Singer, songwriter, and curator of vintage Americana, Gill Landry has taken the Delta Land mystique of his native Louisiana with him throughout all of his travels. From his early jug band days in the Pacific Northwest to his later pursuits as a member of Nashville revivalists Old Crow Medicine Show, the humidity has followed from project to project, occasionally threatening to consume his identity. The two solo records he issued in 2007 and 2011 featured some strong material, but often felt a little too persona-heavy, like they were made by some sort of swampland/dust-bowl character who’d drifted in out of an old photo. There’s a fine line between finding influence in the past and inhabiting it, but fortunately Landry has struck the right balance on his excellent self-titled third LP. Largely home-recorded at his Nashville apartment and hosting a variety of friends acquired through his many tours, everything about this album feels more understated and natural than his previous output. Worldweary and compassionate, the ten songs here still use the South as a sort of general sonic backdrop, but the sound is largely more rooted in light rock and country traditions. Standouts like the lead single “Just Like You” and the austere horn- (courtesy of Mumford & Sons’ Nick Etwell) and string-laden “Lost Love” leave their warm imprint suggesting wide-open vistas and dusky two-lane roads where the ghosts of missed chances pepper the air with late summer melancholia. Landry’s arrangements have also become more ambitious as evidenced on the mystical piano-pop midsection of the beguiling Laura Marling-assisted “Take This Body.” Subtle, compellingly human, and bittersweet, this is easily Landry’s best work. ~ Timothy Monger

Tracklist:
01. Funeral In My Heart
02. Just Like You
03. Waiting For Your Love
04. Emily
05. Take This Body
06. Fennario
07. Lost Love
08. Lately Right Now
09. Long Road
10. Bad Love

Download:

https://subyshare.com/sj8xoyl649o6/GillLandryGillLandry20152444.1.rar.html

Produced by Greg Wells (Adele, OneRepublic), Chase The Sun is filled with Holden’s passionate, purpose-driven rock songs, which brim with tough, vibrant energy and showcase his lean, literate songwriting. Much of Chase The Sun was inspired by a life-changing, seven-week trip that the Scotland-born, England-bred artist took to India and Nepal in February 2013. Upon his return, Holden began to write the songs that appear on Chase The Sun, including the first single, “Hold On Tight,” which he says was the driving force for the album.

Singer/songwriter Greg Holden’s third full-length album, 2015’s Chase the Sun, finds the Scottish-born, English-raised, N.Y.C. transplant digging deeper into his earnest folk- and pop-inspired music. Holden’s first album since signing with Warner Bros, Chase the Sun follows his 2012 fan-funded Kickstarter effort, I Don’t Believe You. While the move to a major label affords Holden a more visible profile, as with his past work, Chase the Sun showcases his literate, heartfelt songs and burnished vocal croon. This time out, Holden collaborated with producer Greg Wells, who previously helmed albums by such pop luminaries as One Republic, Katy Perry, and Adele. On first glance, the pairing might seem like an odd one, with Wells’ credits leaning more toward a slick, studio-heavy production style. However, the match-up works quite nicely, with Wells finding just the right balance of instrumentation and studio wizardry (tasteful mandolin on “Chase the Sun” and discreet electric organ on “Save Yourself”) to further bring Holden’s simple, hummable songs to life. To these ends, cuts like the bluesy “Bulletproof” and the anthemic “Free Again” touch upon such disparate influences as Led Zeppelin and Dashboard Confessional. Also pleasant are the rambling, country-infused “Hold Tight,” the bittersweet “It’ll All Come Out,” and the introspective, piano-driven title track. ~ Matt Collar

Tracklist:
01. Hold On Tight
02. Save Yourself
03. Bulletproof
04. Boys In The Street
05. Give It Away
06. Go Chase The Sun
07. Free Again
08. A Wonderful World
09. It’ll All Come Out
10. I Won’t Forget
11. The Next Life

Download:

https://subyshare.com/1xc6rtxb7xxr/GregH0ldenChaseTheSun20152496.rar.html

Underworld – Beaucoup Fish (1999) {Super Deluxe Edition 2017}
FLAC (tracks) 24 bit/44,1 kHz | Time – 04:36:06 minutes | 3,12 GB | Genre: Electronic
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Universal Music

Underworld’s unique brand of quirky electronica brought them to the fore in 1996 with their single ‘Born Slippy.NUXX’ appearing in the soundtrack of Danny Boyle’s Trainspotting. Their follow-up album “Beaucoup Fish” was their most highly anticipated release to date, a groove-heavy, genre-bending release that moves from techno anthems Cups and Sudder/King Of Snake to house-infused gems like Push Upstairs and Bruce Lee. The album was remastered and re-released on 25 August 2017 with deluxe and super-deluxe expanded editions. This super deluxe edition includes a selection of rare and unreleased material from the extensive session and edits leading up to the release of the record in 1999.

With the buzz almost completely died down from “Born Slippy,” Underworld’s Trainspotting hit of over two years before, Beaucoup Fish emerged to a distinctly uncaring public. And though it is a disappointing record compared to the group’s high-flying previous albums, it displays Underworld’s talents well – the trio is still the best at welding obtuse songcraft onto an uncompromising techno framework and making both sound great. Karl Hyde’s nasally vocals are a bit more obtrusive on tracks like the trance-rant “Moaner” and first single “Push Upstairs,” but as before, impeccable production saves the day. While Second Toughest in the Infants showed Underworld were no mere novices at introducing super-tough breakbeats, here the focus is on throwback acid-house and trance. The effect is that Underworld have refused to compromise their artistic vision to anyone’s view of commercialism; as such, the few excesses on Beaucoup Fish can be forgiven.

Tracklist:
CD1 #01 – Cups
CD1 #02 – Push Upstairs
CD1 #03 – Jumbo
CD1 #04 – Shudder King of Snake
CD1 #05 – Winjer
CD1 #06 – Skym
CD1 #07 – Bruce Lee
CD1 #08 – Kittens
CD1 #09 – Push Downstairs
CD1 #10 – Something Like a Mama
CD1 #11 – Moaner

CD2 #01 – Nifter (5 A1317 Nov 97)
CD2 #02 – Bruce Lee (Ricks 1st Dobro Mix)
CD2 #03 – UW Orange Bed (Sept97)
CD2 #04 – Skym (A A1317 Nov 97)
CD2 #05 – Jumbo (Diff Bass 2 A1317 Nov 97)
CD2 #06 – Push Upstairs (Alt 1 A1336 July 98)
CD2 #07 – King of Snake (Garage Mix A1313 Set 97b)
CD2 #08 – Something Like a Mama (Alt Mix A1340 July 98 A Upstairs)
CD2 #09 – Please Help Me
CD2 #10 – Yeah Plan (From A1385)
CD2 #11 – Ramajama

CD3 #01 – Cups (Salt City Orchestra Remix)
CD3 #02 – Jumbo (Jedi’s Sugar Hit Mix)
CD3 #03 – Jumbo (Futureshock Vocal Mix)
CD3 #04 – Push Upstairs (Darren Price Remix)
CD3 #05 – King of Snake (Slam Remix)
CD3 #06 – King of Snake (Fatboy Slim Remix)
CD3 #07 – King of Snake (Dave Clarke Remix)
CD3 #08 – Bruce Lee (Micronauts Remix)
CD3 #09 – Bruce Lee (Buffalo Daughter Remix)

CD4 #01 – Bruce Lee (DJ Hype & DJ Zinc)
CD4 #02 – Bruce Lee (DJ Hype & DJ Zinc Instrumental Mix)
CD4 #03 – Bruce Lee (Futureshock Remix)
CD4 #04 – King of Snake (Claudio Coccoluto Remix)
CD4 #05 – King of Snake (Martinez Remix)
CD4 #06 – King of Snake (Dave Angel Remix)
CD4 #07 – Jumbo (Rob Rives & Francois Kevorkian Dub)
CD4 #08 – Push Upstairs (Roger S Narcotic Haze Dub)
CD4 #09 – Push Upstairs (Adam Beyer Rmx 2)

Download:

https://subyshare.com/ashkc0qxkz17/Underw0rldBeauc0upFish1999SuperDeluxeEditi0n2017Q0buz24441.part1.rar.html
https://subyshare.com/uee0hqyp5yhs/Underw0rldBeauc0upFish1999SuperDeluxeEditi0n2017Q0buz24441.part2.rar.html
https://subyshare.com/vsolj19mvxlz/Underw0rldBeauc0upFish1999SuperDeluxeEditi0n2017Q0buz24441.part3.rar.html
https://subyshare.com/pbcdiggh62bq/Underw0rldBeauc0upFish1999SuperDeluxeEditi0n2017Q0buz24441.part4.rar.html

Antonio Meneses & Maria Joao Pires – The Wigmore Hall Recital (2013) [Official Digital Download 24bit/96kHz]

Atsushi Sakai – Couperin: Pieces de viole (2018) [Official Digital Download 24bit/96kHz]

Bach Collegium Japan & Masaaki Suzuki – Beethoven: Missa solemnis, Op. 123 (2018) [Official Digital Download 24bit/96kHz]

Bryn Terfel – Homeward Bound (2013) [Official Digital Download 24bit/96kHz]

Camerata Bern & Antje Weithaas – Tchaikovsky: Violin Concerto & String Quartet No. 3 (2018) [Official Digital Download 24bit/96kHz]

Canada’s National Arts Centre Orchestra & Alexander Shelley – New Worlds (2018) [Official Digital Download 24bit/96kHz]

Catherine Lara – Bô, le voyage musical (2018) [Official Digital Download 24bit/44,1kHz]

Choeur de Chambre de Namur, Les Solistes, Bruno Boterf – Henry Du Mont: Pour les Dames Religieuses (2011) [Official Digital Download 24bit/44,1kHz]

Christian Thielemann & Munchner Philharmoniker – Mahler: Wunderhorn Lieder & Symphony No. 10 (2018) [Official Digital Download 24bit/44,1kHz]

Carole King – Tapestry: Live in Hyde Park (2017) [Official Digital Download 24bit/48kHz]

Claude Nougaro – Quand Le Jazz Est LA (2014) [Official Digital Download 24bit/44,1kHz]

Cream – Goodbye (1969/2014) [Official Digital Download 24bit/192kHz]

DBFC – Jenks (2017) [Official Digital Download 24bit/44,1kHz]

Dillon – Live at Haus der Berliner Festspiele (2016) [Official Digital Download 24bit/44,1kHz]

Earl St. Clair – My Name Is Earl (2017) [Official Digital Download 24bit/44,1kHz]

Embrace – Love is a Basic Need (2018) [Official Digital Download 24bit/44,1kHz]

Giampiero Locatelli – Right Away (2018) [Official Digital Download 24bit/96kHz]

Gill Landry – Gill Landry (2015) [Official Digital Download 24bit/44,1kHz]

Greg Holden – Chase The Sun (2015) [Official Digital Download 24bit/96kHz]

Underworld – Beaucoup Fish (1999) {Super Deluxe Edition 2017} [Official Digital Download 24bit/44,1kHz]