Studio Masters – HDMusic.me

50 years ago, the psychedelic movement emerged, hairs started growing at will, organic food was topical and fashion trends in the United States were in no way controlled by Chanel or the others. Right in the midst of this movement, there was Grateful Dead. Proper hippies with electric guitars, soaked in hallucinogenic drugs, blossoming in an exuberant counterculture, and whose cornerstone was a psychedelic mix of musical genres. Blues, rock, country and sixties pop, a proper hotchpotch that hasn’t gone any bad in half a century. The Dead are still partying and releasing a remastered version of Anthem Of The Sun (50th Anniversary Deluxe Edition), their second album from 1968. The one that introduced their second drummer Mickey Hart. At that time, the band featured Jerry Garcia, Bob Weir, Ron McKernan, Phil Lesh and Bill Kreutzmann. The album includes two versions of the original Anthem of the Sun, with titles from 1968 as well as better-known mixes from 1961, remastered by David Glasser. It’s a rather rare occurrence for an album to combine several studio and live recordings of each song. It is without a doubt Grateful Dead’s most interesting and exciting work to listen to. With some titles exceeding the ten-minute mark, recording medleys and a previously unreleased recording of their concert at Winterland on October 22nd, 1967, this album truly feels like a landmark. New Potato Caboose, It Hurts Me Too, That’s It For The Other One, the versions are clearly different. Bill Kreutzmann described the album with these words: “It was easily our most experimental record, it was ground-breaking in its time and it remains a psychedelic listening experience to this day.” A whole era is brought back to life and we’d love to be back 50 years to witness the spectacle of Grateful Dead on stage. – Anna Coluthe

Tracklist:
1. That’s It For The Other One (Cryptical Envelopment / Quadlibet For Tender Feet / The Faster We Go, The Rounder We Get / We Leave The Castle) (1968 Mix) 07:39
2. New Potato Caboose (1968 Mix) 08:25
3. Born Cross-Eyed (1968 Mix) 02:07
4. Alligator (1968 Mix) 11:20
5. Caution (Do Not Stop On Tracks) (1968 Mix) 09:48
6. That’s It For The Other One (Cryptical Envelopment / Quadlibet For Tender Feet / The Faster We Go, The Rounder We Get / We Leave The Castle) (1971 Remix) 07:40
7. New Potato Caboose (1971 Remix) 08:25
8. Born Cross-Eyed (1971 Remix) 02:21
9. Alligator (1971 Remix) 11:24
10. Caution (Do Not Stop On The Tracks) (1971 Remix) 09:03
11. Morning Dew (Live at Winterland, San Francisco, CA 10/22/67) 07:38
12. New Potato Caboose (Live at Winterland, San Francisco, CA 10/22/67) 09:49
13. It Hurts Me Too (Live at Winterland, San Francisco, CA 10/22/67) 04:16
14. Cold Rain And Snow (Live at Winterland, San Francisco, CA 10/22/67) 03:16
15. Turn On Your Love Light (Live at Winterland, San Francisco, CA 10/22/67) 12:21
16. Beat It On Down The Line (Live at Winterland, San Francisco, CA 10/22/67) 02:58
17. That’s It For The Other One (Cryptical Envelopment I / The Other Side / Cryptical Envelopment II) (Live at Winterland, San Francisco, CA 10/22/67) 14:47

Download:

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French-born composer Ariel Kalma moved through free jazz, progressive rock, drone, minimalism, electroacoustic composition, field recordings, new age and more. Over 4 decades, he published several vinyl LP’s, cassettes, and CD’s. His compositions have been used for modern dance-theatre, films, musical poetry, guided meditations, transformational groups. Ariel Kalma has also played on many albums in France – even throughout Europe, the US and recently Australia, where he lives.

“If you aren’t already familiar with the work of French sound artist Ariel Kalma, check out a few of these descriptors: ambient, new age, drone, Jon Hassell, 70’s, India, SHAVASANA. (Tiny Mix Tapes)

“Ariel Kalma is the kind of musician that collectors live their lives to find at the bottom of a dollar record bin, and the kind who fellow musicians hope to become. He is a composer who worked on the periphery of a fringe movement, whose early adherents have recently seen an explosion in popularity, despite spending the last few decades in relative obscurity. In his youth, Kalma traveled the world experimenting with a vast array of instruments and genres, from free jazz and minimalism to experimental electronic music, fusing them into a completely unique sound that was all his own from the beginning.” (Redefine Mag)

“Tracing the trajectory of French-born musician Ariel Kalma does not yield a straight path. Which makes sense for an artist prone to world travels and crafting a strain of music that acts as a peregrination through numerous musical forms of the late 20th century: free jazz, progressive rock, drone, tape-loop based minimalism, electroacoustic composition, field recordings, new age meditations, and more.” (Pitchfork)

Tracklist:
1. Entrance (Live in Concert Europe 2018) 09:20
2. Le Temps Des Moissons (Live in Concert Europe 2018) 08:52
3. Arranged Chaos (Live in Concert Europe 2018) 06:35
4. Oriental Sax Blues (Live in Concert Europe 2018) 06:00
5. Halil De Garde (Live in Concert Europe 2018) 06:57
6. La Foret Magique (Live in Concert Europe 2018) 04:39
7. Naitre Aux Etoiles (Live in Concert Europe 2018) 01:33
8. Forest Mystics (Live in Concert Europe 2018) 05:03
9. Fast Train to Nowhere (Live in Concert Europe 2018) 07:15
10. Preconcerto Slow (Live in Concert Europe 2018) 16:59
11. Slow Traffic Cricket (Live in Concert Europe 2018) 07:28
12. Elan Vital Bass Mix (Live in Concert Europe 2018) 08:29
13. Drone in A (Live in Concert Europe 2018) 03:54
14. Mullum Birds (Live in Concert Europe 2018) 02:31
15. Drone Tournant Drole (Live in Concert Europe 2018) 09:40

Personnel:
Ariel Kalma, all instruments

Download:

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Dog Days was ARS first masterpiece and an album that still stands with their best. It showcases a band that has found its groove and is taking its music to a new level. Featuring another fine collection of songs about themselves and the South, the band displays a growing array of musical styles and approaches that are very different from where the rest of Southern Rock was headed. Overall, it’s a faster paced album that what had come before, featuring six uptempo songs and two beautiful ballads-all originals.

It opens on some high notes with the rocking Crazy leading into the buildup blues and breakout jam of Boogie Smoogie. A couple of lighter tunes lead into a ballad that is ballad that is a beautiful evocation of the South Dog Days. For the second album in a row they show off their chops with an instrumental Bless My Soul. The album closed with another classic ballad of Souther images All Night Rain. While other bands were striving to claim the mantle of kings of Southern rock, ARS had started making music no other Southern band has ever been able to duplicate.

“What has become known as Southern rock is now one of my favorite genres of current rock & roll, but one of the most distinctive oddities I’ve discovered about it is that it seems to take most bands several albums before they arrive at a level of competence that I can stand to listen to. Two or three pedestrian LPs and then boom!, the rhythm section’s tight and funky, the lead guitar player has stopped imitating Dickey Betts, and they’re writing and singing memorable tunes.

But there is no denying that they do boogie well, as “Boogie Smoogie,” the tune those lyrics come from, amply demonstrates. Paul Goddard’s flatulent bass and some slashing guitar work from Barry Bailey and J.R. Cobb (as well as some excellent lyrics) make for an exciting eight minutes.

Not all of the album fares as well, since the band does have a tendency to meander, but the humorous “Cuban Crisis” and the ballad “All Night Rain” provide a good change of pace. All in all, enjoyable if not earthshaking, and that’s good enough for me.” (Ed Ward, Rolling Stone)

Tracklist:
1. Crazy 03:12
2. Boogie Smoogie 08:11
3. Cuban Crisis 03:52
4. It Just Ain’t Your Moon 04:49
5. Dog Days 03:37
6. Bless My Soul (Instrumental) 03:54
7. Silent Treatment 05:24
8. All Night Rain 03:12

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Bill Evans refused producer Orrin Keepnews’ invitation to record a follow up album to his 1956 debut “New Jazz Conceptions” for over two years, stating that he had nothing new to say. He joined the Miles Davis quintet, participating in “Kind Of Blue”, and took his time to plan his re-emergence as a leader in his own right. “Everyone Digs Bill Evans” marked that return in 1958 but it was “Portrait In Jazz”, released a year later, that claimed his place at the forefront of jazz.

It is the first recording made by the now legendary trio of Bill Evans (piano), Scott LaFaro (bass) and Paul Motian (drums). The disc features two versions of “Blue In Green” developed for “Kind Of Blue” and it is revealing to note how the trio makes its own statement of the modal masterpiece crafted spontaneously by Miles Davis and Bill Evans in the original session. As Miles Davis noted: “Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down some clear waterfall.” And this is true again in the versions of “Blue In Green” here; time stands suspended, a profound, harmonic peace has settled, now the more remarkable in the paired down shape of the trio.

Bill Evans’ chord voicings, adapted from Debussy and the impressionist composers, leave space that Scott LaFaro expertly and expressively fills. Bill Evans’ own “Peri’s Scope”and the Cole Porter standard “What Is This Thing Called Love” are stand out tracks from this point of view. Paul Motian’s drumming is nicely in balance throughout. Overall, this is an almost perfect jazz trio album.

The trio had just two years together, peaking at the Village Vanguard sessions in 1961.

Weeks later, Scott LaFaro had been killed in a car crash, setting back Bill Evans’ career and his music as much as his developing narcotic addiction.

„The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of “Autumn Leaves.” Other than introducing Evans’ “Peri’s Scope,” the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as “Come Rain or Come Shine,” “When I Fall in Love,” and “Someday My Prince Will Come” (which preceded Miles Davis’ famous recording by a couple years) are full of subtle and surprising creativity. A gem.“ (Scott Yanow, AMG)

Tracklist:
1. Come Rain Or Shine 03:24
2. Autumn Leaves 06:02
3. Witchcraft 04:35
4. When I Fall In Love 05:01
5. Peri’s Scope 03:17
6. What Is This Thing Called Love? 04:37
7. Spring Is Here 05:08
8. Some Day My Prince Will Come 04:56
9. Blue In Green 05:24

Personnel:
Bill Evans, piano
Scott LaFaro, bass
Paul Motian, drums
Recorded December 28, 1959 at Reeves Sound Studios, New York City
Engineered by Jack Higgins
Produced by Orrin Keepnews

Digitally remastered

Download:

https://subyshare.com/64go059lnjf9/BillEvansTri0P0rtraitinJazz196020172496.rar.html

The 13th Album from Birth Control in 1982 featuring Bruno Frenzel before his demise in 1983. This is the last album before the band split up after eight years together on the road.

BANG! is a 1982 release by German progressive rockers Birth Control, featuring ‘Get Ready To Run.’

Tracklist:
1. Nuclear Attack – Album Version (Remastered) 05:03
2. Get Ready To Run (Remastered) 04:08
3. Take Alarm (Remastered) 05:31
4. Greedy Ryes (Remastered) 04:56
5. The Day Of Doom Is Coming (Remastered) 07:56
6. Doom Room (Remastered) 05:17
7. The King Of An Island (Remastered) 06:19
8. Nuclear Attack (Single Version [Remastered]) 03:44
9. Get Ready To Run (Single) (Remastered) 03:50
10. Nuclear Attack (12Inch) (Remastered) 06:32

Personnel:
Bruno Frenzel, guitars, lead vocals (on tracks 3-6)
Jürgen Goldschmidt, bass, backing vocals
Ulrich Klein, keyboards, backing vocals
Stefan Linke, rhythm guitar, vocals
Bernd Noske, lead vocals, drums, percussion

Recorded and mixed May and June 1982 at Dierks-Studios, Cologne
Produced by Jürgen Krämer, Birth Control

Digitally remastered

Download:

https://subyshare.com/go0iu3nha006/BirthC0ntr0lBng198220182448.rar.html

Birth Control’s second album, Operation, stands as one of the band’s finest recordings, getting the vote as the second best album of 1971 by one of Germany’s leading music magazines. Operation has Birth Control employing a nine-piece string section as well as a smaller brass entourage in order to produce a larger sound, and while their progressive air is just beginning to flourish, a rather large difference in musical strength and instrumental craft is noted right away. Not fully abstract or left-of-center just yet, the powerful crunch of Bruno Frenzel’s guitar surely leads the way, dominating the rhythms of every track while complimenting the aeronautics of the keyboard passages. With the tempos quicker because of the stern synthesizer work, the entire album moves along at a brisk pace. “Stop Little Lady” has the vocals on par with the whirlwind guitar riffs, echoed perfectly to produce a mysterious rippled effect. “Just Before the Sun Will Rise” and “Flesh and Blood” utilize the keyboards at the heart of both the songs, while the full 11 minutes of “Let US Do It Now” emanate Birth Control’s instrumental coalescence in the momentum of both the drums and guitar. “The Work Is Done” became one of the group’s most renowned efforts, with rocksteady percussion creating the perfect bottom-heavy underlay for the strings and horns.

“Birth Control’s second album, Operation, stands as one of the band’s finest recordings, getting the vote as the second best album of 1971 by one of Germany’s leading music magazines. Operation has Birth Control employing a nine-piece string section as well as a smaller brass entourage in order to produce a larger sound, and while their progressive air is just beginning to flourish, a rather large difference in musical strength and instrumental craft is noted right away. Not fully abstract or left-of-center just yet, the powerful crunch of Bruno Frenzel’s guitar surely leads the way, dominating the rhythms of every track while complimenting the aeronautics of the keyboard passages. With the tempos quicker because of the stern synthesizer work, the entire album moves along at a brisk pace. “Stop Little Lady” has the vocals on par with the whirlwind guitar riffs, echoed perfectly to produce a mysterious rippled effect. “Just Before the Sun Will Rise” and “Flesh and Blood” utilize the keyboards at the heart of both the songs, while the full 11 minutes of “Let Us Do It Now” emanate Birth Control’s instrumental coalescence in the momentum of both the drums and guitar. “The Work Is Done” became one of the group’s most renowned efforts, with rocksteady percussion creating the perfect bottom-heavy underlay for the strings and horns. The 1997 pressing of Operation includes five bonus tracks, including another version of “The Work Is Done” and a peculiar little number entitled “Believe in the Pill.” With the band maturing and slowly working back toward a more progressive rock route, Operation makes for a truly consistent studio album that offers a firm cross section of their sound.” (Mike DeGagne, AMG)

Tracklist:
1. Stop Little Lady (Remastered) 07:19
2. Just Before the Sun Will Rise (Remastered) 07:39
3. The Work Is Done (Remastered) 06:00
4. Flesh and Blood (Remastered) 03:29
5. Pandemonium (Remastered) 06:36
6. Let Us Do It Now (Remastered) 11:13
7. Hope (Single) (Remastered) 04:20
8. Rollin’ (Single) (Remastered) 03:55
9. The Work Is Done (Single) (Remastered) 04:02
10. What’s Your Name (Edit) (Remastered) 03:36
11. Believe in the Pill (Single) (Remastered) 03:43

Personnel:
Bruno Frenzel, guitars, vocals
Bernd Koschmidder, bass
Reinhard Sobotta, organ, keyboards
Bernd Noske, drums, percussion, vocals

Digitally remastered

Download:

https://subyshare.com/rapk6me1ohyd/BirthC0ntr0l0perati0n197120182448.rar.html

This new BSO Classics release from the Boston Symphony Chamber Players pairs two delightful arrangements for chamber ensemble of charming, youthful serenades written originally for orchestra by Johannes Brahms and Antonín Dvorák.

The new recording features recordings of Brahms’ Serenade No. 1 in D, Op. 11, arranged by Alan Boustead for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass; and Dvorák’s Octet-Serenade, Op. 22, arranged by Nicholas Ingman for clarinet, bassoon, horn, two violins, viola, double bass, and piano.

Tracklist:
1. Serenade No.1 in D, Op. 11 (Arr. Alan Boustead): I. Allegro molto 12:55
2. Serenade No.1 in D, Op. 11 (Arr. Alan Boustead): II. Scherzo – Allegro non troppo – Trio – Poco piu mosso 07:44
3. Serenade No.1 in D, Op. 11 (Arr. Alan Boustead): III. Adagio non troppo 11:05
4. Serenade No.1 in D, Op. 11 (Arr. Alan Boustead): IV. Menuetto I – Menuetto II 03:49
5. Serenade No.1 in D, Op. 11 (Arr. Alan Boustead): V. Scherzo – Allegro 02:47
6. Serenade No.1 in D, Op. 11 (Arr. Alan Boustead): VI. Rondo – Allegro 05:48
7. Serenade for Strings in E Major, Op. 22: I. Moderato 04:19
8. Serenade for Strings in E Major, Op. 22: II. Tempo di Valse 06:50
9. Serenade for Strings in E Major, Op. 22: III. Scherzo – Vivace 05:23
10. Serenade for Strings in E Major, Op. 22: IV. Larghetto 04:56
11. Serenade for Strings in E Major, Op. 22: V. Finale – Allegro vivace 06:01

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Boston Symphony Orchestra, Andris Nelsons – Shostakovich: Symphonies Nos. 4 & 11 “The Year 1905” (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 02:07:04 minutes | 2,04 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Deutsche Grammophon

Clocking in at over an hour for the Fourth, and almost an hour for the Eleventh or “1911”, these are the two longest and fullest of Shostakovich’s symphonies. What’s remarkable is that the Fourth, finished in 1936, was only performed in 1961 – eleven years after the performance of the Eleventh in 1957! It was in 1936 that the poor composer felt a bullet whistle by him, following an infamous article in Pravda, dictated by Stalin: “Chaos in Place of Music”, which torpedoed the opera Lady Macbeth of Mtsensk: the work was carefully locked away, only to be brought back out once the dictator was dead, buried and comprehensively decomposed. You can see where the composer was coming from! The tone of this Fourth hasn’t the slightest hint of optimism, We hear dark Mahlerian accents, desperate flights and tortured harmonies: not exactly the music of a bright tomorrow. The Eleventh, structured according to a “political” programme, celebrating the revolutionaries of 1905 and the tragic events of Bloody Sunday – when the Russian army fired on a crowd, killing 96 according to official sources and several thousand according to others – with a much more optimistic tone, although we know what optimism means in the world of Shostakovich. The two symphonies were recorded at public concerts, in autumn 2017 and spring 2018 respectively by the Boston Symphony Orchestra and their conductor Andris Nelsons.

Tracklist:
1. Symphony No. 4 in C Minor, Op. 43: 1. Allegretto poco moderato (Live) 14:56
2. Symphony No. 4 in C Minor, Op. 43: 2. Presto (Live) 11:47
3. Symphony No. 4 in C Minor, Op. 43: 3. Moderato con moto (Live) 08:24
4. Symphony No. 4 in C Minor, Op. 43: 4. Largo (Live) 06:52
5. Symphony No. 4 in C Minor, Op. 43: 5. Allegro (Live) 22:25
6. Symphony No. 11 in G Minor, Op. 103 “The Year 1905”: 1. The Palace Square (Adagio) (Live) 17:15
7. Symphony No. 11 in G Minor, Op. 103 “The Year 1905”: 2. The Ninth of January (Allegro – Adagio – Allegro – Adagio) (Live) 18:46
8. Symphony No. 11 in G Minor, Op. 103 “The Year 1905”: 3. Eternal Memory (Adagio) (Live) 12:28
9. Symphony No. 11 in G Minor, Op. 103 “The Year 1905”: 4. The Tocsin (Allegro non troppo) (Live) 14:10

Personnel:
Boston Symphony Orchestra
Andris Nelsons, conductor

Download:

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Grammy Award-winning singer-songwriter Bruce Hornsby has completed recording a new album with The Noisemakers titled Rehab Reunion. The highly respected musician pushes the envelope once again performing solely on the dulcimer throughout. Produced by Hornsby Rehab Reunion reflects a refreshing approach to his songwriting further solidifying his reputation for uncompromising artistry. The piano-free ten song recording features the Noisemakers J.T. Thomas (organ), J.V. Collier (bass), Sonny Emory (washboard, cajon, drums), Gibb Droll (electric and acoustic guitar) and Ross Holmes (fiddle, mandolin) and guest stars Justin Vernon (Bon Iver) singing falsetto harmony on the first single Over the Rise and the legendary Mavis Staples singing a rousing gospel with Hornsby on Celestial Railroad

“Following a high-profile 2015 run reprising his role as keyboardist for the briefly reunited Grateful Dead, Bruce Hornsby returns for another set helming his own band, the Noisemakers. With Dead appreciation reaching a modern-day zenith thanks to their 50th anniversary shows and subsequent introduction to a whole new crossover audience, 2016 is a good time for one of its family members to drop a new album, and Hornsby makes a solid case with Rehab Reunion. The band’s last release, 2011’s Bride of the Noisemakers, was a sprawling 25-song live double album that covered a wide swath of their capabilities, from freewheeling funk and jazz odysseys to the more concise heartland Americana of Hornsby’s earlier days with the Range. Though performed in the studio rather than on-stage, much of Rehab Reunion has the same loose candor of a live album, even if it focuses on a very specific version of the Noisemakers. A latter-day staple of their live shows is a semi-acoustic mid-concert set where Virginia native Hornsby eschews his piano in favor of the Appalachian dulcimer. A staple of American folk and mountain music, the lap dulcimer is a rare visitor in rock music, yet through the grace of his musical mastery, Hornsby manages to shoehorn the four-stringed instrument’s limited range into ten spirited full-band tracks that certainly aren’t folk songs. The beguiling and serpentine opener “Over the Rise” unfolds over five minutes, building to dramatic crescendoes and featuring a nice guest vocal spot from Bon Iver’s Justin Vernon. The lighthearted account of Hornsby’s college years in Miami plays out in the rustic folk-rock of “M.I.A. in M.I.A.M.I.” and shines thanks to some find organ work from bandmate J.T. Thomas. The Noisemakers fire on all cylinders on “Tropical Cashmere Sweater,” another highlight, closing out the album on a high note with the soulful rocker “Celestial Railroad.” Written nearly 25 years earlier in hopes that the song might be recorded by the Staple Singers, Hornsby gets his wish, dueting here with Mavis Staples.” (Timothy Monger, AMG)

Tracklist:
1. Over The Rise 05:13
2. Soon Enough 04:41
3. M.I.A. In M.I.A.M.I 04:14
4. Tipping 03:44
5. Rehab Reunion 03:14
6. Hey Kafka 04:18
7. Tropical Cashmere Sweater 06:08
8. TSA Man 04:32
9. The Valley Road 06:45
10. Celestial Railroad 04:34

Personnel:
Bruce Hornsby, dulcimer, lead vocals
John “J.T.” Thomas, organ
J.V. Collier, bass
Sonny Emory, washboard, cajon, drums
Gibb Droll, electric and acoustic guitar
Ross Holmes, fiddle, mandolin
Moyes Lucas, washboard on “The Valley Road”
Mavis Staples, duet vocals on “Celestial Railroad”
Justin Vernon, background vocals on “Over the Rise”

Download:

https://subyshare.com/ud7a127q1tnt/BruceH0rnsbyTheN0isemakerRehabReuni0n201620182444.1.rar.html

Bruce Springsteen & The E Street Band – The Roxy, West Hollywood, CA, July 07, 1978 (2018)
FLAC (tracks) 24-bit/192 kHz | Time – 03:06:04 minutes | 6,39 GB | Genre: Rock
Official Digital Download – Source: live.brucespringsteen.net | Front Cover | © Live Bruce Springsteen
Recorded: The Roxy, West Hollywood, CA, July 07, 1978

It is known simply as Roxy ’78. One of Springsteen’s finest shows ever is now available complete and freshly mixed from multi-track master tapes. Playing a special club set broadcast live across LA, Bruce pulls out all the stops, including the debut performances of “Point Blank,” “Independence Day” (solo piano), “Rave On” and “Heartbreak Hotel,” plus the first tour versions of “Raise Your Hand” and “Twist and Shout” to wrap this jaw-dropping stop on the Darkness tour.

Tracklist:

SET ONE
1. Rave On! 04:06
2. Badlands 05:30
3. Spirit In The Night 07:42
4. Darkness On The Edge Of Town 04:58
5. Candy’s Room 03:42
6. For You 06:58
7. Point Blank 08:18
8. The Promised Land 05:46
9. Prove It All Night 10:32
10. Racing in the Street 09:15
11. Thunder Road 06:23

SET TWO
1. Paradise By The “C” 04:52
2. Fire 03:22
3. Adam Raised a Cain 05:40
4. Mona 07:45
5. She’s the One 06:17
6. Growin’ Up 09:02
7. It’s Hard To Be A Saint In The City 04:37
8. Backstreets 14:37
9. Heartbreak Hotel 02:19

ENCORE
1. Rosalita (Come Out Tonight) 11:26
2. Independence Day 06:08
3. Born to Run 05:46
4. Because the Night 06:13
5. Raise Your Hand 04:47
6. Second Encore Break 12:37
7. Twist and Shout 07:39

Personnel:
Bruce Springsteen – Lead vocals, guitar, harmonica, piano;
Roy Bittan – Piano, backing vocal;
Clarence Clemons – Tenor and baritone saxophones, percussion, backing vocal;
Danny Federici – Organ, glockenspiel;
Garry Tallent – Bass, backing vocal;
Stevie Van Zandt – Guitar, backing vocal;
Max Weinberg – Drums.

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A ‘Complete Albums Collection’ box set of Canadian-American rock band Buffalo Springfield output will be released on vinyl and CD at the end of June.

Although the band, which featured Neil Young and Stephen Stills, only issued three studio albums, the Complete Albums Collection will be a five-disc set since it includes 1966’s self-titled debut in both stereo and the band-preferred dedicated mono mix (which Young and Stills insisted on, after disliking the original stereo mix). The follow-up – 1967’s Buffalo Springfield Again – is also included in both dedicated mono and stereo. 1968’s Last Time Around (stereo only) completes this box.

The audio has been remastered from the analogue tapes and overseen by Neil Young. The vinyl set will be limited to 5,000 copies and the vinyl are gatefold packages, which replicate the originals.

At the heart of the sixties, the British Invasion and its raging rhythm’n’blues ruled the kingdom. But this didn’t prevent some groups from offering up an alternative. Buffalo Springfield is one of those groups, led by Stephen Stills, Neil Young and Richie Furay and completed by bassist Bruce Palmer and drummer Dewey Martin. From their eponymous first album, Buffalo Springfield, which appeared at the end of 1966, their attention was turned towards folk-rock, psychedelic, country (like with Go And Say Goodbye) and even pop (with Sit Down I Think I Love You). It’s a cocktail that often touches the sublime (like the protest hit song For What It’s Worth by Stills) and remains the cornerstone of 60’s folk rock, just like the ballad Nowadays Clancy Can’t Even Sing by Neil Young. This atypical group remains especially fascinating for the assortment of its strong personalities. Though it was exactly for that reason that the group came to an end. As early as their second album release in November 1967 (Buffalo Springfield Again) the cracks began to show – notably between Stills and Young who were fighting over artistic direction. Each leader signed his own themes, like Broken Arrow, Mr Soul and Expecting To Fly for the Canadian and Bluebird for the American… With the aptly named Last Time Around, Buffalo Springfield took its final bow, with Neil Young even jumping ship before the end of the recording of this third opus that was released during the summer of 1968. Even the album cover is in fact a montage simulating a group shot… From there after, the various members found further success independently: Neil Young took off solo, Richie Furay went on to form the band Poco and Stills joined David Crosby and Graham Nash for the trio Crosby, Stills & Nash… This 5CD box set brings together the stereo mixes of the three albums and the mono mixes of Buffalo Springfieldand Buffalo Springfield Again, all remastered from the original analogue tapes under the direction of Neil Young. An essential collection from a crucial band in the history of rock. – Marc Zisman

Tracklist:

CD1: Buffalo Springfield (mono mix)
1. Go And Say Goodbye (Remastered) [Mono]2. Sit Down I Think I Love You (Remastered) [Mono]3. Leave (Remastered) [Mono]4. Nowadays Clancy Can’t Even Sing (Remastered) [Mono]5. Hot Dusty Roads (Remastered) [Mono]6. Everybody’s Wrong (Remastered) [Mono]7. Flying On The Ground Is Wrong (Remastered) [Mono]8. Burned (Remastered) [Mono]9. Do I Have To Come Right Out And Say It (Remastered) [Mono]10. Baby Don’t Scold Me (Remastered) [Mono]11. Out Of My Mind (Remastered) [Mono]12. Pay The Price (Remastered) [Mono]13. For What It’s Worth (Remastered) [Mono]

CD2: Buffalo Springfield (stereo mix)
1. For What It’s Worth (Remastered)
2. Go And Say Goodbye (Remastered)
3. Sit Down I Think I Love You (Remastered)
4. Nowadays Clancy Can’t Even Sing (Remastered)
5. Hot Dusty Roads (Remastered)
6. Everybody’s Wrong (Remastered)
7. Flying On The Ground Is Wrong (Remastered)
8. Burned (Remastered)
9. Do I Have To Come Right Out And Say It (Remastered)
10. Leave (Remastered)
11. Out Of My Mind (Remastered)
12. Pay The Price (Remastered)

CD3: Buffalo Springfield Again (mono mix)
1. Mr. Soul (Remastered) [Mono]2. A Child’s Claim To Fame (Remastered) [Mono]3. Everydays (Remastered) [Mono]4. Expecting To Fly (Remastered) [Mono]5. Bluebird (Remastered) [Mono]6. Hung Upside Down (Remastered) [Mono]7. Sad Memory (Remastered) [Mono]8. Good Time Boy (Remastered) [Mono]9. Rock & Roll Woman (Remastered) [Mono]10. Broken Arrow (Remastered) [Mono]

CD4: Buffalo Springfield Again (stereo mix)
1. Mr. Soul (Remastered)
2. A Child’s Claim To Fame (Remastered)
3. Everydays (Remastered)
4. Expecting To Fly (Remastered)
5. Bluebird (Remastered)
6. Hung Upside Down (Remastered)
7. Sad Memory (Remastered)
8. Good Time Boy (Remastered)
9. Rock & Roll Woman (Remastered)
10. Broken Arrow (Remastered)

CD5: Last Time Around
1. On The Way Home (Remastered)
2. It’s So Hard To Wait (Remastered)
3. Pretty Girl Why (Remastered)
4. Four Days Gone (Remastered)
5. Carefree Country Day (Remastered)
6. Special Care (Remastered)
7. The Hour Of Not Quite Rain (Remastered)
8. Questions (Remastered)
9. I Am A Child (Remastered)
10. Merry-Go-Round (Remastered)
11. Uno Mundo (Remastered)
12. Kind Woman (Remastered)

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This young trio that takes its name from the legendary violinist Adolf Busch (1891-1952) has already made its name on the international scene as one of the most talented of the new generation, picking up on its travels enthusiastic reactions from public and press – as well as several prizes at the major competitions. ‘ . . . what impressed most was the group’s effortless musicianship and unity of thought and attack. The threesome even seemed to be breathing in synch’, wrote The Times after one of their concerts at the Wigmore Hall.

Under the auspices of Alpha Classics and the Queen Elisabeth Music Chapel, the ensemble has set itself a challenge: to record the complete chamber music with piano of Antonín Dvořák. With the monumental Trios no.3 op.65 and no.4 op.90, these Londonbased musicians get the saga off to a flying start, in deeply felt interpretations that penetrate to the heart of the great Czech composer’s poetic universe.

Tracklist:
01. Piano Trio No. 3 in F minor, op. 65: I. Allegro ma non troppo
02. Piano Trio No. 3 in F minor, op. 65: II. Allegretto grazioso
03. Piano Trio No. 3 in F minor, op. 65: III. Poco adagio
04. Piano Trio No. 3 in F minor, op. 65: IV. Finale (Allegro con brio)
05. Piano Trio No. 4 in E Minor, Op. 90 “Dumky”: I. Lento maestoso-Allegro quasi doppio movimento-Lento maestoso-Allegro
06. Piano Trio No. 4 in E Minor, Op. 90 “Dumky”: II. Poco adagio-Vivace non troppo-Poco adagio-Vivace
07. Piano Trio No. 4 in E Minor, Op. 90 “Dumky”: III. Andante-Vivace non troppo-Andante
08. Piano Trio No. 4 in E Minor, Op. 90 “Dumky”: IV. Andante moderato-Allegretto scherzando-Meno mosso
09. Piano Trio No. 4 in E Minor, Op. 90 “Dumky”: V. Allegro-Meno mosso, quasi tempo primo
10. Piano Trio No. 4 in E Minor, Op. 90 “Dumky”: VI. Lento maestoso-Vivace-Lento-Vivace

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The year 1875 was something of an annus mirabilis for Dvořák: in just twelve months he composed his Fifth Symphony, the E major String Serenade, three important chamber works, four Moravian Duets and the five-act grand opera Vanda. It also marked both a peak in his fortunes – for the first time he received a state prize to help struggling young artists – and a year of deep personal sadness for the composer and his wife Anna, with the death on 19 September of their infant daughter Josefa.

The effect of this event on Dvořák may be sensed in the expressive G minor Piano Trio he wrote in January 1876, and shortly afterwards he may have decided to commemorate his loss with this setting of the Stabat Mater, his longest and most profound non-operatic work to date. He sketched it between 19 February and 7 May 1876, but left the orchestration until autumn of the following year, the interruption perhaps caused by continuing, devastating family tragedies: the death of another daughter, Růžena, followed a few weeks later by the loss of the Dvořák’s sole surviving child, their son Otakar. The orchestration was eventually completed on 13 November 1877, and the premiere took place at an anniversary concert of the Prague association of musical artists (Umělecká beseda) on 23 December 1880, a curiously unseasonable date for such a quintessentially Passiontide composition. …

Tracklist:

Antonín Dvorák (1841 – 1904)
Stabat Mater, Op.58, B.71
01. “Stabat mater dolorosa”
02. “Quis est homo, qui non fleret”
03. “Eia mater, fons amoris”
04. “Fac ut ardeat cor meum”
05. “Tui nati vulnerati”
06. “Fac me vere tecum flere”
07. “Virgo virginum praeclara”
08. “Fac ut portem Christi mortem”
09. “Inflammatus et accensus”
10. “Quando corpus morietur”

Personnel
Eri Nakamura, soprano
Elisabeth Kulman, contralto
Michael Spyres, tenor
Jongmin Park, bass
Prague Philharmonic Chorus
Czech Philharmonic Orchestra,
Jiří Bělohlávek, conductor

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Guitarist Christoph Denoth returns with a new album of works inspired by South America, centered on the iconic tango. The continent of South America, with its diverse countries and various lines of historical development, has stimulated the creation of many musical traditions. But throughout the heterogeneous patterns of culture, the guitar has a central part to play as a national instrument in all South American countries. This selection (titled tanguero, describing one who sings or dances the tango) brings together many of the styles and genres of that vast continent in a colorful blend of melodies, rhythms, and harmonies. Christoph Denoth was born in Basel, Switzerland, and spent an important part of his early life in the Swiss mountains. His extraordinary musical talent became apparent early on, at which stage he already loved the guitar. He began his concert career at age 15. His studies of the classical guitar led him to the conservatories of Lucerne, Basel, and Zurich. He attended master classes with Pepe Romero and others and trained as a soloist with Oscar Ghiglia at the Basel Musikakademie. He regularly performs as a soloist with chamber orchestras and ensembles such as the Nouvel Ensemble Contemporain (Peter Maxwell Davies) or the Offenburger Streichtrio, and at international music festivals such as that of Schleswig-Holstein. He has also performed as a soloist at Carnegie Hall in New York, at the Berlin Philharmonie, and at the Salzburg Mozarteum.

Tracklist:
1. Libertango (arr. for guitar) 04:16
2. Oblivion (arr. for guitar) 02:36
3. Triunfal (arr. for guitar) 03:04
4. Adiós Nonino (arr. for guitar) 04:44
5. Chiquilín de Bachín (arr. for guitar) 03:45
6. Las 4 Estaciones porteñas (The Four Seasons): No. 2. Verano porteño (arr. for guitar) 04:45
7. Milonga del Ángel (arr. for guitar) 05:12
8. El choclo (arr. C. Denoth for guitar) 04:02
9. La Cumparsita (arr. for guitar) 03:55
10. El día que me quieras (arr. C. Denoth for guitar) 03:54
11. Sueño de barrilete (arr. for guitar) 03:40
12. Tango en skai: Tango en Skaï 02:52
13. Agua e Vinho (Water and Wine) 04:04
14. Sons de Carrilhões (arr. C. Denoth for guitar) 02:32
15. Se ela perguntar 02:49
16. El Marabino 01:20
17. 4 Valses Venezolanos: No. 2. Andreina 01:12
18. 4 Valses Venezolanos: No. 3. Natalia, “Vals criollo” 01:50
19. Te vas milonga 02:04
20. Milonga 04:05
21. Violetas (arr. C. Denoth for guitar) 02:09

Personnel:
Christoph Denoth, guitar

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Swiss guitarist Christoph Denoth is considered one of the foremost guitarists of the younger generation, much praised for his rich sound and musical expression. For this new recording from Abbey Road he joins the London Symphony Orchestra under Jesús López Cobos to perform three much loved works for guitar and orchestra – Rodridgo’s much loved Concierto de Aranjuez, the Nocturnos de Andalucía by Lorenza Palomo, and a new orchestral arrangement by Denoth of Joaquín Malats Serenata Española.

Tracklist:
01. Nocturnos de Andalucía: I. Brindis a la noche
02. Nocturnos de Andalucía: II. Sonrisa truncada de una estrella
03. Nocturnos de Andalucía: III. Danza de Marialuna
04. Nocturnos de Andalucía: IV. Ráfaga
05. Nocturnos de Andalucía: V. Nocturno de Córdoba
06. Nocturnos de Andalucía: VI. El Tablao
07. Concierto de Aranjuez: I. Allegro con spirito
08. Concierto de Aranjuez: II. Adagio
09. Concierto de Aranjuez: III. Allegro gentile
10. Serenata Española (arr. Christoph Denoth)

Personnel:
Christoph Denoth (guitar)
London Symphony Orchestra
Jesús López Cobos (conductor)

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Personnel:
Christoph Denoth (guitar)
London Symphony Orchestra
Jesús López Cobos (conductor)

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The angst and energy emoting from Code Red Riot’s debut album Mask is just enough to get any metal fan excited about the future of the genre. Crisp vocals, fried guitar riffs, and headache heavy drums are all standard in this album. There’s a formula to be followed in order to contain the monstrous energy of frontman Corky Gainsford, but it’s hard to keep him caged. Mask is packed full of greedy tracks that’s bound to be blasted through a Milwaukee Radio on every jobsite.

Gripping the listener tightly from the opening track, Code Red Riot lives up to what can only be described as an infamous name. Gainsford is the master puppeteer behind the controlled chaos, his carefully constructed work more than eager to knock down walls with authority. It’s impossible not to notice the sheer vivacity throughout each track; the heart pounds quicker, blood begins to boil, and our senses are heightened. Mask hardly gives us room to breathe between the crystal clear sound and boisterous volume. The meticulous way the album coaxes familiarity from songs that are completely original is masterful.

Delving deeper into this collection of songs grants us the opportunity to feel the frustration and angst that drives each and every metal band. Songs like “Slide” and “Ghost” are a callout to naysayers and conformity, a snide reminder that talent cannot be corrupted by “the man”. “Bulletproof” is a prime example of the seldom contained rage and drive that Gainsford has constructed. The heady guitar solos from Tyler “Taz” Azure complement Gainsford’s difficult task of playing almost every single instrument on the album. Each song is also packed full of lyrical talent, coming in brisk and heavy, a stream of consciousness so honest and rude it erases any doubt of Gainsford’s metal prowess.

Mask is the real deal. Though the format is very paint-by-number, there is still enough originality to keep metal fans entertained. What’s most important is the ferocious power Gainsford brings to every track. He’s cut open old wounds and let them bleed crimson red onto the music. Code Red Riot is a band with a chip on its shoulder that reminds us that the heart and soul of metal is still alive and well.

Tracklist:
1. Panic And Pain 03:07
2. Killing The Kings 02:55
3. Living Low 03:34
4. Slide 03:13
5. Chaos Calls 03:19
6. Ghost 03:33
7. Fuel In The Fire 03:07
8. Bulletproof 03:25
9. Black Hole Hero 02:56
10. Handle This 03:43
11. 7 More Days 03:10
12. My Falling Soul 03:34

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On her debut album Lake Tear of the Clouds, Los Angeles-based singer/songwriter Cornelia Murr taps into the bucolic spirit of the Hudson Valley in upper New York State. Working with producer Jim James of My Morning Jacket, Murr conjures a hazy blend of folk and cosmic soul music, her voice floating over ghostly soundscapes that bring to mind the fantasias of Broadcast, Stereolab’s most pastoral moments, and the spooky romance of Beach House. Murr was born in London and resides in California as a dual citizen, but spent much of her childhood moving through the United States, from Colorado to Massachusetts, California to New York City and upstate New York. It’s the latter locale that most informs the spiritual geography of the album, which invokes the cyclical journey of water from the highest point in the Adirondack Mountains to the valley below and out to sea. Like that water, Murr’s voice flows with a liquid grace.

Tracklist:
1. Different This Time (03:55)
2. Tokyo Kyoto (04:09)
3. Man on My Mind (03:45)
4. Cicada (04:04)
5. Who Am I to Tell You (03:24)
6. Billions (03:25)
7. I Have a Woman Inside My Soul (05:17)
8. You Got Me (03:58)

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The Canadian quartet led by Margo Timmins, her two brothers Michael and Peter and Alan Anton have emerged from six years of hibernation. Active since the mid-1980s on the folk stage, offering up an alternative kind of country with a fair bit of rock, the Cowboy Junkies have always been able to set themselves apart, be it with the quality of their recordings, using an ambisonic microphone; or for their mix of influences from jazz, blues and country. Everything is carefully calculated, like the release of i>All That Reckoning in Proper Records, which also marks the birthday of their famous album The Trinity Session. It took the Toronto group six years to finish off this project: and that’s because there were a few other factors at play, which inspired the lyrics. The members have reached an age that brings with it certain responsibilities. All That Reckoning underlines this evolution, in fatherhood in particular, and in personal and social relations, the fragile state of the world, and various challenges. On rock ballads with something of a psychedelic feel, Margo Timmins’s soft and smooth voice can bring her audience in and make them pay close attention. As for Michael, we can only salute his talent as a composer, in particular with the first track, All That Reckoningwith its gradual accumulation of instruments and The Possessed which paints a picture of a society in anguish… It’s a personal, human album, charged with emotions, and which catches the spirit of the times. – Anna Coluthe

Tracklist:
1. All That Reckoning, Pt. 1 (03:51)
2. When We Arrive (04:28)
3. The Things We Do to Each Other (03:56)
4. Wooden Stairs (04:20)
5. Sing Me a Song (04:20)
6. Mountain Stream (04:50)
7. Missing Children (03:40)
8. Shining Teeth (04:40)
9. Nose Before Ear (04:15)
10. All That Reckoning, Pt. 2 (04:19)
11. The Possessed (03:23)

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Singer-songwriter Danielle Lewis emerges from the shadows to give her hauntingly delicate vocals the exposure they deserve on this stunning mini-album. Newquay born and Cardiff based Danielle’s goal for ‘Live Forever’ was clear. She wanted to create music that was honest and authentic, and yet she didn’t want to be an artist who was afraid to explore and innovate. Welcome ‘Live Forever’, which so perfectly achieves these ambitions. Danielle’s vocals hauntingly float around as though free from the confines of vocal range and breath control, traversing phrases with a delicacy rarely found in singers who possess vocal power as strong as she does. Super Furry Animals’ Cian Ciaran is currently producing a remix of Danielle’s title track ‘Live Forever’, and the amalgamation of Cian’s psychedelic rock vibe and Danielle’s make for an extremely exciting collaboration. The record in its entirety showcases a real versatility; no two songs sound the same owing to Danielle’s extensive vocal range and ability to adapt to different musical styles easily. Produced by Secondson, this is a bewitchingly delicate debut.

Tracklist:
1. Lead Me to the Sea 02:55
2. Hollywood Sunshine 02:43
3. Pin up Lady 03:47
4. The Ace of Hearts 03:19
5. Live Forever 03:30
6. Only Lust 03:35
7. Wasted 02:25

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Grateful Dead – Anthem Of The Sun (50th Anniversary Deluxe Edition) (1968/2018) [Official Digital Download 24bit/192kHz]

Ariel Kalma – Live in Concert Europe 2018 (2018) [Official Digital Download 24bit/44,1kHz]

Atlanta Rhythm Section – Dog Days (1975/2018) [Official Digital Download 24bit/192kHz]

Bill Evans Trio – Portrait in Jazz (1960/2017) [Official Digital Download 24bit/96kHz]

Birth Control – Bang! (1982/2018) [Official Digital Download 24bit/48kHz]

Birth Control – Operation (1971/2018) [Official Digital Download 24bit/48kHz]

Boston Symphony Chamber Players – Brahms & Dvorak: Serenades (2016/2018) [Official Digital Download 24bit/96kHz]

Boston Symphony Orchestra, Andris Nelsons – Shostakovich: Symphonies Nos. 4 & 11 "The Year 1905" (2018) [Official Digital Download 24bit/96kHz]

Bruce Hornsby & The Noisemaker – Rehab Reunion (2016/2018) [Official Digital Download 24bit/44,1kHz]

Bruce Springsteen & The E Street Band – The Roxy, West Hollywood, CA, July 07, 1978 (2018) [Official Digital Download 24bit/192kHz]

Buffalo Springfield – What’s That Sound? Complete Albums Collection (2018) [Official Digital Download 24bit/192kHz]

Busch Trio – Dvorak: Piano Trios, Op. 65 & 90 "Dumky" (2016) [Official Digital Download 24bit/96kHz]

Czech Philharmonic & Jiri Belohlavek – Dvorak: Stabat Mater, Op.58, B.71 (2017) [Official Digital Download 24bit/96kHz]

Christoph Denoth – Tanguero: Music from South America (2018) [Official Digital Download 24bit/44,1kHz]

Christoph Denoth – Nocturnos de Andalucia (2016) [Official Digital Download 24bit/44,1kHz]

Chuck Leavell – Chuck Gets Big (with The Frankfurt Radio Big Band) (2018) [Official Digital Download 24bit/44,1kHz]

Code Red Riot – Mask (2018) [Official Digital Download 24bit/96kHz]

Cornelia Murr – Lake Tear of the Clouds (2018) [Official Digital Download 24bit/96kHz]

Cowboy Junkies – All That Reckoning (2018) [Official Digital Download 24bit/44,1kHz]

Danielle Lewis – Live Forever EP (2018) [Official Digital Download 24bit/48kHz]