Studio Masters – HDMusic.me

Laurel Halo’s new cut provides a meditative and cinematic listening experience: Inspired by her recent work with Dutch design studio Metahaven – for which she scored the film ‘Possessed‘, ‘Raw Silk Uncut Wood‘ also draws its roots from the work of late writer and poet Ursula K. Le Guin, with the record title directly referencing her translation of millennial old Chinese text Tao Te Ching and this particular quote: “What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. Forget the rules. Be untroubled.”

Featuring Oliver Coates on cello (also present on the soundtrack of ‘Possessed‘ and 2014 feature ‘Under The Skin‘) and New York-based composer Eli Keszler on percussion, ‘Raw Silk Uncut Wood‘ is Halo’s first material to come out in 2018 after her acclaimed album ‘Dust‘, released last year on Hyperdub. In the label’s words, the record presents “six instrumental pieces that form a meditative, cinematic listening experience“, offering a “plurality of melancholy and happiness“.

Tracklist:
1. Raw Silk Uncut Wood 10:00
2. Mercury 03:56
3. Quietude 02:32
4. The Sick Mind 04:24
5. Supine 01:27
6. Nahbarkeit 10:07

Download:

https://subyshare.com/p93pkrydnbfi/LaurelHal0RawSilkUncutW00d20182444.1.rar.html

After working as a writer and producer for such soul music stalwarts as Donny Hathaway and a stint replacing Curtis Mayfield as the lead vocalist in the Impressions, Leroy Hutson embarked on a solo career with 1973’s Love Oh Love. The album combines the kind of smooth soul music that Hutson performed with the Impressions with more ambitious and conceptual outings in the vein of Marvin Gaye and Stevie Wonder. When Hutson sticks to love songs, Love Oh Love is magical: “So in Love With You” combines a honey-sweet romantic vocal from Hutson with a spine-tingling string arrangement to create an elegant and heartfelt ballad, while the title track raises its tale of lost love to an up-tempo level with jazzy horns and a percolating rhythm arrangement. “As Long as There’s Love Around” is another effective romantic track that layers Hutson’s velvety vocals over a complex instrumental track that combines gentle strings and brash horns with an insistently grooving bassline. The progressive-minded tracks are less satisfying: “Time Brings on a Change” is a political commentary song whose use of a Martin Luther King sample is a little too gimmicky for its own good, and “Getting It On” is a funk instrumental that fails to work any memorable hooks into its pleasant groove. Despite these problems, nothing on the album is less than listenable and everything flows together nicely to create a cohesive (if somewhat short) album. In short, Love Oh Love is one of the most consistent albums in the Leroy Hutson catalog and a good introduction to his silky soul style.

Tracklist:
1. So In Love With You 02:57
2. Love Oh Love 03:04
3. When You Smile 04:22
4. Getting It On (Theme For The ‘Jay Johnson Affair’) 04:01
5. Time Brings On a Change 04:43
6. I’ll Be There, I’ll Still Care 03:08
7. I’m In Love With You Girl 02:42
8. As Long as There’s Love Around 03:14
9. So In Love With You (Mono Single Version) 02:59
10. When You Smile (Mono Single Edit) 02:59
11. Love Oh Love (Mono Single Version) 03:01

Please note: Tracks “3-9,11” are in 96kHz/24bit format.

Download:

https://subyshare.com/y3bxe7r78146/Ler0yHuts0nL0ve0hL0ve197320182444.1.rar.html

After recording a string of soul albums that earned him little commercial success, Leroy Hutson decided to take the most commercial route possible on 1979’s Unforgettable by making a disco album. Given that Hutson was a gifted arranger/producer and tended towards the sweet side of soul anyways, it could have been a harmonious marriage. Sadly, it doesn’t work because Hutson suppresses all his personality as a performer and producer to produce some disco tracks that represent the genre at its most bland and faceless. The worst offender is the title track, a disco-era update of the Nat King Cole classic: instead of reworking the song in an ambitious fashion, it merely grafts a repetitive disco beat onto the melody and pads it out to dancefloor length with some aimless jamming from the band and an array of embarrassing sci-fi synthesizer noises. “(You Put The) Funk in My Life” is similarly uninspired, combining a funky but faceless band vamp with a set of clichéd “let’s boogie” lyrics to create a typical example of disco album filler. However, a few of other tracks keep Unforgettable from being a complete loss: “Right or Wrong” is sultry ballad that benefits from an arrangement that blends strong vocal harmonies with some dramatic orchestrations, and “More Where That Came From” is a jazzy funk workout that easily outdoes the album’s more overt attempts at disco. However, these highlights can’t keep Unforgettable from feeling like an unsuccessful (and uncomfortable) artistic compromise. As a result, it can only be recommended the most devoted Leroy Hutson fans.

Tracklist:
1. Unforgettable 07:29
2. (You Put The) Funk In My Life 07:15
3. Right or Wrong 04:45
4. So Nice 05:23
5. Lonely Without You 03:47
6. More Where That Came From 05:27
7. So Nice (Extended) 07:05
8. Now That I Found You 04:30
9. Love You Down 04:38

Please note: Tracks “1,2,3,4,6,9” are in 96kHz/24bit format.

Download:

https://subyshare.com/nykx4g01gxk3/Ler0yHuts0nUnf0rgettable197920182444.1.rar.html

Les Arts Florissants & William Christie – Handel: Music for Queen Caroline (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:08 minutes | 1,37 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © harmonia mundi

Queen Caroline was an emblematic female figure of the eighteenth century. The wife of King George II of England, Caroline of Ansbach was a woman of great beauty, a supporter of the arts and sciences, and also a friend and protector of Handel.

It was Handel who was commissioned to compose the ceremonial music that accompanied her reign—“The King Shall Rejoice” played at her and George’s coronation, the “Queen Caroline” Te Deum, written for her arrival in England, and also “The Ways of Zion do Mourn,” composed for her funeral.

In this recording which, for the first time, brings together these three works illustrating the very strong link between the queen and her chosen artist, the choir and orchestra of Les Arts Florissants, whose ranks were enlarged for the occasion, bring back to life music that is at once flamboyant and poignantly human.

“Christie calibrates his performance perfectly – bringing swift movement to Handel’s rapidly set verses…but allowing plenty of spacious swagger and grandeur in the big choruses supported by trumpets…This is an ideal recording for those of us looking for a change from the enthusiastically full-throated and highly articulated Handel singing we get from many British choirs … fit for a queen.” (International Record Review)

Tracklist:
1. The King shall rejoice, Coronation anthem HWV 260: I. The King Shall Rejoice 02:41
2. The King shall rejoice, Coronation anthem HWV 260: II. Exceeding Glad Shall He Be 03:09
3. The King shall rejoice, Coronation anthem HWV 260: III. Glory And Worship Hast Thou Laid Upon Him 02:15
4. The King shall rejoice, Coronation anthem HWV 260: IV. Alleluja 02:38
5. Te Deum in D Major “Queen Caroline”, HWV 280: I. We Praise thee, O God 02:35
6. Te Deum in D Major “Queen Caroline”, HWV 280: II. The glorious Company of the Apostles 03:19
7. Te Deum in D Major “Queen Caroline”, HWV 280: III. When thou tookest upom thee 04:13
8. Te Deum in D Major “Queen Caroline”, HWV 280: IV. Day by day we magnify you 01:03
9. Te Deum in D Major “Queen Caroline”, HWV 280: V. Vouchsafe O Lord 02:56
10. Te Deum in D Major “Queen Caroline”, HWV 280: VI. O Lord in thee I have trusted 01:16
11. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: I. Symphony 02:06
12. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: II. The ways of Zion do mourn 06:20
13. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: III. How are the mighty fall n 01:39
14. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: IV. She put on righteousness 02:54
15. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: V. When The Ear Heard Her 04:07
16. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: VI. How Are The Migthy Fall’n! (Choeur 2) 00:52
17. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: VII. She Deliver’d The Poor That Cried 07:08
18. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: VIII. How Are The Migthy Fall’n! (Choeur 3) 00:54
19. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: IX. The Righteous Shall Be Had 03:25
20. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: X. Their Bodies Are Buried In Peace 05:39
21. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: XI. The People Will Tell Of Their Wisdom 02:05
22. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: XII. They Shall Receive A Glorious Kingdom 04:03
23. The Ways of Zion Do Mourn “Funeral Anthem for Queen Caroline”, HWV 264: XIII. The Merciful Goodness Of The Lord 04:51

Personnel:
Choir and Orchestra of Les Arts Florissants
William Christie, musical direction
Soloists for the Te Deum:
Tim Mead, countertenor
Sean Clayton, tenor
Lisandro Abadie, bass-baritone

Download:

https://subyshare.com/1lntk79xgpzo/LesArtsFl0rissantsWilliamChristieHandelMusicf0rQueenCar0line20182496.part1.rar.html
https://subyshare.com/bwgfuftfi4qi/LesArtsFl0rissantsWilliamChristieHandelMusicf0rQueenCar0line20182496.part2.rar.html

“Le Jardin de Monsieur Rameau,” the second recording by Les Editions Arts Florissants, was released in April 2014 as part of the commemorations of the 250th anniversary of the composer’s death.

These recordings reprise the program of French music given for the 2013 Jardin des Voix, performed by William Christie and six soloists from the sixth edition of the Arts Florissants Academy for young singers.

From Rameau to Dauvergne via Campra, the musicians invite us on a promenade through the vocal art of the French Enlightenment.

“Avuncular compassion and infinite wit.” (The Guardian)

“One of the very best early music organizations of our times…” (Positive Feedback)

“The choir of Les Arts Florissants acquit themselves with full honours…” (Gramophone)

Tracklist:
1. Jephté: Prologue – Ouverture 01:52
2. Jephté: Prologue – “Riez sans cesse” – “Dans ces beaux lieux” 03:21
3. Jephté: Prologue – “De quels nouveaux concerts” 01:44
4. Hercule mourant: “Quelle voix suspend mes alarmes ?” 04:01
5. Hippolyte et Aricie: “Quels doux concerts!” 04:21
6. Rien du tout 09:15
7. La Vénitienne: “Pour braver les périls” 01:02
8. La Vénitienne: “Ciel, il me laisse” 03:06
9. La Vénitienne: “Livrons-nous au sommeil” 03:05
10. L’Ivrogne corrigé: “Maudit ivrogne” 01:39
11. L’Ivrogne corrigé: “Il est mort” 02:17
12. Canon: “Ah ! Loin de rire” 01:21
13. L’Ivrogne corrigé: “Rendez mon époux à la vie” 02:09
14. Canon: “Réveillez-vous dormeur” 00:34
15. L’Ivrogne corrigé: “Que de plaisirs l’Amour nous donne” 01:31
16. L’Europe galante: “Quoi ! Pour l’objet de votre ardeur” – “L’Amour, en comblant nos désirs” 04:05
17. L’Europe galante: “Paisibles lieux” 02:54
18. L’Europe galante: “Que vois-je, quel spectacle !” – “Aimez, belle Bergère” – “Que je sache du moins” 02:35
19. L’Europe galante: “Voyez à vos genoux” – “Lorsque Doris me parut belle” – “Que n’adresse-vous mieux” 04:21
20. L’Europe galante: “Quel funeste coup” 03:27
21. Les Fêtes d’Hébé: “Revenez, tendre amant” 01:51
22. Les Fêtes d’Hébé: “Je vous revois” – “Sans cesse les oiseaux font retentir” 02:32
23. Les Fêtes d’Hébé: “Fuis, porte ailleurs tes fureurs” 03:57
24. Dardanus: “Hâtons-nous,courons à la gloire” 02:18
25. Dardanus: “Voici les tristes lieux” – “Monstre affreux” 04:09
26. Dardanus: “Mais un nouvel éclat” 02:13
27. Dardanus: “Des biens que Vénus nous dispense” 02:21
28. Les Indes galantes: “Tendre Amour” 02:49

Personnel:
Daniela Skorka, soprano
Emilie Renard, mezzo-soprano
Benedetta Mazzucato,
Zachary Wilder, tenor
Victor Sicard, baritone
Cyril Costanzo, bass
Le Jardin des Voix
Les Arts Florissants
William Christie, conductor

Download:

https://subyshare.com/qoeihinfoq6h/LesArtsFl0rissantsWilliamChristieLeJardindeM0nsieurRameau20182496.part1.rar.html
https://subyshare.com/x5xng9i34dj0/LesArtsFl0rissantsWilliamChristieLeJardindeM0nsieurRameau20182496.part2.rar.html

Fueled by the momentum generated from two landmark 2017 group efforts – the Wingfield-Reuter-Stavi-Sirkis quartet’s magical “”The Stone House,”” and the leaned down Wingfield-Reuter-Sirkus trio effort, the potent “”Lighthouse”” (both critically acclaimed works of extraordinary creativity and vision) – Mark Wingfield’s sophomore effort for MoonJune Records launches into the cosmos, from the space station where his stellar MJR debut, 2015’s “”Proof of Light,”” docked! Rejoined by the sublime rhythmic engine of Yaron Stavi, on fretless bass, and supreme drummer, Asaf Sirkis, the innovative guitar impressionist carries his unprecedented expansion of the electric guitar’s sonic palette of sound and expression into further uncharted dimensions. The session is augmented by a guest appearance from fellow MoonJune artist, keyboardist Dominic Vantomme, whose tasty synth work decorates four selections. The compositions are as spellbinding as Mark’s far-reaching guitar work and the trio’s sensitive corporate delivery. Prepare to be starstruck on this ambitious new release, as Mark Wingfield’s adventurous, pioneering guitar work transports listeners to destinations previously unreachable! “”Tales from a Dreaming City”” is immediately essential, further cementing the artist’s position among the instrument’s most radically unconventional practitioners and its most forward-thinking tone architects, ever.

Tracklist:
1. The Fifth Window 05:09
2. I Wonder How Many Miles I’ve Fallen 07:19
3. The Way To Hemingford Grey 05:54
4. Sunlight Cafe 05:57
5. Looking Back At The Amber Lit House 06:47
6. This Place Up Against The Sky 05:46
7. At A Small Hour Of The Night 08:03
8. A Wind Blows Down Turnpike Lane 04:27
9. Ten Mile Bank 05:36
10. The Green-Faced Timekeepers 07:52

Personnel:
MARK WINGFIELD guitar, soundscapes
YARON STAVI fretless bass guitar
ASAF SIRKIS drums, konakol singing (10)
special guest DOMINIQUE VANTOMME synth soloist (3, 5, 9, 10)

Download:

https://subyshare.com/pz6q3247phb1/MarkWingfieldTalesFr0mTheDreamingCity20182488.2.part1.rar.html
https://subyshare.com/w4lpp0kmmakg/MarkWingfieldTalesFr0mTheDreamingCity20182488.2.part2.rar.html

With Lux, the brilliant pianist and composer Matan Porat offers a visionary programme inspired by the theme of light. Twelve pieces chosen among a repertoire spanning twelve centuries accompany the course of a day, from dawn to nightfall. each piece corresponds to a time of day, with its own particular light.

The programme might be most eclectic; but its architecture is flawless: Lux, “Light”, from dawn to night, an arc bending from Gregorian chant – the misa in aurora – all the way to the Moonlight of Beethoven’s famous sonata, via the furious meridian heat of Scriabin’s Fourth Sonata followed by the Prelude to the Afternoon of a Faun (rewritten for solo piano by Matan Porat himself), and many other pieces from Dowland to Thomas Adès to evoke this or that time of day. Matan Porat has put together a most original line-up – which is absolutely his hallmark – which some might find a little too challenging, but others will applaud: take your pick. We wonder where his next record will take us!

Tracklist:
1. Gregorian chant: Introitus Lux Fulgebit (Arr. for piano) 00:53
2. Gesänge der Frühe, Op. 133: I. Im ruhigen Tempo 02:04
3. Préludes, Livre 1, L. 117: X. La Cathédrale engloutie 05:14
4. Piano Sonata No. 21, Op. 53: III. Rondo. Allegretto moderato – Prestissimo 07:42
5. Whirling tissue of light 09:31
6. Piano Sonata No. 4, Op. 30: I. Andante 03:11
7. Piano Sonata No. 4, Op. 30: II. Prestissimo volando 05:13
8. Prélude à l’après midi d’un faune, L. 86 (Arr. for piano) 09:58
9. Études d’exécution transcendante, S. 139: XI. Harmonies du soir 08:49
10. Darknesse Visible 06:50
11. Out of Doors, Sz. 81: 4. The Night’s music 05:07
12. Gregorian chant: Exortum est in tenebris (Arr. for piano) 00:35
13. Piano Sonata No. 14, Op.27 No.2 “Moonlight”: I. Adagio sostenuto 06:19

Personnel:
Matan Porat, piano

Download:

https://subyshare.com/zphll7innvws/MatanP0ratLUX20182496.part1.rar.html
https://subyshare.com/xgphj89xzsl6/MatanP0ratLUX20182496.part2.rar.html

Meat Loaf, the rock legend who along with songwriter/producer Jim Steinman broke sales records with the classic multi-platinum albums Bat Out of Hell and Bat Out of Hell II: Back Into Hell, announces their reunion on the new album Braver Than We Are featuring 10 new Steinman songs performed as only Meat Loaf can! The project also showcases another reunion with vocalists Ellen Foley and Karla DeVito (vocalists from the smash hit Paradise by the Dashboard Light) on the epic song and first single Going All The Way.

Jim Steinman parted ways with Meat Loaf sometime after their improbable 1993 blockbuster Bat Out of Hell II: Back Into Hell. He contributed a couple of songs to its 1995 sequel, Welcome to the Neighborhood, but by the time Meat Loaf was ready to do a third installment of Bat Out of Hell, Steinman opted out for unspecified reasons, leaving the singer to use five previously released Steinman songs as produced by Desmond Child — a satisfactory compromise that at the very least illustrated how Celine Dion’s “It’s All Coming Back to Me Now” should’ve been on a Bat Out of Hell album. Through a series of circumstances, Meat Loaf and Steinman wound up reuniting for 2016’s Braver Than We Are, which was produced by Paul Crook, just like its 2012 predecessor Hell in a Handbasket. While the record bears some slick modern hallmarks, it is very much a throwback, evoking memories of Todd Rundgren’s overblown Springsteen parody of 1977 as well as the earnest re-creation of 1993. Steinman’s songs are suitably theatrical — the opening “Who Needs the Young” feels like it’s a Broadway reject — and while he slyly winks at his past with “Going All the Way Is Just the Start (A Song in 6 Movements),” a song that features a cameo from “Paradise by the Dashboard Light” singer Ellen Foley, he also seems unaware that Ratt also got to the title “Loving You Is a Dirty Job” in 1990 (albiet after Steinman whose composition first appeared as a Bonnie Tyler single in 1985). That isolation is ultimately a benefit because Braver Than We Are feels caught between nostalgia and indifference, an album so old-fashioned it seems happily ignorant of modernity even when it threads EDM rhythms and metallic guitars into “More.” The other way it’s possible to tell this album was released in 2016 is Meat Loaf’s performance. Thin and sometimes breathless, he’s no longer the colossus of the ’70s, but the diminishment of his range humanizes him and adds a bittersweet tinge to this reunion. Through Meat Loaf’s voice alone, mortality becomes evident and it makes this third reunion with Steinman all the sweeter. Braver Than We Are may have its flaws — it’s too staid and self-conscious, for one — but Steinman never found a better interpreter for his songs than Meat Loaf, and Meat Loaf never sounds more like himself than he does when singing Steinman, and that’s why the album works. ~ Stephen Thomas Erlewine

Tracklist:
1. Who Needs The Young 05:27
2. Going All The Way Is Just The Start (A Song In 6 Movements) 11:28
3. Speaking In Tongues 04:23
4. Loving You’s A Dirty Job (But Somebody’s Gotta Do It) 06:09
5. Souvenirs 08:17
6. Only When I Feel 01:56
7. More 06:06
8. Godz 03:33
9. Skull Of Your Country 03:35
10. Train Of Love 04:22

Personnel:
Meat Loaf, vocals
John Miceli, drums
Paul Crook, guitars, loops, synths
Randy Flowers, guitars, vocals
David Luther, saxophone, B3 Organ, strings, horn arrangements
Justin Avery, piano, synth, strings, backing vocal arrangements
Danny Miranda, bass
Ellen Foley, vocals (on track 2)
Karla DeVito, vocals (on track 2)
Stacy Michelle, vocals (on tracks 3, 4)
Cian Coey, vocals (on tracks 7, 9), backing vocals
Alicia Avery, backing vocals
Rickey Medlocke, slide guitar Solo (on track 10)
Produced by Paul Crook

Download:

https://subyshare.com/v59v49yfsyea/MeatL0afBraverThanWeAre201620182444.1.rar.html

Michael Tilson Thomas & San Francisco Symphony – Tchaikovsky: Symphony No. 6, “Pathétique” (2018)
FLAC (tracks) 24 bit/192 kHz | Time – 48:51 minutes | 1,83 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © San Francisco Symphony

Recorded at a public concert – as is the case for almost all the albums by the San Francisco Orchestra – this version of Tchaikovsky’s Sixth is Michael Tilson’s contribution to the substantial discography of this phenomenal work. Recall that this sombre symphony was first performed in Saint Petersburg in October 1893, conducted by the director himself, with a decent reception, although the audience was most likely left “wanting more”, as the final notes of the staggering final movement faded into a very un-heroic pianissimo. Recall also that only nine days later, Tchaikovsky left behind this vale of years – there are conflicting theories regarding his death, whether it was a result of cholera, suicide, or something else entirely – and the work was played again a few days later at a memorial service, with a few corrections that the composer had made after the first performance; and henceforth it would be this version, that the writer would never hear during his lifetime, which would be played at concerts.

Tracklist:
01. Symphony No. 6 in B Minor, Op. 74, “Pathétique”: I. Adagio-Allegro non troppo
02. Symphony No. 6 in B Minor, Op. 74, “Pathétique”: II. Allegro con grazia
03. Symphony No. 6 in B Minor, Op. 74, “Pathétique”: III. Allegro molto vivace
04. Symphony No. 6 in B Minor, Op. 74, “Pathétique”: IV. Finale-Adagio lamentoso-Andante

Personnel:
San Francisco Symphony
Michael Tilson Thomas, conductor

Download:

https://subyshare.com/6hvpay63es5l/MichaelTils0nTh0masSanFrancisc0Symph0nyTchaik0vskySymph0nyN0.6Pathtique201824192.part1.rar.html
https://subyshare.com/cjqzkn6e13xg/MichaelTils0nTh0masSanFrancisc0Symph0nyTchaik0vskySymph0nyN0.6Pathtique201824192.part2.rar.html

A rich and unique collection of new and traditional verses, performed by a leading artist and proponent of Punjabi wedding ceremonies.

Tracklist:
01. Vadhaiyan Mummy Tenu
02. Vehrha Bhariyaa Shagna Naal
03. Ajj Kurhmai Eh
04. Sajna Ve Tenu Vekh Ke
05. Chunni Shagna Di
06. Laal Parandha
07. Sayoni Ajj Vattna Laawo
08. Baabul De Mehli (Suhaag)
09. Ayee Mehndi Wali Raat
10. Ais Vehle
11. Mamma Nanaka Shak Liaya
12. Churha
13. Vehra Ni
14. Laarhe Nu Vattna Laaye
15. Nanaka De Mel Aagya
16. Rani Gidhian Di
17. Ghorhi
18. Milni Di Rassam
19. Jad Kithe Kurian Ne
20. Eh Din Khushian De
21. Laakey Lakhan Assees (Doli)
22. Pani
23. Goddeh Goddeh Chaa

Download:

https://subyshare.com/cikcxvrtkjal/M0hinderKaurBhamraS0ngsf0rPunjabiWeddingsS0ngsCerem0nies20182444.1.rar.html

Nellie McKay is a wonderful, complicated idiosyncrasy: a pop singer who isn’t a fawned over superstar, a multi-instrumentalist in an era when singers can barely play “Chopsticks,” and a historian of popular music who puts the song before her ‘interpretation’ of it. In short, she’s extraordinarily talented and unique. Geoff Emerick, who engineered a number of The Beatles’ albums, has been a key collaborator as her producer from her debut Get Away from Me (2004). She can also sing in any genre: Pop, Rock, Hip-Hop, Country, Jazz, Great American Songbook. She feels like the granddaughter heir apparent to Dinah Washington and Rosemary Clooney.

From the title My Weekly Reader, recalling the urban underground press’ heyday, to the production that initially sounds like the move from mono to stereo, this sounds like the late ‘60s. However, she presents further nuance especially in Moby Grape’s “Murder In My Heart For the Judge,” which speaks to urban unrest in the aftermath of the Trayvon Martin killing and the Ferguson, MO riots and Crosby, Stills, and Kantner’s “Wooden Ships,” a haunting, wistful note on which to end the album. She sounds like she could be Mary Hopkin’s younger sister on Steve Miller’s “Quicksilver Girl” or Small Faces’ “Itchycoo Park,” and even channels the profound sadness of Sandy Denny on Ray Davies’ “Sunny Afternoon.” It’s a treat to hear Paul Simon’s “Red Rubber Ball,” and Frank Zappa’s “Hungry Freaks, Daddy.” I didn’t love Richard Fariña’s “Bold Marauder,” mainly because it seemed musically monotonous and her straight ahead version of”Don’t Let The Sun Catch You Crying” is respectful, but it doesn’t reveal her in the way of Rickie Lee Jones’s 1989 version.

“Last time Nellie McKay took a stroll through the past, she doffed her hat at Doris Day, an obvious tribute for a singer as besotted with the stage as Ms. McKay. My Weekly Reader, the album that functions as the sequel to 2010’s all-original Home Sweet Mobile Home, is a surprise as it shines a spotlight directly on some of the shadowy corners of the ’60s. Despite opening with a cover of the Kinks’ “Sunny Afternoon” and a leisurely reading of the Beatles’ “If I Fell,” McKay doesn’t spend much time with the familiar. She gravitates toward folky introspection and songs that allow her to strut, two kinds of vintage styles that suit her well, but My Weekly Reader also shows her fondness for weirdo social satire, a quirk that at first glance seem like an odd fit for the singer. Upon second glance, Frank Zappa & the Mothers of Invention’s “Hungry Freaks, Daddy” and Moby Grape’s “Murder in My Heart for the Judge” seem odd: they’re stage-bound theatrical productions fueled by cutesy curtseys, an attitude that unravels during the latter as McKay threads in protest lines from 2014, ending with a whispered “I can’t breathe.” Nevertheless, that ambition is admirable and its very presence is appreciated, particularly compared to the lighter pop tunes of Small Faces’ “Itchycoo Park” and Herman’s Hermits’ “Mrs. Brown You’ve Got a Lovely Daughter,” tunes that allow McKay to mince about more than necessary. Where My Weekly Reader shines is on the quieter moments, which range from the loveliness of Crosby, Stills & Nash’s “Wooden Ships,” the nostalgic gleam of Gerry & the Pacemakers’ “Don’t Let the Sun Catch You Crying,” and the spookiness of Richard & Mimi Fariña’s “Bold Marauder.” Here, McKay achieves a delicate balance between ’60s reverence and a sly modern wink, a blurring of eras that plays to her strengths.” (Stephen Thomas Erlewine, AMG)

Tracklist:
01. Sunny Afternoon (3:09)
02. Quicksilver Girl (3:09)
03. Poor People / Justice (3:37)
04. Murder In My Heart For The Judge (5:31)
05. Bold Marauder (3:49)
06. Itchycoo Park (3:28)
07. Mrs. Brown You’ve Got A Lovely Daughter (2:13)
08. Not So Sweet Martha Lorraine (5:17)
09. If I Fell (2:40)
10. Red Rubber Ball (3:38)
11. Don’t Let The Sun Catch You Crying (2:27)
12. Hungry Freaks, Daddy (4:35)
13. Wooden Ships (4:34)

Personnel:
Béla Fleck, banjo
Bob Glaub, electric bass
Nellie McKay, bells, clarinet, congas, cymbals, harmonica, keyboards, maracas, marimbas, organ, piano, tambourine, ukelele, all vocals
Cary Park, banjo, 12-string guitar, acoustic guitar, electric guitar, steel guitar
David Raven, drums
Dweezil Zappa, guitar (on “Hungry Freaks, Daddy”)

Download:

https://subyshare.com/rdjioevsirt5/NellieMcKayMyWeeklyReader201520182496.rar.html

With the tender age of 10 Niu Niu is the only pianist who became the youngest pianist ever to sign an exclusive recording contract with an international classical label – EMI Classics now Warner Classics.

Niu Niu is the nickname and performing identity of Shengliang Zhang, born into a musical family in Xiamen, Fujian province, China in 1997.

Tracklist:
1. Rondo capriccioso, Op.14 06:58
2. Impromptu No.2 in F sharp, Op.36 05:46
3. Impromptu No.3 in G flat, Op.51 05:36
4. Lento assai – Allegro energico 12:55
5. Andante sostenuto 08:12
6. Allegro energico – Andante sostenuto – Lento assai 11:24
7. Impromptu In G Flat, D899, No. 3 05:37
8. Soirées De Vienne, Valse-Caprice No.6, S-427/6 07:34

Personnel:
Niu Niu, piano

Download:

https://subyshare.com/rsnl0dz5r6zq/NiuNiuLisztCh0pinSchubertMendelss0hn20182496.part1.rar.html
https://subyshare.com/wbjo1pideeyg/NiuNiuLisztCh0pinSchubertMendelss0hn20182496.part2.rar.html

The only album ever cut by Norma Jenkins – a New Jersey singer with a surprisingly great ear for a deep soul groove! Norma’s got a sound that’s richer than most of her east coast contemporaries – a really robust approach that’s almost more like some of the best southern soul singers of the period, and captured beautifully here, in ways that make us wonder why she never recorded more albums after this. The set’s put together by producer George Kerr, right in the middle of a rich run of work for other artists in the 70s – and arrangements are by Bert Keyes and Andrew Smith – balancing equally between midtempo groovers, and some mellow tracks that are especially great. Titles include “Reachin’ Out In Darkness”, “Love Jones”, “I Did It For Real”, “Can You Imagine That”, “I Fooled You”, “It’s All Over Now”, and “You’ve Been Here Since Then”.

Tracklist:
1. Love Jones 06:39
2. I Fooled You (Didn’t I) 03:29
3. I Did It for Real 03:40
4. Can You Imagine That 03:50
5. Gimme Some (Of Your Love) 04:30
6. Reachin’ out in Darkness 03:12
7. It’s All over Now 03:11
8. You’ve Been Here Since Then 04:54

Digitally remastered

Download:

https://subyshare.com/jeusqv593zrt/N0rmaJenkinsPatienceisaVirtue197620182444.1.rar.html

Swans’ influential guitarist Norman Westberg returns with his most substantial album to date on the expansive, personal panoramas of ‘After Vacation’, a profoundly beautiful set of windswept soundscapes amplified by production from Lawrence English.

For the last 6 years Westberg has rendered a one-take representation of his studio performances, effectively presenting a series of naked meditations on the electric guitar with little or no over-dubbing. Now, breaking with tradition following the end of Swans in their current configuration, he opens up his sound to reveal a depth of tonal colour and harmonic possibilities that just weren’t there in previous outings.

His glacially slow panning shots now highlight a finer spectrum of notes with much deeper spatial relief, marking a sharp difference between his old and new sounds akin to switching from a cathode ray TV to widescreen HD. That’s partly down to Westberg’s renewed impetus and ambition, but also no doubt aided by Lawrence English’s production, which serves to breath patient, pregnant space between the notes and reveal compelling new aspects to Westberg’s sound.

That sound is significantly and fully realised in six parts, traversing from windless nocturnal desert scenes in the cinematic majesty of Soothe The String, to the opiated shimmer of Drops In A Bucket and the arcing, star-gazing poignancy of Norman Seen As An Infant on the A-side, before really zooming out on the B-side to reveal a dawning valley of slow rolling melodic fog and harmonic aurora in Levitation, and coming to rest in the homebound floral acoustic guitar strokes and lushly layered environs of the album’s closing title track.

One of the year’s most evocative quiet listens, After Vacation comes with a huge recommendation if you’re into anything from Ry Cooder’s classic Paris, Texas soundtrack to more contemporary variations on that theme from the likes of Tim Hecker, Stars of the Lid or indeed Lawernce English. ~ Boomkat Product Review

Tracklist:
1. Soothe The String 06:33
2. Drops In A Bucket 05:47
3. Sliding Sledding 05:27
4. Norman Seen As An Infant 03:03
5. Levitation 11:45
6. After Vacation 05:48

Download:

https://subyshare.com/69rmvtflfurg/N0rmanWestbergAfterVacati0n20182444.1.rar.html

A characteristic trait in Allan Pettersson’s music is the use of strong contrasts – shifts between an enormous intensity and calm relaxation, between complex and violently dissonant passages and peaceful, simple melodies and harmonies. This certainly applies to both works recorded here by the Norrköping Symphony Orchestra and Christian Lindberg – the composer’s Fifth and Seventh Symphonies. Premièred in 1963 and 1968 respectively, these two symphonies contributed substantially to Pettersson’s public standing during the 1960s. The Fifth earned him the music prize of the newspaper Expressen, while at the same time Pettersson’s extensive use of traditional harmony, particularly in the slow ending of the work, caused a number of commentators to criticize it as ‘outmoded’. In 1964, the symphony probably contributed to Pettersson being selected as one of the first recipients of a public remuneration scheme for composers which guaranteed them a lifelong minimum income. Four years later, the first performance of Symphony No. 7 was conducted by Antal Doráti, the dedicatee of the work. The event is often described as Pettersson’s ‘breakthrough’, and Doráti’s recording of the work in 1969 with the Stockholm Philharmonic Orchestra earned the performers and the composer a ‘Swedish Grammy’ Award each. Pettersson’s Seventh remains the most recorded and most frequently performed of all of his works. It is heard here in a performance from what are widely regarded as the leading Pettersson interpreters of our time.

Tracklist:
1. Symphony No. 5 : Beginning – 06:28
2. Symphony No. 5 : Figure 17 – 05:51
3. Symphony No. 5 : Figure 43 – 18:13
4. Symphony No. 5 : Figure 129 10:28
5. Symphony No. 7 : Beginning – 02:38
6. Symphony No. 7 : Bar 53 – 04:51
7. Symphony No. 7 : Bar 172 – 04:25
8. Symphony No. 7 : Bar 255 – 03:01
9. Symphony No. 7 : Bar 311 – 04:36
10. Symphony No. 7 : Bar 389 – 02:22
11. Symphony No. 7 : Bar 432 – 00:56
12. Symphony No. 7 : Bar 450 – 03:07
13. Symphony No. 7 : Bar 512 – 05:16
14. Symphony No. 7 : Bar 564 – 02:36
15. Symphony No. 7 : Bar 613 – 01:57
16. Symphony No. 7 : Bar 648 – 02:25
17. Symphony No. 7 : Bar 707 03:30

Personnel:
Norrköping Symphony Orchestra
Emily Nebel, leader (No. 5)
Henrik Jon Petersen, leader (No. 7)
Christian Lindberg, conductor

Download:

https://subyshare.com/vgf5p56fkxeh/N0rrkpingsSymf0ni0rkesterChristianLindbergPetterss0nSymph0niesN0s.5720182496.part1.rar.html
https://subyshare.com/6om7sv1ac8i7/N0rrkpingsSymf0ni0rkesterChristianLindbergPetterss0nSymph0niesN0s.5720182496.part2.rar.html

Bat Out Of Hell is the definitive masterpiece by Meat Loaf. The album is adored by countless generations and is Meat Loaf’s first collaboration with composer Jim Steinman. Bat Out Of Hell is one of the bestselling albums in music history, having sold over 43 million copies worldwide. It is included on Rolling Stone’s “500 Greatest Albums of All Time” and has been certified multi-Platinum. It reached #1 on Billboard’s Top Pop charts and features the exhilarating singles “Two Out Of Three Ain’t Bad” and “Paradise By The Dashboard Light.” A must-own recording.

There is no other album like Bat Out of Hell, unless you want to count the sequel. This is Grand Guignol pop — epic, gothic, operatic, and silly, and it’s appealing because of all of this. Jim Steinman was a composer without peer, simply because nobody else wanted to make mini-epics like this. And there never could have been a singer more suited for his compositions than Meat Loaf, a singer partial to bombast, albeit shaded bombast. The compositions are staggeringly ridiculous, yet Meat Loaf finds the emotional core in each song, bringing true heartbreak to “Two out of Three Ain’t Bad” and sly humor to “Paradise by the Dashboard Light.” There’s no discounting the production of Todd Rundgren, either, who gives Steinman’s self-styled grandiosity a production that’s staggeringly big but never overwhelming and always alluring. While the sentiments are deliberately adolescent and filled with jokes and exaggerated clichés, there’s real (albeit silly) wit behind these compositions, not just in the lyrics but in the music, which is a savvy blend of oldies pastiche, show tunes, prog rock, Springsteen-esque narratives, and blistering hard rock (thereby sounding a bit like an extension of Rocky Horror Picture Show, which brought Meat Loaf to the national stage). It may be easy to dismiss this as ridiculous, but there’s real style and craft here and its kitsch is intentional. It may elevate adolescent passion to operatic dimensions, and that’s certainly silly, but it’s hard not to marvel at the skill behind this grandly silly, irresistible album.
”

Tracklist:
01 – Bat Out Of Hell
02 – You Took The Words Right Out Of My Mouth (Hot Summer Night)
03 – Heaven Can Wait
04 – All Revved Up With No Place To Go
05 – Two Out Of Three Ain’t Bad
06 – Paradise By The Dashboard Light: Paradise/Let Me Sleep On It/Praying For the End Of Time
07 – For Crying Out Loud

Download:

https://subyshare.com/uky0a91jxsia/MeatL0afBat0ut0fHell19772012HDTracks2496.rar.html

Elliott Smith – Either/Or (Expanded Edition) (1997/2017)
FLAC (tracks) 24-bit/192 kHz | Time – 01:03:21 minutes | 689 MB | Genre: Indie, Folk
Studio Master, Official Digital Download – Source: Bandcamp | Digital Booklet

Either/Or: Expanded Edition features the original tracks carefully remastered from original tapes under the supervision of Larry Crane. The second disc features five live multi-track recordings from the Yo Yo A Go Go Festival in Olympia WA in 1997, as well as three previously unreleased studio recordings and one b-side gem. The double LP is packaged in a gatefold jacket that includes an insert of the original liner notes, a postcard of the original master tapes, and several never-before seen photos. This gorgeous collection is an essential listen for longtime fans and newcomers alike.

Tracklist:

01. Speed Trials (Remastered 2017) 03:01
02. Alameda (Remastered 2017) 03:43
03. Ballad Of Big Nothing (Remastered 2017) 02:48
04. Between The Bars (Remastered 2017) 02:21
05. Pictures Of Me (Remastered 2017) 03:47
06. No Name No. 5 (Remastered 2017) 03:43
07. Rose Parade (Remastered 2017) 03:28
08. Punch And Judy (Remastered 2017) 02:25
09. Angeles (Remastered 2017) 02:56
10. Cupid’s Trick (Remastered 2017) 03:04
11. 2:45 AM (Remastered 2017) 03:19
12. Say Yes (Remastered 2017) 02:19
13. My New Freedom (Live) 02:48
14. Pictures Of Me (Live) 03:58
15. Angeles (Live) 03:03
16. Some Song (Live) 03:14
17. Rose Parade (Live) 03:38
18. New Monkey (Instrumental) 00:41
19. I Don’t Think I’m Ever Gonna Figure It Out (Remixed and Remastered 2017) 01:57
20. I Figured You Out 03:45
21. Bottle Up And Explode! (Alternate Version) 03:26

Download:

https://subyshare.com/x9le0ljd1j8w/Elli0ttSmithEither0r1997DDExpandedandRemasteredEditi0n20172444.1Bandcamp.rar.html

Florilegium & Gillian Keith – Handel: German Arias & Trio Sonatas (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 01:17:46 minutes | 1,53 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover

Regular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as one of Britain’s most outstanding period instrument ensembles. Since their formation in 1991 they have established a reputation for stylish and exciting interpretations, from intimate chamber works to large-scale orchestral and choral repertoire.Florilegium regularly collaborate with some of the world’s finest singers in programmes from the 17th and 18th centuries.

What I have done with this recording is to put three instrumental trio sonatas all in different styles in with these wonderful intimate chamber vocal works. Each group of three Deutsche arias is followed by an instrumental work, one in the traditional sonata da chiesa style, one in the more sonata da camera style (with dance movements) and one in the Italian Concerto style. Ashley Solomon, director.

Concert venues include Sydney Opera House, Esplanade (Singapore), Teatro Colon (Buenos Aires), Wigmore Hall and Royal Festival Hall (London), Concertgebouw (Amsterdam),Konzerthaus (Vienna), Beethoven-Haus (Bonn), Handel-Haus (Halle) and Frick Collection (New York). The numerous residencies Florilegium have held over the years include being the first period instrument Ensemble-in-Residence at London’s Wigmore Hall. This Residency was for three seasons and involved the group performing several series of concerts each year and becoming actively involved in the Hall’s education work. Since September 2008 they have been Ensemble in Association at the Royal College of Music in London, where they are responsible for coaching 18th century baroque chamber music. Their over twenty recordings for Channel Classics have been awarded many prizes including a Gramophone Award nomination, Editor’s Choice from Gramophone, Diapasons d’Or and Chocs de la Musique. Florilegium’s cd of Telemann’s Paris Quartets Vol 2 received the Classical Internet Award from Classicstoday.com. The Bach Cantatas disc with Johannette Zomer was awarded a 2008 Edison Award, Dutch music’s most prestigious prize. The second volume of Baroque Music from Bolivian Missions was nominated for a 2008 bbc Music Magazine award, and bbc Music Magazine selected volume 3 as Disc of the Month for April 2010. A disc of music by Pergolesi was released in May 2010 and was bbc Music Magazine’s cd choice in the vocal category in July 2010. Future recordings include Florilegium’s arrangements of Bach’s Organ Trio Sonatas, and a recording of Couperin’s Les Nations.

Tracklist

Georg Friedrich Händel (1885-1759)
1. Trio Sonata No. 3 in E Minor, HWV 398: I. Andante larghetto (02:17)
2. Trio Sonata No. 3 in E Minor, HWV 398: II. Allegro (01:57)
3. Trio Sonata No. 3 in E Minor, HWV 398: III. Sarabande – Largo assai (02:32)
4. Trio Sonata No. 3 in E Minor, HWV 398: IV. Allemande – Andante allegro (01:31)
5. Trio Sonata No. 3 in E Minor, HWV 398: V. Rondeau (01:05)
6. Trio Sonata No. 3 in E Minor, HWV 398: VI. Gavotte – Allegro (01:28)
7. Künft’ger Zeiten eitler Kummer, HWV 202 (06:04)
8. Das zitternde Glänzen der spielenden Wellen, HWV 203 (05:12)
9. Süßer Blumen Ambraflocken, HWV 204 (06:56)
10. Trio Sonata No. 1 in B Minor, HWV 386b: I. Andante (03:52)
11. Trio Sonata No. 1 in B Minor, HWV 386b: II. Allegro (02:42)
12. Trio Sonata No. 1 in B Minor, HWV 386b: III. Largo (02:46)
13. Trio Sonata No. 1 in B Minor, HWV 386b: IV. Untitled (02:11)
14. Süße Stille, sanfte Quelle, HWV 205 (05:03)
15. Singe Seele, Gott zum Preise, HWV 206 (04:46)
16. Meine Seele hört im Sehen, HWV 207 (05:40)
17. Concerto a quattro in D Minor: I. Adagio (02:17)
18. Concerto a quattro in D Minor: II. Allegro (01:28)
19. Concerto a quattro in D Minor: III. Largo (01:09)
20. Concerto a quattro in D Minor: IV. Allegro (02:59)
21. Die ihr aus dunklen Grüften, HWV 208 (05:24)
22. In den angenehmen Büschen, HWV 209 (03:20)
23. Flammende Rose, Zierde der Erden, HWV 210 (05:22)

Personnel
Florilegium
Gillian Keith, soprano

Download:

https://subyshare.com/lgifbmwptuqf/Fl0rilegiumGillianKeithHandelGermanAriasTri0S0natas20172496.part1.rar.html
https://subyshare.com/rq12enlsygt2/Fl0rilegiumGillianKeithHandelGermanAriasTri0S0natas20172496.part2.rar.html

Of all the Norwegian black metal bands, Immortal has, arguably, stuck the closest to the mystical, occult-inspired vision of the scene: the bandmembers kept the evil-Kiss makeup throughout the band’s existence, rarely experimented outside of the traditional guitars-drums-bass instrumental configuration, and never revealed their real names. Brothers in pseudonyms only, vocalist/bassist Abbath Doom Occulta and guitarist Demonaz Doom Occulta formed Immortal in Bergen, Norway, in 1990. Abbath was originally a member of Old Funeral, a death metal garage band that also included Varg Vikernes, who would later gain notoriety not only with his own project, Burzum, but for murdering Mayhem guitarist Euronymous; Demonaz had split from fellow Bergen scenesters Amputation. (Notably, Immortal always willfully separated itself from Mayhem’s oft-felonious black metal “inner circle” scene in Oslo, and downplayed its relationships with its members.) Inspired by the robust Norwegian forests and bitter cold climate, Abbath and Demonaz conceived the fictional, demon-and-battle-filled realm Blashyrkh, a foundation upon which all of Immortal’s lyrical journeys would rest.

The duo recruited drummer Armagedda and, briefly, second guitarist Jorn Inge Tunsberg, who left the fold after Immortal cranked out two demos, Suffocate and Northern Upins Death. Preferring to remain a three-piece, the band recorded the Unholy Forces of Evil/The Cold Winds of Funeral Frost 7″ for the French label Listenable Records in 1991, which eventually led to Immortal’s contract with another French imprint, Osmose Records. Their debut full-length, Diabolical Full Moon Mysticism, was released in 1992 (distributed in North America by JL America); a more atmospheric, slower-tempo release than the majority of Immortal’s contemporaries. When Abbath and Demonaz began incorporating more blast beats in their songwriting, Armagedda quit, forcing Abbath to perform all drum tracks on Immortal’s two highly influential albums, 1993’s Pure Holocaust and 1995’s Battles in the North. However, drummer Grim was pictured on the Pure Holocaust album cover, and would perform on Immortal’s first full-fledged European tour in 1993, prior to being fired (he would go on to play drums for Gorgoroth and Borknagar, eventually committing suicide in 1999). Mayhem skinsman Hellhammer temporarily filled the drum seat for the band’s live commitments and the home video Masters of Nebular Frost, until Horgh could be permanently added to the lineup.

It was after the 1997 album Blizzard Beasts was released that Immortal would be dealt its most serious blow. With an acute case of tendonitis in his arms, Demonaz could no longer play guitar with the speed and intensity Immortal required, and was forced to leave the band, although he remained the group’s lyricist. Abbath switched from bass to guitar, and the group filled its bass slot with Aeturnus four-stringer Ares strictly for touring duties. Demonaz’s absence left the band’s songwriting burden purely on Abbath, who began penning more progressive, dynamic, and epic pieces. Abbath would perform all instruments except drums on 1999’s highly acclaimed At the Heart of Winter full-length, which marked the beginning of the band’s relationship with producer Peter Tagtgren (singer/guitarist for Hypocrisy), who recorded Winter and its two follow-up albums at his soon-to-be-legendary Abyss Studios. Bassist Iscariah was then permanently added to the lineup, which put out Damned in Black in 2000, and led to Immortal’s first full-fledged North American tour with fellow Norwegians Satyricon. In 2001, the band, looking for better U.S distribution for its albums, severed its longtime relationship with Osmose and signed to Nuclear Blast Records, which released Sons of Northern Darkness in 2002. ~ John Serba

Tracklist:
1. Northern Chaos Gods
2. Into Battle Ride
3. Gates to Blashyrkh
4. Grim and Dark
5. Called to Ice
6. Where Mountains Rise
7. Blacker of Worlds [03:43]8. Mighty Ravendark

Download:

https://subyshare.com/db3j5ghh1slm/Imm0rtalN0rthernCha0sG0ds20182496.rar.html

Indigo Girls – Indigo Girls Live With The University Of Colorado Symphony Orchestra (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:43:51 minutes | 2,09 GB | Genre: Folk Rock, Singer-Songwriter
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © New Rounder

After more than 50 performances with symphonies across America, ‘Indigo Girls Live with The University of Colorado Symphony Orchestra’ was recorded in front of a sold-out audience in Boulder, CO. It captures the Grammy-winning duo at their finest: raw, real, and revelatory. Spanning material from throughout the band’s career, the 22-song set features a mix of reimagined classics, including fan favourites “Galileo” and “Closer to Fine”, unexpected deep cuts, and tracks from Indigo Girls’ previous studio album, ‘One Lost Day’. The recording was mixed by Grammy-winner Trina Shoemaker (Sheryl Crow, Emmylou Harris).

Tracklist:
01. Woodsong (Live)
02. Sugar Tongue (Live)
03. Able To Sing (Live)
04. Compromise (Live)
05. Virginia Woolf (Live)
06. Happy In The Sorrow Key (Live)
07. Power Of Two (Live)
08. Yoke (Live)
09. Love Of Our Lives
10. World Falls (Live)
11. Galileo (Live)
12. Chickenman (Live)
13. Fugitive (Live)
14. Come A Long Way (Live)
15. War Rugs (Live)
16. Mystery (Live)
17. Damo (Live)
18. Come On Home (Live)
19. Kid Fears (Live)
20. Ghost (Live)
21. Go (Live)
22. Closer To Fine (Live)

Download:

https://subyshare.com/9sq0j4xeise4/Indig0GirlsIndig0GirlsLiveWithTheUniversity0fC0l0rad0Symph0ny0rchestra20182496.part1.rar.html
https://subyshare.com/xd1qtsedwau7/Indig0GirlsIndig0GirlsLiveWithTheUniversity0fC0l0rad0Symph0ny0rchestra20182496.part2.rar.html
https://subyshare.com/mdslmddl8y6t/Indig0GirlsIndig0GirlsLiveWithTheUniversity0fC0l0rad0Symph0ny0rchestra20182496.part3.rar.html

Laurel Halo – Raw Silk Uncut Wood (2018) [Official Digital Download 24bit/44,1kHz]

Leroy Hutson – Love Oh Love (1973/2018) [Official Digital Download 24bit/44,1kHz]

Leroy Hutson – Unforgettable (1979/2018) [Official Digital Download 24bit/44,1kHz]

Les Arts Florissants & William Christie – Handel: Music for Queen Caroline (2018) [Official Digital Download 24bit/96kHz]

Les Arts Florissants & William Christie – Le Jardin de Monsieur Rameau (2018) [Official Digital Download 24bit/96kHz]

Mark Wingfield – Tales From The Dreaming City (2018) [Official Digital Download 24bit/88,2kHz]

Matan Porat – LUX (2018) [Official Digital Download 24bit/96kHz]

Meat Loaf – Braver Than We Are (2016/2018) [Official Digital Download 24bit/44,1kHz]

Michael Tilson Thomas & San Francisco Symphony – Tchaikovsky: Symphony No. 6, "Pathétique" (2018) [Official Digital Download 24bit/192kHz]

Mohinder Kaur Bhamra – Songs for Punjabi Weddings (Songs & Ceremonies) (2018) [Official Digital Download 24bit/44,1kHz]

Nellie McKay – My Weekly Reader (2015/2018) [Official Digital Download 24bit/96kHz]

Niu Niu – Liszt · Chopin ‧ Schubert ‧ Mendelssohn (2018) [Official Digital Download 24bit/96kHz]

Norma Jenkins – Patience is a Virtue (1976/2018) [Official Digital Download 24bit/44,1kHz]

Norman Westberg – After Vacation (2018) [Official Digital Download 24bit/44,1kHz]

Norrkopings Symfoniorkester, Christian Lindberg – Pettersson: Symphonies Nos. 5 & 7 (2018) [Official Digital Download 24bit/96kHz]

Meat Loaf – Bat Out Of Hell (1977/2012) [Official Digital Download 24bit/96kHz]

Elliott Smith – Either/Or (Expanded Edition) (1997/2017) [Official Digital Download 24bit/44,1kHz]

Florilegium & Gillian Keith – Handel: German Arias & Trio Sonatas (2017) [Official Digital Download 24bit/96kHz]

Immortal – Northern Chaos Gods (2018) [Official Digital Download 24bit/96kHz]

Indigo Girls – Indigo Girls Live With The University Of Colorado Symphony Orchestra (2018) [Official Digital Download 24bit/96kHz]