Studio Masters – HDMusic.me

Bartok & Ligeti – Chamber & Orchestral Works – Ensemble InterContemporain, Matthias Pintscher (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:48:42 minutes | 1,67 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Alpha Classics / Outhere Music France
Recorded: The Cité De La Musique, Philharmonie De Paris (Salle Des Concerts) From 10 To 13 And 17 June 2014 And On 10 And 11 November 2014

Alpha is launching a collaboration with the Ensemble Intercontemporain and its new artistic director, composer-conductor Matthias Pintscher.
This new series will alternate 20th-century landmarks and new works, providing an opportunity to show to advantage the great quality of the EIC musicians in the major masterpieces of the last century and to discover scores by composers of the 21st century.

György Ligeti’s Piano Concerto (1985‑88) has been threatening to transform itself into a modern composition lollipop and I, for one, have been reluctant to be taken along for the ride. Following the relentless pace of invention that marked Ligeti’s 1960s and ’70s advance – Atmosphères to San Francisco Polyphony without too many people noticing the join – the jaunty rhythmic jig and slide-whistle sound effects of the Piano Concerto can be made to sound like Gershwin busking at the circus. But now pianist Hidéki Nagano and the Ensemble Intercontemporain under Matthias Pintscher issue a reminder that Ligeti’s harmonic and rhythmic procedures had certainly evolved; dredge beneath the surface, though, and his gestural language was still dealing with the sonic theatre-of-the-absurd he had staged during his mid-1960s Aventures and Nouvelles aventures.
If anyone still harbours doubts over the viability of the CD, no doubt Alpha Classics will be wanting a word. Everything from the quality of paper (the booklet is printed on a gorgeous waxy paper like ancient parchment to the touch) to the trimly minimalist packaging and the thoughtfully assembled programme has obviously been carefully weighed up. Boulez’s 1994 DG release of Ligeti’s three solo instrumental concertos (also with the Ensemble Intercontemporain) set the terms of the debate, but never have such resolute performances of these pieces been captured with such lucent detail – and if that weren’t enough, Alpha also gives you top-notch versions of Bartók’s Contrasts and Sonata for Two Pianos and Percussion to help frame the historical context.
Here, Ligeti’s two late-period concertos (piano and violin) bookend his 1966 Cello Concerto. This concerto begins in silence, but not the voyeuristic silence typical of John Cage. The engineers suddenly open the aperture and you’re dropped ears first into a masterfully balanced, orchestrated silence out of which a single high cello note imperceptibly slips. This performance reminds you that Ligeti coordinates the silence as diligently as he does the notes. And when the narrative crumbles into chattering plops, squeaks and rustlings, we are walked right inside this carefully honed noise. Cellist Pierre Strauch feels in overall control in a way that Nicolas Altstaedt in his recent recording for Neos did not.
As already trailed, Nagano’s take on the Piano Concerto is an instant classic. The physicality of his playing is matched by the orchestral Punch and Judy; listen out near the beginning of the first movement for the way grumbling subterranean murmurs emanating from the general direction of the contrabassoon stoke the ensemble fire, and for the insistent mechanised click-clack of woodblocks. Personally I’ve always found Ligeti’s Violin Concerto the most illusive of his late-period works. But Pintscher keeps the unfolding structural narrative rigid (as opposed to Christina Åstrand and Thomas Dausgaard’s weirdly perfumed, romanticised 2000 recording) – which, just as in the Piano Concerto, allows Ligeti’s fantasy to roam free and wild. Review filed, I’m off to have another listen, this time for pure pleasure. –Philip Clark, Gramophone

Tracklist:
Béla Bartok (1881-1945)
Contrasts, Sz. 111 16:47
1 I. Verbunkos (Recruiting Dance): Moderato, ben ritmato 05:17
2 II. Piheno (Relaxation): Lento 04:19
3 III. Sebes (Fast Dance): Allegro vivace 07:11
Sonata for 2 Pianos & Percussion, Sz. 110
4 I. Assai lento – Allegro molto 12:21
5 II. Lento, ma non troppo 06:22
6 III. Allegro non troppo 06:34
György Ligeti (1923-2006)
Piano Concerto
7 I. Vivace molto ritmico e preciso 04:03
8 II. Lento e deserto 06:20
9 III. Vivace cantabile 04:14
10 IV. Allegro risoluto, molto ritmico 05:31
11 V. Presto luminoso 03:44
Cello Concerto
12 I. — 03:42
13 II. — 07:55
Violin Concerto
14 I. Praeludium 03:42
15 II. Aria – Hoquet – Chorale 07:07
16 III. Intermezzo 02:27
17 IV. Passacaglia 06:38
18 V. Appassionato 07:58

Personnel:
Jérôme Comte, clarinet
Diego Tosi, violin
Sébastien Vichard, piano
Gilles Durot, Samuel Favre, percussions
Dimitri Vassilakis, Sébastien Vichard, pianos
Hidéki Nagano, piano
Pierre Strauch, cello
Jeanne-Marie Conquer, violin
Ensemble InterContemporain
Matthias Pintscher, conductor

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Barry Sadler – Back Home (1967/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 28:44 minutes | 1,04 GB | Genre: Pop, Vocal
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: Sep/1966, RCA Victor Studio A, New York City

The timing of Staff Sgt. Barry Sadler’s number-one smash “The Ballad of the Green Berets” couldn’t have been more impeccable. Released in early 1966, when anti-war sentiment was beginning to swell, “The Ballad of the Green Berets” tapped into an enormous wellspring of patriotic fervor among Americans who were tired of the dissent and ambiguity surrounding Vietnam, and desperately wanted confirmation of America’s heroism and moral virtue; that they were on the right side. Sadler was the perfect man to supply it: he was himself a member of the Green Berets, the Army’s elite Special Forces unit, and a wounded Vietnam veteran who wanted to pay tribute to his comrades in arms. Although “The Ballad of the Green Berets” was the biggest hit single of 1966, Sadler never duplicated its blockbuster success, and soon retired from music to become a successful author.

Staff Sergeant Barry Allen Sadler was born in Carlsbad, NM, on November 1, 1940. His parents divorced when he was very young, and his father died of cancer when Sadler was just seven. His mother managed various restaurants and bars around the Southwest, moving the family wherever she could find work. Sadler first became interested in music at age 12, when he picked up a range of Western and Mexican songs at a logging camp, and began teaching himself guitar; during this period, he also discovered a talent for shooting, and developed a startling accuracy for his age. He quit school after tenth grade and hitchhiked around the country, and then enlisted in the Air Force in 1958. He spent a year in Japan working as an air traffic controller and radar specialist, and, unable to find a job after returning home, he traveled around the West with a friend, playing music at night while working whatever occasional odd jobs they could find. Frustrated, Sadler reenlisted, this time in the Army, and volunteered to become a paratrooper; impressed with his toughness, his instructors recommended him for Special Forces. Sadler earned his green beret and was trained as a medic and weapons expert; he served in several locations around the globe before being ordered to Saigon.
In 1965, while leading a patrol, Sadler was injured by a Vietnamese punji stick (sharpened bamboo covered with feces to increase the chances of infection). The infection did indeed set in, and Sadler nearly had to have his leg amputated. During his recuperation time, he sang and wrote songs for the other wounded soldiers in the hospital. One day, a TV news crew visiting the hospital filmed Sadler singing “The Ballad of the Green Berets”; when the song was aired back home, it became an instant sensation thanks to its themes of courage and achievement in the face of adversity. RCA quickly signed Sadler to a recording contract, and he recorded a full-length album, Ballads of the Green Berets, which was released in early 1966. Finally available as a single, “The Ballad of the Green Berets” was a monster seller, moving over two-million copies in its first five weeks of release; it spent five weeks at number one, winding up the number one single of 1966, and the album topped the charts as well. Sadler’s unabashed, romanticized admiration for his fellow soldiers made him a symbol of American patriotism in a turbulent era, despite the fact that his songs didn’t really make political or social statements. The Army ate him up, of course, and after several appearances on TV back home, Sadler joined the USO tour for awhile. He scored a minor hit with the follow-up single “The “A” Team,” and went on to release two more albums, 1967’s Back Home and 1968’s The A Team (which, oddly enough, didn’t contain that song).
Unable to duplicate his success, Sadler lived in Tucson for a while and tried unsuccessfully to make it as a bar owner. In need of money (he’d donated a substantial chunk of his royalties to a fund for the families of Vietnam casualties), Sadler moved his family to Nashville and tried to reinvent himself as a straight country singer; he did record on occasion, but the material was only released posthumously as Sadler Country. In the mid-’70s, Sadler pled guilty to second-degree manslaughter after shooting a man who’d previously threatened him in a bar (on a dark street, he mistook the man’s car keys for a gun). In the late ’70s, Sadler became a surprisingly successful military/adventure novelist, creating a series of books (22 in all) based on the character of Casca the Eternal Mercenary (a Roman soldier who supposedly speared Christ on the cross, and was condemned to live until the Second Coming). In 1983, Sadler moved to Central America to train and supply the Nicaraguan Contras, and later settled in Guatemala City, where he sold weapons and transportation to the military. In 1988, while returning to his mountain ranch house in a taxicab, Sadler was shot through the head in a mysterious robbery or assassination attempt (his son Thor believed drug runners were after his cache of guns). Although he survived, Sadler suffered severe brain damage. He was flown back to Nashville by Soldier of Fortune magazine editor Bob Brown, and though he eventually recovered consciousness and speech, he remained in a hospital bed for the rest of his life. Sadler died of heart failure on November 5, 1989. –Artist Biography by Steve Huey

Tracklist:
1 One Day Nearer Home 02:10
2 I Walk Alone 02:44
3 Not Just Lonely 02:27
4 The Biggest Pair of Fools 02:06
5 Anymore 02:35
6 Wind, Take a Message 01:45
7 Back Home 02:12
8 Come With Me 02:31
9 True Love Comes But Once 02:24
10 Outside Values 02:17
11 Jigsaw Puzzle 02:36
12 Tell Me Quick, Tell Me True 02:34

Personnel:
Barry Sadler, vocals
Sid Bass, arranger, conductor

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Johann Sebastian Bach – The Well-Tempered Clavier Book II – Ramin Bahrami (2016)
FLAC (tracks) 24 bit/192 kHz | Time – 02:28:43 minutes | 4,43 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Universal Music Italia Srl

Era, mi è sembrato, come se l’armonia universale si intrattenesse con se stessa, un po’ alla stregua di quello che deve essere successo nella mente di Dio poco prima della Creazione del mondo». Lo afferma Goethe. Dopo aver ascoltato alcuni brani del Clavicembalo ben temperato. Ascoltando l’ultima fatica di Ramin Bahrami risulta difficile non pensare a quell’altezza siderale. Entrambi i Libri, che notoriamente indagano tutto l’indagabile sulle tonalità dello strumento a testiera, si addentrano in sentieri mai battuti. Ma se quell’altezza viene lambita da Bach nella prima silloge, nella seconda, posteriore di più di vent’anni, è la cifra stilistica. Altezza siderale. Chiaro che non mancano molteplici e continui riferimenti a forme e stili del proprio tempo, dalla danza alla Sonata bipartita (spunta addirittura un Mozart di là da venire nel track 9): imprinting riconoscibili e orgoglio di un uomo aggiornatissimo quale Bach era. Ma su tutto governa il molteplice che procede dall’unico, secondo il principio dell’identità nella varietà approfondito dalla scienza filosofica di Leibniz. E l’identità, in questo Bach, è un’entità superiore. Tant’è che dopo i multipli cd dedicati al Kantor coi quali il pianista iraniano ci ha deliziato fino a oggi – interpretati in maniera sempre poeticamente intensa ma anche molto “terrena” nell’estrema confidenza col linguaggio d’autore – questa doppia registrazione perde volutamente contatto col reale. È il personale dialogo di Bahrami con l’Assoluto. A noi, semplici ascoltatori, il privilegio di esserne testimoni.–Nicoletta Sguben “amadeusonline.net”

Tracklist:
Johann Sebastian Bach (1685–1750)
The Well-Tempered Clavier, Book II, BWV 870-893
1. Prelude I In C 2:30
2. Fugue I in C a3 1:48
3. Prelude II in C minor 2:23
4. Fugue II in C minor a4 2:31
5. Prelude III in C sharp 1:56
6. Fugue III in C sharp a3 2:25
7. Prelude IV in C sharp minor 4:00
8. Fugue IV in C sharp minor a3 2:02
9. Prelude V in D 5:08
10. Fugue V in D a4 3:07
11. Prelude VI in D minor 1:31
12. Fugue VI in D minor a3 2:13
13. Prelude VII in E flat 2:39
14. Fugue VII in E flat a4 2:32
15. Prelude VIII in D sharp minor 4:07
16. Fugue VIII in D sharp minor a4 3:35
17. Prelude IX in E 4:55
18. Fugue IX in E a4 3:3
19. Prelude X in E minor 3:41
20. Fugue X in E minor a3 3:06
21. Prelude XI in F 3:31
22. Fugue XI in F a3 1:38
23. Prelude XII in F minor 4:38
24. Fugue XII in F minor a3 2:11
25. Prelude XIII in F sharp 3:26
26. Fugue XIII in F sharp a3 2:42
27. Prelude XIV in F sharp minor 2:50
28. Fugue XIV in F sharp minor a3 4:09
29. Prelude XV in G 2:25
30. Fugue XV in G a3 1:29
31. Prelude XVI in G minor Largo 1:59
32. Fugue XVI in G minor a4 3:33
33. Prelude XVII in A flat 3:59
34. Fugue XVII in A flat a4 3:19
35. Prelude XVIII in G sharp minor 3:49
36. Fugue XVIII in G sharp minor a3 4:52
37. Prelude XIX in A 1:51
38. Fugue XIX in A a3 2:00
39. Prelude XX in A minor 4:51
40. Fugue XX in A minor a3 1:56
41. Prelude XXI in B flat 8:00
42. Fugue XXI in B flat a3 2:31
43. Prelude XXII in B flat minor 2:31
44. Fugue XXII in B flat minor a4 4:21
45. Prelude XXIII in B 2:21
46. Fugue XXIII in B a4 3:34
47. Prelude XXIV in B minor Allegro 2:24
48. Fugue XXIV in B minor a3 2:13

Personnel:
Ramin Bahrami, piano

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B.B. King – Completely Well (1969/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 50:08 minutes | 1,11 GB | Genre: Blues
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Geffen Records
Recorded: June 24-25, 1969, The Hit Factory, New York

Completely Well was B.B. King’s breakthrough album in 1969, which finally got him the long-deserved acclaim that was no less than his due. It contained his signature number, “The Thrill Is Gone,” and eight other tunes, six of them emanating from King’s pen, usually in a co-writing situation. Hardliners point to the horn charts and the overdubbed strings as the beginning of the end of King’s old style that so identifiably earmarked his early sides for the Bihari Brothers and his later tracks for ABC, but this is truly the album that made the world sit up and take notice of B.B. King. The plus points include loose arrangements and a small combo behind him that never dwarfs the proceedings or gets in the way. King, for his part, sounds like he’s having a ball, playing and singing at peak power. This is certainly not the place to start your B.B. King collection, but it’s a nice stop along the way before you finish it.

Tracklist:
1 So Excited 5:34
2 No Good 4:35
3 You’re Losin’ Me 4:54
4 What Happened 4:41
5 Confessin’ The Blues 4:56
6 Key To My Kingdom 3:18
7 Cryin’ Won’t Help You Now 6:30
8 You’re Mean 9:39
9 The Thrill Is Gone 5:30

Personnel:
B. B. King – guitar, vocals
Hugh McCracken – guitar
Paul Harris – piano, electric piano, organ
Gerald “Fingers” Jemmott – bass
Herbie Lovelle – drums
Bert “Super Charts” DeCoteaux – string and horn arrangements

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Antonella Vitale – The Look of Love (2003/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 45:55 minutes | 0,97 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover | © Alfa Music
Recorded at AlfaMusic Studio, Roma, Italy by Alessandro Guardia

The vocalist Antonella Vitale, one of the most interesting interpreters of the new Italian Jazz scene, was born artistically in Rome in the early nineties and her undisputed vocal capabilities have always been accompanied by her research for an innovative style. This new production of her is based vaguely on some of the more significant compositions by Burt Bacharach and goes on moving through standards of the same harmonic and melodic intensity given by authors like H. Carmichael and G. Gershwin. The four original pieces recall the same atmosphere, linking together the traditional international jazz to our own Mediterranean musicality. The original musical arrangements made by Andrea Beneventano makes listening even more intense and involving. Supporting the Album realisation were: Francesco Puglisi at the double-bass, Lorenzo Tucci at the drums, Andrea Beneventano at the piano, and Aldo Bassi appearing as a special guest star at the trumpet. Particular attention was given to the tracks mixing phase, which was done in collaboration with the dear friend and expert Stefano Isola who did this job by using digital techniques though maintaining great warmth.

Diamo il benvenuto a questa vocalist italiana che si presenta con un CD di esordio con un repertorio costituito da standard molto noti e alcune composizioni originali della stessa Antonella Vitale, di Andrea Beneventano, pianista e arrangiatore di questo CD, e di Marina Acerra. Ci sono tre brani di Bacharach, tra cui la title track, il che evidenzia anche un’abile capacità di esposizione della melodia molto importante nei brani di questo compositore e la Vitale presenta un timbro di voce molto limpido e versatile. Forse una piccola pecca la si può denotare nella pronuncia inglese un po’ “forzata”. Quando però si tratta di improvvisare la Vitale non si tira certo indietro e utilizza disinvoltamente un valido scat come nella ballad Notte, in cui esegue un bel raddoppio di tempo, ma anche negli altri brani rileva una buona padronanza dell’armonia. Molto piacevoli le composizioni originali con un uso della lingua italiana che oramai comincia a consolidarsi tra le cantanti italiane. Forse non saranno testi molto esportabili ma la musicalità ottenuta è indubbiamente originale e gradevole. I musicisti chiamati ad accompagnare la vocalist (Lorenzo Tucci, Francesco Puglisi e Andrea Beneventano) costituiscono un’ottima e solida base, improvvisano tutti disinvoltamente anche se non si registrano picchi particolari. –Jazzitalia

Tracklist:
1. How Long Has This Been Going On? 4:51
2. Notte 6:19
3. The Look of Love 6:12
4. Skylark 7:05
5. Running In Rome 5:37
6. Un sogno apparirà 4:18
7. They Long to Be (Close to You) 4:34
8. Presto amore è tardi 3:35
9. Walk On By 3:30

Personnel:
Antonella Vitale – Voice
Andrea Beneventano – Piano
Francesco Puglisi – Double bass
Lorenzo Tucci – Drums
Special Guest:
Aldo Bassi – Trumpet & Flugel Horn

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Alphonse Mouzon – The Essence Of Mystery (1973/2017)
FLAC (tracks) 24 bit/192 kHz | Time – 44:35 minutes | 1,64 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Blue Note Records
Recorded: A&R Recording Studio, NYC, December 13, 14 & 15, 1972

Following stints playing with Weather Report, McCoy Tyner and Wayne Shorter, drummer Alphonse Mouzon released this acclaimed debut album as leader in 1973. Long out of print, The Essence Of Mystery includes nine original songs performed by Mouzon and his band, consisting of Buddy Terry and Sonny Fortune on saxophones, Larry Willis on piano and bassists Buster Williams and Wilbur Bascomb Jr.

Several different drummers helped put jazz fusion on the map in the ’70s. The one who seems to get most of the credit is Billy Cobham, but others, such as Alphonse Mouzon, contributed quite a bit to the cause as well. Born on November 21, 1948, in Charleston, SC, Mouzon got serious with his drumming in high school, where he studied with both a saxophonist and a drummer. Relocating to New York City in the late ’60s to attend college, Mouzon had a hard time deciding between a career in music, drama, or medicine. Music wound up getting the nod by the dawn of the ’70s, when Mouzon served as a session drummer on recordings by Tim Hardin (Bird on a Wire), Gil Evans (Gil Evans), Weather Report (Weather Report), Norman Connors (Dance of Magic), John Klemmer (Magic and Movement), and Teruo Nakamura (Unicorn). Mouzon also began issuing solo albums around this time, including such early releases as 1972’s The Essence of Mystery and 1973’s Funky Snakefoot. But Mouzon decided to take a momentary break from session work to concentrate on being a full-time member of Larry Coryell’s Eleventh House, with whom he appeared on several releases with from 1974 through 1975 (Introducing Larry Coryell & the Eleventh House, At Montreux, Level One, etc.). Throughout it all though, Mouzon never stopped issuing solo albums on a regular basis, including arguably his finest solo release, 1974’s Mind Transplant, which would have undoubtedly garnered more attention if it wasn’t issued so close to Cobham’s 1973 classic Spectrum. Mouzon has also collaborated with others from time to time (such as the release Trilogue Live!, credited to Albert Mangelsdorff, Jaco Pastorius, and Mouzon) as well as teamed up from time to time with his old friend Coryell (1977’s Back Together Again and also a full Eleventh House reunion during the late ’90s). Mouzon isn’t limited to just fusion however, as he’s proven his versatility by either recording with or performing alongside the likes of Stevie Wonder, Eric Clapton, Jeff Beck, Carlos Santana, Patrick Moraz, Tommy Bolin, and Chubby Checker. Additionally, Mouzon has returned sporadically to his other love, acting, including a part alongside Tom Hanks in the 1996 film, That Thing You Do!, and also serves as chairman/CEO for his own record label, Tenacious Records. Mouzon continues to issue albums, and also tours Europe and the U.S. on a regular basis — leading his own trio, quartet, or quintet. –Greg Prato

Tracklist:
1 The Essence Of Mystery 4:55
2 Funky Finger 3:40
3 Crying Angels 5:23
4 Why Can’t We Make It 3:27
5 Macrobian 5:14
6 Spring Water 6:27
7 Sunflower 4:27
8 Thank You Lord 4:02
9 Antonia 4:40

Personnel:
Alphonze Mouzon, drums, timpani, tabla, percussion, electric piano, clavinet, mellotron, vocals
Buddy Terry, soprano sax
Sonny Fortune, alto sax
Larry Willis, piano, electric piano
Buster Williams, bass
Wilbur Bascomb Jr., electric bass

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The album is a journey through music (Great American Song Book, Broadway & Jazz) and Edward Hopper’s art. The songs have been arranged by the most sought-after and best jazz arrangers including Baptiste Trotignon, Pierre Boussaguet, Patrice Caratini and Cyrille Lehn. Recorded with the Paris Mozart Orchestra and 2 Jazz Musicians, this is Natalie Dessay’s exciting first album release for Sony Classical. The first disc contains eleven songs from the Great American Song Book and the second: 8 compositions by Graciane Finzi (inspired by the Hopper paintings), texts by French poet Claude Esteban, recited by Natalie before Barber’s Adagio closes the album.

Tracklist:
01 – On a Clear Day (From “On a Clear Day You Can See Forever”)
02 – I Feel Pretty (From “West Side Story”)
03 – I’m a Fool to Want You
04 – Send in the Clowns (From “A Little Night Music”)
05 – Detour Ahead
06 – Something’s Coming (From “West Side Story”)
07 – Autour de minuit
08 – I Keep Going Back to Joe’s & My Solitude
09 – A Place That You Want to Call Home
10 – Two Lonely People
11 – There’s No Business Like Show Business (From “Annie Get Your Gun”)
12 – Ground Swell
13 – Girl at Sewing Machine
14 – Compartment C, Car 293
15 – Nighthawks
16 – South Carolina Morning
17 – House by the Railroad
18 – People in the Sun
19 – Roofs of Washington Square
20 – Adagio for Strings, Op. 11

Personnel
Natalie Dessay – soprano, narrator
Paris Mozart Orchestra, Conducted by Claire Gibault.

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Guitars in the foreground, musclebound rhythms and grandiose vocals: It never occurred to Nickelback to take up deep house or electro dub on their ninth album, then. With Feed The Machine, the Canadians remain faithful to their fundamentals, balancing hard riffs with addictive melodies. The gang from Alberta still has the major advantage that is singer Chad Kroeger, virtuoso vocalist whose voice is paraded to perfect effect amidst the guitar tsunami that he unleashes alongside his rhythm guitarist Ryan Peake. One could, of course, accuse Nickelback of resting on their laurels somewhat, but you’ve got to admit that the XXL hard stadium rock of, Feed The Machine does what it says on the tin.

Tracklist:
01 – Feed the Machine
02 – Coin for the Ferryman
03 – Song on Fire
04 – Must Be Nice
05 – After the Rain
06 – For the River
07 – Home
08 – The Betrayal (Act III)
09 – Silent Majority
10 – Every Time We’re Together
11 – The Betrayal (Act I)

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Nevermind was never meant to change the world, but you can never predict when the zeitgeist will hit, and Nirvana’s 1991 Nevermind turned out to be the place where alternative rock crashed into the mainstream.

No matter how much anguish there is on Nevermind is bracing because Kurt Cobain exorcises his demons through evocative wordplay and mangled screams paired with the band’s a tremendous, unbridled power that transcends the pain, turning into pure catharsis. And that’s as key to the record’s success as Cobain’s songwriting, since Krist Novoselic and Dave Grohl help turn this into music that is gripping, powerful, and even fun (and, really, there’s no other way to characterize “Territorial Pissings” or the surging “Breed”).

Nevermind immediately became a smash hit, quickly selling out its initial shipment of 50,000 copies and creating a shortage across America. What helped the record become a success was “Smells Like Teen Spirit,” a blistering four-chord rocker that was accompanied by a video that shot into heavy MTV rotation. By the beginning of 1992, “Smells Like Teen Spirit” had climbed into the American Top Ten and Nevermind bumped Michael Jackson’s much-touted comeback album Dangerous off the top of the album charts; it reached the British Top Ten shortly afterward. By February, the album had been certified triple platinum.

Tracklist:
01 – Smells Like Teen Spirit
02 – In Bloom
03 – Come As You Are
04 – Breed
05 – Lithium
06 – Polly
07 – Territorial Pissings
08 – Drain You
09 – Lounge Act
10 – Stay Away
11 – On A Plain
12 – Something In The Way
13 – Endless, Nameless

Download:

https://subyshare.com/eqtikynszkdk/NirvanaNevermind19912011HDTracks2496.part1.rar.html
https://subyshare.com/sigvcbir2ihi/NirvanaNevermind19912011HDTracks2496.part2.rar.html

The soundtrack to “Waco” (TV Series) is pretty good. This is another pretty good soundtrack / score from Jeff Russo (with Jordan Gagne). It is solid, well-done and decently entertaining.

Tracklist:
01. Waco (Main Title Theme)
02. Tear Gas
03. David’s Theme
04. Sniper at Ruby Ridge
05. Rachel Dies
06. Incendiary
07. Satellite Response
08. Burning Compound
09. Out for Blood
10. Survivor List
11. McLellan Prison

Download:

https://subyshare.com/k0szt0p85mrr/JeffRuss0Wac00riginalSc0reS0undtrack20182448.rar.html

Widely regarded as peerless on the Hammond B3 organ, Joey DeFrancesco releases his first ever quartet album, an impassioned tale of love and peace titled ‘Project Freedom’. Aside from the always prominent influence of his hometown of Philadelphia, the album is largely inspired by the differing viewpoints he has been exposed to from years of globetrotting and world touring. “I always thought that as touring musicians, we were spreading peace,” he explains. “No matter what happens in the world, we keep playing. In a lot of the so-called forbidden places too. When we’re there, through war and conflict, problems melt away through music.” Joey DeFrancesco & The People, a unit he’ll tour with in 2017, features guitarist Dan Wilson, saxophonist Troy Roberts, and drummer Jason Brown.

Tracklist:
01. Imagine (Prelude)
02. Project Freedom
03. The Unifier
04. Better Than Yesterday
05. Lift Every Voice And Sing
06. One
07. So Near, So Far
08. Peace Bridge
09. Karma
10. A Change Is Gonna Come
11. Stand Up

Personnel:
Joey DeFrancesco – organ, keyboards, trumpet
Jason Brown – drums
Troy Roberts – tenor & soprano sax
Dan Wilson – guitar

Download:

https://subyshare.com/ykcng099pvmc/J0eyDeFrancesc0Pr0jectFreed0m20172444.1.rar.html

Throughout years of travelling, John Andrews has documented his life with his home recordings. His first record, Bit By The Fang, found him living in the amish country of Lancaster, PA. On his latest record, Bad Posture, he waves farewell to Pennsylvania and greets the wooded hills of Barrington, NH. These songs were written slowly and quietly throughout the winter, usually late at night next to the wood stove. It was recorded in Andrews’ barn with the doors ajar, welcoming the springtime inviting the outside noises in. You can hear the crickets chirping and the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. Andrews’ band, The Yawns, has been crystallized with staples from the New England freak scene: Rachel Neveu and Lukas Goudreault (MMOSS / Soft Eyes) and Joey Schneider. The album was mixed with headphones at the foot of Emma Critchett’s grave, who lived in the Yawns’ house during the 1800s. The record is an ode to her and all who have lived there. It paints a picture of living in the ”freecountry” on the precipice of a rapidly changing political climate.

Known to some as drummer for Quilt and keyboardist for Woods, the also singer/songwriter John Andrews changed things up a little for his second solo album, Bad Posture. For one, he relocated from Pennsylvania Amish country to the woods of Barrington, New Hampshire. It was there that he recorded the album in the barn of a Colonial farmhouse shared with other musicians. He also invited his housemates to perform on the album, essentially functioning as the previously fictional half of John Andrews & the Yawns. They included Rachel Neveu, Lukas Goudreault, and Joey Schneider, from bands such as Mmoss and Soft Eyes. What remains constant on his return is Andrews’ easygoing, trippy roots pop, seasoned here with the occasional crickets or passersby, as he welcomed in the natural environs. Replete with ambling guitar and keyboard tunes, the record opens with slightly off-kilter AM radio vibes on “Drivers.” Warm strummed guitars and hazy double-tracked vocals are reinforced with piano, slide guitar, and hippie-styled vocal harmonies, while glitchy touches of electric guitar and pitch bending keep things a little wonky as the singer tries to clarify “I don’t know you no more/Don’t owe you no more.” The brief “Home Is Just as Good as Any Place” relies instead on the keyboard, sometimes slightly off pitch, a recurring motif on the otherwise solidly harmonious set. The album seems to come to an understated climax midway through the track list on “Relax.” Part piano rag, part woodland dream pop, and part bleepy noise experiment, the song is steered by a typically breezy melody that has Andrews repeating, among other lyrics, “Don’t you know you’re feeling fine?” Throughout, the album is approachable though textured, sweet but a bit askew, and classic, almost country-like at times, yet distinctly indie in its approach. It’s an effective balance that one needn’t pay much mind while enjoying Bad Posture’s unsettled sylvan charms. ~ Marcy Donelson

Tracklist:
01. Drivers
02. Old News
03. Windmill
04. Home Is Just as Good as Anyplace
05. Painting a Picture
06. Relax
07. Homesick in Heaven
08. Audrey
09. The Sun Shines Different for You

Download:

https://subyshare.com/zz08m7tfi6ta/J0hnAndrewsTheYawnsBadP0sture20172444.1.rar.html

2018 release featuring songs recorded live in Germany, 2017 with his trio featuring Greg Rzab & Jay Davenport. Includes recent tunes mixed with old classics.

This new album is John Mayall’s sixty-eighth and that doesn’t include re-issues. Mayall is the influential British bluesman who formed his band The Bluesbreakers in 1963. A great guitarist, keyboardist, harmonica player, singer, songwriter and bandleader he is still going strong after more than fifty years. At the 2016 Blues Music Awards Mayall was inducted into The Blues Hall of Fame.

This album features Mayall in a trio format. Mayall explains “it came about accidentally when my guitarist wasn’t able to make a festival gig due to airline cancellations. Since then, I found that the interplay and dynamics have created a more personal upfront sound”. Performing as a trio for more than a year vocalist Mayall switches between harmonica and keyboards. The rhythm section is still Greg Rzab, bass; and Jay Davenport, drums. The album was recorded live in Germany in March, 2017.

Mayall reprises two of his own songs; “Streamline” and “Lonely Feelings”. Mayall is also a historian and the other seven songs are selected covers “from my extensive library of material composed by some of my favorite blues players.”

“Big Town Playboy” written by Eddie Taylor was the title track to his 1981 album featuring Jimmy Reed on guitar. “I Feel So Bad” is from Sam John “Lightnin’ Hopkins and a 1962 Imperial Records single. “The Sum of Something” written by Curtis Salgado originally appeared on Salgado’s 2004 album “Strong Suspicion”. “Congo Square” is from Sonny Landreth.

“Tears Came Rollin Down” written by the 2008 Grammy award winning Henry J. Townsend was first recorded by Mayall on his 1988 album “Chicago Line”. Lionel Hampton’s “Ridin’ On The L & N” was previously included on Mayall’s 1994 recording “Cross Country Blues”. “Don’t Deny Me” written by Jerry Lynn Williams also appears on Mayall’s last studio album 2016’s “Talk About That”.

What’s next on the horizon for Mayall. He states that on his next “recording I shall still be exploring the talents of guitar players who will be pretty well-known to all lovers of rock and roll”. Mayall may be referring to Joe Walsh of The Eagles who was a guest on “Talk About That”. Now that would be something to talk about.

Tracklist:
01. Introduction (Live)
02. Big Town Playboy (Live)
03. I Feel so Bad (Live)
04. The Sum of Something (Live)
05. Streamline (Live)
06. Tears Came Rolling Down (Live)
07. Riding on the L&N (Live)
08. Don’t Deny Me (Live)
09. Lonely Feeling (Live)
10. Congo Square (Live)

Download:

https://subyshare.com/78esi7f965i8/J0hnMayallThreeF0rTheR0adA2017LiveRec0rding20182444.1.rar.html

Sad Clowns & Hillbillies is the 23rd studio album by American singer-songwriter and musician John Mellencamp. It was released on April 28, 2017 by Republic Records.The album features significant contributions from Carlene Carter, who worked with Mellencamp on Ghost Brothers of Darkland County, his musical collaboration with Stephen King, and Ithaca, the movie he scored for ex-girlfriend Meg Ryan. Carter opened every show of Mellencamp’s 2015–2016 Plain Spoken Tour.

Sad Clowns & Hillbillies marks the first time in a decade that a John Mellencamp studio record finds him in the producer’s chair. It’s the first time ever that he’s shared billing on an album cover. Carlene Carter is a singer/songwriter and music biz veteran; the daughter of country music royalty — Carl Smith and June Carter Cash — making her the stepdaughter of Johnny. She and Mellencamp worked together on 2012’s Ghost Brothers of Darkland County, the musical theater project he scored for Stephen King; they collaborated further on the soundtrack for Ithaca — the “Sugar Hill Mountain” reprised here is one of a handful of excellent duets between them. Things don’t begin well, however. Mellencamp’s attempt at Mickey Newbury’s “Mobile Blue” (from his classic ‘Frisco Mabel Joy album) is utterly dull despite using a full band driven by Miriam Sturm’s excellent fiddling. “Battle of Angels” hearkens back to the songwriter’s Lonesome Jubilee/Big Daddy period, and works like a charm. It’s got everything: A killer hook, a poetic lyric, and a gritty vocal. Martina McBride appears as his duet partner on first single “Grandview,” a rocking paean to trailer parks — — though guest guitarist Izzy Stradlin almost steals the show with a greasy blues-rock shuffle and break. “Indigo Sunset,” the first duet between the headliners — is kicked off by Carter’s soulful country contralto. She frames the lyric’s haunted loneliness while Mellencamp’s grainy rasp — framed by B-3, mandolin, fiddle, and guitars — balances perfectly to bring it home. “All Night Talk Radio” is classic Mellencamp: Its dark vision is painted in compelling, ironic, and dark imagery packaged as in a taut, acoustic rocker. Morally, he should share the royalties for “You Are Blind” with Leonard Cohen’s estate: A careful listen reveals that the strategic manner of stacking images and metaphors to draw out the last syllables bears the unmistakable imprint of the late songwriter’s classic “Suzanne.” Carter’s soaring lead opening the duet of the rocking blues-gospel of “Damascus Road” is another set highlight. That theme also guides “My Soul’s Got Wings,” with Mellencamp’s melody and chart accompanying a Woody Guthrie lyric — Carter’s command of the country church vernacular (after all, she sang with her mom in the Carter Family) lights the fuse for Mellencamp — no stranger himself to rural Sunday services — and he brings it home. While the words in closer “An Easy Target” rank among Mellencamp’s most politically charged and socially arresting, his faux Tom Waits’ delivery blunts the tune’s impact a bit, but it’s too powerful to be completely buried under a stylistic mistake. While Sad Clowns & Hillbillies is a bit of a mixed bag, it’s better than all of his other records that bear that mark (Dance Naked, Whenever We Wanted, Rough Harvest, et. al). It puts all his strengths — excellent original songs, unforced arrangements, and (mostly) inspired performances — on full display. Well, almost. Because Carter’s dynamic presence here, and the pair’s unmistakable chemistry, lift this album above the ordinary. ~ Thom Jurek

Tracklist:
01. Mobile Blue
02. Battle Of Angels
03. Grandview feat. Martina McBride
04. Indigo Sunset feat. Carlene Carter
05. What Kind Of Man Am I feat. Carlene Carter
06. All Night Talk Radio
07. Sugar Hill Mountain feat. Carlene Carter
08. You Are Blind
09. Damascus Road feat. Carlene Carter
10. Early Bird Cafe
11. Sad Clowns
12. My Soul’s Got Wings feat. Carlene Carter
13. Easy Target

Personnel:
John Mellencamp – vocals, guitars
Andy York – acoustic guitar, electric guitar
Mike Wanchic – acoustic guitar, electric guitar
John Gunnell – bass
Dane Clark – drums
Miriam Sturm – violin
Troye Kinnett – keyboards
Lily & Madeleine – background vocals

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https://subyshare.com/pdkpqg0vpfw1/J0hnMellencampSadCl0wnsandHillbillies20172496.part1.rar.html
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Tom Holkenborg, aka Junkie XL, is a Grammy nominated and multi-platinum producer, musician, and composer whose versatility puts him on the cutting edge of contemporary music, as well as at the vanguard of exciting new film composers. His film scoring credits include Mad Max Fury Road, Deadpool, Black Mass, Divergent, Brimstone and the forthcoming Dark Tower and now Tomb Raider.

Tom is able to draw on his extensive knowledge of classical forms and structures while keeping one finger planted firmly on the pulse of popular music. When this eclectic background is paired with his skill as a multi-instrumentalist (he plays keyboards, guitar, drums, violin, and bass and describes himself as a ‘full contact composer’) and a mastery of studio technology, a portrait emerges of an artist for whom anything is possible.

With a solid command of the craftsmanship of film scoring, the understanding of the history, but always with an eye on the future, the future for Junkie XL in Hollywood looks bright.

Tracklist:
01. Return to Croft Manor
02. Seeking Endurance
03. The Bag
04. Path of Paternal Secrets
05. The Devil’s Sea
06. Let Yamatai Have Her
07. Figure in the Night
08. Remember This
09. Never Give Up
10. Karakuri Wall
11. What Lies Underneath Yamatai
12. There’s No Time
13. Becoming the Tomb Raider
14. The Croft Legacy

Download:

https://subyshare.com/yvn0obme1vkb/JunkieXLT0mbRaider0riginalM0ti0nPictureS0undtrack20182448.rar.html

Kids In The Street is the 7th and latest album from American roots troubadour, Justin Townes Earle. After marrying, moving to various corners of the country and continuous touring with both full band and solo, Earle made time to reflect on the past few years and find new clarity. With Kids In The Street, he made a conscious decision to work with a producer for the first time in his now decade-long career. Earle made the trip to Omaha,Nebraska to work with Mike Mogis (First Aid Kit, M.Ward, Connor Oberst) at ARC Studios. Together, they hand picked musicians to create a new sound and environment for the songs that speaks to Justin’s roots, musically and personally. This creative collaboration, paired with Justin’s longtime guitarist Paul Niehaus, has resulted in an album that takes a big step forward.

First of all, let us congratulate Justin Townes Earle for being one of the first songwriters to celebrate the humble but reliable Toyota in song. Sure, the Cadillac may have a more noble musical legacy, but in “Champagne Corolla,” on 2017’s Kids in the Street, Earle is eager to explain why the car (and especially the woman driving it) is worth a second glance. Second, let’s note that “Champagne Corolla” is one of the very best rockers Earle has offered to date; the singer/songwriter is traditionally more comfortable with a subtle attack in the studio, but here he opens the album with a stompin’ exercise in New Orleans-influenced R&B, and it connects solidly. As it turns out, rockers are in the minority on Kids in the Street, but “Short Haired Woman” and “15-25” show he can cut the same sort of groove when he feels like it, and Paul Niehaus’ guitar and Scott Seiver’s drumming do wonders to make these songs move. On much of the rest of Kids in the Street, Earle is in more subdued form, with a lower volume and more careful tempi, but this material truly confirms that he just keeps growing and improving as a songwriter. “Same Old Stagolee” is a smart and absorbing rewrite of the old folk tale, the title track artfully balances nostalgia and regret, and “Faded Valentine” and “There Go a Fool” are marvelous sketches of love and lovers gone wrong, Earle’s favorite theme. As a vocalist, Earle is short on histrionics but he knows how to make his lyrics communicate, and he sounds as good as ever on these sessions, carefully shaping these tales with smart, subtle phrasing. Kids in the Street doesn’t sound or feel like a masterpiece, but it does suggest Earle was aiming higher than expected for this album, and he hit the target — this is among his very best work to date. ~ Mark Deming

Tracklist:
01. Champagne Corolla
02. Maybe a Moment
03. What’s She Crying For
04. 15-25
05. Kids in the Street
06. Faded Valentine
07. What’s Goin’ Wrong
08. Short Hair Woman
09. Same Old Stagolee
10. If I Was the Devil
11. Trouble Is
12. There Go a Fool

Download:

https://subyshare.com/jjtw6wyohno3/JustinT0wnesEarleKidsInTheStreet20172444.1.rar.html

Keni Burke is the youngest of the original Five Stairsteps and the only one still seriously involved in music. You’re the Best, a fine effort, never reached first base. RCA pushed “Let Somebody Love You” and the title track, but neglected tracks like the chugging, stop-and-go “Night Riders,” pumped by spirited backing vocals, and “Gotta Find My Way Back to Your Heart,” a dramatic ballad that Burke composed with Bill Withers. “Never Stop Loving Me,” a Burke/Curtis Mayfield composition, has the same texture and sweetness of a Mayfield solo, while “Paintings of Love” is pure, unbridled Burke, sung in a soft, introspective voice that gels with the poetic lyrics.

Tracklist:
01. Let Somebody Love You
02. Gotta Find My Way Back in Your Heart
03. Love Is the Answer
04. You’re the Best
05. Paintings of Love
06. Night Riders
07. Never Stop Loving Me
08. You’re the Best (Remix Edit)
09. You’re the Best (12″ Remix)
10. Night Riders (7″)
11. Night Riders (12″)
12. Let Somebody Love You (7″)
13. Let Somebody Love You (Instrumental)

Download:

https://subyshare.com/5qpfsrk0zpqe/KeniBurkeY0uretheBestExpanded20152496.part1.rar.html
https://subyshare.com/32ahjqcywo75/KeniBurkeY0uretheBestExpanded20152496.part2.rar.html

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the ’70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry ice, smoke bombs, elaborate lighting, blood spitting, and fire breathing that captured the imaginations of thousands of kids. But Kiss’ music shouldn’t be dismissed it was a commercially potent mix of anthemic, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars, cloying melodies, and sweeping strings. It was a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late ’80s.

Tracklist:
01. Detroit Rock City
02. Black Diamond
03. Hard Luck Woman
04. Sure Know Something
05. Love Gun
06. Deuce
07. Goin’ Blind
08. Shock Me
09. Do You Love Me
10. She
11. I Was Made For Lovin’ You
12. Shout It Out Loud (Live)
13. God Of Thunder
14. Calling Dr. Love
15. Christine Sixteen
16. Beth
17. Strutter
18. Rock And Roll All Nite
19. Cold Gin
20. Plaster Caster
21. Flaming Youth
22. Two Sides Of The Coin
23. C’mon And Love Me
24. Rock Bottom
25. God Gave Rock ‘N’ Roll To You II

Download:

https://subyshare.com/a5mhtavs54gy/KissGreatestKiss201424192.part1.rar.html
https://subyshare.com/5kyfv1ihdzf5/KissGreatestKiss201424192.part2.rar.html
https://subyshare.com/htox4wtg2ddq/KissGreatestKiss201424192.part3.rar.html
https://subyshare.com/5ybv0bgph5ja/KissGreatestKiss201424192.part4.rar.html

Flamboyance and delicacy for this new album by Kora Jazz Trio directed by Eric Legnini. Despite obvious historical links between jazz and African traditional music few projects succeed the fusion of these musics …. A pioneer of the genre, the Kora Jazz Trio returns with a 6th album made by the eclectic Eric Legnini.

This one sublimates the compositions of the pianist Abdoulaye Diabaté, as well as the very beautiful interpretations of the standards that are Via Con me of Paolo Conté, Sodade immortalized by Cesaria Evora and Moanin ‘of the Jazz Messengers of Art Blakey.

For this Part IV of the Kora Jazz Trio, the Kora has been entrusted to a regular of all musical encounters: Cherif Soumano (Dee Dee Bridgewater, Tiken Jah Fakoli, World Kora trio, …) and to enhance the repertoire add according to the songs, Woz Kali’s singing, Manu Marches’s double bass, Boris Caicedo’s percussion, Adama Condé’s balafon and Hervé Morisot’s (Sodade) guitar.

Tracklist:
01. Djanffa
02. Siragnan-Fain
03. Via con me
04. Fayda
05. Bourama
06. Moanin’
07. Keba-Djïto
08. Sodade
09. Ala-Lako
10. Kora ya me voy
11. Mitoha Song

Download:

https://subyshare.com/6gfm9qvju5vj/K0raJazzTri0PartIV20182444.1.rar.html

Ensemble Sébastien de Brossard, Fabien Armengaud & Jean-François Novelli – Silentium. Motets pour taille (2018)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:12:50 minutes | 1,29 GB | Genre: Classical
Studio Master, Official Digital Download | Booklet, Front Cover | © EnPhases

Pronouncing his Latin “à la française”, as was the style in the days of the Sun King, Jean-François Novelli explores a repertoire running from the middle to the end of the reign of Louis XIV. Charpentier of course, Louis Couperin (uncle to François, “le Grand”), André Campra among others: the flower of contemporary composers. Most of these works were not written specifically for baritenor, or the median male vocal range, but rather for haute-contre or bass, which were respectively more sparkling and more sonorous. Here they are redistributed, but with a few transpositions, including some which had been suggested by the composers themselves, who knew well that producers would generally just deploy the singers that they had to hand. The accompaniment is provided by two violins, two violas da gamba, theorbo, harpsichord and positive organ, although not necessarily all of them at the same time. Between motets, the musicians brighten up the album with a few pure instrumental pieces from Henry du Mont and Pierre Bouteiller.

Tracklist:
01. Silentium dormi, SdB. 52
02. O salutaris Hostia
03. Motet à la manière italienne à voix seule avec deux dessus de violon: Quis ego Domine
04. Allemande
05. O prestiosum et admirabile convivium, H. 247
06. Nunc dimittis
07. Pavane
08. Salve Regina des Jésuites, H. 27
09. Simphonie
10. Lauda Sion salvatorem, H. 268A
11. Tantum erga
12. Motet à voix seule et deux dessus de violons de Monsieur S******: Quando veniam

Personnel:
Jean-François Novelli, taille
Stéphan Dudermel et François Costa, violons
Yuka Saïtô et Matthieu Lusson, violes de gambe
Stéphanie Petibon, théorbe
Fabien Armengaud, orgue, clavecin & direction

Download:

https://subyshare.com/9fxozms7drhw/EnsembleSbastiendeBr0ssardFabienArmengaudJeanFran0isN0velliSilentium.M0tetsp0urtaille20182488.2.part1.rar.html
https://subyshare.com/pk05fffxein7/EnsembleSbastiendeBr0ssardFabienArmengaudJeanFran0isN0velliSilentium.M0tetsp0urtaille20182488.2.part2.rar.html

Bartok & Ligeti – Chamber & Orchestral Works – Ensemble InterContemporain, Matthias Pintscher (2015) [Official Digital Download 24bit/88,2kHz]

Barry Sadler – Back Home (1967/2016) [Official Digital Download 24bit/192kHz]

Johann Sebastian Bach – The Well-Tempered Clavier Book II – Ramin Bahrami (2016) [Official Digital Download 24bit/192kHz]

B.B. King – Completely Well (1969/2015) [Official Digital Download 24bit/96kHz]

Antonella Vitale – The Look of Love (2003/2015) [Official Digital Download 24bit/96kHz]

Alphonse Mouzon – The Essence Of Mystery (1973/2017) [Official Digital Download 24bit/192kHz]

Natalie Dessay – Pictures Of America (2016) [Official Digital Download 24bit/96kHz]

Nickelback – Feed The Machine (2017) [Official Digital Download 24bit/44,1kHz]

Nirvana – Nevermind (1991/2011) [Official Digital Download 24bit/96kHz]

Jeff Russo – Waco (Original Score Soundtrack) (2018) [Official Digital Download 24bit/48kHz]

Joey DeFrancesco – Project Freedom (2017) [Official Digital Download 24bit/44,1kHz]

John Andrews & The Yawns – Bad Posture (2017) [Official Digital Download 24bit/44,1kHz]

John Mayall – Three For The Road (A 2017 Live Recording) (2018) [Official Digital Download 24bit/44,1kHz]

John Mellencamp – Sad Clowns and Hillbillies (2017) [Official Digital Download 24bit/96kHz]

Junkie XL – Tomb Raider (Original Motion Picture Soundtrack) (2018) [Official Digital Download 24bit/48kHz]

Justin Townes Earle – Kids In The Street (2017) [Official Digital Download 24bit/44,1kHz]

Keni Burke – You’re the Best (Expanded) (1982/2015) [Official Digital Download 24bit/96kHz]

Kiss – Greatest Kiss (1997/2014) [Official Digital Download 24bit/192kHz]

Kora Jazz Trio – Part IV (2018) [Official Digital Download 24bit/44,1kHz]

Ensemble Sebastien de Brossard, Fabien Armengaud & Jean-François Novelli – Silentium. Motets pour taille (2018) [Official Digital Download 24bit/88,2kHz]