Studio Masters – HDMusic.me

In November 2014, Radio France inaugurated its new auditorium with a programme giving carte blanche to one of the most eminent composers of our time, Peter Eötvös, who was then celebrating his seventieth birthday. On this occasion, three of his concertos were given their world premiere recordings under his direction with three soloists of the front rank. The violin concerto DoReMi, played here by its dedicatee Midori, is followed by Cello Concerto Grosso, a triangular dialogue between the solo cello, the cello section, and the full orchestra. The spectacular Speaking Drums concludes the programme on a highpoint: the orchestra (around forty musicians) prolongs the performance – theatrical as much as musical – of the percussionist, who declaims texts by the poets Sándor Weöres (in Hungarian) and Jayadeva (in Sanskrit) and moves from point to point on the platform, thus creating links with various instruments of the orchestra. The stunning Martin Grubinger lends his voice and his percussion playing to this piece, which ends in highly virtuosic polyrhythm.

Tracklist:
01. DoReMi, Violin Concerto No. 2: I. First Movement
02. DoReMi, Violin Concerto No. 2: II. Second Movement
03. DoReMi, Violin Concerto No. 2 : III. Third Movement
04. Cello concerto grosso: I. First Movement
05. Cello concerto grosso: II. Second Movement
06. Cello concerto Grosso: III. Third Movement
07. Speaking Drums: I. Tanzlied / Dance Songs
08. Speaking Drums: II. Nonsens Songs
09. Speaking Drums: III. Passacaglia

Personnel:
Jean-Guihen Queyras, cello
Midori, violin
Martin Grubinger, voice, percussion
Orchestre Philharmonique de Radio France
Peter Eötvös, conductor

Download:

https://subyshare.com/zddypd4qppie/Mid0riMartinGrubingerEtvsD0ReMiSpeakingDrumsCell0c0ncert0gr0ss020162448.rar.html

Although it was Kuhlau’s works for flute that won him a place in history, the German-Danish composer was always a pianist first and foremost; and in his lifetime he was very famous for about half-a-dozen operas, an ample repertoire for solo piano, and his rather more Beethovian concertos. We know a good number of pieces for flute (of around 130 numbered works, around 30 are flute-piano duets!) like Sonatas for piano with flute accompaniment, clearly a means of not scaring off amateur flautists from buying his scores… In reality, in these sonatas, the two instruments are given music of equal difficulty. In them, we find everything that once delighted musicians playing in the nook of their parlours: airs, variations, fantasias, rondeaux, all in an air of solid and delicately ornamented virtuosity. The reader will not miss, in these two sonatas published in 1826, the powerful influence of Ludwig van; or indeed the more unique influence of Weber, whose Trio for flute, piano and cello gave a little fillip to Kuhlau. Erin Helyard plays fortepiano; and Mika Putterma plays a flute typical of the German romantic period.

“Interpreted with flair and brilliance by the great flutist Mika Putterman and the virtuoso of the fortepiano and harpsichord Erin Helyard, Friedrich Kuhlau’s sonatas have inspired many artists through time. Among them, Johannes Brahms who, so impressed by these works, wrote to Clara Schumann in 1854 that he wanted to learn the flute only to be able to interpret Kuhlau’s works with her on the piano.” – Arts et Culture

“Kuhlau was considered in his lifetime as an important composer for this instrument and his works for the flute are idiomatic and remain, still today, references of this repertoire.” – L’initiative

Tracklist:
Friedrich Kuhlau (1786-1832)
1. Grand Sonata for Fortepiano and Flute Obbligato, Op. 71: I. Allegro molto con energia 14:39
2. Grand Sonata for Fortepiano and Flute Obbligato, Op. 71: II. Scherzo, Presto, Trio 06:53
3. Grand Sonata for Fortepiano and Flute Obbligato, Op. 71: III. Andante sostenuto 03:30
4. Grand Sonata for Fortepiano and Flute Obbligato, Op. 71: IV. Rondo Allegro 08:36
5. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: I. Allegro con fuoco 10:20
6. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: II. Variations sur un ancien air suédois – Introduzione – Andantino quasi Allegretto 02:25
7. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: III. Variations sur un ancien air suédois – Variation I 00:37
8. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: IV. Variations sur un ancien air suédois – Variation II 00:36
9. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: V. Variations sur un ancien air suédois – Variation III 00:35
10. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: VI. Variations sur un ancien air suédois – Variation IV 00:33
11. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: VII. Variations sur un ancien air suédois – Variation V 00:54
12. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: VIII. Variations sur un ancien air suédois – Variation VI 03:23
13. Grand Sonata for Fortepiano and Flute Obbligato, Op. 83, No. 1: IX. Allegro 12:33

Personnel:
Mika Putterman (flute)
Erin Helyard (piano)

Download:

https://subyshare.com/vrqu7h3z7t1d/MikaPuttermanErinHelyardKuhlauGrandesS0nates0p.718320182496.part1.rar.html
https://subyshare.com/1kanzfk2looa/MikaPuttermanErinHelyardKuhlauGrandesS0nates0p.718320182496.part2.rar.html

The notes to this release by the German-French Morgenstern Trio hasten to assure the reader that the presence of two female composers is not the rationale for the program, as if that were really necessary. Instead the purpose is to explore the influence of Ravel, whose wondrous Piano Trio in A minor of 1914 concludes the program. It is undoubtedly true that both of the first two composers represented would have known Ravel’s trio well, so the program succeeds when measured against its specific objectives. The music itself is a mixed bag. The Piano Trio of Germaine Tailleferre, an unjustly forgotten member of Les Six, may be unique in the annals of music in terms of time elapsed between genesis and completion. Tailleferre began the work in 1916, almost on the heels of Ravel’s, but it was set aside when the composer was displaced by World War I and not resumed until 1978. Nevertheless, some would be hard pressed to figure out where the joints are. The work is very much in the Ravel mode, but is more gently melodic, diverging from the grand lyricism that gives the Ravel trio its flavor, and it’s a pairing that works well. The Piano Trio of Belgian composer Jacqueline Fontyn, composed in 1956, has the forceful quality of the Ravel, and the performance has the added virtue of having been discussed with the composer, who is still living. Still, it’s the least successful of the three works on the album; it sounds like a twelve-tone exercise, which is exactly what it was. On balance, this is an intriguing program that will appeal to fans of 20th century music in the French sphere.

Tracklist:
01. Piano Trio: I. Allegro animato
02. Piano Trio: II. Allegro vivace
03. Piano Trio: III. Moderato
04. Piano Trio: IV.Très animé
05. Piano Trio: I. Allegro
06. Piano Trio: II. Adagio assai
07. Piano Trio: III. Fuga
08. Piano Trio: IV. Allegro risoluto
09. Piano Trio in A Minor, M. 67: I. Modéré
10. Piano Trio in A Minor, M. 67: II. Pantoum-Assez vif
11. Piano Trio in A Minor, M. 67: III. Passacaille-Très large
12. Piano Trio in A Minor, M. 67: IV. Final-Animé

Composers:
Fontyn, Jacqueline (b.1930)
Ravel, Maurice (1875-1937)
Tailleferre, Germaine (1892-1983)

Personnel:
Morgenstern Trio:
Catherine Klipfel, piano
Stephan Hempel, violin
Emanuel Wehse, cello

Download:

https://subyshare.com/1ymxqcj1ibf4/M0rgensternTri0M0rgensternTri0TailleferreF0ntynRavel20152448.rar.html

Roxy – Tonight’s The Night Live is one of the most sought-after recordings from his vast archives. This was the first public performance of many of the songs that would make up Young’s seminal album Tonight’s The Night, which would not be released until June 1975. The album’s final track “Walk On” would not appear until the release of On The Beach, in July 1974. Young would be the first artist to christen the stage at what would become one of the world’s great clubs, The Roxy Theater on the riotous Sunset Strip, right next door to the already infamous Rainbow Bar & Grille. The shows took place on September 20-22, 1973.

Produced by Young and the late David Briggs, these resultant recordings were mixed by John Nowland with updated post-production and mastering by John Hanlon – along with Chris Bellman – at Bernie Grundman Mastering using the original analog master tape source. Close your eyes and you’ll be right there in that dark, smoky, 500 capacity room in West, L.A. on a hot summer night in 1973. Tonight’s The Night would go on to be named one of Rolling Stone’s 500 Greatest Albums Of All Time, and universally praised for it’s dark honesty and unapologetic raw delivery. The very same can be said for Roxy – Tonight’s The Night Live.

“In 1973, I drove my 1947 Buick Roadmaster, Black Queen, to LA from the North, accompanied by Ben Keith. Once we made it to Hollywood, we met up with Billy Talbot and Ralph Molina. Nils Lofgren joined us and we drove to Studio Instrument Rentals on Santa Monica Blvd. David Briggs, producer, and Johnny Talbot, equipment manager, met us there. They had blasted a hole in the wall to connect the green board which we had set up (an old tube board I had purchased that had been used recording many historic sessions from the Beach Boys’ Pet Sounds to Monterey Pop Festival, among many others) next to the rehearsal hall. Our 16-track analog tape machine was set up next to the board. We had finished recording TTN and decided to celebrate with a gig at a new club opening on the Sunset Strip, the ROXY. We went there and recorded for a few nights, opening the ROXY. We really knew the Tonight’s the Night songs so we just played them again, the album, top to bottom, two sets a night for a few days. We had a great time. ROXY -Tonight’s the Night Live is the live recording we made. There is a little Super 8 footage of us driving to the gig in the Black Queen one of those nights.” (Neil Young)

Tracklist:
1. Intro 00:42
2. Tonight’s the Night 06:56
3. Roll Out the Barrel 00:52
4. Mellow My Mind 03:10
5. World on a String 02:43
6. Band Intro 01:23
7. Speakin’ Out 06:37
8. Candy Bar Rap 00:30
9. Albuquerque 03:51
10. Perry Como Rap 00:17
11. New Mama 02:29
12. David Geffen Rap 00:35
13. Roll Another Number (For the Road) 04:48
14. Candy Bar 2 Rap 00:19
15. Tired Eyes 07:02
16. Tonight’s the Night (Pt. II) 06:37
17. Walk On 03:38
18. Outro 00:33

Personnel:
Neil Young, guitars, vocals, piano
Ben Keith, pedal steel, slide guitars, vocals
Billy Talbot, bass
Ralph Molina, drums, vocals
Nils Lofgren, piano, vocals, guitars
Digitally remastered

Download:

https://subyshare.com/l4lujpv6we9w/NeilY0ungR0xyT0nightstheNightLive201824192HDtracks.part1.rar.html
https://subyshare.com/mp8rvj6dj4e9/NeilY0ungR0xyT0nightstheNightLive201824192HDtracks.part2.rar.html

24-96

https://subyshare.com/jxxmo9rhuitz/NeilY0ungR0XYT0nightstheNightLive20182496.part1.rar.html
https://subyshare.com/8e2ezuqyzgfy/NeilY0ungR0XYT0nightstheNightLive20182496.part2.rar.html

Pärt’s four symphonies stretch across a period of 45 years, from 1964 and 1966 respectively for the first two, 1971 for the third, and 2008 for the fourth. His first steps into the works of the symphony were still marked by dodecaphonism, although Pärt would not resist the gradual appearance of tonal poles in his work and “accidental” encounters between consonant notes and the harmonies that resulted; but the discourse remains very much linked to modernist principles, while exploring older forms of prelude and fugue, or indeed polyphony. With the Second, Pärt’s avant-gardist period came to an end. From the 1970s, Pärt would completely revise his language, and come to concentrate on religious and medieval music, in such a way that his Third Symphonythrows out dodecaphonism and all its theories, developing in their place a tonal, melodic, modal idiom (the old ecclesiastical styles, in fact). And within this personal revolution, Pärt would take a step into “tintinnabulum”, which formed the basis of the Fourth Symphony, written for strings, harp and percussion: a wide world of meditation, stunning, unreal, intangible, and fundamentally tonal, in which the movements from one phenomenon to another move immensely slowly, allowing the listener to savour every moment.

Tracklist:
Arvo Pärt (1935- )
1. Symphony No. 1 “Polyphonic” : 1. Canons 11:18
2. Symphony No. 1 “Polyphonic” : 2. Prelude And Fugue 07:56
3. Symphony No. 2 : I 03:36
4. Symphony No. 2 : II 02:14
5. Symphony No. 2 : III 04:47
6. Symphony No. 3 : I 06:29
7. Symphony No. 3 : II 05:48
8. Symphony No. 3 : III 08:05
9. Symphony No. 4 “Los Angeles” : 1. Con sublimità. Marcando con maestà. Pacato 09:14
10. Symphony No. 4 “Los Angeles” : 2. Affannoso. Un poco più affannato 11:47
11. Symphony No. 4 “Los Angeles” : 3. Insistentemente. Con intimo sentimento Coda. Deciso 08:08

Personnel:
NFM Wrocław Philharmonic
Tõnu Kaljuste, conductor

Download:

https://subyshare.com/c27dn2r6po3x/NFMWr0cawPhilharm0nicTnuKaljusteArv0PrtTheSymph0nies20182444.1.rar.html

In 1863 Martine de Béhague’s grandmother bought the site where the Romanian Embassy now stands. She commissioned Gabriel Hippolyte Alexandre Destailleur (1822-1893), the architect who restored the châteaux of Courances and Vaux-le-Vicomte, to build a Louis XV-style town house that would be an appropriate setting for her collection of 18th-century artefacts she planned to house there. The architect was internationally renowned, had connections with the Imperial family and had worked for the Rothschilds in Vienna among others. Destailleur owned an impressive collection of architectural plans and fittings. His profound understanding of period décor made him superbly quali ed. He also had access to period panelling and decorative embellishments that had come onto the market as a result of Haussmann’s innovations. The writer Henri de Régnier singled out the building as “one of the most beautiful houses in our city.” On March 27, 1939, the building was sold to the Romanian State and used to house its embassy.

In 1897/98, Gustave-Adolphe Gerhardt (1843-1921), a winner of the Prix de Rome for Architecture, architect of a number of notable residences and responsible for the restoration of the Collège de France, designed and completed a full-scale concert hall and private theatre, later named La Salle Byzantine, that drew on ancient basilical plans and con gurations of Byzantine churches. The theatre also served as a museum. Various sources suggest musical instruments and pain- tings were displayed there. In 1900, Le Monde Musical wrote that the hall could accommodate 600 people and that a large organ was installed there. The organ still stands in part and is one of the rare examples of an extant non-religious organ from the beginning of the 20th-century still in existence. …

Tracklist:
Benjamin Godard (1849 – 1895)
01. Sonate pour violon et piano No. 3 en Sol Mineur, Op. 9: I. Allegro moderato
02. Sonate pour violon et piano No. 3 en Sol Mineur, Op. 9: II. Scherzo (non troppo vivace)
03. Sonate pour violon et piano No. 3 en Sol Mineur, Op. 9: III. Andante
04. Sonate pour violon et piano No. 3 en Sol Mineur, Op. 9: IV. Intermezzo (un poco moderato)
05. Sonate pour violon et piano No. 3 en Sol Mineur, Op. 9: V. Allegro
06. Sonate pour violon et piano No. 1 en Do Mineur, Op. 1: I. Andante
07. Sonate pour violon et piano No. 1 en Do Mineur, Op. 1: II. Scherzo
08. Sonate pour violon et piano No. 1 en Do Mineur, Op. 1: III. Andante
09. Sonate pour violon et piano No. 1 en Do Mineur, Op. 1: IV. Finale (allegro vivace)
01. Sonate pour violon et piano No. 4 en La Bémol Majeur, Op. 12: I. Vivace ma non troppo
02. Sonate pour violon et piano No. 4 en La Bémol Majeur, Op. 12: II. Allegro vivace ma non presto
03. Sonate pour violon et piano No. 4 en La Bémol Majeur, Op. 12: III. Andante
04. Sonate pour violon et piano No. 4 en La Bémol Majeur, Op. 12: IV. Allegro molto
05. Sonate pour violon et piano No. 2 en La Mineur, Op. 2: I. Andante-allegro vivace e appassionato
06. Sonate pour violon et piano No. 2 en La Mineur, Op. 2: II. Intermezzo (vivace)
07. Sonate pour violon et piano No. 2 en La Mineur, Op. 2: III. Andante quasi adagio
08. Sonate pour violon et piano No. 2 en La Mineur, Op. 2: IV. Finale (allegro)

Personnel:
Nicolas Dautricourt, violon
Dana Ciocarlie, piano

Download:

https://subyshare.com/39zlfi3uon8z/Nic0lasDautric0urtDanaCi0carliBenjaminG0dardIntgraledess0natesp0urvi0l0netpian020162496.part1.rar.html
https://subyshare.com/albdlyvf4jw3/Nic0lasDautric0urtDanaCi0carliBenjaminG0dardIntgraledess0natesp0urvi0l0netpian020162496.part2.rar.html

The liner notes aren’t very clear, so here are the details of this most singular recording, which focuses especially on Bach. Violist Nils Mönkemeyer and lutist Andreas Arend have chosen to perform, in a single “double” suite – BWV 995 and 1011 – the two preludes to the suite, and then the two allemandes etc. – in the knowledge that the BWV 995 is transcription for solo lute made by Bach himself of his own Suite for Cello n°5 BWV 1011… But here, we hear BWV 995 re-written by our two soloists, for viol and lute. As for the Suite BWV 1011, originally written for solo cello, Mönkemeyer has given it over to solo viola, without making any changes to the discourse. At every turn, movement by movement, the juxtaposition shows off the “developed” harmony that Bach gives to the lute, more inferred than really written out, just as in the version for the solo instrument. Mönkemeyer and Arend round off the programme with other examples of the very ancient and widely-practised baroque-era habit of transcription, with pieces by Robert de Visée and Michel Lambert (who were themselves models for Bach when he wrote “à la française”) and the famous lutist Leopold Weiss, a friend of Bach’s, whose Rondeau was long thought to be a work of Bach’s before musicologists credited its true composer.

Tracklist:
1. Pièces de théorbe et de luth: Suite in F Minor : Pièces de théorbe et de luth: Suite in F Minor: I. Allemande, “La Plainte”
2. Pièces de théorbe et de luth: Suite in F Minor : Pièces de théorbe et de luth: Suite in F Minor: II. Courante
3. Pièces de théorbe et de luth: Suite in F Minor : Pièces de théorbe et de luth: Suite in F Minor: III. Gigue
4. Suite No. 5 for Viola and Theorbe in G Minor, BWV 995: I. Prélude
5. Suite No. 5 for Viola Solo in C Minor, BWV 1011: I. Prélude
6. Suite No. 5 for Viola and Theorbe in G Minor, BWV 995: II. Allemande
7. Suite No. 5 for Viola Solo in C Minor, BWV 1011: II. Allemande
8. Suite No. 5 for Viola and Theorbe in G Minor, BWV 995: III. Courante
9. Suite No. 5 for Viola Solo in C Minor, BWV 1011: III. Courante
10. Suite No. 5 for Viola and Theorbe in G Minor, BWV 995: IV. Sarabande
11. Suite No. 5 for Viola Solo in C Minor, BWV 1011: IV. Sarabande
12. Suite No. 5 for Viola and Theorbe in G Minor, BWV 995: V. Gavotte 1 & 2
13. Suite No. 5 for Viola Solo in C Minor, BWV 1011: V. Gavotte 1 & 2
14. Suite No. 5 for Viola and Theorbe in G Minor, BWV 995: VI. Gigue
15. Suite No. 5 for Viola Solo in C Minor, BWV 1011: VI. Gigue
16. Rondeau in C Major for Viola and Lute, BWV 1025, No. 4
17. Airs de cour: Vos mépris chaque jour
18. Airs de cour: Ombre de mon amant
19. Nun komm, der Heiden Heiland, BWV 659 (Arr. for Viola and Lute)

Composers:
Bach, Johann Sebastian (1685-1750)
Lambert, Michel (1610-96)
Visée, Robert de (c.1655-c.1732)

Personnel:
Nils Mönkemeyer, Viola
Dorothee Mields, Soprano
Sara Kim, Viola
Andreas Arend, Theorbe, Laute
Niklas Trüstedt, Violine

Download:

https://subyshare.com/lxdqhj251dqf/NilsM0nkemeyerBar0que20182488.2.part1.rar.html
https://subyshare.com/ifc9dzqypdyp/NilsM0nkemeyerBar0que20182488.2.part2.rar.html

Everybody knows about New Orleans’ rich musical tradition—but an even more deeply rooted tradition in the Crescent City is one of perpetual reinvention. It’s a city that’s been reborn countless times over the course of its multi-cultural history, a legacy vibrantly reflected in its music.

With the release of their debut album, Dogs, in 2016, the Nolatet – vibraphonist Mike Dillon, pianist Brian Haas, bassist James Singleton and drummer Johnny Vidacovich – added their own new twist to the New Orleans tradition. Now the quartet returns with their much-anticipated follow-up, ‘No Revenge Necessary,’ which takes the music through as many winding turns and colorful pathways as a Second Line parade route.

“‘Dogs’ was beginner’s luck,” says Singleton. “We had just started as a band, and we managed to somehow pull together a cohesive program. To me that small miracle was a good omen for the future.”

That omen proves true in myriad ways on ‘No Revenge Necessary,’ released via Royal Potato Family, which finds the band getting alternately (and often simultaneously) funky and ferocious, playful and profound, high-spirited and movingly solemn, irreverent, iconoclastic, and tapped into the bloodline that flows through the veins of every New Orleans musician.

After criss-crossing the country together touring behind ‘Dogs,’ Haas says, “we can take bigger musical risks in the studio and not fall on our butts. The more you play improvised music with the same line-up the luckier you can get as a band. This new album is WAY rowdier and riskier.” As Dillon adds, “a year of touring and festivals has made this band of unique improvisers stand on an island beyond the normal jazz arms race.”

While ‘Dogs’ was the first time these four came together as a unit, there was plenty of history already shared between them. Singleton and Vidacovich can boast more than four decades of playing together, during which they’ve established themselves as New Orleans’ most revered rhythm section. Dillon and Haas have crossed paths endlessly along the routes of their relentless touring schedules with bands like Jacob Fred Jazz Odyssey, Garage a Trois, Critters Buggin and the Dead Kenny Gs.

“The wealth of music experience amongst ourselves is why Nolatet has its own voice,” says Haas. “After a few years you don’t learn the other person’s music—you learn the other person!”

That knowledge pays off in a sonic portrait like “Lanky, Stanky Maestro,” which Haas wrote in honor of Vidacovich and which evokes an explosive barrage of rakish outbursts from the drummer. Singleton calls it “pure slop/funk/mid-city/spaghetti-eatin’ grease”—and he’d know better than anyone. He continues that the “constant counterpoint conversation (including and especially the kit) is a contemporary flowering of the polyphony present in New Orleans music from 100 ears and years ago. That’s how we are able to reflect the complexities of adult lives with relatively simple materials.”

On the wildly spiraling “Bluebelly,” Singleton tips his hat to the more (post) modern sounds that he was confronted with through bandmate Dillon’s work in Garage a Trois alongside drummer Stanton Moore and saxophonist Skerik. Haas’ tumultuous “Homer and Debbie” was penned as an ode to two of his five dogs, and more expansively about life and death, youth and old age. Dillon’s “Elegant Miss J” commemorates a lost love and the pitfalls that follow when romance meets a life on the road. Landscape was also an inspiration for Haas, who wrote the imposing “Gracemont” under the sway of Oklahoma’s Wichita Mountains and the down-home “Pecos Wilderness” while musing on the terrain near his home in Santa Fe, New Mexico.

Then there are the inevitable passions that arise from a world in turmoil and the rebirth that (hopefully) can rise from it, as has happened time and again in New Orleans’ beleaguered past. Singleton’s “Dike Finger” is his response to Hurricane Katrina, erupting in anger and then giving way to optimism and solidarity. Haas’ title track “No Revenge Necessary” casts both a more intimate and a much wider net, sparked by the end of a relationship, but expanding to encompass the divisive times in which we all find ourselves these days.

“For me the over-riding theme moving forward is forgiveness,” Singleton sums up. “Hopefully the strength of the music can serve as a reminder of the possibility of growth and healing through forgiving.”

Tracklist:
1. Lanky, Stanky, Maestro 03:33
2. Homer & Debbie 04:41
3. Black Sheep 04:31
4. No Revenge Necessary 04:41
5. Elegant Miss J 05:52
6. Dikefinger 06:26
7. Gracemont 02:16
8. Bluebelly 03:41
9. Pecos Wilderness 04:09
10. Malabar 05:39

Personnel:
Johnny Vidacovich – Drums, Percussion, Timpani
James Singleton – Upright Bass, Pocket Trumpet, Bass Melodica
Mike Dillon – Vibes, Marimba, Tabla, Percussion
Brian Haas – Piano, Melodica

Download:

https://subyshare.com/bdj59rj8txb9/N0latetN0RevengeNecessary20182444.1.rar.html

Post Malone – Stoney {Deluxe Edition} (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:08:23 minutes | 782 MB | Genre: Hip-Hop
Studio Masters, Official Digital Download – Source: ProStudioMasters | Front Cover | © Republic Records

Billboard 200 – #6, 2016
Billboard Hot 100 – #14, 2016 – White Iverson
Juno Award Nomination – International Album of the Year, 2018

American hip-hop artist Post Malone (real name: Austin Post) shot to fame after generating over four million streams and selling three million copies of his song White Iverson, followed by Too Young, a tribute to rapper A$AP Yams who died at the age of 26. Both hits are included along with the gold single Go Flex on Malone’s debut album Stoney, boasting a guest list headed by Justin Bieber on the fourth single Deja Vu.This deluxe edition contains four bonus tracks, notably Money Made Me Do It featuring 2 Chainz.

“When you first start listening to a new song, there’s an in-between period of its shaping memory. The rhythms and lyrics are familiar, but not rotely summonable. A song will always sound most magical then. (Deja Vu) is that sensation distilled … it sounds a lot like another song you know very well, Hotline Bling … though lyrically Deja Vu is much cuter … with the repeated listens the song begs for, Deja Vu’s rhythms and lyrics begin to solidify: the echoed coo in the chorus, the half strum of the guitar as punctuation. Post Malone has this anxious little warble happening that makes his inherent corniness a sweet thing. Justin Bieber is as buttery as ever.”
– Pitchfork

Tracklist

01. Broken Whiskey Glass (3:54)
02. Big Lie (3:28)
03. Deja Vu (Feat. Justin Bieber) (3:54)
04. No Option (3:00)
05. Cold (4:29)
06. White Iverson (4:17)
07. I Fall Apart (3:43)
08. Patient (3:14)
09. Go Flex (3:00)
10. Feel (Feat. Kehlani) (3:17)
11. Too Young (3:57)
12. Congratulations (Feat. Quavo) (3:40)
13. Up There (3:15)
14. Yours Truly, Austin Post (3:39)
15. Leave (5:25)
16. Hit This Hard (4:09)
17. Money Made Me Do It (Feat. 2 Chainz) (3:45)
18. Feeling Whitney (4:17)

Download:

https://subyshare.com/4h0oqy9ro8j8/P0stMal0neSt0neyDeluxeEditi0n2016Pr0Studi0Masters2444.1.rar.html

Stone Temple Pilots has announced a March 16 release date for its highly anticipated new self-titled album, Stone Temple Pilots. This marks the band’s first album with the new lead singer, Jeff Gutt.

Despite being one of the best-selling bands of the 1990s with platinum records and a Grammy to its credit, guitarist Dean DeLeo says, “ We are thrilled about what lies ahead. The best way for us to honor our past is to keep making new music.”

The band does just that on Stone Temple Pilots. The first single “Meadow” (currently Top 10 at rock radio) and “Never Enough” channels the gritty guitars and swaggering rhythms that STP perfected on Core (1992), Purple (1994), and No. 4 (1999). “Roll Me Under” glides along a nimble bass line before slamming into the chorus, where Gutt’s baritone digs in.

Stone Temple Pilots is the second Stone Temple Pilots album to be titled Stone Temple Pilots, following the first by eight years. A lot happened during those years. At the dawn of the decade, when STP issued their first eponymous album, the group reunited with their erstwhile frontman Scott Weiland, but that revival didn’t last long: They fired the singer in 2013, hiring Linkin Park frontman Chester Bennington in his stead. Bennington lasted two years before amicably parting ways in 2015. Not much later, Weiland died of an accidental overdose, but the remaining three STP were already gearing up for an online search for a new vocalist. By the end of 2017, the band revealed they’d hired Jeff Gutt — a runner-up on the third season of The X Factor — as their new lead singer. Gutt debuted on the 2018 self-titled set from Stone Temple Pilots and, from a certain perspective, he could be mistaken for a well-behaved Weiland. He nails how the late singer could slide from a snarl to a sigh, conjuring a bit of a snaky sexuality while still seeming a bit safe. In other words, he’s a good fit for the DeLeos, because he can articulate their musical interests without causing a ruckus. That’s not a bad thing at all. While there may not be much tension between the singer and the band — which was a defining characteristic of STP during their heyday — this ease feels earned and welcome, not least because it makes it possible to appreciate the craft of the DeLeos. Whether it’s psychedelicized hard rock or candied melodies, the pair not only know how to construct melodies, they know how to showcase these hooks with layered productions that skirt the edge of being ornate. These skills were evident as early as Purple, but on this album, there’s not only no Weiland, there’s also no Brendan O’Brien to credit. Stone Temple Pilots are now clearly lead by Robert and Dean DeLeo, and this 2018 album shows they haven’t lost their knack for hooky-heavy hard rock that wedges its way into the subconscious. The album can’t be called a comeback — the group were toiling away during the 2010s, after all — but it certainly opens the door on another act in their career, one that is sonically tied to their past but feels brighter (and more relaxed) than their first chapters.

Tracklist
1. Middle of Nowhere 3:41
2. Guilty 3:14
3. Meadow 3:28
4. Just a Little Lie 3:59
5. Six Eight 3:32
6. Thought She’d Be Mine 5:31
7. Roll Me Under 3:45
8. Never Enough 3:46
9. The Art of Letting Go 4:35
10. Finest Hour 4:10
11. Good Shoes 3:38
12. Red & Blues 4:59

Download:

https://subyshare.com/la9yg96mxnt4/St0neTemplePil0tsSt0neTemplePil0ts2018Q0buz2448.rar.html

Stone Temple Pilots – Core {Remastered Super Deluxe Edition}
FLAC (tracks) 24-bit/96 kHz | Time – 03:44:52 minutes | 4,59 GB | Genre: Alternative Rock
Studio Master, Official Digital Download | Front Cover | © Rhino Atlantic

This September, Rhino are to reissue a 25th anniversary, four-disc super deluxe edition of Stone Temple Pilots 1992 debut Core. The Grammy winning album has sold over 8 million copies in the US alone and amongst its 12-tracks are the singles Sex Type Thing, Plush and Wicked Garden. The super deluxe edition reissue is a 4CD set. It includes a newly remastered version of the original album, and a very impressive amount of unreleased material. In fact, across the three bonus CDs is more than two hours of unheard demos and unissued live performances, including the band’s performance on MTV Unplugged.

Stone Temple Pilots were positively vilified once their 1992 debut, Core, started scaling the charts in 1993, pegged as fifth-rate Pearl Jam copyists. It is true that the worst moments of Core play like a parody of the Seattle scene — titles like “Dead and Bloated” and “Crackerman” tell you that much, playing like really bad Alice in Chains parodies, and the entire record tends to sink into gormless post-grunge sludge. Furthermore, even if it rocks pretty hard, it’s usually without much character, sounding like cut-rate grunge. To be fair, it’s more that they share the same influences as their peers than being overt copycats, but it’s still a little disheartening all the same. If that’s all that Core was, it’d be as forgettable as Seven Mary Three, but there are the hits that propelled it up the charts, songs that have remarkably stood the test of time to be highlights of their era. “Sex Type Thing” may have a clumsy anti-rape lyric that comes across as misogynist, but it survives on its terrifically lunk-headed riff, while “Wicked Garden” is a surprisingly effective piece of revivalist acid rock. Then, there’s the slow acoustic crawl of “Creep” that works as well as anything on AIC’s Sap and, finally, “Plush,” a majestic album rock revival more melodic and stylish than anything grunge produced outside of Nirvana itself. These four songs aren’t enough to salvage a fairly pedestrian debut, but they do find STP to be nimble rock craftsmen when inspiration hits.

Tracklist:

CD1
01. Dead & Bloated (Remastered)
02. Sex Type Thing (Remastered)
03. Wicked Garden (Remastered)
04. No Memory (Remastered)
05. Sin (Remastered)
06. Naked Sunday (Remastered)
07. Creep (Remastered)
08. Piece of Pie (Remastered)
09. Plush (Remastered)
10. Wet My Bed (Remastered)
11. Crackerman (Remastered)
12. Where The River Goes (Remastered)

CD2
01. Only Dying (Demo)
02. Wicked Garden (Demo)
03. Naked Sunday (Demo)
04. Where The River Goes (Demo)
05. Dead & Bloated (Demo)
06. Sex Type Thing (Demo)
07. Sin (Demo)
08. Creep (Demo)
09. Plush (Demo)
10. Sex Type Thing (Swing Type Version) [Remastered]11. Plush (Acoustic Type Version) [Remastered]12. Creep (New Version) [Remastered]13. Plush (Acoustic From MTV Headbanger’s Ball, Take 1) [Live] [Remastered]

CD3
01. Crackerman (Live At Castaic Lake Natural Amphitheater, 7/2/93)
02. Wicked Garden (Live At Castaic Lake Natural Amphitheater, 7/2/93)
03. No Memory (Live At Castaic Lake Natural Amphitheater, 7/2/93)
04. Sin (Live At Castaic Lake Natural Amphitheater, 7/2/93)
05. Plush (Live At Castaic Lake Natural Amphitheater, 7/2/93)
06. Where The River Goes (Live At Castaic Lake Natural Amphitheater, 7/2/93)
07. Sex Type Thing (Live At Castaic Lake Natural Amphitheater, 7/2/93)
08. Wet My Bed (Live At Castaic Lake Natural Amphitheater, 7/2/93)
09. Naked Sunday (Live At Castaic Lake Natural Amphitheater, 7/2/93)
10. Wicked Garden (Live At The Reading Festival ’93, England 8/27/93)
11. No Memory (Live At The Reading Festival ’93, England 8/27/93)
12. Sin (Live At The Reading Festival ’93, England 8/27/93)
13. Lounge Fly (Live At The Reading Festival ’93, England 8/27/93)
14. Dead & Bloated (Live At The Reading Festival ’93, England 8/27/93)
15. Sex Type Thing (Live At The Reading Festival ’93, England 8/27/93)
16. Naked Sunday (Live At The Reading Festival ’93, England 8/27/93)

CD4
01. Crackerman (Live) [MTV Unplugged, 11/17/93]02. Creep (Live) [MTV Unplugged, 11/17/93]03. Andy Warhol (Live) [MTV Unplugged, 11/17/93]04. Plush (Live) [MTV Unplugged, 11/17/93]05. Big Empty (Live) [MTV Unplugged, 11/17/93]06. Wicked Garden (Live) [MTV Unplugged, 11/17/93]07. Sex Type Thing (Live) [MTV Unplugged, 11/17/93]

Download:

https://subyshare.com/jpo4q8qehxee/St0neTemplePil0tsC0reRemasteredSuperDeluxeEditi0n199220172496.part1.rar.html
https://subyshare.com/403dd5ajb173/St0neTemplePil0tsC0reRemasteredSuperDeluxeEditi0n199220172496.part2.rar.html
https://subyshare.com/c9ts6hpdn3q8/St0neTemplePil0tsC0reRemasteredSuperDeluxeEditi0n199220172496.part3.rar.html
https://subyshare.com/7frkc7eshqaf/St0neTemplePil0tsC0reRemasteredSuperDeluxeEditi0n199220172496.part4.rar.html
https://subyshare.com/qzp8c4njbyv2/St0neTemplePil0tsC0reRemasteredSuperDeluxeEditi0n199220172496.part5.rar.html

The Fratellis are a Scottish rock band from Glasgow, formed in 2005. The band consists of lead vocalist and guitarist Jon Fratelli (born John Lawler), bass guitarist Barry Fratelli (born Barry Wallace), and drummer and backing vocalist Mince Fratelli (born Gordon McRory). “In Your Own Sweet Time” is their fifth studio album. The Fratellis still favor melody, which is their saving grace.

More than a decade removed from their 2006 debut, Costello Music (their only record to make waves on both sides of the Atlantic), the Fratellis no longer bother with the manic energy that fueled such early hits as “Chelsea Dagger.” Listening to In Your Own Sweet Time – the band’s fifth full-length album, released almost 12 years after their first – it’s hard not to miss that kind of verve, since the trio are settling into a comfortable groove where they emphasize nuanced craft over kinetic kicks. The Fratellis still favor melody, which is their saving grace. Perhaps In Your Own Sweet Time feels excessively massaged – it’s slick and sweet, the work of a group eager to settle into middle age – but the Fratellis still kick out hooks that worm their way into the subconscious, even if they don’t grab attention. Because the Fratellis are no longer rushing toward the finish line, In Your Own Sweet Time can seem a little stiff and fussy, but the group’s instincts remain sound, and that helps turn this album into something handsome instead of something stuffy.

Tracklist:
01 – Stand up Tragedy
02 – Starcrossed Losers
03 – Sugartown
04 – Told You So
05 – The Next Time We Wed
06 – I’ve Been Blind
07 – Laughing Gas
08 – Advaita Shuffle
09 – I Guess… I Suppose…
10 – Indestructible
11 – I Am That

Download:

https://subyshare.com/8wsf7pgp6pwo/TheFratellisInY0ur0wnSweetTime20187Digital2496.part1.rar.html
https://subyshare.com/dllfgmv8sgft/TheFratellisInY0ur0wnSweetTime20187Digital2496.part2.rar.html

Lola , of course, became a classic-rock radio mainstay, but this entire 1970 album is nothing less than essential: Apeman; Got to Be Free; A Long Way from Home; Rats , and more songs that run from the funny to the furious.

“Lola” gave the Kinks an unexpected hit and its crisp, muscular sound, pitched halfway between acoustic folk and hard rock, provided a new style for the band. However, the song only hinted at what its accompanying album Lola Versus the Powerman and the Moneygoround, Part One was all about. It didn’t matter that Ray Davies just had his first hit in years – he had suffered greatly at the hands of the music industry and he wanted to tell the story in song. Hence, Lola – a loose concept album about Ray Davies’ own psychosis and bitter feelings toward the music industry. Davies never really delivers a cohesive story, but the record holds together because it’s one of his strongest set of songs. Dave Davies contributes the lovely “Strangers” and the appropriately paranoid “Rats,” but this is truly Ray’s show, as he lashes out at ex-managers (the boisterous vaudevillian “The Moneygoround”), publishers (“Denmark Street”), TV and music journalists (the hard-hitting “Top of the Pops”), label executives (“Powerman”), and, hell, just society in general (“Apeman,” “Got to Be Free”). If his wit wasn’t sharp, the entire project would be insufferable, but the album is as funny as it is angry. Furthermore, he balances his bile with three of his best melancholy ballads: “This Time Tomorrow,” “A Long Way from Home,” and the anti-welfare and union “Get Back in Line,” which captures working-class angst better than any other rock song. These songs provide the spine for a wildly unfocused but nonetheless dazzling tour de force that reveals Ray’s artistic strengths and endearing character flaws in equal measure.” (Stephen Thomas Erlewine, AMG)

Tracklist:
1. The Contenders 02:41
2. Strangers 03:19
3. Denmark Street 02:02
4. Get Back In Line 03:04
5. Lola 04:01
6. Top of the Pops 03:39
7. The Moneygoround 01:42
8. This Time Tomorrow 03:21
9. A Long Way from Home 02:26
10. Rats 02:39
11. Apeman 03:52
12. Powerman 04:19
13. Got to Be Free 02:59

Personnel:
Ray Davies, lead vocals, guitar, harmonica, keyboards, resonator guitar
Dave Davies, lead guitar, banjo, backing vocals, lead vocals on “Strangers” and “Rats”
Mick Avory, drums, percussion
John Dalton, bass, backing vocals
John Gosling, keyboards, piano, organ

Recorded April–May and August–September 1970 at Morgan Studios, Willesden, London
Produced by Ray Davies

Digitally remastered

Download:

https://subyshare.com/7exr379cquxo/TheKinksL0lavs.P0wermanTheM0neyg0r0undPart0ne197020187Digital2496.rar.html

Canadian riff monsters Three Days Grace return with their latest offering Outsider. Immediately you are pulled into this massive-sounding album packed with thumping tracks one after another. Outsider is Three Days Grace’s sixth studio album and showcases their quality right from the off. Highly addictive songwriting and huge melodic hooks are an instant attention grabber and hold you throughout. Beautifully paced, the album takes you on a melodic journey across the twelve finely-penned tracks.

First class songwriting as ever from this established band makes Outsider a hard hitter with banging tunes one after another. It’s an easy album to fall in love with, crank up the volume and just give into the beautiful production and massive-sounding sing-along chorus. You’ll not be disappointed. If you’re an established fan or a newbie, Outsider has something for everyone.

The stalwart Canadian hard rock/post-grunge group’s sixth studio long-player, Outsider is the second Three Days Grace outing to feature new vocalist Matt Walst, who made his debut on 2015’s Human — Walst played a much larger role in writing and shaping the songs this time around. Produced by the band alongside Gavin Brown and Howard Benson, both of whom have helmed TDG albums in the past, the 12-track set was heralded by the singles “The Mountain,” “I Am an Outsider,” and “Right Left Wrong.”

Tracklist:
01. Right Left Wrong
02. The Mountain
03. I Am An Outsider
04. Infra-Red
05. Nothing To Lose But You
06. Me Against You
07. Love Me Or Leave Me
08. Strange Days
09. Villain I’m Not
10. Chasing The First Time
11. The New Real
12. The Abyss

Download:

https://subyshare.com/6n1t99mtypf0/ThreeDaysGrace0utsider20187Digital2496.rar.html

Morrison’s 39th Studio Collection Showcases Electrifying Musical Collaborations, Fresh Interpretations of Blues/Jazz Standards and Deep Cuts from Van’s Songbook. Legacy Recordings, a division of Sony Music Entertainment, will release Van Morrison’s new 39th studio album, You’re Driving Me Crazy, a musical collaboration with Hammond organ virtuoso and trumpet master Joey DeFrancesco, on Friday, April 27.

Van Morrison’s late career tear continues with You’re Driving Me Crazy, his third album in seven months. Following the formula of 2017’s Roll with the Punches and Versatile — each offered jazz, blues and R&B standards and redone originals — this set offers eight tracks from Morrison’s catalog and seven standards. it stands on its own, however, as a collaborative encounter with jazz organist and trumpeter Joey DeFrancesco’s hip quartet. They all holed up in a Sausalito studio and completed the recording in only two days, capturing everything in a take or two.

The loose feel is deceptive as the playing is anchored deep in the pocket; it crackles with live-wire intensity. Cole Porter’s “Miss Otis Regrets” is framed by a gentle swing, with DeFrancesco’s organ and Troy Roberts’ smoky tenor saxophone introducing Morrison. Though he sings in a lower register now, his voice has lost none of its suppleness. He hovers, glides, and swoops through the lyrics; his vocal is akin to another horn, thus making DeFrancesco’s trumpet solo a virtual duet. The jump swing of “All Saints Day” sounds like Jimmy McGriff jamming with Louis Jordan and James Moody. The new version of “The Way Young Lovers Do,” from Astral Weeks, offers a lilting, Coltrane-esque soprano saxophone, modal changes, souled-out scatting, and minor swing, revealing just how prescient and timeless the song remains. Johnny Mercer’s “Travelin’ Light” is a sweet, sultry blues with muted trumpet, shimmering chords, and Morrison’s improvisations on the changes. The band stretches out on “Goldfish Bowl.” Morrison’s fingerpopping delivery touches on everyone from Ray Charles to Jimmy Witherspoon; what’s more, he adds his alto horn for a twin saxophone attack as DeFrancesco’s tight B-3 solo is appended by guitarist Dan Wilson’s stinging, fleet-fingered break. No tune here signifies the collective musical mind meld like the title track by Walter Donaldson. It finds Morrison laughing with delight during the instrumental breaks and outro as the band swings and struts. “Everyday I Have the Blues,” with twinned saxes, bassline-heavy B-3, and popping snares becomes the perfect jump jam. The uptempo read of “Have I Told You Lately That I Love You” marks the latter (and best) of two duets between Morrison and daughter Shana (the other is Eddie “Cleanhead” Vinson’s hard bopping “Hold It Right There”). Its three-saxophone head and sumptuous, soul-drenched organ fills surround the pair’s empathic singing. The funky Titus Turner-penned “Sticks and Stones” offers dazzling electric piano pumping from DeFrancesco, bell-like cymbals from Wilson, and Morrison straddling of the worlds of R&B, jazz, and blues. Closer “Celtic Swing” is the lone instrumental, a stellar showcase for Morrison’s own alto playing and Wilson’s arpeggio-rich soloing with DeFrancesco keeping the breezy groove even when he embellishes it during his solo. You’re Driving Me Crazy is as energetic as any live show. Of the three successive recordings done in this way, this one stands head and shoulders above for its inspired performances and choices of material.

Tracklist:
1. Miss Otis Regrets 05:15
2. Hold It Right There 04:08
3. All Saints Day 03:05
4. The Way Young Lovers Do 04:13
5. The Things I Used to Do 05:55
6. Travelin’ Light 04:18
7. Close Enough for Jazz 04:45
8. Goldfish Bowl 07:05
9. Evening Shadows 03:21
10. Magic Time 05:13
11. You’re Driving Me Crazy 04:46
12. Everyday I Have the Blues 05:38
13. Have I Told You Lately? 04:52
14. Sticks and Stones 02:46
15. Celtic Swing 05:15

Personnel:
Van Morrison, saxophone, vocals
Joey DeFrancesco, Hammond organ, trumpet
Dan Wilson, guitar
Michael Ode, drums
Troy Roberts, tenor saxophone

Download:

https://subyshare.com/xjz7r2cgrr8x/VanM0rris0nJ0eyDeFrancesc0Y0ureDrivingMeCrazy2018Q0buz2496.part1.rar.html
https://subyshare.com/wajwlx9e0e02/VanM0rris0nJ0eyDeFrancesc0Y0ureDrivingMeCrazy2018Q0buz2496.part2.rar.html

‘Last Man Standing,’ comprised entirely of songs newly-penned by Willie Nelson (and longtime collaborator and producer Buddy Cannon), is the worthy successor to Willie’s ‘God’s Problem Child,’ which showcased seven Nelson-Cannon compositions and debuted at #1 on the Country charts. Willie and Buddy have been working together since 2008 with Cannon producing more than a dozen of Willie’s albums.

Willie Nelson started singing about the end of the line a while back but now that he’s in his mid-eighties, he’s so accustomed to having death lurking around the corner that he can kid about it. That’s precisely what he does throughout Last Man Standing, an album that serves as a jocular counterpart to its predecessor, God’s Problem Child. Nelson didn’t avoid humor on that record, but the vibe seemed haunted by a looming sense that the clock is ticking away. Willie shakes off this spookiness on Last Man Standing, whose title track finds him singing that “it’s getting hard to watch my pals check out” to a jaunty rhythm. Ultimately, he decides he wants to be the last man standing, a sentiment that’s reiterated a few tracks later, when Willie looks into the mirror and determines it’s “better to have bad breath than no breath at all.” Nelson isn’t seizing the day so much as shrugging off worries, and decides just to have a good time. Despite being riddled with songs about death and aging, Last Man Standing is ridiculously fun, thanks not just to Nelson’s jocularity — it’s not just gallows humor, either; the swinging honky tonk of “She Made My Day” is filled with sly one-liners — but to the nimbleness of his band. It’s no secret that his bandmembers are pros, but it’s still a pleasure to hear them play — they’re as compelling sliding into the shimmering jazz overtones of “Something You Get Through” as they are kicking out the blues of “I Ain’t Got Nothin'” — and they give Nelson plenty of cover for working with his weathered voice. No longer able to croon as he once did, Nelson opts for playing around with the rhythms of his delivery, a move that makes him seem limber, adding a sense of vitality to Last Man Standing. Willie realizes he’s not going to be here forever but he’s made up his mind to make the most of his time here, and that’s why Last Man Standing feels richer than so many self-conscious meditations on mortality.

Tracklist:
1. Last Man Standing 03:00
2. Don’t Tell Noah 02:28
3. Bad Breath 03:03
4. Me and You 02:49
5. Something You Get Through 03:53
6. Ready to Roar 02:35
7. Heaven Is Closed 03:16
8. I Ain’t Got Nothin’ 03:00
9. She Made My Day 02:43
10. I’ll Try To Do Better Next Time 02:59
11. Very Far to Crawl 03:48

Personnel:
Willie Nelson, vocals, guitar
Alison Krauss, background vocals, fiddle
Produced by Buddy Cannon

Download:

https://subyshare.com/azjivk66wryq/WillieNels0nLastManStanding2018Q0buz2496.rar.html

“There’s a Riot Going On” is the fifteenth full-length album by the American Indie-Rock band Yo La Tengo. While there’s a riot going on, Yo La Tengo will remind you what it’s like to dream. The sound burbles and washes and flows and billows. If records were dedicated to the cardinal elements, this one would be water. There are shimmery hazes, spectral rumbles, a flash of backward masking, ghostly flamingos calling “shoo-bop shoo-bop.” Even if your mind is not unclouded – shaken, misdirected, out of words and out of time – you can still float, ride the waves of an ocean deeper than your worries and above the sound. For Yo La Tengo this is a slow-motion action painting and Georgia Hubley, Ira Kaplan and James McNew did it all themselves, in their rehearsal studio, with no outside engineer (John McEntire later did the mix). They did not rehearse or jam together beforehand; they turned on the recorder and let things coalesce. Songs came together over long stretches, sometimes as much as a year going by between parts. You’d never guess this, since the layers are finessed with such a liquid brush. You’d imagine most of the songs had sprung forth whole, since they will enter your head that way. Within two listens you will be powerless to resist the magnetic draw of ‘Shades of Blue’, will involuntarily hear ‘She May, She Might’ on your internal jukebox first thing in the morning and ‘Let’s Do It Wrong’ late at night. While there’s a riot going on you will feel capable of bobbing through like a cork.

It’s a cotton revolution for Yo La Tengo. After Stuff Like That There (2015), in which they smoothly revisited tracks of their own or from others, this fifteenth album feels much more sedated. Led since 1986 by the couple Ira Kaplan and Georgia Hubley, the band are reunited here in a trio with bassist James McNew, and goes into a quiet and peaceful hibernation. The boiled down instrumentation navigates here and there on Shoegazian vapours (What Chance Have I Got, Dream Dream Away), towards tender folk strings (She May, She Might) and bossa backwashes (Esportes Casual), even sleeping under the Tropics (Polynesia #1). Maracas, warm and slow percussions, low and soft voices, bass in slow motion, and whispering guitars draw up a meditative opus, closer to Alice Coltrane than the mad and poisonous funk of Sly & The Family Stone’s There’s A Riot Going On (1971). – Charlotte Saintoin

The chorus that Georgia Hubley sings softly on the second track of New Jersey’s 15th studio album serves almost as a mission statement for the trio: “Whenever I see you, there are shades of blue.” Yo La Tengo are, as so often, blue: but theirs is not the midnight blue of despair, but the pale blue of melancholy, and sometimes the sharp, unending blue of a cloudless sky. The song exemplifies the group in other ways: its jaunty rhythm is taken straight from 60s beat pop, befitting their record collector reputation, but recast into something somnambulant and soothing all their own. There are flickers of the old fire on There’s a Riot Going on (which bears no similarity to Sly and the Family Stone, to the surprise of precisely no one). On For You Too, James McNew’s bass puts all four to the floor, with the fuzz pedal turned on, but Ira Kaplan refuses to rise to the bait, picking arpeggios around the basslines instead of wigging out, murmuring his vocal – but for the most part Yo La Tengo are gently blowing on embers rather than poking the logs. After the relative brevity of 2013’s Fade, There’s a Riot Going on heads back beyond the hour-mark, which does mean some longueurs: the jazzy, percussion-led Above the Sound meanders around for nearly six minutes unsuccessfully trying to locate a point. But then will come something as glorious as Forever: doo-wop-inspired backing vocals, a double bass, and Kaplan crooning over shapeshifting percussion: it’s gorgeous and elusive, the perfect expression of Yo La Tengo’s blending of ambience and rock classicism.

Tracklist:
01 – You Are Here
02 – Shades of Blue
03 – She May, She Might
04 – For You Too
05 – Ashes
06 – Polynesia #1
07 – Dream Dream Away
08 – Shortwave
09 – Above the Sound
10 – Let’s Do It Wrong
11 – What Chance Have I Got
12 – Esportes Casual
13 – Forever
14 – Out of the Pool
15 – Here You Are

Produced by Yo La Tengo.

Musicians:
Ira Kaplan – lead vocals, guitar, keyboard
James McNew – bass, backing vocals, guitar
Georgia Hubley – drums, percussion, backing vocals, guitar, keyboard, drum machine

Download:

https://subyshare.com/w79anwlkf5np/Y0LaTeng0TheresARi0tG0ing0n20187Digital2496.part1.rar.html
https://subyshare.com/s7j5xo80li51/Y0LaTeng0TheresARi0tG0ing0n20187Digital2496.part2.rar.html

Led Zeppelin – How The West Was Won (Live) [Remastered] (1972/2003/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 02:27:23 minutes | 3,05 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HighResAudio | Front Cover | © Rhino Atlantic, Rhino Records

Led Zeppelin continue their reissue campaign with a new edition of their celebrated live album ‘How The West Was Won’, originally released in 2003, featuring newly remastered audio supervised by Jimmy Page. How the West Was Won has been a long time coming. For a band with such an overarching legacy, the official record of Led Zeppelin’s legendary and unpredictable live act has previously been poorly represented by the disappointing, scattershot soundtrack to The Song Remains the Same. But this triple-disc live set (culled from 1972 Long Beach/LA shows in advance of Houses of the Holy) addresses history with a vengeance, if a few decades late. These shows have rightfully assumed cult status in the bootleg market, showcasing a band at the peak of its creative and performing powers.

The Zep faithful will welcome this belated release as evidence for enduring loyalty, but younger fans may find its diversity and dynamics even more enlightening indeed, whole careers have since been built on the musical ideas Jimmy Page and company throw out here as decorative filler. Crucially rooted in the amped-and-hammered American blues of the guitarist’s former band, the Yardbirds, the marathon work-outs of “Dazed and Confused” and “Whole Lot a Love” (which consume nearly an hour all by themselves) somehow encompass Ricky Nelson, Morocco, James Brown, Holst, Elvis Presley and Muddy Waters amidst their trademark sturm und drang, while the acoustic set that closes out Disc One showcases the band’s and particularly Robert Plant’s good-natured, crypto-Celtic folk appeal with energetic aplomb. Bigger and brasher than just about any rock act that followed in its historic wake, yet ever fan-loyal to its myriad influences, Led Zeppelin’s live juggernaut finally gets the monument it deserves.

For years, Led Zeppelin fans complained that there was one missing item in the group’s catalog: a good live album. It’s not that there weren’t live albums to be had. The Song Remains the Same, of course, was a soundtrack of a live performance, but it was a choppy, uneven performance, lacking the majesty of the group at its peak. BBC Sessions was an excellent, comprehensive double-disc set of their live radio sessions, necessary for any Zeppelin collection (particularly because it contained three songs, all covers, never recorded anywhere else), but some carped that the music suffered from not being taped in front of a large audience, which is how they built their legacy — or, in the parlance of this triple-disc collection of previously unreleased live recordings compiled by Jimmy Page, How the West Was Won. The West in this case is the West Coast of California, since this contains selections from two 1972 concerts in Los Angeles: a show at the LA Forum on June 25, and one two days later at Long Beach Arena. This is the first archival release of live recordings of Zeppelin at their peak and while the wait has been nigh on interminable, the end result is certainly worth the wait. Both of these shows have been heavily bootlegged for years and while those same bootleggers may be frustrated by the sequencing that swaps the two shows interchangeably (they always prefer full shows wherever possible), by picking the best of the two nights, Page has assembled a killer live album that captures the full, majestic sweep of Zeppelin at their glorious peak. And, make no mistake, he tries to shove everything into these three discs — tight, furious blasts of energy; gonzo freak-outs; blues; and rock, a sparkling acoustic set. Like always, the very long numbers — the 25-minute “Dazed and Confused,” the 23-minute “Whole Lotta Love,” the 19-minute “Moby Dick” — are alternately fascinating and indulgent, yet even when they meander, there is a real sense of grandeur, achieving a cinematic scale attempted by few of their peers (certainly no other hard rock or metal band could be this grand; only Queen or David Bowie truly attempted this). But the real power of the band comes through on the shorter songs, where their sound is distilled to its essence. In the studio, Zeppelin was all about subtle colors, textures, and shifts in the arrangement. On-stage, they were similarly epic, but they were looser, wilder, and hit harder; witness how “Black Dog” goes straight for the gut here, while the studio version escalates into a veritable guitar army — it’s the same song, but the song has not remained the same. That’s the case throughout How the West Was Won, where songs that have grown overly familiar through years of play seem fresh and new because of these vigorous, muscular performances. For those who never got to see Zeppelin live, this — or its accompanying two-DVD video set — is as close as they’ll ever get. For those who did see them live, this is a priceless souvenir. For either group, this is absolutely essential, as it is for anybody who really loves hard rock & roll. It doesn’t get much better than this.

Tracklist:
01. LA Drone (Live) [Remastered]02. Immigrant Song (Live) [Remastered]03. Heartbreaker (Live) [Remastered]04. Black Dog (Live) [Remastered]05. Over The Hills And Far Away (Live) [Remastered]06. Since I’ve Been Loving You (Live) [Remastered]07. Stairway To Heaven (Live) [Remastered]08. Going to California (Live) [Remastered]09. That’s The Way (Live) [Remastered]10. Bron-Yr-Aur Stomp (Live) [Remastered]11. Dazed And Confused (Live) [Remastered]12. What Is And What Should Never Be (Live) [Remastered]13. Dancing Days (Live) [Remastered]14. Moby Dick (Live) [Remastered]15. Whole Lotta Love (Live) [Remastered]16. Rock And Roll (Live) [Remastered]17. The Ocean (Live) [Remastered]18. Bring It On Home (Live) [Remastered]

Personnel:
John Bonham – drums, percussion, backing vocals, co-lead vocals on “Bron-Yr-Aur Stomp”
John Paul Jones – bass, double bass, bass pedals, keyboards, mandolin, backing vocals
Jimmy Page – acoustic and electric guitar, mandolin, backing vocals
Robert Plant – vocals, harmonica

Download:

https://subyshare.com/1dgfh5xbozk6/LedZeppelinH0wTheWestWasW0nLive2018HRA2496.part1.rar.html
https://subyshare.com/x2kxuaz9s0d1/LedZeppelinH0wTheWestWasW0nLive2018HRA2496.part2.rar.html
https://subyshare.com/7nkxoydpfugq/LedZeppelinH0wTheWestWasW0nLive2018HRA2496.part3.rar.html
https://subyshare.com/4kffxjgzk479/LedZeppelinH0wTheWestWasW0nLive2018HRA2496.part4.rar.html

Channeling a continuum of influences spanning from Neil Young to Sonic Youth to Pavement, French anti-folk band Herman Düne earned an international cult following that included the influential BBC radio personality John Peel. Featuring sibling singers/guitarists André and David-Ivar Herman Düne and drummer Omé, the group issued a series of self-released cassettes and CD-Rs and toured the U.S. and Europe before releasing its first “official” LP, Turn Off the Light, on the Prohibited label in mid-2000. That September, Peel extended an invitation to cut a BBC radio session, and was so impressed that he summoned the trio to his home for a live Christmas broadcast. Upon relocating to Paris, Herman Düne recorded 2001’s They Go to the Woods for the noted Amerindie label Shrimper. Omé exited the lineup soon after, and with new drummer Néman Herman Dune, they resurfaced later that year with a second full-length, Switzerland Heritage. After a 2002 split release with U.S. emo outfit Cerberus Shoal, The Whys and the Hows of Herman Düne & Cerberus Shoal, the trio backed Canadian singer/songwriter Julie Doiron on a French tour. Two new LPs, the Track & Field release Mas Cambios and the Shrimper release Mash Concrete Metal Mushrooms, followed in 2003. After a series of self-released solo efforts, André and David-Ivar reconvened Herman Düne for 2005’s Not on Top, which featured Doiron on bass and vocals. Their Source Etc. label debut, Giant, hit stores in 2006; late that year, André Herman Dune departed the band and pursued a solo career as Stanley Brinks. Now a duo, Herman Dune removed the umlaut from its name for the 2008 album Next Year in Zion. After taking a break and starting their own record label, Herman Dune returned in 2011 with an album named after their label, Strange Moosic. The label also released the band’s music for the film Mariage á Mendoza in 2013. Around this time, David-Ivar began working on his solo project, Black Yaya. ~ Jason Ankeny

Tracklist:
1. Oh Sweet Thursday 04:44
2. Vincent Thomas Blues 03:40
3. Wicked Love 03:18
4. A Giant’s Dream 03:31
5. Down by the Jacaranda 03:13
6. Love Cat Blues 03:47
7. Early Morning Anderson Blues 03:43
8. Joanna 03:56
9. Dreamin’ Is Over, California 04:15

Download:

https://subyshare.com/72teieazi69i/HermanDneSweetThursday20182444.1.rar.html

Closer To Stranger is the new solo album by Pakistani-born dream-folk musician Ilyas Ahmed. Drawing on a wide range of influences, his songs incorporate classic singer-songwriter gestures alongside more experimental leanings. Recorded to tape in the studio by Justin Higgins in the fall of 2016 and finished in the spring of 2017, Ahmed’s instrumental palette includes: acoustic and electric 6 and 12-string guitars, Fender Rhodes, multiple keyboards, tanpura, and percussion. Closer To Stranger stands as a meditation on uneasy identity politics during times of unreason, seeking peace amidst chaos.

Jonathan Sielaff (of Thrill Jockey ambient duo Golden Retriever) cameos with guest saxophone on “Zero For Below” but otherwise the album is a solo affair, alternately feverish, tense, hazed, hypnotic, and narcotic. A slowly unfolding inward journey of late night lullabies and contemplative electric drift.

Tracklist:
01. Meditation on the Split Self (04:22)
02. False Front (02:56)
03. Passing Lines (05:17)
04. Zero for Below (04:05)
05. Fever Pitch (05:10)
06. Cancel to Reveal (04:21)
07. Untitled #1 (02:38)
08. Sleepwalker (05:46)
09. Untitled #2 (01:51)
10. Furtherness (04:43)
11. Two Steps Away (04:05)

Download:

https://subyshare.com/y7zm5aa5yr31/IlyasAhmedCl0sert0Stranger20182444.1.rar.html

Midori – Eotvos: DoReMi, Speaking Drums & Cello concerto grosso (2016) [Official Digital Download 24bit/48kHz]

Mika Putterman & Erin Helyard – Kuhlau: Grandes Sonates, Op. 71 & 83 (2018) [Official Digital Download 24bit/96kHz]

Morgenstern Trio – Morgenstern Trio: Tailleferre, Fontyn & Ravel (2015) [Official Digital Download 24bit/48kHz]

Neil Young – ROXY: Tonight’s the Night Live (2018) [Official Digital Download 24bit/192kHz]

NFM Wroclaw Philharmonic & Tonu Kaljuste – Arvo Part: The Symphonies (2018) [Official Digital Download 24bit/44,1kHz]

Nicolas Dautricourt & Dana Ciocarli – Benjamin Godard: Complete Violin Sonatas (2016) [Official Digital Download 24bit/96kHz]

Nils Monkemeyer – Baroque (2018) [Official Digital Download 24bit/88,2kHz]

Nolatet – No Revenge Necessary (2018) [Official Digital Download 24bit/44,1kHz]

Post Malone – Stoney {Deluxe Edition} (2016) [Official Digital Download 24bit/44,1kHz]

Stone Temple Pilots – Stone Temple Pilots (2018) [Official Digital Download 24bit/48kHz]

Stone Temple Pilots – Core {Remastered Super Deluxe Edition} (1992/2017) [Official Digital Download 24bit/96kHz]

The Fratellis – In Your Own Sweet Time (2018) [Official Digital Download 24bit/96kHz]

The Kinks – Lola vs. Powerman and the Moneygoround, Pt. 1 (1970/2018) [Official Digital Download 24bit/96kHz]

Three Days Grace – Outsider (2018) [Official Digital Download 24bit/96kHz]

Van Morrison and Joey DeFrancesco – You’re Driving Me Crazy (2018) [Official Digital Download 24bit/96kHz]

Willie Nelson – Last Man Standing (2018) [Official Digital Download 24bit/96kHz]

Yo La Tengo – There’s A Riot Going On (2018) [Official Digital Download 24bit/96kHz]

Led Zeppelin – How The West Was Won (Live) [Remastered] (1972/2003/2018) [Official Digital Download 24bit/96kHz]

Herman Dune – Sweet Thursday (2018) [Official Digital Download 24bit/44,1Hz]

Ilyas Ahmed – Closer to Stranger (2018) [Official Digital Download 24bit/44,1Hz]