Studio Masters – HDMusic.icu

Los Angeles, CA’s very own, Weezer, will release their highly anticipated ninth album, Everything Will Be Alright In The End, on October 7th, 2014. Produced by Ric Ocasek, who previously helmed production on the band’s first and third records (The Blue Album and The Green Album),Everything Will Be Alright In The End is the band’s first collection of new material in four years.

Since forming in 1992, Weezer has released a myriad of celebrated, chart-topping albums, selling over 13 million records worldwide. Following an intensely prolific couple years at the end of the aughts, the band chose to deliberately dial down the tempo in 2010, a move singer/guitarist Rivers Cuomo says allowed him to write at a slower pace, giving the songs he wanted to use for an album the time to gradually grow into their final forms. He started almost every song on the piana, eventually transferring them to the guitar before taking them to the band. When it came to record the material, Weezer reuinted with the man who helped them make some of their most iconic album-length work, Cars frontman Rick Ocasek. The resulting album, Everything Will Be Alright In The End, is a stand-out gem in Weezer’s vast and varied catalogue, a reflection of a much-loved band at their very best. Organized thematically around three groups of songs, it is an album that utilizes that sound from the band’s earliest days to tell new stories in 2014, creating some of the finest, most heartfelt songs Weezer has ever recorded.

Mastered by Ted Jensen

Tracklist:
01 – Ain’t Got Nobody
02 – Back To The Shack
03 – Eulogy For A Rock Band
04 – Lonely Girl
05 – I’ve Had It Up To Here
06 – The British Are Coming
07 – Da Vinci
08 – Go Away
09 – Cleopatra
10 – Foolish Father
11 – I. The Waste Land
12 – II. Anonymous
13 – III. Return To Ithaka

44/24 recordings, analog mastering bounced to 96/24.
Mastered by Ted Jensen.

Download:

http://subyshare.com/1av1z405lj98/WeezerEverythingWillBeAlrightInTheEnd2014HDTracks2496.rar.html

90’s alt-rockers Weezer come back this year with their tenth studio album, which is the fourth album in their ongoing series of color-themed self-titled albums, with this one being the color white. The album influenced by their home state of California and the beach, it reflects a sunny sound.

The Weezer cult will always rest on the band’s 1996 overshare masterpiece, Pinkerton, where Rivers Cuomo bared his soul about his fears and fantasies, sniffing a teenage Japanese girl’s fan letters and drooling over cello players. Latter-day Weezer fans understandably cherish the myth that Pinkerton was reviled by the adult world, but in truth, nobody even noticed it; there were loads of major-label sophomore flops in 1996 (Weezer’s sold slightly better than Sponge’s, slightly worse than the Gin Blossoms’). Yet Cuomo took it hard. Like a Scarlett O’Hara wandering the burned-out ruins of the grunge- plantation, he shook a fist at the heavens and vowed, as God was his witness, nobody would ever catch him having a feeling again.
Cuomo has been aggressively trolling fans of his youthful-sincerity phase for the past 15 years – which is five times longer than his youthful-sincerity- phase actually lasted. Weezer’s fourth self-titled album is a sustained Beach Boys parody, with tunes like “Wind in Our Sail,” “L.A. Girlz” and “Endless Bummer.” Cuomo begins the opening track, “California Kids,” with the sound of ocean waves and sea gulls, while a guitar and a tinkling kiddie xylophone recall both Brian Wilson’s “Wouldn’t It Be Nice” and Weezer’s “Pink Triangle,” two classic songs about clueless Southern California boys yearning for a happily-ever-after that can’t come true. The punchlines keep coming fast and furious, right down to the way he’d like you to call it the “White Album.” (Rumor has it there’s already one of those.)
Cuomo says he set out to revive the spirit of the band’s early days. He grew back the beard he had while writing Pinkerton and worked with 5 Seconds of Summer producer Jake Sinclair, who once played in a tribute band called Wannabeezer. As on his last album, 2014’s acclaimed Everything Will Be Alright in the End, Cuomo plays around with his Nineties tropes. “Do You Wanna Get High?” sounds exactly like Pinkerton’s “The Good Life,” while the lyrics evoke snorting pills, closing the drapes and listening to Burt Bacharach records in the dark (a very late-Nineties thing to do). “Wind in Our Sail” is clearly the work of a dad who’s been watching educational TV: “We got the wind in our sails like Darwin on the Beagle/Mendel experimenting with the pea.”
It all ends with the superb “Endless Bummer,” an acoustic ballad with one of Cuomo’s most poignant melodies. “Sometimes I feel like I’m a ghost,” he sings, capturing a Brian Wilson–worthy pathos. Even when he’s straining to purge any trace of emotion, the exuberant yearning of the music means it sneaks in anyway.

Tracklist:
01 – California Kids
02 – Wind In Our Sail
03 – Thank God For Girls
04 – (Girl We Got A) Good Thing
05 – Do You Wanna Get High?
06 – King Of The World
07 – Summer Elaine and Drunk Dori
08 – L.A. Girlz
09 – Jacked Up
10 – Endless Bummer

Download:

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“On the last album, there was too much of me.” That’s how Anthony Gonzalez – the sonic auteur behind that most sublime purveyor of symphonic-indie-electronic-dream pop, M83, describes the primary inspiration behind his forthcoming album Junk, released on April 8 by Mute. Highly anticipated, Junk is not just M83’s frst studio artist album in half a decade; it’s also the follow-up to Hurry Up, We’re Dreaming – which upon release in 2011 put M83 in the direct current of the mainstream. So why would Gonzalez try to remove himself from its follow-up and supplant himself with the surprising likes of Beck and Steve Vai. Wait, Steve Vai? The legendary virtuoso guitar hero who defned an era? On a M83 album in 2016? In trying to “remove” his identifable musical presence, ironically Gonzalez may have made one of his most personal eforts yet in Junk and with no compromise. With Junk, M83 has succeeded in making what Gonzalez called “an organized mess – a collection of songs that aren’t made to live with each other, yet somehow work together. From album opener “Do It Try It”, a fractured yet catchy mélange of old-school house music pianos and pop-art bubblegum hooks worthy of ABBA, to “Moon Crystal,” an instrumental whose mutant retro-futurist grooves evoke Genesis doing a prog-disco remix of the Love Boat theme, to the smooth new wave-meetselectro-funk workout “Time Wind” (featuring vocals by Beck) to “Go!”, an exultant synth-pop charmer featuring vocals from new M83 collaborator Mai Lan and guitar solo from legendary shredder, Steve Vai, one thing is perfectly clear: “Every time I make a M83 album, I’m trying to do it on my own terms – and it’s the same for this one,” Gonzalez says. “Whatever I do, whatever infuences I have, it ends up sounding like me. As a musician, I’m just trying to take you somewhere else, beyond your world”.

The success of Saturdays = Youth and Hurry Up, We’re Dreaming led M83’s Anthony Gonzalez to even bigger, arguably less personal, projects like his score for the 2013 sci-fi blockbuster Oblivion, so it’s no surprise that he reclaims his independence – sometimes willfully so – on Junk. With the audacious opener “Do It, Try It,” a fantasia of tweaked vocals, slap bass, and unapologetically cheap-sounding MIDI piano, he and Justin Meldal-Johnsen let listeners know that the sequel to “Midnight City” isn’t happening here. Instead, they deliver a love letter to vintage schmaltz that finds the treasure in what many consider trash. If Saturdays = Youth was a sweeping tone poem to the glamour of John Hughes’ ’80s, then Junk’s look and sound prove M83 is just as devoted to the decade’s decidedly uncool side. The album’s artwork is bedecked with shaggy puppets that look like The Great Space Coaster rejects and scrawled lettering straight out of Punky Brewster, and Gonzalez and Meldal-Johnsen revel in their musical equivalents: the harmonica solo on “Sunday Night 1987” – a title that distills Junk’s mood and inspiration perfectly – hasn’t been used in such a genuine fashion since 1987. “Bibi the Dog” shows the era’s Europop novelties some love, while “Moon Crystal”‘s perky strings, brass, and keys are equally breezy and comforting, evoking a world lit only by the glow of a TV set. Elsewhere, the panoramic synths of M83’s earlier work are traded for sharp-edged, aggressively digital sounds that connect less overtly retro moments like “Walkway Blues” and the high-octane romance of “Go!” and “Road Blaster” to the rest of the album. Junk’s cultural dumpster-diving works so well because it’s done with lots of love and zero irony. As Gonzalez mourns lost times, people, and sounds, the album’s poignancy feels more genuine than its influences: the syrupy, borderline maudlin “For the Kids” could’ve been recorded by Bette Midler or Dionne Warwick for an animated kids’ movie back in the day, but also lays bare the wide-eyed sentimentality of M83’s earlier music. Meanwhile, “Solitude” and “Time Wind,” a collaboration with Beck, capture the feeling of being small and lonely in a big world thanks to their sweeping arrangements, which feel as indebted to his work as a composer as they do to the 1980s’ fondness for orchestral pop. Much like Daft Punk’s Random Access Memories, Junk looks back in a way that’s so accomplished that it’s difficult to call it a retreat. Instead, it feels like a reminder that Gonzalez is dedicated to making music on his own terms, even if the results are polarizing. While all listeners may not share his fascination with ’80s pop culture detritus, it’s hard not to respect how expertly he transforms it into something genuine.

Tracklist:
01 – Do It, Try It
02 – Go!
03 – Walkway Blues
04 – Bibi The Dog
05 – Moon Crystal
06 – For The Kids
07 – Solitude
08 – The Wizard
09 – Laser Gun
10 – Road Blaster
11 – Tension
12 – Atlantique Sud
13 – Time Wind
14 – Ludivine
15 – Sunday Night 1987

Download:

http://subyshare.com/c8l2m3hn69bq/M83Junk20160t0t0y2448.rar.html

A decade of performing, touring and recording has given the three players in Phronesis a matchless rapport. That inspires an ever-flowing fountain of new music, captured to perfection on this, the Anglo-Scandinavian trio’s sixth album…

Parallax (noun) “the apparent displacement of an observed object due to a change in the position of the observer.” This phenomenon is exactly how the listener new to Phronesis’ oeuvre would perceive this, their sixth album recorded within the last decade. “67000 MPH” for example, is a whistle stop tour of musically-defined gravitational resistance. The mad tempo changes and frequent erratic structural modulations characterise this frenetic opening number penned by Anton Eger. But in spite of this wild compositional metamorphosing the music is absolutely gripping. The initial fractured nature of Ivo Neame’s “Ok Chorale” is soon resolved with undulating waves of light and shade from all three musicians playing together almost telepathically. The tentative start to Jasper Hoiby’s “Stillness,” via sombre arco bass, belies its subsequent robustness propelled by Neame’s florid piano and Eger’s tumultuous rhythmic pulse. A breathing space is afforded in Neame’s delicate ballad, “Kite For Seamus” at odds with the ensuing juddering explosions of Høiby’s “Just 4 Now,” his bass lines vibrantly percolating through the morass of piano and drums. There is a considerable staccato element to Eger’s “Ayu,” emphasised by Eger’s driving percussion, but typically there are paradoxical passages of near-tranquillity too. In contrast to the melee, Høiby’s ballad “A Silver Moon” exudes sensitive fragility and a keen and haunting melody. The spaces here allow bass and piano in particular to interact magnificently. In sections of Ivo Neame’s aptly titled “Manioc Maniac” his rambunctious piano begins at times to channel Cecil Taylor whereas the concluding number, Eger’s “Rabat,” gradually resolves into a more coalescent form, centred around repeated chord patterns which permit some release to the built-up tension, finally drawing the piece to a relatively sedate close. In truth, Phronesis are one of the most exciting jazz trios around. Although initially bassist Høiby’s brainchild, the band is democratic both in terms of the prominence of all three musicians, each of whom are virtuosos in their own right, and also by the equal sharing of the composing duties. But crucially, the sheer energy that’s generated from this album is simply phenomenal.

Tracklist:
01 – 67000 mph
02 – Ok Chorale
03 – Stillness
04 – A Kite for Seamus
05 – Just 4 Now
06 – Ayu
07 – A Silver Moon
08 – Manioc Maniac
09 – Rabat

Recorded in a single day at London’s fabled Abbey Road studios.

Musicians:
Jasper Høiby – double bass
Ivo Neame – piano
Anton Eger – drums

Download:

http://subyshare.com/4e2dsed1obgo/Phr0nesisParallax2016Bandcamp24882.part1.rar.html
http://subyshare.com/kt6jc5r06fxo/Phr0nesisParallax2016Bandcamp24882.part2.rar.html

Michael Jackson’s double-disc HIStory: Past, Present, and Future, Book I is a monumental achievement of ego. Titled “HIStory Begins,” the first disc is a collection of his post-Motown hits, featuring some of the greatest music in pop history, including “Billie Jean,” “Don’t Stop ‘Til You Get Enough,” “Beat It,” and “Rock with You.” It leaves some hits out — including the number ones “Say Say Say” and “Dirty Diana” — yet it’s filled with enough prime material to be thoroughly intoxicating. That can’t be said for the second disc, called “HIStory Continues” and consisting entirely of new material — which also happens to be the first material he released since being accused of child molestation. “HIStory Continues” is easily the most personal album Jackson has recorded. References to the scandal permeate almost every song, creating a thick atmosphere of paranoia. If Jackson’s music had been the equal of Thriller or Bad, the nervous, vindictive lyrics wouldn’t have been quite as overbearing. However, “HIStory Continues” reiterates musical ideas Jackson had been exploring since Bad. Jackson certainly tries to stay contemporary, yet he has a tendency to smooth out all of his rougher musical edges with show-biz schmaltz. Occasionally, Jackson produces some well-crafted pop that ranks with his best material: R. Kelly’s “You Are Not Alone” is seductive, “Scream” improves on the slamming beats of his earlier single “Jam,” and “Stranger in Moscow” is one of his most haunting ballads. Nevertheless, “HIStory Continues” stands as his weakest album since the mid-’70s. ~ Stephen Thomas Erlewine

Tracklist:
01 – Billie Jean
02 – The Way You Make Me Feel
03 – Black Or White
04 – Rock With You
05 – She’s Out Of My Life
06 – Bad
07 – I Just Can’t Stop Loving You
08 – Man in the Mirror
09 – Thriller
10 – Beat It
11 – The Girl Is Mine
12 – Remember the Time
13 – Don’t Stop ‘Til You Get Enough
14 – Wanna Be Startin’ Somethin’
15 – Heal the World
16 – Scream
17 – They Don’t Care About Us
18 – Stranger in Moscow
19 – This Time Around
20 – Earth Song
21 – D.S.
22 – Money
23 – Come Together
24 – You Are Not Alone
25 – Childhood (Theme from “Free Willy 2”)
26 – Tabloid Junkie
27 – 2 Bad
28 – History
29 – Little Susie / Pie Jesu
30 – Smile

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Ray Charles & Count Basie Orchestra – Ray Sings, Basie Swings (2006)
FLAC (tracks) 24 bit/88,2 kHz | Time – 48:29 minutes | 995 MB | Genre: R&B
Official Digital Download – Source: HDTracks.com | Digital Booklet

Ray Sings, Basie Swings combines archival, never-before-heard Ray Charles vocal recordings with brand-new performances by the Count Basie Orchestra. This ground breaking album gives listeners the unprecedented experience of hearing Ray Charles at the dazzling peak of his vocal prowess. Ray Sings, Basie Swings was created with the most up-to-date recording and mixing technology, offering sound quality that is state-of-the art.
The producers discovered archival reels of Ray Charles and the Count Basie Orchestra performing live together in 1973. Although the vocals were superior, the remaining elements were of extremely poor quality. They decided to bring the current Basie Orchestra into the studio and, using the latest technology, they carefully and painstakingly laid down a new instrumental backdrop for Charles’ towering vocals.

Ray Sings, Basie Swings, huh? Hmm, well, yes and no. You see, the story goes something like this. In 2005, Concord Records exec John Burk, who produced Ray Charles’ superb late-career, Grammy-winning Genius Loves Company, found a reel of tape simply labeled “Ray/Basie.” Upon further analysis, it was determined that the 1973 recording featured Ray Charles backed by his own band — Count Basie and his band had actually recorded earlier that day. Charles’ vocal was exceptionally prominent in the mix and at first it was thought that this potentially momentous discovery would prove unable to bear fruit. But then Burk brainstormed and decided to bring the current Count Basie Orchestra — whose leader died in 1984 — into the studio to lay tracks behind Charles’ vocals. So there’s no Basie on Ray Sings, Basie Swings, but that’s merely a technicality, because there is some great music. Charles was in fine form vocally on this mix of remakes of his early ABC-Paramount-era hits and then-recent material. The consecutive reworkings of “Busted,” “Cryin’ Time,” and “I Can’t Stop Loving You,” three of his defining Top Ten hits of the early ’60s, are given brassy, bluesy treatments here, and standards ranging from Oscar Hammerstein II’s “Oh, What a Beautiful Morning” to the Beatles’ “The Long and Winding Road” are transformed in Charles’ hands. The set-closing “Georgia on My Mind,” as close to a signature song as Charles had, is given a tender, minimalist reading, but the track preceding it, “Look What They’ve Done to My Song, Ma,” picked up from the folk-pop singer Melanie, is quite possibly the album’s highlight. It’s appeared on other Ray Charles compilations before, but the gospelized, testifyin’ version featured here has got to be the liveliest take on that song anyone’s ever devised. So, yeah, there’s no Count Basie to be found here, but his namesake orchestra does him proud. For one of those postmortem studio patch jobs that owes as much to technology as talent, it’s a fine addition to the Ray Charles oeuvre, as long as one can get past the semi-false advertising of its title.

Tracklist:
01 – Oh, What A Beautiful Morning
02 – Let the Good Times Roll
03 – How Long Has This Been Going On?
04 – Every Saturday Night
05 – Busted
06 – Crying Time
07 – I Can’t Stop Loving You
08 – Come Live with Me
09 – Feel So Bad
10 – The Long and Winding Road
11 – Look What They’ve Done To My Song
12 – Georgia On My Mind

Download:

http://subyshare.com/1i4yqs7a8dl8/RayCharlesandC0untBasie0rchestraRaySingsBasieSwings2006HDTracks24882.rar.html

New York Trio – The Things We Did Last Summer (2002/2010)
FLAC (tracks) 24 bit/96 kHz | Time – 59:56 minutes | 1,36 GB | Genre: Jazz
Official Digital Download – Source: e-Onkyo.com | Front cover

Also known as the New York Jazz Trio, this combo is a studio-only group who specialize in recording classic standards in a straightforward, post-bop style. The New York Trio features three gifted musicians who are firmly established on the East Coast jazz scene. Pianist Bill Charlap is a member of the Phil Woods Quintet, has accompanied the likes of Tony Bennett, Benny Carter, and Gerry Mulligan, and has recorded a handful of well-received albums for Blue Note as a bandleader. Bassist Jay Leonhart has recorded as a headliner since 1983, while also making a name for himself as a vocalist and songwriter as well as backing up Marian McPartland, Louie Bellson, Lee Konitz, and many others. And drummer Bill Stewart had handled demanding gigs with a variety of musicians, including jazz guitarist John Scofield, funky sax man Maceo Parker and R&B legend James Brown. They make this record for the Japanese market.

The relaxed tone of this album is set from the beginning, with Bill Charlap’s quiet, spare solo reading of “The Shadow of Your Smile.” On the next track, the others join in for some mellow and friendly swinging: Jay Leonhart’s big, fat bass grounds Charlap’s dreaminess, while Bill Stewart, who’s left his sticks at home for this date, brushes up the tempo with subtlety and style. This release offers thoughtful solo piano (also on “Mona Lisa”), slow, romantic ballads (“How Long Has This Been Going On,” “Paper Moon”), and tasty mid-tempo treatments (“As Time Goes By,” “When Your Lover Has Gone”). While there are no barnburners, the heat rises to a steady simmer on “You’d Be So Nice…” and “How High the Moon,” where the players are audibly enjoying themselves. Leonhart’s solos are consistently interesting, drizzled with wit, and the ever-lyrical Charlap provides rarely heard verses to six of these nine classic tunes. The album will lease those who like their jazz served straight up and pared down to essentials; its simplicity is deceptive, given the level of expertise and feeling throughout.

Tracklist:
01 – The Shadow Of Your Smile
02 – The Things We Did Last Summer
03 – How Long Has This Been Going On?
04 – How High The Moon
05 – Mona Lisa
06 – You’d Be So Nice To Come Home To
07 – It’s Only A Paper Moon
08 – When Your Lover Has Gone
09 – As Time Goes By

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https://subyshare.com/7wqnmx7rmct8/NewY0rkTri0TheThingsWeDidLastSummer20022010e0nky02496.part1.rar.html
https://subyshare.com/mhg7y8n0jort/NewY0rkTri0TheThingsWeDidLastSummer20022010e0nky02496.part2.rar.html

Stormbringer is the ninth studio album by Deep Purple, released in November 1974. On this album, the soul and funk elements that were only hinted at on Burn are much more prominent.

Stormbringer falls short of the excellence of Machine Head and Who Do We Think We Are, but nonetheless boasts some definite classics – including the fiery “Lady Double Dealer,” the ominous title song (a goth metal treasure), the sweaty “High Ball Shooter,” and the melancholy ballad “Soldier of Fortune.” Most of the other songs on the decent, if uneven, Stormbringer are not essential. Like Come Taste the Band, Stormbringer will be of interest to Deep Purple’s more enthusiastic fans, rather than casual listeners who would be much better off starting out with either of the above-mentioned studio projects or the live Made in Japan.

Tracklist:
01 – Stormbringer
02 – Love Don’t Mean A Thing
03 – Holy Man
04 – Hold On
05 – Lady Double Dealer
06 – You Can’t Do It Right
07 – Highball Shooter
08 – The Gypsy
09 – Soldier Of Fortune

Download:

http://subyshare.com/15sexiq68bac/DeepPurpleSt0rmbringer19742016HDTracks2496.rar.html

This Path Tonight is the new studio album and collection of 10 original songs from Graham Nash. Produced by Shane Fontayne, this is Nash’s first solo record of new music in fourteen years. The album is one of reflection and transition of a singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more than five decades and counting.

“What a pleasure it was recording this album,” says Graham Nash. “Shane and I had written 20 songs in a month and recorded them in eight days. The music has a different feel to my earlier albums although I hear echoes of each one. This journey of mine was one of self-discovery, of intense creation, of absolute passion.”

Tracklist:
01 – This Path Tonight
02 – Myself At Last
03 – Cracks In The City
04 – Beneath The Waves
05 – Fire Down Below
06 – Another Broken Heart
07 – Target
08 – Golden Days
09 – Back Home
10 – Encore

Download:

http://subyshare.com/dsylsnbwz3vo/GrahamNashThisPathT0night2016HDTracks2496.rar.html

Herb Alpert & The Tijuana Brass – Christmas Album (1968/2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 31:53 minutes | 621 MB | Genre: Holiday, Jazz
Official Digital Download – Source: HDTracks.com | @ Herb Alpert Presents
Recorded: 1968 at A&M Studios, Gold Star Recording Studio, Hollywood, California

Herb Alpert turned to jazz’s Shorty Rogers — then toiling in the L.A. film and TV studios — for voice and string arrangements on his Christmas album, and Rogers in turn went all out for schmaltz. Rogers’ cooing voices introduce several of the tunes, whereupon the Tijuana Brass do their mostly unrelated Ameriachi thing familiar from past albums. Indeed, “Las Mananitas” seems to have been lifted from an obscure B-side of a 45 and overdubbed with the Rogers treatment. Jingling bells is a recurring song theme — first with “Jingle Bells,” then the cloying “The Bell That Couldn’t Jingle,” and ultimately “Jingle Bell Rock.” For the first time in a long time, Alpert’s sense of pacing occasionally goes awry; “My Favorite Things” nearly comes apart in the silences and piano/vocal interlude between the TJB grooves, and “Sleigh Ride” screeches to a dead halt. And yet time and further exposure has revealed this record’s homey charms, which no doubt is one reason why it continues to be available on CD where other TJB best-sellers have fallen by the wayside. –AllMusic Review by Richard S. Ginell

Tracklist:
1. Winter Wonderland 03:03
2. Jingle Bells 03:09
3. My Favorite Things 03:03
4. The Christmas Song 03:39
5. Las Mañanitas 02:59
6. Sleigh Ride 04:00
7. The Bell That Couldn’t Jingle 02:56
8. Let It Snow, Let It Snow, Let It Snow 03:45
9. Jingle Bell Rock 01:52
10. Jesu, Joy Of Man’s Desiring 03:27

Personnel:
Herb Alpert – Arranger, Horn
Nick Ceroli – Horn
Bob Edmondson – Horn
Tonni Kalash – Horn
Lou Pagani – Horn
John Pisano – Arranger, Horn
Shorty Rogers – Arranger, String Arrangements, Vocals
Pat Senatore – Horn
Julius Wechter – Arranger

Download:

http://subyshare.com/23ylpl3yzq3f/HerbAlpertTheTijuanaBrassChristmasAlbum196888.224.rar.html

Gustav Holst – The Planets – London Philharmonic Orchestra, Sir Adrian Boult (1978/2012)
FLAC (tracks) 24-bit/96 kHz | Time – 48:25 minutes | 876 MB | Genre: Classical
Studio Master, Official Digital Download – Source: HDTracks | @ Warner Classics/Erato

Conductor: Sir Adrian Boult
Orchestra: London Philharmonic Orchestra

Sir Adrian Boult was among the greatest interpreters of Holst’s suite “The Planets.” The work has long been a staple of the international orchestral repertoire. In his illustrious career, Boult has recorded Holst’s masterpiece five times; this being the final version and his most definitive. Boult leads the London Philharmonic Orchestra through this affectionate reading.

Tracklist:
Gustav Holst (1874-1934)
The Planets, Op.32
1 I. Mars, the Bringer of War (Allegro) 8:02
2 II. Venus, the Bringer of Peace (Adagio) 7:26
3 III. Mercury, the Winged Messenger (Vivace) 3:48
4 IV. Jupiter, the Bringer of Jollity (Allegro giocoso) 7:59
5 V. Saturn, the Bringer of Old Age (Adagio 8:22
6 VI. Uranus, the Magician (Allegro) 6:26
7 VII. Neptune, the Mystic (Andante) 6:22

Personnel:
London Philharmonic Orchestra
Sir Adrian Boult, conductor

About the Mastering
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI’s archive in London and comparing different sources and any previous CD reissues. We consult each recording’s job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.

In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.
Simon Gibson, January 2012

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April 15, 2016 marks the release date of Santana IV, the wildly anticipated studio album that reunites the revered early ‘70s lineup of guitar icon Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums). The album signifies the first time in 45 years – since 1971’s multi-platinum classic Santana III – that the quintet has recorded together.

Santana IV features 16 all-new tracks written and produced by the band that burst with the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with the legendary vocalist Ronald Isley guesting on two cuts.

The origins for the reunion go back several years, when Schon suggested that he and Carlos Santana record together. Santana liked the idea but went one better, proposing that they recruit Rolie, Shrieve and Carabello for what would be called Santana IV. After initial writing sessions and rehearsals took place in 2013, the group recorded throughout 2014 and 2015, amassing 16 spellbinding tracks that combined all their signature elements – Afro-Latin rhythms, soaring vocals, electrifying blues-psychedelic guitar solos, and irrepressibly jubilant percussion work – with widescreen hooks and melodies that will lodge themselves in the thicket of listeners’ senses and stay there.

Tracklist:
01 – Yambu
02 – Shake It
03 – Anywhere You Want To Go
04 – Fillmore East
05 – Love Makes The World Go Round (feat. Ronald Isley)
06 – Freedom In Your Mind (feat. Ronald Isley)
07 – Choo Choo
08 – All Aboard
09 – Sueños
10 – Caminando
11 – Blues Magic
12 – Echizo
13 – Leave Me Alone
14 – You And I
15 – Come As You Are
16 – Forgiveness

Download:

http://subyshare.com/xw7c6xbgc2ze/SantanaSantanaIV2016HDTracks2448.rar.html

Big Star – Radio City (1974/2014)

FLAC (tracks) 24 bit/96 kHz | Time – 36:12 minutes | 760 MB
Official Digital Download – Source: HDTracks.com | Front cover, Digital Booklet
Genre: Rock, Power Pop, Proto-Punk | Label: © Stax Records | Concord Music Group
Recorded: Fall 1973 at Ardent Studios, Memphis

Radio City is the 1974 follow up to Big Star’s debut, #1 Record. The critically acclaimed, Memphis-based band is often credited with creating the power pop sound, and has become a cult favorite over the years. Remastered from the analog stereo masters, this reissue will allow fans to appreciate Radio City as a standalone CD—this is the first time in many years that the CD version of the album will be sold independently of #1 Record. Packaging includes new liner notes penned by R.E.M.’s Mike Mills, who cites Big Star as one of his biggest influences.

One half of Big Star’s songwriting duo, Chris Bell, made the decision to leave the band following the 1972 release of #1 Record, which left Alex Chilton at the helm as primary songwriter on album number two. Chilton was able to use this opportunity to shine and prove himself to be an incredible songwriter on his own. Journalists noticed: bearing a tongue-in-cheek title, Radio City garnered rave reviews and produced several cult favorites, including “September Gurls,” which has been covered by everyone from The Bangles to Superdrag.

In his liner notes, Mike Mills writes, “On Radio City, Chilton confirms his place as one of the best songwriters in rock and roll. While ‘September Gurls’ may be the best-known song from this album, every other song here is one that I wish I’d written.”

This reissue comes during a time of resurgence for Big Star, a band whose legacy has been widely recognized as of late, with a tribute record (Big Star Small World, 2006), a documentary (2012’s Nothing Can Hurt Me) and a touring live show, “Big Star’s Third,” which features the sole-surviving original member of the band, Jody Stephens, on drums, guest vocalists, a chamber orchestra and a core band including Mike Mills, Chris Stamey of The dB’s, The Posies’ Ken Stringfellow and others. The ever-changing ensemble performs Big Star’s third albumThird/Sister Lovers, as well as favorites from the first two records.

“Songwriting has always been, for me, the most vital gauge of a band’s quality, and these guys were clearly masters.” – Mike Mills

Tracklist:
1 O,My Soul 2:46
2 Life Is White 3:18
3 Way Out West 2:46
4 What’s Goin Ahn 2:37
5 You Get What You Deserve 3:05
6 Mod Lang 2:42
7 Back Of A Car 2:42
8 Daisy Glaze 3:49
9 She’s A Mover 3:09
10 September Gurls 2:46
11 Morpha Too 1:28
12 I’m In Love With A Girl 1:45

Personnel:
Alex Chilton – guitar, vocals
Andy Hummel – bass guitar
Jody Stephens – drums, vocals
Additional
Danny Jones – bass guitar
Richard Rosebrough – drums

Download:

https://subyshare.com/2gk84iy92fb0/BigStarRadi0City19749624.rar.html

Big Star – #1 Record (1972/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 37:04 minutes | 807 MB
Official Digital Download – Source: HDTracks.com | Front cover, Digital Booklet
Genre: Rock, Power Pop, Proto-Punk | Label: © Stax Records | Concord Music Group
Recorded: Summer–Fall 1971 at Ardent Studios, Memphis

Originally released in 1972, #1 Record is the debut album from Big Star, a critically acclaimed, Memphis-based band which is often credited with creating the power pop sound. Remastered from the analog stereo masters, this reissue will allow fans to appreciate #1 Record as a standalone CD—this is the first time in many years that the CD version of the album will be sold independently of Big Star’s second album, Radio City. Packaging also includes liner notes penned by R.E.M.’s Mike Mills, who cites Big Star as one of his biggest influences, and calls the album “a record of rich sonic textures, of declaration and vulnerability.”

#1 Record is the only Big Star album which has the combined writing power of both founders, Alex Chilton and Chris Bell. Fervent Anglophiles, Chilton and Bell employed a Lennon/McCartney style of collaborative songwriting to create their debut—Chilton taking a visceral approach, often laying down guitar and vocal tracks in one take, while Bell added polish with overdubs and harmonies.

#1 Record has become widely recognized as a milestone album in the history of rock ’n’ roll. In 2003, Rolling Stone included it in their “500 Greatest Albums of All Time” list, while the publication included song “Thirteen” in their “500 Greatest Songs of All Time” list the following year. This reissue comes during a time of resurgence for Big Star, a band whose legacy has been widely recognized as of late, with a tribute record (Big Star Small World, 2006), a documentary (2012’s Nothing Can Hurt Me) and a touring live show, “Big Star’s Third,” which features the sole-surviving original member of the band, Jody Stephens, on drums, guest vocalists, a chamber orchestra and a core band including Mike Mills, Chris Stamey of The dB’s, The Posies’ Ken Stringfellow and others. The ever-changing ensemble performs Big Star’s third album Third/Sister Lovers, as well as favorites from the first two records.

In his liner notes, Mike Mills calls Big Star “a band who had gotten it right, who made records that sounded like rock and roll bands should sound.”

Tracklist:
1 Feel 3:31
2 The Ballad Of El Goodo 4:19
3 In The Street 2:53
4 Thirteen 2:36
5 Don’t Lie To Me 3:11
6 The India Song 2:20
7 When My Baby’s Beside Me 3:20
8 My Life Is Right 3:07
9 Give Me Another Chance 3:25
10 Try Again 4:06
11 Watch The Sunrise 3:10
12 St 100/6 0:58

Personnel:
Chris Bell – guitar, vocals
Alex Chilton – guitar, vocals
Andy Hummel – bass guitar
Jody Stephens – drums
Additional
Terry Manning – electric piano

Download:

https://subyshare.com/lf7dogvo88op/BigStarNumber1Rec0rd19729624.rar.html

Upon its release in 2004, few could have predicted the extraordinary, game-changing effect that Ray Charles’ final recording would have on both his career and the industry as a whole.

One of Charles’ most inspirational and historically significant albums, Genius Loves Companycaptures the genius of the music icon in his last studio recording pairing him with legendary guest artists including Norah Jones, Diana Krall, James Taylor, Elton John, Willie Nelson and Bonnie Raitt to name a few. The album went on to receive an astounding 8 GRAMMY® Awards, including Album of the Year and Record of the Year. Since its release on August 31st, 2004, Genius Loves Company has been certified multi-platinum with worldwide sales in excess of 5 million copies.

Tracklist
01. Here We Go Again (duet with Norah Jones) 3:59
02. Sweet Potato Pie (duet with James Taylor) 3:47
03. You Don’t Know Me (duet with Diana Krall) 3:55
04. Sorry Seems To Be The Hardest Word (duet with Elton John) 3:59
05. Fever (duet with Natalie Cole) 3:30
06. Do I Ever Cross Your Mind? (duet with Bonnie Raitt) 4:34
07. It Was A Very Good Year (duet with Willie Nelson) 4:59
08. Hey Girl (duet with Michael McDonald) 5:15
09. Sinner’s Prayer (duet with B.B. King) 4:25
10. Heaven Help Us All (duet with Gladys Knight) 4:32
11. Over The Rainbow (duet with Johnny Mathis) 4:54
12. Crazy Love (duet with Van Morrison) 3:43

Deluxe Edition Bonus Tracks:
13. Mary Ann (duet with Poncho Sanchez) 5:06
14. Unchain My Heart (duet with Take 6) 4:06

Download:

http://subyshare.com/d4fthx23g37p/RayCharlesGeniusL0vesC0mpany10thAnniversaryEditi0nHDTracks24192.part1.rar.html
http://subyshare.com/l01czwqgt66s/RayCharlesGeniusL0vesC0mpany10thAnniversaryEditi0nHDTracks24192.part2.rar.html
http://subyshare.com/0isrc7765161/RayCharlesGeniusL0vesC0mpany10thAnniversaryEditi0nHDTracks24192.part3.rar.html

Soul Brothers is a striking collaboration between two music luminaries, Ray Charles and Milt Jackson. The extraordinary outing features the pair showcasing their impressive musicianship, performing on various instruments including the piano, alto-saxophone, guitar and vibraphone. The album is an effortless blend of jazz, soul and R&B. Included were the astounding tunes, “Soul Brothers,” “How Long Blues” and “Deed I Do.” The recording is an essential document in music history, available as a pristine hi-res download.

This one is a real historical curiosity. Not only does vibraphonist Milt Jackson double here on piano but he plays guitar (for the only time on record) during “Bags’ Guitar Blues.” In addition Ray Charles is heard in a purely instrumental role on piano and, during two songs, on alto sax. Charles’s fine playing makes one wonder why he so rarely picked up the horn in later years. Billy Mitchell contributes some fine tenor solos on this boppish/blues material and guitarist Skeeter Best, bassist Oscar Pettiford and drummer Connie Kay offer stellar support.

Tracklist:
01 – Soul Brothers
02 – How Long Blues
03 – Cosmic Ray
04 – Blue Funk
05 – Deed I Do

Download:

https://subyshare.com/39bp47k04hwh/MiltJacks0nRayCharlesS0ulBr0thers19572012HDTracks24192.part1.rar.html
https://subyshare.com/d0lwjy7d4l4k/MiltJacks0nRayCharlesS0ulBr0thers19572012HDTracks24192.part2.rar.html

For the First Time – Digitally Released As High Resolution Downloads 192kHz/24bit Classic Soul Titles from the Archives of Atlantic Records and Rhino Records. In Mono.

Ray Charles revolutionized popular music when he combined blues, jazz and gospel stylings. Hallelujah I Love Her So is a smooth collection released during his time with Atlantic, an era fans deemed his strongest. Featuring a string of hit singles, the album includes Charles’ instant classics “I’ve Got A Woman,” “Mess Around,” “Drown In My Own Tears” and the title track, “Hallelujah I Love Her So.” With his stylish piano licks and vocal genius, this compilation is essential for any Charles fans.

Tracklist:
01. Ain’t That Love
02. Drown In My Own Tears
03. Come Back Baby
04. Sinner’s Prayer
05. Funny But I Still Love You
06. Losing Hand
07. A Fool For You
08. Hallelujah I Love Her So
09. Mess Around
10. This Little Girl Of Mine
11. Mary Ann
12. Greenbacks
13. Don’t You Know
14. I’ve Got A Woman

Download:

https://subyshare.com/dcf2i05jqpjw/RayCharlesHallelujahIL0veHerS019622012HDTracks24192.rar.html

The man once called “Americas favorite gospel song stylist”, Rev. Harold Jackson “Jack” Holcomb, has been gone for over 40 years, but his albums are as popular today as they were in his fifteen-year recording career. Here in this space I will share what I have learned about Jack Holcomb, information that has not been easy to find because Jack has been gone since July 1968, long before there was a World Wide Web. Many people have joined with me and helped to build up this web site, and I hope you will, too. We want this to be a resource for people who are interested in knowing more about a fellow Christian who loved his Lord and raised his voice in songs of praise his whole life long.

Harold “Jack” Holcomb, a minister and gospel recording artist was born and raised in Waco,Texas. He hosted a radio program in California and was evangelist Jack Shuller’s song leader. He returned to Waco and recorded many gospel music albums and traveled around the country preaching and singing at groups and churches. In 1963 he was named “Mr. Gospel Music” by RCA Records. Jack did not have an easy life, coming from a poor family. He lost his first wife just a few years into their marriage. He remarried, but in 1953 his first child Jo Ellen died in a tragic accident; before she could be buried a tornado struck and destroyed the funeral home and most of downtown Waco. He found his daughter’s body and she was buried in Waco Memorial Park. Jack suffered heart attacks throughout the 1960s. In the summer of 1968, when Jack was only 47 years old, he was to meet with executives in Dallas to plan his next record, but died of heart failure in his hotel. Jack was buried in Waco memorial park next to his beloved daughter.

Tracklist:
1. Oh, How I Love Jesus 02:41
2. To Be Used of God 02:53
3. These Are the Hands 02:49
4. Inside Those Pearly Gates 02:40
5. The King and I 02:15
6. Go, Little Prayer 03:19
7. (When I’m) Led by My Master’s Great Hand 02:28
8. Blessed Be the Name 02:43
9. He’s Coming Soon 02:45
10. How Wonderful to Know 02:38
11. My Mother’s Bible 02:34
12. Suppertime 03:25

Download:

https://subyshare.com/3qa645dej5vb/JackH0lc0mbLedbytheMasterssGreatHand19659624.rar.html

The surprisingly cohesive soundtrack to the 2015 Jaco Pastorius documentary Jaco features tracks the legendary jazz bassist recorded during his short career in the ’70s and ’80s. The first major documentary film about Pastorius, who was born in 1951 and died tragically in 1987 at age 35, Jaco was produced by bassist Robert Trujillo (Suicidal Tendencies, Metallica) and Pastorius’ oldest son, Johnny Pastorius. Jaco details Pastorius’ rise from unknown Florida musician to internationally recognized and innovative jazz superstar. In concordance, we get cuts Pastorius recorded as a solo artist and as a member of the influential fusion outfit Weather Report. Fittingly, Trujillo and Pastorius cull tracks off the bassist’s two major solo studio albums, 1976’s Jaco Pastorius and 1981’s Word of Mouth, including “Come on, Come Over,” “Continuum,” and “Crisis.” Elsewhere, we get a handful of major Weather Report sides, including the synth-heavy “River People” and the funky Pastorius feature “Teen Town.” Along the way, we also get several tracks Pastorius recorded for other artists, including a live version of “The Dry Cleaner from Des Moines” with Joni Mitchell and “All American Alien Boy” off Ian Hunter’s 1978 studio album. Bringing Pastorius’ influence full circle, Trujillo also includes several brand-new recordings, including a cover of “Come on, Come Over” by his own band Mass Mental, as well as a cover of “Continuum” by Mexican guitar duo Rodrigo y Gabriela. While there is certainly room for longer, more exhaustive Pastorius anthologies, Jaco succeeds in providing a listenable — and one feels lovingly heartfelt — overview of the bassist’s career. –AllMusic Review by Matt Collar

Tracklist:
1 Come On, Come Over 03:53
2 Continuum 04:34
3 River People (Live) 04:52
4 Teen Town 02:53
5 Portrait of Tracy 02:22
6 The Dry Cleaner from Des Moines (Live) 04:30
7 All American Alien Boy 07:09
8 Liberty City 11:59
9 Okonkole y Trompa 04:24
10 Barbary Coast 03:08
11 Crisis 05:21
12 Longing 05:20
13 Nineteen Eighty Seven 03:13
14 Shine 02:53
15 Continuum 04:25
16 Come On, Come Over 04:11

Download:

https://subyshare.com/ixeripjmz2lc/Jac0Past0riusJAC00riginalS0undtrack201544.124.rar.html

Hitmaker James Lloyd has written, produced and played on more than 30 Top 10 Smooth Jazz radio hits. As a founding member of the legendary Pieces Of A Dream, James has been the heart and soul of that Smooth Urban Jazz super-group for more than 20 years.
Renowned for his brilliant keyboard stylings and soulful compositions, James has produced #1 hits for the likes of Walter Beasley, Najee, Eric Darius, Gerald Albright, and of course, Pieces of A Dream. And now he is about to perform the same magic under his own name.
The first single, the spirited “Play It Forward,” is already climbing up the Smooth Jazz charts, soon to be followed by a funky “No Holds Barred,” featuring the Grammy-nominated saxophonist Gerald Albright. Other highlights include Smooth Jazz superstar and Grammy-winner Najee on the soulful “Moving Right Along,” the sensuous ballad “Granted Wish” and much more.

Keyboard maestro James Lloyd has been the heart, body and soul of Pieces Of A Dream since its inception almost forty years ago. Now he is breaking new ground with the album ‘Here We Go’ that was released March 17 on the enduringly excellent Shanachie label. By age sixteen Lloyd had worked with Joe Williams and Count Basie while less than a year later he was touring and recording with Grover Washington Jr. The rest, as they say, is history and he continues to demonstrate the sublime touch he retains for contemporary jazz that is sometimes smooth but always edgy.
The wonderfully foot stomping title cut is, in both name and mood, the ideal number with which to launch this, his solo debut CD yet it is a mark of the man that an A-Lister such as Lloyd should consider inviting not one but two guest performers to the project.
The first to step up is every sax-player’s saxophonist, Najee, who adds his magic to the deliciously mid tempo ‘Moving Right Along’. It is an absolute shoo in for my top twenty smooth jazz tracks of the year and later the invariably superb Gerald Albright teams with Lloyd for the big, ballsy and totally infectious ‘No Holds Barred’. In fact James first met Gerald when Pieces Of A Dream were opening for Anita Baker and Albright was in her backing band. Here, years later, they are at the very top of their respective games.
Lloyd takes a jazzy turn with the tongue in cheek ‘Y-Town, Y-Not?’ that celebrates the city of Youngstown Ohio, the place where he and his wife now call home. The Youngstown connection continues all the way to the outrageously ‘in the pocket’ ‘Within Reach’ that was co-written by local musician Marcellus Hayes while elsewhere the full-on happy vibe of ‘Play It Forward’ proves to be an unadulterated delight.
Lloyd eases down the tempo and finds a killer groove with the spine tingling ‘Granted Wish’. Written for his wife and almost ten years in the making it is a tune with which Lloyd strikes pure gold and he keeps the mood relaxed for ‘Almost There’ that was composed by former Pieces Of A Dream keyboard player Cherie Mitchell. Later, as he pays his respects to the undisputed ‘Queen Of Hip Hop Soul’, the wonderful Mary J. Blige’, he conjures up a bluesy, swinging, R & B treat in a way that only he can.
Talking of paying his respects, Lloyd brings down the curtain on ‘Here We Go’ with the funk drenched ‘For The Duke In Me’ which tips a hat to the late great George Duke. It is a fitting end to a stupendous collection that even at this early stage must be regarded as being up there with the best of 2015.

Tracklist:
1 Here We Go 04:16
2 Moving Right Along 04:18
3 Play It Forward 04:09
4 Granted Wish 04:34
5 No Holds Barred 04:03
6 Almost There 04:09
7 Y-Town, Y-Not? 06:54
8 Within Reach 04:28
9 Much O’Blige’d 04:21
10 For The Duke In Me 05:12

Personnel:
James Kieth Lloyd – Piano, Keyboards, Programming
Gerald Albright – Saxophone
Randall Bowland – Guitar
Marcellus Hayes – Keyboards, Programming
Robert “Boots” Pickard – Keyboards, Programming
Kevin Ricard – Percussion

Download:

https://subyshare.com/ckcg9g6yg8uc/JamesLl0ydHereWeG0201544124.rar.html

Weezer – Everything Will Be Alright In The End (2014) [Official Digital Download 24bit/96kHz]

Weezer – Weezer (White Album) (2016) [Official Digital Download 24bit/96kHz]

M83 – Junk (2016) [Official Digital Download 24bit/48kHz]

Phronesis – Parallax (2016) [Official Digital Download 24bit/88,2kHz]

Michael Jackson – HIStory: Past, Present And Future, Book I (1995/2007) [Official Digital Download 24bit/96kHz]

Ray Charles and Count Basie Orchestra – Ray Sings, Basie Swings (2006) [Official Digital Download 24bit/88,2kHz]

New York Trio – The Things We Did Last Summer (2002/2010) [Official Digital Download 24bit/96kHz]

Deep Purple – Stormbringer (1974/2016) [Official Digital Download 24bit/96kHz]

Graham Nash – This Path Tonight (2016) [Official Digital Download 24bit/96kHz]

Herb Alpert & The Tijuana Brass – Christmas Album (1968/2015) [Official Digital Download 24bit/88,2kHz]

Gustav Holst – The Planets – London Philharmonic Orchestra, Sir Adrian Boult (1978/2012) [Official Digital Download 24bit/96kHz]

Santana – Santana IV (2016) [Official Digital Download 24bit/48kHz]

Big Star – Radio City (1974/2014) [Official Digital Download 24bit/96kHz]

Big Star – #1 Record (1972/2014) [Official Digital Download 24bit/96kHz]

Ray Charles – Genius Loves Company (2004) (10th Anniversary Edition ‘2014) [Official Digital Download 24bit/192kHz]

Milt Jackson & Ray Charles – Soul Brothers (1957/2012) [Official Digital Download 24bit/192kHz]

Ray Charles – Hallelujah I Love Her So! (1962/2012) [Official Digital Download 24bit/192kHz]

Jack Holcomb – Led by the Masters’s Great Hand (1965/2015) [Official Digital Download 24bit/96kHz]

Jaco Pastorius – JACO Original Soundtrack (2015) [Official Digital Download 24bit/44,1kHz]

James Lloyd – Here We Go (2015) [Official Digital Download 24bit/44,1kHz]