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Earth, Wind & Fire – That’s The Way Of The World (1975)
FLAC (tracks) 24 bit/96kHz | Time – 00:38:51 minutes | 870 MB | Genre: R&B, Soul, Funk
Official Digital Download – Source: Qobuz | © Columbia Records
Recorded: September 16, 1974 – October 2, 1974, Caribou Ranch, Nederland, Colorado

That’s the Way of the World is a 1975 album by Earth, Wind & Fire released on Columbia Records. It was also the soundtrack for a 1975 motion picture of the same name which featured several of the band members in cameo roles. Included on the album was the single “Shining Star”, which was a #1 U.S. pop and R&B hit. Another popular single was the title track, which reached #12 on the pop chart. The album spent three weeks atop the Billboard Pop Albums Charts, five nonconsecutive weeks atop the Soul Albums chart.
That’s the Way of the World was also the third best-selling pop album and the number one best-selling R&B album of 1975 respectively and has been certified triple platinum in the U.S by the RIAA.
In 2003, the album was ranked number 493 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2012, on a revised list by the magazine, the album listed at #486.

Earth, Wind & Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be That’s the Way of the World, which was the band’s best album as well as its best-selling. Open Our Eyes had been a major hit and sold over half a million units, but it was World that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of “Shining Star” and “Yearnin’ Learnin’” to the gorgeous ballad “Reasons” and the unforgettable title song, EWF’s sixth album sold at least five million units. And some of the tracks that weren’t major hits, such as the exuberant “Happy Feelin’” and the gospel-influenced “See the Light,” are equally powerful. There are no dull moments on World, one of the strongest albums of the 1970s and EWF’s crowning achievement. –AllMusic Review by Alex Henderson

Tracklist:
1 Shining Star 2:50
2 That’s The Way Of The World 5:45
3 Happy Feelin’ 3:16
4 All About Love 5:30
5 Yearnin’ Learnin’ 3:41
6 Reasons 4:53
7 Africano 5:10
8 See The Light 5:30

Personnel:
Bass – Verdine White
Congas – Philip Bailey
Drums – Fred White, Maurice White, Ralph Johnson
Flute, Tenor Saxophone, Soprano Saxophone – Andrew P. Woolfolk
Guitar – Al McKay, Johnny Graham
Kalimba – Maurice White
Percussion – Al McKay, Fred White, Maurice White, Philip Bailey, Ralph Johnson, Verdine White
Piano, Organ, Synthesizer [Moog] – Larry Dunn
Vocals – Maurice White, Philip Bailey, Verdine White

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Ella Fitzgerald – Ella Fitzgerald Sings The Irving Berlin Song Book (1958/2013)
FLAC (tracks) 24 bit/192kHz | Time – 01:31:07 minutes | 3,82 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Verve Records
Recorded: Los Angeles, CA, March 13-19, 1958

Released in 1958, Ella Fitzgerald Sings the Irving Berlin Songbook features arrangements by Paul Weston. The album was nominated for a Grammy Award for ALbum of the Year at the inaugural Grammy Awards. Fitzgerald won the Grammy Award for Best Vocal Performance, Female.

It is difficult to know where to begin when approaching an artist as wonderful as Ella Fitzgerald, especially when covering a revered recording like Sings the Irving Berlin Song Book from the late ’50s. This set includes two CDs with 32 songs chosen from Berlin’s collection of nearly 800 songs. These selections are perfectly suited for Fitzgerald’s voice and her romantic sensibility; they are happy, occasionally sad, and full of swinging rhythm. A few of these songs — “Cheek to Cheek,” “Puttin’ on the Ritz,” and “Blue Skies” — will be most familiar; others, “Top Hat, White Tie, and Tails,” “Russian Lullaby,” and “All By Myself” are as memorable but perhaps less known. Choices like “Isn’t This a Lovely Day?” feature everything a listener would want in a song: intelligent lyrics, memorable melodies, and a strong emotional center. To say that Fitzgerald is in good voice for these recordings would be an understatement; her presentation here is simply regal. It should be pointed out that these two- and three-minute tunes are tightly arranged, and don’t allow the freedom of extended scat singing as on Ella in Berlin. The arrangements are also lovely, featuring the tasteful support of Paul Weston & His Orchestra, which never overpowers Fitzgerald. Such songs as “Cheek to Cheek” and “How Deep Is the Ocean?” — the standards that once dominated singers’ repertoires — seem absent from today’s musical scene. That may be unfortunate, but they continue to live healthy lives in recordings like this one. For fans who have enjoyed other songbook recordings, this reissue is a must-have; for those unfamiliar with Fitzgerald’s songbook work, this is an excellent place to start. –AllMusic Review by Ronnie D. Lankford, Jr.

Tracklist:
1 Lets Face The Music And Dance 2:58
2 You’re Laughing At Me 3:18
3 Let Yourself Go 2:20
4 You Can Have Him 3:47
5 Russian Lullaby 1:55
6 Puttin’ On The Ritz 2:19
7 Get Thee Behind Me Satan 3:49
8 Alexander’s Ragtime Band 2:43
9 Top Hat, White Tie And Tails 2:36
10 How About Me? 3:18
11 Cheek To Cheek 3:49
12 I Used To Be Color Blind 2:34
13 Lazy 2:40
14 How Deep Is The Ocean (How High Is The Sky) 3:12
15 All By Myself 2:29
16 (You Forgot To) Remember 3:27
17 Suppertime 3:19
18 How’s Chances? 2:49
19 Heat Wave 2:26
20 Isn’t This A Lovely Day 3:30
21 You Keep Coming Back Like A Song 3:36
22 Reaching For The Moon 2:19
23 (Let’s Go) Slumming On Park Avenue 2:24
24 The Song Is Ended (But The Melody Lingers On) 2:30
25 I’m Putting All My Eggs In One Basket 3:01
26 Now It Can Be Told 3:13
27 Always 3:09
28 It’s A Lovely Day Today 2:29
29 Change Partners 3:19
30 No Strings (I’m Fancy Free) 3:04
31 I’ve Got My Love To Keep Me Warm 3:00

Personnel:
Ella Fitzgerald – vocals
Paul Weston (conductor) and his orchestra

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Ella Fitzgerald, Louis Armstrong – Ella And Louis Again (1957/2014)
FLAC (tracks) 24 bit/192kHz | Time – 00:44:23 minutes | 1,79 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Verve Records
Recorded: July 23, July 31 and August 13, 1957 in Los Angeles

Ella And Louis Again (1957) is a follow-up album to Ella and Louis (1956). Featuring duets as well as solo numbers, the album was recorded on July 23, 31, and August 13 of 1957 in Los Angeles and was produced by Norman Granz.

In 1957 Ella Fitzgerald and Louis Armstrong teamed up for their second album of popular tunes drawn mostly from the Great American Songbook. Produced by the legendary Norman Granz, the album features an all-star group of musicians including Armstrong on vocals and trumpet, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Louie Bellson on drums.

“… captures some of the finest vocal work of the past century … a highlight of the 1950s, a busy time for classic vocal jazz records … both were in fine form, Fitzgerald’s sweetly melodic voice contrasting nicely with Armstrong’s coarse rasp … Fitzgerald and Armstrong sound positively ebullient together … Autumn In New York may be the best thing the two ever recorded, a beautifully tender reading with a nice trumpet solo to boot.” –All About Jazz

Recorded in 1957, Ella & Louis Again re-teams Ella Fitzgerald and Louis Armstrong after the success of their first album and a popular series of concerts at the Hollywood Bowl the previous year. Stylistically, Fitzgerald and Armstrong had very different histories; he started out in Dixieland before branching out into classic jazz and swing, whereas Fitzgerald started out as a swing-oriented big-band vocalist before becoming an expert bebopper. But the two of them have no problem finding common ground on Ella & Louis Again, which is primarily a collection of vocal duets (with the backing of a solid rhythm section led by pianist Oscar Peterson). One could nitpick about the fact that Satchmo doesn’t take more trumpet solos, but the artists have such a strong rapport as vocalists that the trumpet shortage is only a minor point. Seven selections find either Fitzgerald or Armstrong singing without the other, although they’re together more often than not on this fine set. –AllMusic Review by Alex Henderson

Tracklist:
1 Don’t Be That Way 5:01
2 Makin’ Whoopee 3:59
3 They All Laughed 3:50
4 Comes Love 2:28
5 Autumn In New York 6:00
6 Let’s Do It (Let’s Fall In Love) 8:44
7 Stompin’ At The Savoy 5:16
8 I Won’t Dance 4:47
9 Gee, Baby, Ain’t I Good To You? 4:11

Personnel:
Louis Armstrong – vocals, and trumpet on tracks 5, 7, 9, 13, 17 and 19.
Ella Fitzgerald – vocals
Ray Brown – double bass
Herb Ellis – guitar
Oscar Peterson – piano
Louie Bellson – drums

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Elvis Presley – The Essential Elvis Presley (2007)
FLAC (tracks) 24-bit/96 kHz | Time – 1:52:01 minutes | 2,03 GB | Genre: Rock, Pop
Official Digital Download – Source: HDTracks | @ SBME Strategic Marketing Group

This special two-disc collection contains all of Elvis Presley’s greatest hits, and more! The Essential Elvis Presley contains 40 tracks from the entire spectrum of the King of Rock ‘n’ Roll’s career, and was certified Gold in 2010. Songs on this collection include “Heartbreak Hotel”, “It’s Now or Never”, “Burning Love”, and “Viva Las Vegas”.

The problem with compiling an essential best-of compilation covering the phenomenon that was (and is) Elvis Presley is the very man himself, who has passed from this mortal coil into the iconic pop culture stratosphere where even his own death is questioned and Elvis sightings are as frequent as fleas. Then there are the thousands of performers who daily dress up as Presley himself and sally forth into the world like perfectly gyrating replicas of either the early or later Elvis (body physics dictate that you can’t be both). Elvis may have left the building, but not really. His image is everywhere, and his fans are legion and devout. So how does one pick his essential sides when “Do the Clam” is a classic in the Kingdom of Presley simply because Elvis did it? He recorded Tony Joe White’s “Polk Salad Annie” in 1970. It was hardly the best version ever of “Polk Salad Annie” but it was Elvis’ version of “Polk Salad Annie,” which puts it in rarefied class of its own, and making it, like “Do the Clam,” absolutely essential in some quarters. When you’re larger than life, words like essential have to expand or be left wanting. The Essential Elvis Presley boils this imposing legacy down to two discs of 20 tracks each, and approaches the problem of what is truly essential by choosing to compile all of Elvis’ significant charting hits, beginning with his 1954 cover of Arthur Crudup’s “That’s All Right” from Sam Phillips’ Sun Records and continuing chronologically through Presley’s long association with RCA Records through the year 1976. That means, while there’s no version of “Do the Clam” (“Polk Salad Annie” is here, though), there are classic sides like 1956’s “Heartbreak Hotel,” “Don’t Be Cruel,” “Hound Dog,” and “Love Me Tender,” 1957’s “Jailhouse Rock,” 1961’s “Little Sister,” and 1969’s “In the Ghetto,” “Suspicious Minds,” and “Kentucky Rain.” There are 17 number one hits and a whole lot more. Elvis fanatics are going to complain about what isn’t here, of course. Elvis is the King, after all, and therefore by definition everything he recorded ought to be essential. And everything he recorded is indeed essential on some level. But these are the sides that broke through to the deepest level of the world pop culture that Elvis helped create. These are the songs that broke him and then sustained him on radio and television and at the movie theaters. Die-hard Elvis fans will undoubtedly already have everything collected here. This is a set instead for folks who want to have at least one Elvis anthology in their collections, and want the hits they remember and don’t much care if those hits are from the early Elvis or the later Elvis or the dear departed Elvis. Just the hits, bartender, shaken not stirred. That means no version of “Do the Clam,” singular as it is.

Tracklist:

CD1 #01 – That’s All Right
CD1 #02 – Baby, Let’s Play House
CD1 #03 – Mystery Train
CD1 #04 – Heartbreak Hotel
CD1 #05 – I Was the One
CD1 #06 – Blue Suede Shoes
CD1 #07 – Hound Dog
CD1 #08 – Don’t Be Cruel
CD1 #09 – Love Me Tender
CD1 #10 – All Shook Up
CD1 #11 – (There’ll Be) Peace in the Valley (For Me)
CD1 #12 – Jailhouse Rock
CD1 #13 – Trouble
CD1 #14 – Fever (Essential Elvis Version)
CD1 #15 – It’s Now or Never
CD1 #16 – Reconsider Baby (Elvis R&B Version)
CD1 #17 – Are You Lonesome Tonight?
CD1 #18 – Little Sister
CD1 #19 – Follow That Dream
CD1 #20 – Can’t Help Falling in Love

CD2 #01 – Return to Sender
CD2 #02 – (You’re The) Devil in Disguise
CD2 #03 – Bossa Nova Baby
CD2 #04 – Viva Las Vegas
CD2 #05 – Big Boss Man (Elvis R&B Version)
CD2 #06 – A Little Less Conversation
CD2 #07 – If I Can Dream (Stereo Mix)
CD2 #08 – Memories (Stereo Mix)
CD2 #09 – In the Ghetto
CD2 #10 – Suspicious Minds
CD2 #11 – Don’t Cry Daddy
CD2 #12 – Kentucky Rain
CD2 #13 – Polk Salad Annie (Elvis Live Version)
CD2 #14 – The Wonder of You
CD2 #15 – I Just Can’t Help Believin’
CD2 #16 – Burning Love
CD2 #17 – Always on My Mind
CD2 #18 – Steamroller Blues
CD2 #19 – Hurt (Essential Elvis Version)
CD2 #20 – Moody Blue

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Eric Reed – Groovewise (2014)
FLAC (tracks) 24 bit/48kHz | Time – 58:56 minutes | 690 MB | Genre: Jazz
Official Digital Download – Source: ProStudioMasters | @ Smoke Sessions Records
Recorded live at Smoke Jazz Club, New York City, September 6, 7, 2014

Eric Reed didn’t want to make a good record, he wanted to make a great one. The celebrated pianist and musician says, I could have called guys who play exactly what I want; it would have been good and not very interesting. It would have been swinging or it would have sounded nice there wouldn t have really been a spark. You don t just want to sound good. You want it to be amazing. And, his Groovewise is that killing record. It features a memorable quartet with Seamus Blake, Ben Williams, and Gregory Hutchinson and is the first recorded meeting of Reed and Hutchinson in over 15 years. They are clearly inspired performing in front of a live audience and the creative energy flies off the bandstand. They open with an impromptu rendition of Powerful Paul Robeson for Clifford Jordan whose wife, Sandy, who was in attendance and they close with the extended title track Groovewise bracketing a thrilling set of live jazz. Several of the compositions are dedicated to the memories of Mulgrew Miller, Cedar Walton, and Marian McPartland and Eric s Until the Last Cat has Swung, is a declaration that jazz remains alive and well in the hands of a new generation. Although Eric might not feel ready to be a keeper of the flame, jazz music is much better off that he already is.

Tracklist:
01 – Powerful Paul Robeson
02 – Until the Last Cat Has Swung
03 – Manhattan Melodies
04 – The Gentle Giant
05 – Ornate
06 – The Shade of the Cedar Tree
07 – Bopward
08 – Una Mujer Elegante
09 – Groovewise

Musicians:
Eric Reed – piano
Seamus Blake – saxophones
Ben Williams – bass
Gregory Hutchinson – drums

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Ernst Reijseger – Feature (2014)
FLAC (tracks) 24 bit/48kHz | Time – 01:02:21 minutes | 619 MB | Genre: Jazz
Official Digital Download – Source: Qobuz | @ Winter & Winter GmbH
Recorded: All tracks except 11 and 13: Recorded at Evangelisch-Lutherse Kerk Haarlem, The Netherlands, June 2009/July 2010; Track 11 recorded at Gebouw ‘De Vereeniging’, Hilversum, The Netherlands, December 2011; Track 13 recorded at Bauer Studios Ludwigsburg, Germany, August 2014

Winter & Winter releases the album »Feature« to celebrate the 60th birthday of Ernst Reijseger.
On November 13th, 2014, the exceptional artist Ernst Reijseger celebrates his 60th birthday. Since 1997 Ernst Reijseger and Winter & Winter collaborate in an outstandingly creative working atmosphere. Reijseger has recorded 15 albums over the years as leader artist and he is part of six further productions. His recording oeuvre includes cello solo pieces, projects with the Voches de Sardinna, the cooperation with the group Groove Lélé from La Réunion, various soundtracks and sound art.

Zeniuk paints to Reijseger’s cello solo pieces with the title »Crystal Palace« seven new works. Along with seven single pressings of several of Reijseger’s pieces they form seven unique prints, which will be shown in autumn 2014 in the Winter & Winter showroom and in spring 2015 at Slewe Gallery in Amsterdam.

»Feature« presents as a new production key works like »Tell Me Everything« and «Elena«, recorded with the Turkish singer Ceylan Ertem, new pieces for Reijseger’s ensemble of five cellos, duets with Alan “Gunga” Purves as well as the pianist and organist Harmen Fraanje. Although this album was recorded in a time period, from June 2010 through to August 2014, »Feature« is a harmonious unit. All recordings were mixed and mastered by Adrian von Ripka, who works with Stefan Winter at the recording studio since 30 years and is realising Ernst Reijseger’s sound ideas in a perfect way.

The artistic work of Ernst Reijseger ranges between performance, recording art and sound installation. He dedicated himself with body and soul to the music, but his activity goes far beyond concert and club stages. He recognises the recording as something special that is not limited to only document performances, but also opens new artistic possibilities to create own sound images.

Ernst Reijseger, individualist, cellist, composer and performance artist, 1954 born in Naarden in the Netherlands, belongs to the most important artists of the contemporary music scene. His instrument is his voice. Since almost 20 years Reijseger works with producer Stefan Winter, together they build an exceptional canon. Stefan Winter: »He is one of the most amazing musicians who I ever met with and got acquainted. He speaks and sings through his cello, his instrument becomes part of his body and he pens works filled with highest musicality, beauty, pure elegance and sensitivity.«

Tracklist:
1 For Pieter’s Birth 4:04
2 The Face Of God 8:58
3 Le Vieux Parle 2:20
4 Nightsky 2:31
5 Rainy Season 5:49
6 Made Of Light 1:26
7 The Big Country 2:36
8 Heaven On Earth 4:41
9 Incantation 2:05
10 The Touch 4:28
11 Elena 3:49
12 Holding Her First Balloon 2:21
13 Tell Me Everything 5:35
14 Mutation 6:26
15 Child’s Footprint 4:29

Personnel:
Ernst Reijseger, cello, mandolacello, tenor guitar
Sandip Bhattacharya, tabla
Luciano Biondini, accordion
Ceylan Ertem, voice
Harmen Fraanje, piano, church organ
Djoeke Klijzing, cello
Julie Läderach, cello
Bonno Lange, cello
Tom van Lent, cello
Alan “Gunga” Purves, percussion
Mola Sylla, voice, percussion

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Eumir Deodato – Happy Hour (1982/2011)
FLAC (tracks) 24 bit/192kHz | Time – 00:36:17 minutes | 1,74 GB | Genre: Disco, Funk, Soul
Official Digital Download – Source: HDTracks | © Warner Bros. Records ‎
Recorded: House of Music, W. Orange, New Jersey.

One of Deodato’s career highlights, this 1982 release finds the wildly talented musician incorporating a more smooth pop sound. The slick and melodious album features a guest appearance by Kelly Baretto, whose R&B style and high octave vocals blends with ease. The album features the hit singles “Keep It In The Family,” “Keep On Movin’” and the title track.

Although he was not only heavily involved in producing funkers Kool & the Gang but was elsewhere employed far from his own jazz roots, fusionist Eumir Deodato was still taking the time to perfect his own smooth pop. Happy Hour, released in 1982, is a prime example of the sounds and styles he’d now fully adapted. Sweet and slick, Happy Hour hinges on the upbeat sounds of early-’80s pop, leaving his prior success with disco present but lurking in the background. With vocalist Kelly Barretto taking a turn across the lion’s share of the songs, she set the tone with her clear R&B style and, although it was “Happy Hour” that hit the pop charts, the opening “Keep on Movin’” was a far better example of her prowess. Nearly eight minutes long and built around a smoothly repetitious, delicious, classic Deodato groove, her octave-leaping vocals bound in and out of the mix with ease amid the synth and brass. Elsewhere, Deodato brought in the star power of guest Candi Staton on a barely lukewarm version of the Smokey Robinson classic “The Tears of a Clown,” which focused almost exclusively on an unending alto sax solo. On a happier note, both “Keep It in the Family” and “I Never Get Enough” wrapped up the set with a Motown vibe. But while Happy Hour is easy on the ears, with nice turns spattered throughout, there’s nothing overly remarkable about the set, nor is there anything to recommend it. Deodato was capable of much better, and it would have been nice to hear it. –Amy Hanson

Tracklist:
1 Keep On Movin’ 7:51
2 Happy Hour 4:59
3 Just This One Night 5:03
4 Tears Of A Clown 4:38
5 Sweet Magic 4:16
6 Keep It In The Family 5:04
7 I Never Get Enough 4:26

Personnel:
Alto Saxophone – Nelson Rangell, Steve Greenfield
Backing Vocals – Allison Bragdon, Cynthia Huggins, Eban Kelly, Joan Motley
Bass – Gary Grainger, Neil Jason
Bass, Synthesizer [Bass], Guitar, Synthesizer, Backing Vocals – Jerry Barnes
Bass, Synthesizer [Mini Moog] – Norman Durham
Drums – John Sussewell, John “Broadway” Tucker
Electric Piano [Fender Rhodes] – Mark Cohen
Guitar – Alan Thomas, David Brown, George Parrish, Wyatt Staton
Handclaps, Sequenced By [Clap Trap] – Bobby Douglas
Keyboards, Backing Vocals, Vocoder – Katreese Barnes
Keyboards, Electric Piano [Fender Rhodes] – Alan Palanker
Lead Vocals, Backing Vocals – Camille, Kelly Barretto
Piano [Keyboard], Synthesizer [Arp Omni, Arp Pro Soloist, Mini Moog], Electric Piano [Fender Rhodes, Wurlitzer], Congas – Eumir Deodato
Programmed By – Eumir Deodato, Jerry Barnes, Katreese Barnes, Norman Durham, Rick Suchow
Strings – Kermit Moore
Synthesizer [Bass] – Rick Suchow
Synthesizer [Prophet 5] – Michael Mandel
Tenor Saxophone – Bob Malach, Manny Boyd
Trombone – Clifford Adams, Keith Oquinn
Trumpet – Earl Gardner, Michael Ray

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FFS (Franz Ferdinand & Sparks) – FFS (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:03:00 minutes | 1,32 GB | Genre: Rock
Official Digital Download – Source: Qobuz | © Domino Recording Co Ltd
Recorded: Late 2014

A long time in the making as well as a complete surprise on its arrival, the self-titled debut from FFS — the collaboration between Franz Ferdinand and Sparks — is the work of two great, and distinctive, acts at the top of their game. In fact, FFS works so well because these groups aren’t carbon copies of each other. Over the years, Sparks brainy shape-shifting has touched on glam and new wave, two of the styles that were most influential on Franz Ferdinand’s suave dance-rock, but that’s just the tip of their musical iceberg. What the bands do share — jaunty wit and a flair for indelible choruses — gives FFS plenty of fertile common ground. These songs are inspired, even-handed combinations of all of their strengths, whether Ron and Russell Mael lend a dash of weirdness to Franz Ferdinand’s spiky hooks, as on “Call Girl,” or the Glaswegian outfit adds some heft to Sparks’ flights of fancy on the satirical “Police Encounters” or the hyperactive “So Desu Ne.” FFS’ strongest moments bring passion to its abundant cleverness. Somewhat perversely and sometimes poignantly, the supergroup is at its best when singing about different kinds of solitude. “Piss Off,” the first song Sparks sent Franz Ferdinand back in 2004 after the release of their debut album, is a cheerfully antisocial anthem for those who’d rather be alone. “Collaborations Don’t Work”‘s self-referential duet turns into a duel, with Alex Kapranos and Russell Mael trading barbs like “I don’t need your navel gazing/I don’t like your way of phrasing.” However, the best showcase for their vocals is the brilliant opening track “Johnny Delusional.” At once grandiose and self-deprecating, it’s a vivid portrait of unrequited love that combines Kapranos’ smooth baritone and Mael’s anxious counter tenor like a juxtaposition of fantasy and reality. Similarly, FFS boasts so much personality that character sketches like “Dictator’s Son,” which tells the story of a despot’s offspring who is more into creature comforts than tyranny, also rank among the standouts. A near-perfect blend of Sparks and Franz Ferdinand’s skills, FFS is a collaboration that works very well and offers just about everything a fan of either band could want. –AllMusic Review by Heather Phares

Tracklist:
1. Johnny Delusional (3:12)
2. Call Girl (3:21)
3. Dictator’s Son (4:15)
4. Little Guy From The Suburbs (5:09)
5. Police Encounters (3:11)
6. Save Me From Myself (3:57)
7. So Desu Ne (3:52)
8. The Man Without A Tan (3:29)
9. Things I Won’t Get (3:03)
10. The Power Couple (3:02)
11. Collaborations Don’t Work (6:42)
12. Piss Off (3:55)
13. So Many Bridges (3:16)
14. King Of The Song (3:06)
15. Look At Me (5:43)
16. A Violent Death (3:51)

Personnel:
Franz Ferdinand:
Alex Kapranos – lead and backing vocals, guitar, keyboards
Nick McCarthy – guitar, keyboards, backing vocals
Bob Hardy – bass, backing vocals
Paul Thomson – drums and percussion, backing vocals
Sparks:
Russell Mael – lead and backing vocals
Ron Mael – keyboards, backing vocals

Download:

http://www.datafile.com/d/TVRFNE9UZzFPREkF9/FFSFranzFrdnandSparksFFS20159624.part1.rar
http://www.datafile.com/d/TVRFNE9UZzFPRGMF9/FFSFranzFrdnandSparksFFS20159624.part2.rar
or
http://rapidgator.net/file/91128b06ed99f722968bba968ae9b202/FFSFranzFrdnandSparksFFS20159624.part1.rar.html
http://rapidgator.net/file/faf56139fb81934e6354b29bb379155f/FFSFranzFrdnandSparksFFS20159624.part2.rar.html

George Ezra – Wanted On Voyage {Deluxe Edition} (2014)
FLAC (tracks) 24-bit/96 kHz | Time – 00:57:15 minutes | 1,19 GB | Genre: Singer/Songwriter, Indie Folk
Official Digital Download – Source: Qobuz | @ Columbia

With his smoky baritone and lyrics about wanderlust, romance, and European boot leather, British singer/songwriter George Ezra offers up a 21st century pop take on the wandering young troubadour with his debut LP Wanted on Voyage. Though he cites influences like Woody Guthrie and Lead Belly, Ezra’s music has more in common with the contemporary folk-pop of strummers like Vance Joy and Jake Bugg, with a bit of blue-eyed soul thrown in for good measure. Scrappy romps likes “Cassy O’” and his breakout track “Budapest” sit alongside quirky, synth-laden indie pop tunes like “Stand by Your Gun” and moody dirges like “Spectacular Rival,” offering up enough diversity to keep things interesting. ~ Timothy Monger

Tracklist:

01 – Blame It on Me
02 – Budapest
03 – Cassy O’
04 – Barcelona
05 – Listen to the Man
06 – Leaving It Up to You
07 – Did You Hear the Rain?
08 – Drawing Board
09 – Stand by Your Gun
10 – Breakaway
11 – Over the Creek
12 – Spectacular Rival
13 – Song 6
14 – It’s Just My Skin
15 – Da Vinci Riot Police
16 – Blind Man in Amsterdam

Download:

http://www.datafile.com/d/TVRFNE9UZzJNVFUF9/GrgzraWantdnVyag2014Qbuz2496.part1.rar
http://www.datafile.com/d/TVRFNE9UZzJNVFkF9/GrgzraWantdnVyag2014Qbuz2496.part2.rar
or
http://rapidgator.net/file/3ebd3f312aac54aa38101a83bf3fdbdb/GrgzraWantdnVyag2014Qbuz2496.part1.rar.html
http://rapidgator.net/file/f87eef50ff0fb8ad3d7955259d6d2e14/GrgzraWantdnVyag2014Qbuz2496.part2.rar.html

Gordon Lightfoot – Sundown (1974/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 36:33 minutes | 769 MB | Genre: Folk
Official Digital Download – Source: HDTracks | @ Rhino/Warner Bros.

Sundown is Canadian singer-songwriter Gordon Lightfoot’s 10th studio album, originally released in 1974. The record made it to the number one spot in the US, his only record to make it to the top spot.

Lightfoot’s commercial peak came with this album, which topped the US charts, containing both the #1 title song and the Top 10 hit “Carefree Highway.” But songs like “Somewhere U.S.A.” and “High and Dry” are textured, catchy folk/rock on a par with the better known tunes.

Tracklist:
01 – Somewhere U.S.A.
02 – High And Dry
03 – Seven Island Suite
04 – Circle Of Steel
05 – Is There Anyone Home
06 – The Watchman’s Gone
07 – Sundown
08 – Carefree Highway
09 – The List
10 – Too Late For Prayin’

Download:

http://www.datafile.com/d/TVRFNE9UZzJNREkF9/GrdnLghtftSundwn19742015HDTracks2496.part1.rar
http://www.datafile.com/d/TVRFNE9UZzJNREUF9/GrdnLghtftSundwn19742015HDTracks2496.part2.rar
or
http://rapidgator.net/file/0b3a58d955b6ae18a2720a6463d35135/GrdnLghtftSundwn19742015HDTracks2496.part1.rar.html
http://rapidgator.net/file/3bb76d8ca1109243ae6b5e724a187932/GrdnLghtftSundwn19742015HDTracks2496.part2.rar.html

Edvard Grieg – Piano Concerto & Lyric Pieces – Javier Perianes, BBC Symphony Orchestra, Sakari Oramo (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:09:53 minutes | 1,05 GB | Genre: Classical
Official Digital Download – Source: eclassical.com | © Harmonia Mundi
Recorded: CONCERTO – 24th October 2014 at the Barbican Centre, London; LYRIC PIECES – 5-6 June 2014 at Teldex Studio Berlin

Miniatures and large forms.The work of a young musician of 25, the celebrated Concerto of Grieg combines the great Romantic tradition (Liszt was one of its most fervent admirers) and Norwegian folk music, with the halling and springdans of its thrilling finale. Yet the composer never wrote another, for he felt more comfortable writing in miniature forms. In 35 years he produced no fewer than 66 Lyric Pieces, every one a gem, from the truculent March of the Trolls to the poetic meditations of Homesickness and Remembrances.

Miniatures et grandes formes.Œuvre d’un musicien de 25 ans, le très célèbre Concerto de Grieg conjugue grande tradition romantique et folklore norvégien, avec les halling et autres springdans de son finale trépidant. Il restera pourtant sans suite, le compositeur se sentant plus à l’aise dans l’écriture de miniatures : ainsi il produira en 35 ans pas moins de 66 Pièces lyriques qui sont autant de joyaux, de la truculente Marche des trolls aux méditations poétiques de Mal du pays ou Souvenirs.

Miniaturen und große FormenDas berühmte Klavierkonzert von Grieg, das Werk eines jungen Musikers von 25 Jahren, verbindet die große romantische Tradition mit der norwegischen Volksmusik, mit den halling und anderen springdans im leidenschaftlichen Finale. Doch der Komponist ließ es dabei bewenden, denn er fühlte sich beim Verfassen von Miniaturen weitaus wohler. In 35 Jahren schrieb er nicht weniger als 66 Lyrische Stücke, jedes einzelne ein Juwel, vom ungebärdigen Zug der Trolle bis zu den poetischen Meditationen Heimweh und Nachklänge.

Tracklist:
Edvard Grieg (1843-1907)
Piano Concerto in A minor
1. I. Allegro molto moderato 13:40
2. II. Adagio 06:47
3. III. Allegro moderato molto e marcato 10:21
Lyric Pieces
4. Lyric Pieces, Op. 12: I. Arietta – Poco andante e sostenuto 01:25
5. Lyric Pieces, Op. 38: VIII. Kanon – Allegretto con moto 05:00
6. Lyric Pieces, Op. 43: I. Sommerfugl – Allegro grazioso 01:54
7. Lyric Pieces, Op. 43: II. Ensom vandrer – Allegretto… 02:20
8. Lyric Pieces, Op. 47: III. Melodi – Allegretto 03:39
9. Lyric Pieces, Op. 54: III. Trolltog – Allegro moderato 02:59
10. Lyric Pieces, Op. 54: IV. Notturno – Andante 04:17
11. Lyric Pieces, Op. 57: VI. Hjemveop – Andante 04:33
12. Lyric Pieces, Op. 68: III. For dine födder – Poco andante… 03:03
13. Lyric Pieces, Op. 68: V. Badnlatop – Allegretto… 03:27
14. Lyric Pieces, Op.71: I. Det var engang – Andante con moto… 04:36
15. Lyric Pieces, Op.71: VII. Efterklang – Tempo di valse 01:52

Personnel:
Javier Perianes, piano
BBC Symphony Orchestra
Sakari Oramo, conductor

Download:

http://www.datafile.com/d/TVRFNE9UZzJNRFkF9/GrgPanCncrtLyrcPcsJavrPransBBCSymphnyrchstraSakarram20159624.part1.rar
http://www.datafile.com/d/TVRFNE9UZzJNRFUF9/GrgPanCncrtLyrcPcsJavrPransBBCSymphnyrchstraSakarram20159624.part2.rar
or
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The Definitive Collection more than lives up to its title’s promise, delivering 18 tracks, including all of Air Supply’s Top 40 singles — “Lost in Love,” “All Out of Love,” “Every Woman in the World,” “Here I Am (Just When I Thought I Was Over You),” “Sweet Dreams,” “Even the Nights Are Better,” “Young Love,” “Two Less Lonely People in the World,” “Just as I Am” — plus the original Australian version of “Lost in Love.” A pair of latter-day singles that didn’t make the Top 40 are missing, but they’re not missed, since what is here is prime Air Supply — the best songs they ever recorded. Granted, it won’t convince any doubters, but this is the ideal collection for both dedicated and casual fans, while being perhaps the most listenable item in their catalog.

Tracklist:
01. Lost In Love
02. All Out Of Love
03. Chances
04. Every Woman In The World
05. The One That You Love
06. Here I Am
07. Sweet Dreams
08. I Want To Give It All
09. Even The Nights Are Better
10. Now And Forever
11. Young Love
12. Two Less Lonely People
13. Taking The Chance
14. Come What May
15. Making Love Out Of Nothing At All
16. I Can Wait Forever
17. Just As I Am
18. Lost In Love (Original Australian Release)

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16YzVOalUF9/AirSupplyTheDefinitiveCollection1999Reissue2003FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16YzVOamMF9/AirSupplyTheDefinitiveCollection1999Reissue2003FLAC2488.2.part2.rar
http://www.datafile.com/d/TVRFNU16YzVOalkF9/AirSupplyTheDefinitiveCollection1999Reissue2003FLAC2488.2.part3.rar
or
http://rapidgator.net/file/148486bdbff94c08fb8a8a7a7e4bac16/AirSupplyTheDefinitiveCollection1999Reissue2003FLAC2488.2.part1.rar.html
http://rapidgator.net/file/14240057d4bc86631b71a976915b736f/AirSupplyTheDefinitiveCollection1999Reissue2003FLAC2488.2.part2.rar.html
http://rapidgator.net/file/fb186449c6da1a1862fb3fac7356b3b4/AirSupplyTheDefinitiveCollection1999Reissue2003FLAC2488.2.part3.rar.html

Giants of the early-’90s Seattle grunge scene, with Black Sabbath-style riffing and an unconventional vocal style, in many ways, Alice in Chains was the definitive heavy metal band of the early ’90s. Drawing equally from the heavy riffing of post-Van Halen metal and the gloomy strains of post-punk, the band developed a bleak, nihilistic sound that balanced grinding hard rock with subtly textured acoustic numbers. They were hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands.

Tracklist:
01. Man In The Box
02. Them Bones
03. Rooster
04. Angry Chair
05. Would?
06. No Excuses
07. I Stay Away
08. Grind
09. Heaven Beside You
10. Again

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16YzVOemcF9/AliceInChainsGreatestHits2001FLACStereo2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16YzVPREEF9/AliceInChainsGreatestHits2001FLACStereo2488.2.part2.rar
or
http://rapidgator.net/file/49a9171e2bac48008c5174dbee7e2f2e/AliceInChainsGreatestHits2001FLACStereo2488.2.part1.rar.html
http://rapidgator.net/file/2d3d1d580c0dbf71eceb44c5096dfd8b/AliceInChainsGreatestHits2001FLACStereo2488.2.part2.rar.html

David Kidman, fRoots, August/September 2009:
The latest album from Allan, his 20th, is heralded as showing a return to the more folk-inflected style of troubadour song that characterised his earlier years. Whatever, Allan remains the consummate craftsman-in-song, and he hasn’t in any way abandoned the key themes and concerns that he’s developed and made very much his own over a long and illustrious career. Leaving at Dawn is absolutely quintessential Allan Taylor, instantly recognisable for its telling combination of a uniquely expressive, warm and inviting vocal delivery and an attractive, precisely captured instrumental backing, centred as ever around Allan’s own intricately moulded and mellifluous guitar playing. But it’s also the product of an artist of total maturity and integrity, delivering work of the highest self-imposed standards and exhibiting (in every single aspect of its presentation) supreme confidence without complacency.
This new batch of songs was written(with just one 1993 exception) between 2001 and 2007, each one a prime example of Allan’s second-nature ability to directly share his emotions in simple yet always profoundly literate language, thereby taking the listener on a journey that feels personal yet contains universal truths aplenty. Allan’s musings are affectionate and eloquent, yet often more complex than they appear, primarily because they’re shot through with the perceptiveness and realism that are the hallmarks of a true observer.
Leaving At Dawn is full of songs that follow the songwriter’s eternal preoccupation, reflection with regret, either musing sensitively on love (Lay Soft On Your Pillow, Back Home To You) or embodying a strong sense of genius-loci (Provence, New York In The Seventies), often memorably bringing together both strands in the same song. Especially beguiling here are two songs in traditional vein (Firefly, already celebrated in Tom McConville’s fabulous recording, and The Last Of The Privateers), The Almost Man (a chokingly pertinent tribute to Allan’s father), and Winter (a beautiful and masterfully poetic expression of tender reassurance), while Red On Green is Allan’s own translation of a poignant song of farewell composed by Massimo Bubola based on a WW1 love-letter written my Massimo’s uncle.
The disc’s exceptional, state-of-the-art recording draws you in right close, with Allan’s very special and intimate delivery cocooned by the immaculately judged and empathic contributions of a handful of other musicians (guitar, dobro, accordion, banjo, bowed psaltery, fretless bass). I feel sure that Leaving At Dawn will come to be judged as one of Allan’s finest ever collections.

Nigel Schofield, The Living Tradition:
Everything about this CD declares quality and consideration. Recorded with stunning digital clarity and released on SACD (don’t worry, it plays on your old CD player), it is packaged in a new design of durable jewel case and features a cover shot which is a little work of art in itself [‘delicate – looks like Vermeer”].
This collection of a dozen new songs is contemplative and elegantly crafted. While many of the songs here are reflective – a meditation brought on by the passing of his father, a translation of a lost soldier’s letter home, New York In The Seventies which does what it says on tin, several songs of discreet departure -, the overall mood is of optimism and possibility: “Let’s get on the road and follow that golden star” is the ultimate response to the arrival of the urn containing his father’s ashes.
What slips by almost unnoticed on first hearing is the narrative power of most of the songs here: they certainly evoke a time; they clearly depict specific situations; but they also subtly tell a story – one reaches the end of a song, having, as it were, enjoyed the view, wondering how you got to where you now are. By the time you’ve figured what’s happening, you’re hit with The Last Of the Privateers – a full-on narrative ballad.
Allan Taylor has always had that felicitous skill of making you want to listen to his latest album – rather than it simply prompting a return to earlier work. Here, it is not just the quality of the writing and singing which draws you back to the CD, but also the spacious, acoustic settings: they are rooted in folk music and are richly textured – among the instruments one hears accordion, banjo, fiddle, cor anglais, bowed psaltery, fiddle, viola, a looping fretless bass and, of course, magnificent rolling acoustic guitars. It is, in short, an acoustic treat.
Speaking of the album’s folk influence, one must quote Allan’s note on the tradition-based Firefly: “Many of the finest songs I know are from the tradition and the British Isles and Ireland are graced with some of the most beautiful and powerful songs in the English language.” Some of the finest songs you’ll hear this year on this CD. To steal a line from The Almost Man, “he’ll smile and say, ‘You did it, Al’ ”.

SACD Info:
Allan Taylor – Leaving At Dawn

Label: Stockfisch Records
Catalog#: SFR 357.4057.2
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2009
Genre: Folk, Rock
Style: Singer/Songwriter

Tracklist:
1 – Winter 3:54
2 – The Almost Man 6:31
3 – Back Home To You 4:43
4 – Provence 3:46
5 – Firefly 6:07
6 – Lay Soft On Your Pillow 4:06
7 – New York In The Seventies 6:10
8 – The Last Of The Privateers 5:43
9 – Leaving At Dawn 4:19
10 – It Could Have Been 3:36
11 – Make Another Turn 5:08
12 – Red On Green 3:46

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3dNekkF9/AllanTaylorLeavingAtDawnFLAC.part1.rar
http://www.datafile.com/d/TVRFNU16Z3dNamMF9/AllanTaylorLeavingAtDawnFLAC.part2.rar
or
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http://rapidgator.net/file/e6ce541dec3c80a98d37b93a6f478e43/AllanTaylorLeavingAtDawnFLAC.part2.rar.html

Info+Art

http://www.datafile.com/d/TVRFNU16Z3dNelkF9/AllanTaylorLeavingAtDawnInfoArt.rar
or
http://rapidgator.net/file/af3c6df66f07d329900b31a1e5409c44/AllanTaylorLeavingAtDawnInfoArt.rar.html

America’s debut album is a folk-pop classic, a stellar collection of memorable songs that would prove influential on such acts as the Eagles and Dan Fogelberg. Crosby, Stills & Nash are the group’s obvious stylistic touchstone here, especially in the vocal harmonies used (compare the thick chordal singing of “Sandman” and “Children” to CS&N’s “You Don’t Have to Cry” and “Guinevere”) and the prominent use of active strummed acoustic guitar arrangements (contrast “Riverside” to CS&N’s “Suite: Judy Blue Eyes”). America’s intricate interplay of acoustic guitar textures is more ambitious than that of their influences, however. Performance quality is usually good, though on occasion sloppily executed or out of tune (especially on the openings to “Donkey Jaw” and “I Never Found the Time”). Lengthy instrumental introductions (“Donkey Jaw”), middle improvisatory interludes (“Here”), and closings (“Clarice”) are frequently encountered. Most of these selections boast highly unusual and inventive chord progressions that work well without drawing undue attention to themselves. Lyrics are sometimes trite (“I need you/Like the flower needs the rain”) or obscure (“He flies the sky/Like an eagle in the eye/Of a hurricane that’s abandoned”), but the music more than makes up for any verse problems; only the odd “Pigeon Song” seems an unsalvageable misstep. Sound quality here has a covered, intimate feel that lends a ghostly aura to this release. Chart hits from this album include the spectrally loping “A Horse with No Name,” the squarishly tuneful “I Need You,” and the nervously dour “Sandman.” Other highlights include the buoyantly charming “Three Roses,” the yearningly lovely “Rainy Day,” and the quietly ringing “Clarice.” In spite of its flaws, this platter is very highly recommended.

Tracklist:
01. Riverside
02. Sandman
03. Three Roses
04. Children
05. A Horse With No Name
06. Here
07. I Need You
08. Rainy Day
09. Never Found The Time
10. Clarice
11. Donkey Jaw
12. Pigeon Song

Mastered by Steve Hoffman at Stephen Marsh Mastering.

SACD-R

http://www.datafile.com/d/TVRFNU16Z3dPVFUF9/AmericaAmerica1971AudioFidelity2013SACDISO.part1.rar
http://www.datafile.com/d/TVRFNU16Z3dPVGMF9/AmericaAmerica1971AudioFidelity2013SACDISO.part2.rar
http://www.datafile.com/d/TVRFNU16Z3hNREEF9/AmericaAmerica1971AudioFidelity2013SACDISO.part3.rar
or
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http://rapidgator.net/file/270bf19b9ecda27596cbbe52049a0da6/AmericaAmerica1971AudioFidelity2013SACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3dPREkF9/AmericaAmerica1971AudioFidelity2013FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16Z3dPREUF9/AmericaAmerica1971AudioFidelity2013FLAC2488.2.part2.rar
or
http://rapidgator.net/file/ee5e66ec051a31ba2e43797893e6da78/AmericaAmerica1971AudioFidelity2013FLAC2488.2.part1.rar.html
http://rapidgator.net/file/cd09be0ba80742b3b7f781e39c7f64fc/AmericaAmerica1971AudioFidelity2013FLAC2488.2.part2.rar.html

Homecoming, America’s finest album, refines and focuses the folk-pop approach found on their debut release. The songs here are tighter and more forthright, with fewer extended solo instrumental sections than before. The sound quality is clear and bright; the colorful arrangements, while still acoustic guitar-based, feature more electric guitar and keyboards. The performance quality is more assured, among the most urgently committed the group would ever put on vinyl. Verses are still sometimes banal and clunky (“You can’t disregard your friends/But life gets so hard when you reach the end”) or cryptic (“Sorry, boy, but I’ve been hit by purple rain”), but a number of the song subjects here exhibit a yearning sense of wanderlust and love of the outdoors that proves to be highly evocative and compelling (particularly on “Moon Song,” “Ventura Highway,” “California Revisited,” and “Cornwall Blank”). Chordal progressions are sophisticated and contain many subtle surprises. A few new style wrinkles can be seen in the country-influenced “Don’t Cross the River,” the drivingly gutsy “California Revisited” (perhaps the hardest-rocking song the group would ever produce), and the hushed yet mildly funky “Head & Heart.” Chart hits from this release include “Ventura Highway,” “Only in Your Heart,” and “Don’t Cross the River,” but each song here has something to recommend it. This top-flight album is a very rewarding listen.

Tracklist:
01. Ventura Highway
02. To Each His Own
03. Don’t Cross the River
04. Moon Song
05. Only in Your Heart
06. Till the Sun Comes Up Again
07. Cornwall Blank
08. Head and Heart
09. California Revisited
10. Saturn Nights

5.1 Multichannel Mix & Master: Elliot Scheiner
5.1 Analog to High Definition DSD Digital Transfer: Gus Skinas
Stereo CD and SACD mastering: Steve Hoffman at Stephen Marsh Mastering

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3hNREkF9/AmericaHomecoming1972AudioFidelity2015FLACStereo2488.2.rar
or
http://rapidgator.net/file/4afffbabbf88e84ec85f35f2ca72fadc/AmericaHomecoming1972AudioFidelity2015FLACStereo2488.2.rar.html

Antonin Dvorak – Symphony No. 6 in D major, Op. 60; Vodnik op. 107 / The Water Goblin
Staatsphilharmonie Nürnberg / Marcus Bosch
SACD ISO (2.0/MCH): 2,93 GB | 24B/88,2kHz Stereo FLAC: 990 MB | Full Artwork: 100 MB
Label/Cat#: Coviello Classics # COV 31316 | Country/Year: Germany 2013 | 3% Recovery Info
Genre: Classical | Style: Romantic, Orchestral

Nach Brahms und Bruckner steht seit Anfang letzten Jahres der Böhme Antonin Dvorák auf der To- Do-Liste des Nürnberger Generalmusikdirektors Marcus Bosch. Alle neune sollen es sein. Mit der nun vorliegenden Einspielung der 6. Sinfonie hat er nach den Symphonien Nr. 3 und 7 in nicht einmal zwei Jahren das erste Drittel der Gesamteinspielung bereits im Kasten.

Auch hier basiert die Aufnahme auf einem Konzertmitschnitt. Im Mai dieses Jahres stand Dvoraks Sechste neben dessen programmatischer symphonischer Dichtung “Der Wassermann” auf dem Programm, Dvoraks erste späte Auseinandersetzung mit den musikalisch-assoziativen Bilderwelten, in denen Smetana, Liszt oder auch Strauss längst in traumwandlerischer Sicherheit beheimatet waren.

65 beglückende Minuten

Die gemeinsame Spurensuche von Marcus Bosch mit seiner Staatsphilharmonie Nürnberg nach dem böhmischen im Brahms’schen Gewand und nach dem böhmischen in Hain und Sage des Antonín Dvorák, nach den Zauberwelten zwischen Naturmystik und Ballade dauert knappe 65 beglückende Minuten. In diesen Minuten entfaltet sich ein Tableau zwischen elegant blühender Holzbläserwärme, schwelgerisch-sinnlicher Melodieführung in den Streichern, raffiniert-dezenten Dialogpassagen und rasant-überschwenglich bodenständigem Volkston. Das Scherzo im Furiant der 6. Symphonie bürstet Bosch scharf gegen den Strich, setzt die Gegenrhythmik des so typischen Zweier- und Dreierrhythmus genau dahin, woher sie stammt – auf den Tanzboden böhmischer Feste. Da packen Überschwang und Leidenschaft, Ausgelassenheit und überschäumende Freude kräftig zu und als Hörer fühlt man sich unmittelbar in ein Dorffest hineinkatapultiert.

(Bayerischer Rundfunk, Ursula Adamski-Störmer, 29.11.2013)

SACD Info:

Antonin Dvorak – Symphony No. 6 in D major, Op. 60; Vodnik op. 107 / The Water Goblin

Staatsphilharmonie Nürnberg / Marcus Bosch

Label: Coviello Classics
Catalog#: COV 31316
Format: Hybrid-SACD, Album, Multichannel, Stereo
Country: Germany
Released: 2013
Genre: Classical
Style: Romantic, Orchestral

Tracklist:

1 The Water Goblin, Op. 107, B. 195 19:40
2 Symphony No. 6 – I. Allegro non tanto 15:59
3 – II. Adagio 10:56
4 – III. Scherzo: Presto 7:47
5 – IV. Finale: Allegro con spirito 9:56

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3hNalUF9/AntoninDvorakSymphonyNo.6FLAC.part1.rar
http://www.datafile.com/d/TVRFNU16Z3hNVGMF9/AntoninDvorakSymphonyNo.6FLAC.part2.rar
or
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http://rapidgator.net/file/071cf4c880e805bf62e941f6863b2e5a/AntoninDvorakSymphonyNo.6FLAC.part2.rar.html

Info+Art

http://www.datafile.com/d/TVRFNU16Z3hNVGsF9/AntoninDvorakSymphonyNo.6InfoArt.rar
or
http://rapidgator.net/file/0fd729ccde5ea5099973c635db68d833/AntoninDvorakSymphonyNo.6InfoArt.rar.html

In his first American album, Antonio Carlos Jobim presents a dozen of his songs, each one destined to become a standard — an astounding batting average. Jobim, who claimed to have been out of practice at the time of the session, merely plays single notes on the piano with one hand, punctuated by chords now and then, sticking to his long, undulating melodies with a few passages of jazz improvisation now and then. Yet it is a lovely idea, not a gesture is wasted. Arranger Claus Ogerman unveils many of the trademarks that would define his Creed Taylor-produced albums with Jobim — the soaring, dying solo flute and spare, brooding unison string lines widening into lush harmony; flutes doubling on top of Jobim’s piano chords — again with an exquisitely spare touch. The songs include “Desafinado,” “Corcovado,” “Chega de Saudade” (No More Blues), “The Girl From Ipanema,” “Meditation,” “One Note Samba,” and half-a-dozen others (every one of which is included on The Man From Ipanema set).

Tracklist:
01. The Girl From Ipanema
02. O Morro
03. Agua De Beber
04. Dreamer
05. Fabela
06. Insensatez
07. Corcovado
08. One Note Samba
09. Meditation
10. Jazz Samba (So Danco Samba)
11. Chega De Saudade
12. Desafinado

SACD-R

http://www.datafile.com/d/TVRFNU16Z3hOREkF9/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011SHMSACDISO.part1.rar
http://www.datafile.com/d/TVRFNU16Z3hORGcF9/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011SHMSACDISO.part2.rar
http://www.datafile.com/d/TVRFNU16Z3hORFUF9/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011SHMSACDISO.part3.rar
or
http://rapidgator.net/file/4a35658abbcbaa2f0178362477bc7649/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011SHMSACDISO.part1.rar.html
http://rapidgator.net/file/cb675c3d071beb5aad6c7300eb40ac27/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011SHMSACDISO.part2.rar.html
http://rapidgator.net/file/85b28d45bb121d885361229fcbc8aa6a/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011SHMSACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRFNU16Z3hOREUF9/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16Z3hNemcF9/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011FLAC2488.2.part2.rar
or
http://rapidgator.net/file/b898190191a28c2599beb2b09480b862/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011FLAC2488.2.part1.rar.html
http://rapidgator.net/file/11878f57d0c5d88e251d42e7b78678ad/AntonioCarlosJobimTheComposerOfDesafinadoPlays1963Japan2011FLAC2488.2.part2.rar.html

It’s a given that Barbra Streisand loves being a movie star. But this collection of pop songs culled from 60+ years of Hollywood history displays a love and understanding of movie songcraft whose depth is surprising, even coming from the legendary diva.

The idea of Barbra Streisand making an album of movie songs is a no-brainer; as annotators Jay Landers and Richard Jay-Alexander point out, she has already recorded over 50 songs written for motion pictures on her 59 previous albums. In fact, the only real challenge may be a marketing one for Columbia Records, since potential customers simply may assume this is a compilation of some of her previous performances. It is not. Rather, it is a newly recorded collection of songs chosen and arranged in Streisand’s inimitable style. In keeping with the movie theme, she has thought big, using a 75-piece orchestra of the kind usually only found on a studio back-lot for a soundtrack. But all that firepower is used for support, not for its own sake. The key word here is “lush,” not lavish. Streisand’s immediately identifiable voice floats over the music, never challenged by it, so she is able to achieve her usual close-up, detailed performance, alternately intimate and expansive. At 61, she retains remarkable purity and range in her voice, though she is less interested in demanding effects. This is a smooth, conversational vocal album. Streisand’s song collection is characteristic of her. As usual, she isn’t much interested in the Great American Songbook of the interwar period. Only two songs, 1935’s “I’m in the Mood for Love” and 1936’s “Smile,” date from before her birth, with most songs coming from the ’50s and ’60s. And, as usual, the songs as written sometimes don’t satisfy her, so she has prevailed on the composers to change them. Johnny Mandel willingly wrote a new verse to her specifications for “Emily,” and Bob Telson did the same for the obscure “Calling You” from Bagdad Café. Streisand’s age is reflected in her choices, too. She frequently goes for lyrics about mature love such as “How Do You Keep the Music Playing?” and “The Second Time Around,” and she sounds more convincing singing them, giving the words more emphasis than she does, for instance, when she just tosses off the line “You’re life itself!” in “Wild Is the Wind.” As she herself notes, “You’re Gonna Hear from Me,” which closes the album, is reminiscent of the assertive songs she sang in her youth, such as “Don’t Rain on My Parade,” and that makes it all the more notable that she sings it in such a mellow way, as a fond memory rather than an upstart declaration. It makes a fitting closer. If The Movie Album is not the sort of revelation that Streisand’s 1985 masterpiece, The Broadway Album, was, it nevertheless gives the listener some superior new takes on standards the singer has not addressed previously and uncovers a gem or two that had been overlooked till now.

Tracklist:
01. Smile (from “Modern Times”)
02. Moon River (from “Breakfast At Tiffany’s”)
03. I’m In The Mood For Love (from “Every Night At Eight”)
04. Wild Is The Wind (from “Wild Is The Wind”)
05. Emily (from “The Americanization of Emily”)
06. More In Love With You (from “The Four Horsemen Of The Apocalypse”)
07. How Do You Keep The Music Playing? (from “Best Friends”)
08. But Beautiful (from “Road To Rio”)
09. Calling You (from “Bagdad Café”)
10. The Second Time Around (from “High Time”)
11. Goodbye For Now (from “Reds”)
12. You’re Gonna Hear From Me (from “Inside Daisy Clover”)

SACD-R

FLAC24-88.2

http://www.datafile.com/d/TVRFNU16Z3hOVEEF9/BarbraStreisandTheMovieAlbum2003FLACStereo2488.2.part1.rar
http://www.datafile.com/d/TVRFNU16Z3hOVFUF9/BarbraStreisandTheMovieAlbum2003FLACStereo2488.2.part2.rar
or
http://rapidgator.net/file/346f11f39bf765f81e70254d35c2f7ab/BarbraStreisandTheMovieAlbum2003FLACStereo2488.2.part1.rar.html
http://rapidgator.net/file/418bca3ea98373ce48e148e9bfd04720/BarbraStreisandTheMovieAlbum2003FLACStereo2488.2.part2.rar.html

Earth, Wind & Fire – That’s The Way Of The World (1975) [Qobuz 24-96]

Ella Fitzgerald – Ella Fitzgerald Sings The Irving Berlin Song Book (1958/2013) [HDTracks 24-192]

Ella Fitzgerald, Louis Armstrong – Ella And Louis Again (1957/2014) [HDTracks 24-192]

Elvis Presley – The Essential Elvis Presley (2007) [HDTracks 24-96]

Eric Reed – Groovewise (2014) [ProStudioMasters 24-48]

Ernst Reijseger – Feature (2014) [Qobuz 24-48]

Eumir Deodato – Happy Hour (1982/2011) [HDTracks 24-192]

FFS (Franz Ferdinand & Sparks) – FFS (2015) [Qobuz 24-96]

George Ezra – Wanted On Voyage {Deluxe Edition} (2014) [Qobuz 24-96]

Gordon Lightfoot – Sundown (1974/2015) [HDTracks 24-96]

Edvard Grieg – Piano Concerto & Lyric Pieces – Javier Perianes, BBC Symphony Orchestra, Sakari Oramo (2015) [eClassical 24-96]

Air Supply – The Definitive Collection (1999) [Reissue 2003] {SACD-R + FLAC 24-88.2}

Alice In Chains – Greatest Hits (2001) [2.0 & 5.1] {SACD-R + FLAC 24-88.2}

Allan Taylor – Leaving At Dawn (2009) [Hybrid-SACD] {SACD-R + FLAC 24-88.2}

America – America (1971) [Audio Fidelity 2013] {SACD-R + FLAC 24-88.2}

America – Homecoming (1972) [Audio Fidelity 2015] {SACD-R + FLAC 24-88.2}

Antonin Dvorak – Symphony No. 6; Vodnik op. 107 “The Water Goblin” (2013) [Hybrid-SACD] {SACD-R + FLAC 24-88.2}

Antonio Carlos Jobim – The Composer Of Desafinado Plays (1963) [Japanese Limited SHM-SACD 2011 # UCGU-9021] {SACD-R + FLAC 24-88.2}

Barbra Streisand – The Movie Album (2003) {SACD-R + FLAC 24-88.2}

Bill Withers – Live At Carnegie Hall (1973) [MFSL 2014] {SACD-R + FLAC 24-88.2 + DSF DSD64/2.82MHz}