Studio Masters – HDMusic.me

Rachmaninov, Tchaikovsky – Piano Concerto – Sviatoslav Richter, Stanislaw Wislocki, Herbert von Karajan (1959/63/95/2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:11:02 minutes | 1,29 GB | Genre: Classical
Official Digital Download – Source: Qobuz | © Deutsche Grammophon
Recorded: #1-3: Warsaw, Philharmonie on 26th to 28th April 1959; #4-6: Vienna, Musikvereins-Saal on 24th to 26th September 1962

These two performances by Grammy-winning Russian pianist Sviatoslav Richter are now considered reference versions of the Rachmaninov and Tchaikovsky concertos. Recorded in 1959 and 1962 respectively. Stanislaw Wislocki leads the Warsaw National Philharmonic Orchestra on the Rachmaninov; Herbert von Karajan and Wiener Symphoniker accompany Richter on the Tchaikovsky.

This 1995 release from Deutsche Grammophon combines two memorable concerto recordings by Sviatoslav Richter. Almost all of Richter’s recordings are considered legendary — particularly since he did not like recording in the studio — but these are rightfully so. They were some of the first that were released widely in the west, where he was still something of a new talent in the late ’50s-early ’60s, although a middle-aged man by then. The Rachmaninov Concerto No. 2 with Stanislaw Wislocki and the Warsaw Philharmonic Orchestra dates from 1959 and was met with high praise from most for its detail and the depth of Richter’s knowledgable interpretation. It is not as ardent as most other pianists’ readings, but its clarity speaks volumes and can still move the listener. The Tchaikovsky, from 1963, with Herbert von Karajan and the Vienna Symphony, is also less affecting and, in some places, less dancing than expected. It may even seem stiff to some listeners, but again, there is no arguing with the sheer intelligence of the performance. Richter and Karajan worked well together here, with a common approach to the music. The sound quality of both recordings is very good, especially with the digital re-mixing helping to enhance the fine points of the music. –AllMusic Review by Patsy Morita

Tracklist:
Sergey Vasil’yevich Rachmaninov (1873 – 1943)
Konzert Für Klavier Und Orchester Nr. 2 C-moll Op. 18
1 Moderato 11:13
2 Adagio Sostenuto 11:54
3 Allegro Scherzando 11:39
Peter Ilyich Tchaikovsky (1840 – 1893)
Konzert Für Klavier Und Orchester Nr. 1 B-Moll Op. 23
4 Allegro Non Troppo E Molto Maestoso – Allegro Con Spirito 22:08
5 Andantino Semplice – Prestissimo – Tempo I 6:55
6 Allegro Con Fuoco 7:07

Personnel:
Sviatoslav Richter, piano
Warsaw National Philharmonic Orchestra (#1-3)
Stanislaw Wislocki, conductor (#1-3)
Wiener Symphoniker (#4-6)
Herbert von Karajan, conductor (#4-6)

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https://subyshare.com/ix7gx39g7uzp/Rachmanin0vTchaik0vskyPian0C0ncert0Sviat0slavRichter20159624.part1.rar.html
https://subyshare.com/77gh0vnob0o8/Rachmanin0vTchaik0vskyPian0C0ncert0Sviat0slavRichter20159624.part2.rar.html

Rancid – Trouble Maker {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 41:17 minutes | 522 MB | Genre: Punk
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Epitaph

In 1981, Scottish band The Exploited were already roaring their slogan, “punk’s not dead!” 36 years later, that seems to be the message of the Californians of Rancid, with their ninth studio album. As early as 2014, with Honor Is All We Know, the band around singer Tim Armstrong and guitarist Lars Frederiksen displayed an unflagging spirit and boasted some inspired compositions. Its alloy of punk rock, rockabilly and ska, Trouble Maker does the same job. Our fifty-something veterans of the American punk revival of the early 1990s, alongside Greenday and Offspring, have filled this 2017 offering with powerful, efficient and rapid songs, which meet the standards of the genre’s canons. Above all, Rancid never fall into cliché or self-parody.

Tracklist:
01 – Track Fast
02 – Ghost Of A Chance
03 – Telegraph Avenue
04 – An Intimate Close Up Of A Street Punk Trouble Maker
05 – Where I’m Going
06 – Buddy
07 – Farewell Lola Blue
08 – All American Neighborhood
09 – Bovver Rock And Roll
10 – Make It Out Alive
11 – Molly Make Up Your Mind
12 – I Got Them Blues Again
13 – Beauty Of The Pool Hall
14 – Say Goodbye To Our Heroes
15 – I Kept A Promise
16 – Cold Cold Blood
17 – This Is Not The End
18 – We Arrived Right On Time [Bonus Track]19 – Go On Rise Up [Bonus Track]

Musicians:
Tim Armstrong – vocals, guitar
Lars Frederiksen – vocals, guitar
Matt Freeman – bass, vocals
Branden Steineckert – drums

Download:

https://subyshare.com/smv7pav9lcsx/RancidTr0ubleMakerDeluxeEditi0n2017Q0buz24441.rar.html

As suggested by the title Americana, the former Kinks frontman is a cultural and musical paradox. The most emphatically English of all the British Invasion bandleaders, Britpop’s beloved father argues throughout his new album (and 2013 autobiography by the same name) that he spent much of his band’s 32-year career chasing the American Dream. The Kinks legend uses Americana to blaze a path through both America’s rock’n’roll history and his own. Its back-to-basics energy and prosaic storytelling make it his best solo album in years.

Ray Davies published a memoir chronicling his life-long affair with America in 2013. Naturally, it was called Americana, and that’s also the title of this 2017 musical adaptation of the book. Davies plays a little fast and loose with his facts, which is perhaps a detriment in an autobiography but suits the condensed nature of songwriting. He doesn’t tell a story with Americana — it’s not a song cycle along the lines of Arthur (Or the Decline and Fall of the British Empire) — but rather offers a series of vignettes, some torn from the pages of his book, others expanding upon its themes. Images of highways, cowboys, and movies dance through the songs, as do sly allusions to the Kinks. It’s not just that there’s an echo of “All Day and All of the Night” on “The Man Upstairs,” either: “Poetry” recalls the pastoral jangle of Village Green Preservation Society and “The Great Highway” stomps like a Low Budget outtake. This is the key to understanding Americana. While there are a few nods to classic American music — “A Place in Your Heart” rambles like an old country & western tune — Americana is Davies examining how America has changed him, so it fits that his own work is threaded into the album. Backed by the Jayhawks — an Americana band raised on the British Invasion — Davies manages to skillfully pull off such subtle shifts in tone. Collaborating with a working band enlivens him — there’s snap and muscle here that were missing on the otherwise fine Working Man’s Café — and for as good as the songs are, what’s initially so absorbing about Americana is this limber musicality. What makes it last are the songs, which are wry, moving, and truthful, which wasn’t always the case in his book. ~~ AllMusic Review by Stephen Thomas Erlewine

Tracklist:
01 – Americana
02 – The Deal
03 – Poetry
04 – Message from the Road
05 – A Place in Your Heart
06 – The Mystery Room
07 – Silent Movie
08 – Rock ‘N’ Roll Cowboys
09 – Change for Change
10 – The Man Upstairs
11 – I’ve Heard That Beat Before
12 – A Long Drive Home to Tarzana
13 – The Great Highway
14 – The Invaders
15 – Wings of Fantasy

Download:

https://subyshare.com/61lqmyqyno92/RayDaviesAmericana2017HDTracks24441.rar.html

Refused – Freedom (2015)
FLAC (tracks) 24 bit/44.1kHz | Time – 00:43:08 minutes | 523 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | © Epitaph Records
Recorded: October 2014, Seedy Underbelly, LA; February 2015, Decibel Studios/mxm Studios, Stockholm

Refused are fucking alive. There’s no escape. The Iconic Swedish hardcore band have released Freedom their first new album in 17 years.

In 1998 Refused released their iconic album The Shape of Punk to Come. It was also the year that the band broke up and declared “Refused Are Fucking Dead”. Fourteen years later, the band reignited in 2012 for a Coachella performance. The group started contemplating new music within the first four months of the reunion tour, a process greatly aided by the fact that drummer David Sandström, guitarist Kristofer Steen, and bassist Magnus Flagge had already been writing together informally for several years under the auspices of a new, vocal-less band.

Freedom explodes out of the speakers with opening track “Elektra,” as Lyxzén throat-shredding declaration that “nothing has changed” catapults Refused into the 21st century. Production for Freedom was overseen by Nick Launay (Gang Of Four, Public Image Ltd., Nick Cave, and Arcade Fire. “Elektra” and “366” were produced and co-written by fellow Swede and longtime Refused fan Shellback, who has scored eight No. 1 hits on the Billboard Hot 100 with artists such as Taylor Swift and Pink.

Noted punk band breaks up in the wake of its best album, and after repeatedly insisting they’ll never reunite, the bandmembers get back together to play a few high-profile shows. After calling it a day following said tour, they decide to make a new album as they learn there’s good money to be made playing the festival circuit. Sound familiar? More than a few bands have followed this template, and there’s no arguing Refused are one of them, but the smart Swedish punks clearly aren’t going through the motions on 2015’s Freedom, their first album since 1997’s The Shape of Punk to Come as well as their first salvo since returning to action with a 2012 tour. Freedom is a considerably more aggressive set than The Shape of Punk to Come, recalling Refused’s earlier work rather than the dizzying eclecticism of their acknowledged masterpiece, but this is still clever and challenging stuff, making abundant use of electronics to complement and texturize their post-hardcore guitar attack (and the fact Refused were able to create this monolith of six-string howling after the departure of guitarist Jon Brännström says a great deal for the abilities of Kristofer Steen, who handles lead and rhythm all by himself here). Calling out God and Man with equal fury, lead vocalist Dennis Lyxzén doesn’t appear to have mellowed a bit in the course of 18 years, and bassist Magnus Flagge and drummer David Sandström are limber enough to keep the rhythms surprisingly flexible (when they’re on point, they recall a slightly funky version of the Jesus Lizard’s rhythm section, no small accomplishment). And while Refused sound more like a traditional punk band on Freedom than they did in 1997, these guys have no use for standard-issue 4/4 stomp; their music hits hard while they explore the rhythmic and musical possibilities of a four-man rock band, and the lyrics are as bitter, intelligent, and impassioned as ever as they howl out accusations against a world where wealth, power, and narrow-mindedness take their toll on us all. It’s not hard to be a bit cynical about Refused choosing to reunite, but Freedom sounds as furiously principled as this group has ever been, and it’s a liberating, hard-hitting exercise in punk for smart people. –AllMusic Review by Mark Deming

Tracklist:
1 Elektra 03:12
2 Old Friends – New War 04:27
3 Dawkins Christ 04:04
4 Francafrique 04:38
5 Thought Is Blood 04:18
6 War On The Palaces 03:34
7 Destroy The Man 03:23
8 366 05:19
9 Servants Of Death 03:43
10 Useless Europeans 06:31

Personnel:
Dennis Lyxzén – lead vocals
David Sandström – drums
Kristofer Steen – guitars
Magnus Flagge – bass guitar
The Françafrique Children’s Choir:
Rosie Ford
Grace Darces-Mannings
Elisa-Jane Pasfield
Jack Holman-Brown
Bianca Fonti
Hugo Roles

Additional:
Church – additional vocals (tracks 3, 4, 6, 7 and 9)
Jennifer Goodridge – additional vocals (tracks 3 and 10)
Brian Grover – additional vocals (tracks 3 and 10)
Adam “Atom” Greenspan – keyboards, programming (tracks 2 and 9)
Robert Columbus – percussion (tracks 3 and 4)
Rasmus Lindelöw – keyboards (tracks 5 and 6)
Dan Regan – horns (tracks 4 and 6)
John Christianson – horns (tracks 4 and 6)
Matt Appleton – horns (tracks 4 and 6)
Per Nordmark – tambourine (track 7)

Download:

https://subyshare.com/phitvgrf6qws/RefusedFreed0m201544.124.rar.html

Grammy Award–winner and 2017 Grammy nominee, Rhiannon Giddens is a folk revivalist who knows that old stories can still have a powerful and painful relevance, and on her second solo album since leaving the Carolina Chocolate Drops, she sings about the history of America’s fight against racism, in order to warn of current dangers. Her last album was an adventurous covers set, but here she matches her own powerful compositions based on vivid, true stories from the slavery era against classic blues, and civil rights songs from the 60s.

Rhiannon Giddens has always been keenly aware of the arc of American history — the Carolina Chocolate Drops, the 2000s band she once led, was designed as a critique of the darker moments of Americana — but Freedom Highway, her second solo album, puts her intent into perspective. Where her 2015 solo debut, Tomorrow Is My Turn, was essentially a covers album, gaining its importance through context, Freedom Highway relies on originals, but the past is never far behind. This should be expected from Giddens, who is at her core a folk artist building upon — and expanding — tradition, but it’s still startling to realize how she establishes a vernacular at the outset of Freedom Highway, then explores all of the possibilities of African-American folk music on the album. “At the Purchaser’s Option,” the song that inaugurates Freedom Highway, explicitly evokes slavery, and it’s spare and haunting, standing in contrast to the title-track closer, a funky number that illustrates how far African-Americans have traveled during the course of the history of the United States. Throughout Freedom Highway, Giddens plays with this idea — how oppression gave way to freedom — and it’s not just through her lyrics, but how the music expands as the album reaches its conclusion: at the outset, it seems austere, but by its conclusion it’s a robust celebration of all the weird, wonderful parts of America. This isn’t an accident. Freedom Highway draws upon deep American traditions, and while its form may be a throwback, it speaks to a time when the phrase “Black Lives Matter” can be seen as controversial and, in doing so, it illustrates how these issues are deeply ingrained in American life and cannot be forgotten. ~~ AllMusic Review by Stephen Thomas Erlewine

Tracklist:
01 – At the Purchaser’s Option
02 – The Angels Laid Him Away
03 – Julie
04 – Birmingham Sunday
05 – Better Get It Right the First Time
06 – We Could Fly
07 – Hey Bébé
08 – Come Love Come
09 – The Love We Almost Had
10 – Baby Boy
11 – Following the North Star
12 – Freedom Highway

Download:

https://subyshare.com/zt4dkfctzyau/Rhiann0nGiddensFreed0mHighway2017Q0buz24882.rar.html

Richard Clayderman – Super Best (1984/2015)
FLAC (tracks) 24 bit/192kHz | Time – 00:49:07 minutes | 1,73 GB | Genre: Easy Listening, New Age, Classical
Studio Masters, Official Digital Download – Source: e-onkyo | © Victor Entertainment

With his lush and sophisticated instrumental approach to pop music, Richard Clayderman (born Philippe Pagès) is, according to The Guinness Book of World Records, “the most successful pianist in the world.” Clayderman’s albums routinely sell millions of copies and his concerts are quickly sold out. In a review of his 1985 Carnegie Hall concert, Variety wrote, “(Clayderman’s) main appeal lies in his youth and boyish good looks…coupled with his gentlemanly charm and his thick French accent, they promise to rope in the romantically inclined middle-aged Yank ladies who cotton to this ilk of soothing entertainment.” Nancy Reagan referred to Clayderman as “the prince of romance.” Instructed in classical piano by his father, Clayderman enrolled in the Paris Conservatory of Music at the age of 12. Four years later, he placed first in a piano competition at the school. Despite his classical background, Clayderman opted for popular music when he launched his professional career. A tour as opening act for French rock musician Johnny Hallyday introduced him to an international following. Clayderman’s debut album, Ballade Pour Adeline, recorded at the urging of producers and composers Oliver Toussaint and Paul De Senneville in 1977, sold more than 20 million copies and was distributed in 38 countries. Clayderman, who took his stage name from his Swedish grandmother, has continued to tour throughout the world to enthusiastic audiences. A live concert broadcast on Chinese television in 1987 attracted more than 800 million viewers.

His vast discography of well over 200 albums, released on and licensed to many different labels worldwide, has seen him record everything from light classics to Andrew Lloyd Webber love songs, Bollywood movie soundtracks, and the folk music of Germany, Turkey, and Japan. While this willingness to turn his hand to anything fueled his worldwide popularity, it is the unthreatening homogeneity of his output that won him a loyal, late-middle-aged fanbase similar to that of another European titan of light classical music, André Rieu. In the early 2010s, Clayderman enjoyed an upsurge in mainstream popularity, perhaps partly as a kitsch nostalgia act, but also on the part of canny marketing men who positioned him as part of that era’s classical crossover explosion. His 2013 album for Decca, Romantique — arguably his highest-profile release ever — featured a mélange of film music, pop and light classical standards, and a re-recording of his best-known tune, “Ballade pour Adeline”. –Biography by John D. Buchanan

Tracklist:
1. Concerto pour une jeune fille nommée je t’aime 3:45
2. Ballade Pour Adeline 2:38
3. Couleur Tendresse 3:41
4. Concerto Des Etoiles 3:52
5. Serenade de l’Etoile 2:58
6. Les Derniers Jours D’Anastasia Kemsky 3:20
7. Lady Di 2:36
8. Un blanc jour d’un chaton 1:51
9. Cavatina 3:36
10. Triste Cœur (2:49
11. Murmures 2:32
12. Les Premiers Sourires De Vanessa 2:20
13. Souvenirs D’Enfance 2:51
14. A Comme Amour 3:20
15. Rondo Pour Un Tout Petit Enfant 1:35
16. Nostalgy 2:39
17. Lettre A Ma Mère 2:46

Personnel:
Richard Clayderman – piano

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https://subyshare.com/frj1w93eznsu/RichardClaydermanSuperBest198419224.part1.rar.html
https://subyshare.com/8n4tc8higegm/RichardClaydermanSuperBest198419224.part2.rar.html

Ride are making a return thanks to the shoegaze movement: and their resurrection has been eagerly awaited. 21 years after Tarantula, their third album which was not long remembered, the Oxford group are relaunching an act which was very popular across the Channel in the 1990s. With Weather Diaries, Mark Gardener and Andy Bell have not lost their touch for writing, but they have eliminated a number of purely shoegaze options. The Ride of 2017 is now a lot more pop and plays with guitars and synths, keeping their eyes on choruses that hit the mark, and melodies that stick around. Even if British pop won’t quite be rocked to its foundations by this fourth album, it is hard to contain one’s pleasure at this comeback.

Tracklist:
01 – Lannoy Point
02 – Charm Assault
03 – All I Want
04 – Home Is A Feeling
05 – Weather Diaries
06 – Rocket Silver Symphony
07 – Lateral Alice
08 – Cali
09 – Integration Tape
10 – Impermanence
11 – White Sands

Download:

https://subyshare.com/bo9gaqe00x18/RideWeatherDiaries2017Q0buz24441.rar.html

This album contains the 17 previously unreleased B-sides included in the elaborate “Prisoner” vinyl box set from Ryan Adams.

It’s hard to make American rock with the epic sweep of Springsteen or Petty and keep it free of bombast. Ryan Adams doesn’t always manage it on Prisoner, his first album since he covered Taylor Swift’s entire 1989 album a couple of years ago, and his first set of original material since 2014.

Ryan Adams’ recent album Prisoner wrung pain and heartbreak from the musician’s threadbare guitar lines, and it turns out he had more in store. Back with 17 tracks that never made the final release, Prisoner B-Sides is a close look at Adams’ songwriting process, revealing the months of work long before he ever went to the studio. At various levels of polish, the tracks are sealed together with Adams’ voice, low and barren atop messy reverb and delay pedals.

Tracklist:
01 – Where Will You Run
02 – Juli
03 – Are You Home
04 – No Words
05 – Halo
06 – It Will Never Be The Same
07 – What If We Were Wrong
08 – Broken Things
09 – Stop You
10 – Hanging On To Hope
11 – Let It Burn
12 – Crazy Now
13 – You Said
14 – Please Help Me
15 – Too Tired To Cry
16 – Stop Talking
17 – Empty Bed
18 – Lookout
19 – The Cold

NOTE: Various 24-bit PCM Recordings, mastered in 96 kHz / 24-bit

Download:

https://subyshare.com/d9dflnfjjg40/RyanAdamsPris0ner.BSides2017HDTracks2496.part1.rar.html
https://subyshare.com/phx4mcfnkapd/RyanAdamsPris0ner.BSides2017HDTracks2496.part2.rar.html

Produced by Don Was, the highly anticipated Prisoner is the first release from Ryan Adams since his 2015 Taylor Swift cover album 1989. With influences from AC/DC and Electric Light Orchestra to Bruce Hornsby and Bachman-Turner Overdrive, the tracks may be more uptempo than in the past, but lyrically Adams is just as personal and soul-searching as before.

“When I run, I listen to (an iPod) Nano … I put all the AC/DC records on from back to front, or I’ll listen to the best of stuff from the ’80s: Springsteen, or (Bruce) Hornsby and I’ll listen to what is going on there. I was listening to AC/DC’s Fly on the Wall and that’s when I realized what I had to do for the record … it’s about the big questions of somebody my age who’s been through the things I’ve been through. But I didn’t feel I needed to make something that was dark and heavy.”
– Ryan Adams

Picking up the thread left hanging from 2014’s eponymous album — in retrospect, his 2015 cover of Taylor Swift’s 1989 seems even more of a detour — Ryan Adams winds up diving ever deeper into early-’80s sounds and sensibilities on Prisoner. Such supple sounds are carefully constructed with producer Don Was, a professional who helps Adams articulate the AOR ideals he initially essayed in 2014. Prisoner sounds warm, open, and inviting, its welcoming vibes contradicting how it’s an album born out of pain, a record written in the aftermath of Adams’ divorce from Mandy Moore. Sadness haunts the corners of Prisoner — it’s there in the very song titles, beginning with the opener “Do You Still Love Me” and running through its aching closer, “We Disappear” — but it’s not a sorrowful record, not with its smooth edges and warm center. All of this is an outgrowth of the aesthetic Adams pioneered in 2014, one that he lent to Jenny Lewis’ The Voyager, and the reconstituted soft rock suits him well: it’s a salute to the past and Adams always respected tradition. If the songs on Prisoner follow a conventional path of heartbreak — a man sorting through the remnants of a broken romance — the sound helps give the album an identity. Adams largely relies on cinematic classic rock tricks, a move underscored by how “Outbound Train” seems like an answer to Bruce Springsteen’s “Downbound Train” — toward the end of the record he starts to thread in a few spare acoustic confessionals, songs that play like subdued nods to his Americana past — and that’s the charm of Prisoner: it’s not a record that wallows in hurt, it’s an album that functions as balm for bad times. ~~ AllMusic Review by Stephen Thomas Erlewine

Tracklist:
01 – Do You Still Love Me?
02 – Prisoner
03 – Doomsday
04 – Haunted House
05 – Shiver And Shake
06 – To Be Without You
07 – Anything I Say To You Now
08 – Breakdown
09 – Outbound Train
10 – Broken Anyway
11 – Tightrope
12 – We Disappear

NOTE: Track “5” – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
Tracks “2, 7, 8, 10, 12” – 48 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit

Download:

https://subyshare.com/drpv7s6z7bl5/RyanAdamsPris0ner2017Pr0Studi0Masters2496.rar.html

Released on Curtom Records in 1975, Hutson illuminates the fickleness and unpredictable nature of the music business. Leroy Hutson seemed to have it all going for him; he replaced Curtis Mayfield in the Impressions, then branched out solo, was a friend of Donny Hathaway (who also worked for Mayfield at the time), and was given carte blanche to produced hits with the help of others for himself. The biorhythms must have been out of whack, because it never really happened for the talented guy. This is a fine effort with bouncy tunes, stirring ballads, and crack productions yet the masses never heard it. Best bets: All. But special mention to “Lucky Fellow,” “All Because of You,” and “So Much Love.”

Tracklist:
01. All Because Of You
02. I Bless The Day
03. It’s Different
04. Cool Out
05. Lucky Fellow
06. Can’t Stay Away
07. So Much Love
08. All Because Of You (Theme Instrumental)
09. Can’t Stay Away (Single Edit)
10. All Because Of You (Single Edit)

Download:

https://subyshare.com/dpr3kw35891w/Ler0yHuts0nHuts0n20182496.rar.html

Every Leroy Hutson album features a sweeping, make-you-feel-good opening tune; this time “Love the Feeling” warms you for a collage of soulful ballads, mid-tempo romps, and steppers. The best of the lot is “I Do, I Do (Want to Make Love to You),” a sensuous booty call reminiscent of Peabo Bryson. Jonesing for a hit, some of the cuts come off cookie-cutter, but Hutson’s singing shines throughout. “Blackberry Jam” and “Sofunktiscation” are formulaic but pleasing funkers.

Tracklist:
01. Love The Feeling
02. Situations (Instrumental)
03. I Do I Do (Want To Make Love To You)
04. I Think I’m Falling In Love
05. Love To Hold You Close
06. Flying High
07. Blackberry Jam
08. Sofunkstication
09. Don’t It Make You Feel Good
10. Positive Forces
11. Blackberry Jam (Single Edit)

Download:

https://subyshare.com/cc8d5h98p5lh/Ler0yHuts0nHuts0nII20182496.rar.html

The daughter of Haitian immigrant parents, Leyla McCalla, whether by design or synchronicity, moved to New Orleans in 2010 after studying cello performance and chamber music at New York University, and once there, while busking and playing on the street corners and in the bars and clubs, she fell in love with Louisiana Creole culture, and coupled with her further explorations of Haiti’s traditional Creole folk music, she developed a strong and grounded musical vision, part old and traditional and part bohemian intellectual. As this debut solo album (she was featured on the Carolina Chocolate Drops’ Leaving Eden album and has toured extensively with them) shows, it’s a mix that McCalla balances well, with most of the tracks featuring her musical arrangements of various Langston Hughes poems, along with striking personal versions of a couple of traditional Haitian folk songs. If this sounds like things here will be a little stiff and academic, well, they’re not, as McCalla makes the Hughes lyrics her own, and the sparse, haunting feel of these tracks is timeless, belonging to this century but feeling like they could have come from early in the century before, too, or even the one before that, a kind of musical hat trick that is pretty impressive, to say the least. McCalla’s voice is warm and just slightly jazz-tinged, and she plays sparse tenor banjo and acoustic guitar on some of the cuts here, but it is her cello playing that gives the album its unique sound, all warm and round and ominous somehow, taking the stark arrangements to deep emotional places. The opener, “Heart of Gold,” sets the tone, spare and yet expansive, and tracks like the tenor banjo-led “Mesi Bondye” and the swinging acoustic guitar blues “Too Blue” give the set list some variety. McCalla’s debut solo album is a fully realized and nuanced gem, and one can’t help but be interested and curious about her next musical project.

Tracklist:
01. Heart Of Gold
02. When I Can See The Valley
03. Mesi Bondye
04. Girl
05. Kamen sa w fe?
06. Too Blue
07. Manman Mwen
08. Song For A Dark Girl
09. Love Again Blues
10. Rose Marie
11. Latibonit
12. Search
13. Lonely House
14. Changing Tide

Download:

https://subyshare.com/pnm6epvmoby6/LeylaMcCallaVaric0l0redS0ngsATributet0Langst0nHughes20142488.2.rar.html

Reanimation is Linkin Park’s first remix album. With the help of over twenty friends in rock, electronic and hip-hop, from well-known to underground, Linkin Park reinterprets all the songs from Hybrid Theory, plus “High Voltage” and “My December.” The innovative work is unlike anything heard before. It reached #2 on the Billboard 200 and is a sensation in the alt. rock realm.

The remix album — the time-honored tradition of buying time between records. Often, these are inconsequential affairs (Limp Bizkit’s New Old Songs leaps to mind, for some reason), but if a band is smart, they can use this time-buying ploy to their advantage, redefining their sound somewhat, or at least reaching out for that elusive street credibility. The latter option is especially true for bands that have a big, big chart hit on their hands but little critical respect or reputation as a hip band. Which brings us to Linkin Park’s Reanimation, a generous 20-track remix record of their debut Hybrid Theory that the band has vaguely alluded to as their art project. That means the group has left the hamfisted alt-metal of their debut behind, turning this record over to rappers, remixers, DJs, and assorted producers to give it a darkly hip, electronic edge. This may not be particularly pleasing to those who loved the angst-ridden rock theatrics of the debut, but it’s a damn sight more interesting than that debut, helping Linkin Park distinguish themselves from the adolescently tortured rap-rock pack. The paradox is, of course, that the band sounds more original when filtered through the likes of Kutmasta Kurt, Alchemist, Pharoahe Monch, Aceyalone, and Jonathan Davis, among others, but any change is welcome, really (well, apart from the apparent decision to leave grammar and spelling behind; every song title is an “arty” interpretation of the original title — “Paper Cut” is “Ppr:Kut,” “Cure for the Itch” is “Kyur4 th Ich,” etc. — resulting in a silly mish-mash of letters and numerals). Some of this works quite well, some of it is kind of juvenile (really, does Motion Man need to repeat “Linkin Park — remix” over and over again on his rap?), much of it is only slightly recognizable from the original, it’s too long, and compared to contemporary arty rock (Radiohead, Flaming Lips, Clinic, Trail of Dead, System of a Down, Interpol, etc.), it really isn’t that arty. But, compared to what they’ve done before, and compared to their peers, Reanimation is arty and a welcome step in the right direction. ~ Stephen Thomas Erlewine

Tracklist:
01. Opening
02. Pts.OF.Athrty
03. Enth E Nd
04. Chali
05. Frgt/10
06. P5hng Me A*wy
07. Plc.4 Mie Haed
08. X-Ecutioner Style
09. H! Vltg3
10. Riff Raff
11. Wth>You
12. Ntr\Mssion
13. PPr:Kut
14. Rnw@y
15. My<Dsmbr
16. Stef
17. By_Myslf
18. Kyur4 Th Ich
19. 1stp Klosr
20. Krwlng

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American rock band Linkin Park took the music scene by storm with their breakthrough debut Hybrid Theory. With millions of copies sold worldwide, the band’s invigorated fusion of rap and metal propelled the album to #2 on the Billboard charts. Included were the hits “One Step Closer,” “Papercut,” “In the End” and the GRAMMY® Award-winning “Crawling.” Listed in the book, 1001 Albums You Must Hear Before You Die, Hybrid Theory was one of Billboard’s “Hot 200 Albums of the Decade.” The recording was one of the most successful debuts in the twenty-first century.

– 4 out of 5 stars – “An absolutely storming debut… packing more punch than Lennox Lewis armed with a rolled up copy of well…Punch…Award this album the red baseball cap of merit.” – Melody Maker

Tracklist:
01 – Papercut
02 – One Step Closer
03 – With You
04 – Points of Authority
05 – Crawling
06 – Runaway
07 – By Myself
08 – In the End
09 – A Place for My Head
10 – Forgotten
11 – Cure for the Itch
12 – Pushing Me Away

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Back in 2007, Minutes to Midnight was one of rock’s most anticipated albums of the year. The outing saw the band incorporating a new mature sound, redefining one of today’s most accomplished rock bands. Produced by Rick Rubin and band member, Mike Shinoda, the album would have one of the strongest opening weeks in 2007. This exquisite effort debuted at number one in the United States, Canada and thirteen other countries. Minutes to Midnight was also listed Rolling Stone’s “25 Best Albums of 2007” and Billboard’s “Hot 200 Albums of the Decade.” Included on the album were the breakout hits, “Leave Out All The Rest,” “Given Up,” “Bleed It Out,” “Shadow of the Day” and “What I’ve Done.”

Tracklist:
01 – Wake
02 – Given Up
03 – Leave Out All the Rest
04 – Bleed It Out
05 – Shadow of the Day
06 – What I’ve Done
07 – Hands Held High
08 – No More Sorrow
09 – Valentine’s Day
10 – In Between
11 – In Pieces
12 – The Little Things Give You Away

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The Hunting Party is American rock band Linkin Park’s sixth studio album. The band chose to depart from their recent electronic rock sound and simply produce a rock record. A year in the making, the record produced three singles: “Guilty All the Same”, “Until It’s Gone” and “Final Masquerade”.

Breaking away from Rick Rubin, with whom they had a three-album association, Brad Delson and Mike Shinoda co-produce this time around and retreat from the moody electronica that characterized many of those records. Instead, The Hunting Party is designed as a return to rock, evoking the group’s earliest records. Reconnecting with the past is a standard move for a heavy band 15 years into its career, but The Hunting Party is effectively aggressive, partially due to how far into the ether Linkin Park strayed on Living Things and, especially, A Thousand Suns. Written and recorded over the course of a year, The Hunting Party nevertheless packs a visceral punch. Hints of the murky, meditative darkness linger — especially on “Until It’s Gone,” which builds upon its atmosphere to reach melodramatic heights; “Final Masquerade” is subtler in its approach -– but there’s good reason why Page Hamilton and Tom Morello both guest on the record: this is a grinding, metallic workout. Far from sounding as if they’re grasping at straws, Linkin Park seem rejuvenated, proving there is value in the cliché of returning to roots.

Tracklist:
01 – Keys To The Kingdom
02 – All For Nothing (feat. Page Hamilton)
03 – Guilty All The Same (feat. Rakim)
04 – The Summoning
05 – War
06 – Wastelands
07 – Until It’s Gone
08 – Rebellion (feat. Daron Malakian)
09 – Mark The Graves
10 – Drawbar (feat. Tom Morello)
11 – Final Masquerade
12 – A Line In The Sand

Producers: Brad Delson and Mike Shinoda. Recording engineer: Ethan Mates.
Recorded May 2013 – April 2014 at Larrabee Sound Studios and EastWest Studios in Los Angeles, California.

NOTE: Track “3” is a 44k recording mastered to 96/24.

Personnel:
Chester Bennington – vocals
Rob Bourdon – drums, percussion
Brad Delson – lead guitar
Dave “Phoenix” Farrell – bass guitar
Joe Hahn – turntables, sampling, programming
Mike Shinoda – vocals, rhythm guitar, keyboards
Page Hamilton – vocals
Daron Malakian – guitar
Tom Morello – guitar
Rakim – vocals

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The seventh full-length release for the rock band features guest appearances from Kiiara, Pusha T and Stormzy. The album also includes Jon Green, Julia Michaels, Justin Tranter, Ross Golan, Michael Leary, Andrew Goldstein, blackbear, and Eg White as co-songwriters. One More Light was promoted by the band by various acoustic performances by Chester Bennington and Mike Shinoda of the lead single at many promotional live events and interviews.

One More Light, Linkin Park’s seventh set, is a divisive and brazen statement from a band that already does not shy away from fearless experimental leaps. From the rap focus on Collision Course and the Fort Minor side project to the electronic A Thousand Suns and their remix albums, Linkin Park have balanced an empire built upon pain and angst with an admirable dose of cross-genre dabbling. Which is why One More Light shouldn’t come as such a surprise. And yet, the album remains a jarring follow-up to 2014’s muscular The Hunting Party and an overall curve ball in their catalog. Recruiting electronic pop producers like Julia Michaels, Justin Tranter, Jesse Shatkin, and RAC, Linkin Park made a pop album, which is sure to infuriate diehards who yearn for the days of “shut up when I’m talking to you.” While it’s unfair to fault them for not being pissed off anymore, the experience is not the same. For the first time, the band sounds happy and content. Though while they may be at peace, their creativity took a bullet. There’s a bevy of bright tropical notes and even some “na na na” choruses, tones that are dime a dozen on pop radio. The group is effectively neutered on One More Light: there’s no feral screaming from Chester Bennington, there are barely any riffs, and DJ Hahn has disappeared beneath the textured studio sheen. The closest they toe to “rock” is “Talking to Myself,” which has discernable live drumming from Rob Bourdon and guitar licks from Brad Delson. Otherwise, One More Light is mostly concerned with triumphant anthems (“Battle Symphony” and “Invisible”) and heartfelt confessions (“Sorry for Now” and “Halfway Right”) that end up sounding like the Chainsmokers blended with Twenty One Pilots. Certainly, One More Light will find its defenders, but for fans of their past work, “Good Goodbye” with rappers Pusha T and Stormzy is the closest they come to “aggressive” and “inspired” (even if Shinoda sounds like G-Eazy). Oddly enough, the Kiiara-assisted lead single “Heavy” ends up being one of the only memorable earworms on the album, an undeniably catchy dose of radio-friendly pop that dares listeners to sing along. Here, Linkin Park actually lay out the entire plot of this endeavor by asking “Why is everything so heavy?” With the bandmembers all hovering around their forties, they’ve matured and fully expect fans to do the same, taking huge steps away from the nü metal that established them in the early 2000s. Objectively, that attitude is refreshing, but nonetheless a letdown. From their inception, Linkin Park connected through catharsis. However, many of the emotions presented here are fleeting. The issue isn’t that it’s a pop effort; indeed, they get points for a brave attempt so outside of their wheelhouse. The problem is that much of One More Light is devoid of that visceral charge that previously defined much of their catalog. It’s a provocative challenge that ultimately fails to satisfy.

Tracklist:
01 – Nobody Can Save Me
02 – Good Goodbye (feat. Pusha T and Stormzy)
03 – Talking to Myself
04 – Battle Symphony
05 – Invisible
06 – Heavy (feat. Kiiara)
07 – Sorry for Now
08 – Halfway Right
09 – One More Light
10 – Sharp Edges

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Lo Moon is a Los Angeles-based band that possesses a haunting melancholy that pervades their debut record. With the help of stellar producers, including founding Death Cab for Cutie member Chris Walla, the band imbue a carefully put together sense of delicacy and anticipation from the album’s first notes; single “This Is It” grows into a dramatic chorus before toning back down into a pensive groove.

Meshing electronic, pop, and alternative influences, the group balance minimalism and grandiose instrumental flourishes, heard in tracks such as “The Right Thing.” Vocalist Matt Lowell exercises smooth control in his delivery, allowing for a clear, earnest performance on “Thorns” that makes it undoubtedly one of the album’s core tracks, its lovely melody, steady rhythm and washes of synths encompassing the listener. Bass lines and drums that recall early Massive Attack provide the backdrop to “My Money,” a song that builds in a way that nearly overwhelms before dialling back to the sparsest of instrumentation.

This is Lo Moon’s biggest strength: they layer their music right up until the breaking point, before exercising swift control. This self-titled debut exhibits a breadth of musical styles, the synth-pop of “Wonderful Life” moving into the cinematic ode to love, “All In.” The atmosphere of Lo Moon, which melds gloom with instrumental experimentation and a welcome pop sensibility, has gifted listeners with a record that stands apart. It’s got a glow all its own.

Tracklist:
01. This Is It
02. Loveless
03. The Right Thing
04. Thorns
05. Tried to Make You My Own
06. My Money
07. Real Love
08. Camouflage
09. Wonderful Life
10. All In

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The official soundtrack to Marvel’s upcoming superhero blockbuster Black Panther has been announced. The original motion picture soundtrack arrives February 16, and was recorded in London with “a 132-piece western classical orchestra, African percussionists and a 40-person choir.” The score was penned by composer and longtime Childish Gambino producer Ludwig Göransson, who previously worked with Black Panther director Ryan Coogler on the films Creed and Fruitvale Station. Kendrick Lamar spearheaded the recent star-studded compilation Black Panther The Album, assembled as a companion piece to the movie.

Tracklist:
01. Wakanda Origins
02. Royal Talon Fighter
03. Wakanda
04. Warrior Falls
05. The Jabari
06. Waterfall Fight
07. Ancestral Plane
08. Killmonger
09. Phambili
10. Casino Brawl
11. Busan Car Chase
12. Questioning Klaue
13. Outsider
14. Is This Wakanda?
15. Killmonger’s Challenge
16. Killmonger vs T’Challa
17. Loyal to the Throne
18. Killmonger’s Dream
19. Burn It All
20. Entering Jabariland
21. Wake Up T’Challa
22. The Great Mound Battle
23. Glory to Bast
24. The Jabari Pt II
25. A Kings Sunset
26. A New Day
27. Spaceship Bugatti
28. United Nations / End Titles

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Digitally remastered and expanded edition of this 1982 funk classic including seven bonus tracks. Juicy Fruit was their third album for Epic Records. The original LP came at a time when funk was becoming increasingly technology-minded and horn-driven funk bands were going out of style, with funksters were using a lot more keyboards and synthesizers. Juicy Fruit reflects that evolution superbly. Throughout Juicy Fruit, James Mtume takes a very hands-on approach – in addition to producing the album and co-writing much of the material, he plays keyboards and provides some of the lead vocals (along with the expressive, big-voiced Tawatha Agee). Includes the singles ‘Juicy Fruit”, “Would You Like To Fool Around” and ‘Green Light’.

Tracklist:
01. Green Light
02. Juicy Fruit
03. Hips
04. Would You Like To (Fool Around)
05. Your Love’s Too Good (To Spread Around)
06. Hip Dip Skippedabeat
07. Ready for Your Love
08. The After 6 Mix (Juicy Fruit, Pt. II)
09. Juicy Fruit (Vocal)
10. Juicy Fruit (“Fruity” Instrumental Mix)
11. Would You Like To (Fool Around) (12″)
12. Let’s Fool Around (Word) Sensual (Instrumental)
13. Green Light (Vocal Mix)
14. Green Light (Instrumental)
15. Prime Time (12″)

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Rachmaninov, Tchaikovsky – Piano Concerto – Sviatoslav Richter, Stanislaw Wislocki, Herbert von Karajan (1959/63/95/2015) [Official Digital Download 24bit/96kHz]

Rancid – Trouble Maker {Deluxe Edition} (2017) [Official Digital Download 24bit/44,1kHz]

Ray Davies – Americana (2017) [Official Digital Download 24bit/44,1kHz]

Refused – Freedom (2015) [Official Digital Download 24bit/44.1kHz]

Rhiannon Giddens – Freedom Highway (2017) [Official Digital Download 24bit/88,2kHz]

Richard Clayderman – Super Best (1984/2015) [Official Digital Download 24bit/192kHz]

Ride – Weather Diaries (2017) [Official Digital Download 24bit/44,1kHz]

Ryan Adams – Prisoner: B-Sides (2017) [Official Digital Download 24bit/96kHz]

Ryan Adams – Prisoner (2017) [Official Digital Download 24bit/96kHz]

Leroy Hutson – Hutson (1975/2018) [Official Digital Download 24bit/96kHz]

Leroy Hutson – Hutson II (1976/2018) [Official Digital Download 24bit/96kHz]

Leyla McCalla – Vari-colored Songs: A Tribute to Langston Hughes (2014) [Official Digital Download 24bit/88,2kHz]

Linkin Park – Reanimation (2002/2013) [Official Digital Download 24bit/44,1kHz]

Linkin Park – Hybrid Theory (2000/2012) [Official Digital Download 24bit/48kHz]

Linkin Park – Minutes to Midnight (2007) [Official Digital Download 24bit/48kHz]

Linkin Park – The Hunting Party (2014) [Official Digital Download 24bit/96kHz]

Linkin Park – One More Light (2017) [Official Digital Download 24bit/44,1kHz]

Lo Moon – Lo Moon (2018) [Official Digital Download 24bit/96kHz]

Ludwig Goransson – Black Panther (Original Score) (2018) [Official Digital Download 24bit/44,1kHz]

Mtume – Juicy Fruit (Expanded) (1983/2016) [Official Digital Download 24bit/96kHz]