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Paul Simon - There Goes Rhymin' Simon (1973/2010) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Paul Simon
Title: There Goes Rhymin' Simon
Genre: Folk Rock, Soft Rock, Pop Rock
Label: © Columbia Records
Release Date: 1973/2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 00:50:08
Recorded: Columbia Studios, New York City; Malaco Recording Studios, Jackson, Mississippi; Muscle Shoals Sound Studio, Sheffield, Alabama; Morgan Studios, London, September 1972 – January 1973

"Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On 'Love Me Like a Rock' and 'Tenderness' (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on 'Take Me to the Mardi Gras,' Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of 'Love Me Like a Rock' to the Dixieland of 'Mardi Gras.' Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: 'American Tune' was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice." — AllMusic
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Paul Simon - The Rhythm Of The Saints (1990/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Paul Simon
Title: The Rhythm Of The Saints
Genre: Pop Rock, Folk Rock, Singer/Songwriter, Worldbeat, Fusion
Label: © Legacy Recordings
Release Date: 1990/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 01:01:57
Recorded: December 1989 – June 1990

Though he recorded the album's prominent percussion tracks in Brazil, Paul Simon fashioned The Rhythm of the Saints as a deliberate follow-up to the artistic breakthrough and commercial comeback that was the South Africa-tinged Graceland. Several of the musicians who had appeared previously were back, along with some of the New York session players who had worked with Simon in the 1970s, and the overall sound was familiar to fans of Graceland. Further, Simon's nonlinear lyrical approach was carried over: he continued to ruminate about love, aging, and the onslaught of modern life in disconnected phrases and images that created impressions rather than telling straightforward stories. But where Graceland had seamlessly merged its styles into an exuberant whole, The Rhythm of the Saints was less well digested. Those drum tracks never seemed integrated effectively into what had been dubbed over them; at the same time, they tended to lock the songs into musical patterns that reined them in from the kind of excitement the South African music on Graceland generated, making the melodies harder to grasp. At the same time, Simon sang his lyrics in a less involved way, which sometimes made them seem like collections of random lines rather than the series of striking observations Graceland seemed to contain. No Paul Simon album could be lacking in craft or quality, and The Rhythm of the Saints was a typically tasteful effort. But this time around, Simon hadn't quite succeeded in bringing the wide-ranging elements together; the album sold about half as many copies as Graceland (that is to say, a none-too-shabby two million), and that's about right -- where Graceland was an exotic adventure, The Rhythm of the Saints was more of an anthropology lesson. --William Ruhlmann
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Paul Simon - Still Crazy After All These Years (1975/2010) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Paul Simon
Title: Still Crazy After All These Years
Genre: Folk Rock, Soft Rock, Pop Rock
Label: © Columbia Records
Release Date: 1975/2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 00:45:18
Recorded: 1975

The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks ("My Little Town" and "Still Crazy After All These Years") with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another ("Gone at Last") returned to the gospel style of earlier songs like "Loves Me Like a Rock." Of course, "My Little Town" also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on "50 Ways to Leave Your Lover," which became the biggest solo hit of Simon's career. But elsewhere, as on "Have a Good Time," the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance.
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Paul Simon - Paul Simon (1972/2010) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Paul Simon
Title: Paul Simon
Genre: Folk Rock, Soft Rock, Pop Rock
Label: © Columbia Records
Release Date: 197/2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 00:43:12
Recorded: January to March 1971

If any musical justification were needed for the breakup of Simon & Garfunkel, it could be found on this striking collection, Paul Simon's post-split debut, writes AllMusic.com. "From the opening cut, 'Mother and Child Reunion' (a Top 10 hit), Simon, who had snuck several subtle musical explorations into the generally conservative S&G sound, broke free, heralding the rise of reggae with an exuberant track recorded in Jamaica for a song about death. From there, it was off to Paris for a track in South American style and a rambling story of a fisherman's son, 'Duncan' (which made the singles chart). But most of the album had a low-key feel, with Simon on acoustic guitar backed by only a few trusted associates (among them Joe Osborn, Larry Knechtel, David Spinozza, Mike Manieri, Ron Carter, and Hal Blaine, along with such guests as Stefan Grossman, Airto Moreira, and Stephane Grappelli), singing a group of informal, intimate, funny, and closely observed songs (among them the lively Top 40 hit 'Me and Julio Down by the Schoolyard'). It was miles removed from the big, stately ballad style of Bridge Over Troubled Water and signaled that Simon was a versatile songwriter as well as an expressive singer with a much broader range of musical interests than he had previously demonstrated."
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Paul Simon - One-Trick Pony (1980/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Paul Simon
Title: One-Trick Pony
Genre: Pop Rock, Folk Rock, Singer/Songwriter
Label: © Legacy Recordings
Release Date: 1980/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 00:43:24
Recorded: 1979–1980

Though it was released to coincide with the opening of the film One-Trick Pony, which Paul Simon wrote and starred in, the One-Trick Pony album is not a soundtrack, as it is sometimes categorized, at least, not exactly. If it were, it might contain the Paul Simon song "Soft Parachutes" and other non-Simon music featured in the movie. Instead, this is a studio album containing many of the movie songs, some of them in the same performances (two were cut live at the Agora Club in Cleveland). The record is not billed as a soundtrack, but a sleeve note reads, "The music on this Compact Disc was created for the Paul Simon Movie 'One-Trick Pony.'" Anyway, if Simon was in fact writing songs for Jonah, his movie character (as seems true of songs like "Jonah," "God Bless the Absentee," and "Long, Long Day"), he intended that character to take a somewhat less considered lyrical viewpoint than Paul Simon generally does, but to be even more enamored of light jazz fusion than Paul Simon had been on his last album, Still Crazy After All These Years. Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing. But it is also his most uneven album, simply because the songwriting, with the exception of the title song and the ballads "How the Heart Approaches What It Yearns" and "Nobody," is not up to his usual standard. Maybe he was too busy writing his screenplay to polish these songs to the usual gloss. (It can't have been than Jonah wasn't supposed to be as talented as Paul Simon. Could it?) In any case, though the album spawned a Top Ten hit in "Late in the Evening" and may have sold more copies than the film did tickets, it remained a disappointment in both artistic and commercial terms. --William Ruhlmann
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Paul Simon - Hearts And Bones (1985/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Paul Simon
Title:
Genre: Pop Rock, Folk Rock, Singer/Songwriter
Label: © Legacy Recordings
Release Date: 1985/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 00:54:28

Hearts and Bones was a commercial disaster, the lowest-charting new studio album of Paul Simon's career. It is also his most personal collection of songs, one of his most ambitious, and one of his best. It retains a personal vision, one largely devoted to the challenges of middle-aged life, among them a renewed commitment to love; the title song was a notable testament to new romance, while "Train in the Distance" reflected on romantic discord. Elsewhere, "The Late Great Johnny Ace" was his meditation on John Lennon's murder and how it related to the mythology of pop music. Musically, Simon moved forward and backward simultaneously, taking off from the jazz fusion style of his last two albums into his old loves of doo wop and rock & roll while also incorporating current sounds with such new collaborators as dance music producer Nile Rodgers and minimalist composer Philip Glass. The result was Simon's most impressive collection in a decade and the most underrated album in his catalog. --William Ruhlmann
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The B-52's - The Complete Studio Album Collection 1979-1992 (2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The B-52's
Title: The Complete Studio Album Collection 1979-1992
Genre: New Wave, Dance Rock, Alternative Rock, Post-Punk
Label: © Warner Bros. Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 04:47:34
Recorded: 1978-1992

And thirty five years and over twenty million albums into their career, there can be no doubt as to why they remain one of rock music’s most beloved and enduring bands. Any mystery concerning the band’s longevity and ongoing appeal is immediately solved when exposed to a B-52s concert experience. From groundbreaking songs like “Rock Lobster,” “Dance This Mess Around” and “Private Idaho“ to chart-topping hits like “Love Shack” and “Roam” and “Deadbeat Club”, the B-52s’ unforgettable dance-rock tunes start a party every time their music begins.
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Tom McClung - Burning Bright (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Tom McClung
Title: Burning Bright
Genre: Jazz, Post Bop, Piano Jazz
Label: © Archieball
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:04:01
Recorded: 2014

Tom McClung's piano style displays a broad spectrum of musical and emotional colors. Whether playing blistering bebop, sizzling salsa, down-home blues, pastoral folk or avant-garde, McClung’s expressive touch and vivid imagination present a unique and exciting musical experience for all who listen.
Born in New York in 1957 and later moving to western Massachusetts, McClung quickly established himself as an important force in the New England music scene. His sensitivity and musicianship kept him in-demand as a sideman for a wide variety of bands, as well as accompanist for the region’s leading vocalists. Visiting artists such as Bobby McFerrin, Aaron Neville, James Cotton and Bo Diddley would call on McClung when they were in town. As word of McClung’s talent started to spread, musical luminaries such as Marion Brown, Yusef Lateef, and Archie Shepp began to take notice and employed him for concerts, tours and recordings. Soon he was on the international stage, playing festivals and concerts in Europe, Australia, South America, and throughout the United States.
Now resident in Paris, McClung presents his new album on fellow ex-pat Archie Shepp's label, Archieball.
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Georg Philipp Telemann - Trios & Quatuors - La Reveuse, Benjamin Perrot, Florence Boltona (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georg Philipp Telemann (1681-1767)
Artist: La Rêveuse, Benjamin Perrot, Florence Bolton
Title: Telemann: Trios & Quatuors
Genre: Classical
Label: © Mirare | Harmonia Mundi Label Group
Item Number: MIR 267
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Release Date: 2014
Duration: 01:01:18
Recorded: made at the Church of Sancerre 18 September 2013

A major figure of 18th century musical Europe, Telemann enjoyed in his time a bigger reputation even than Bach. This great master of instrumental music, open to French and Italian influences and to the new galant style that flourished in Germany, succeeded with considerable panache, especially in his chamber music, in creating a synthesis of European styles at the crossroads between Baroque and Classicism.

Early Music Review: “This has got to be one of my recommendations of the month – flawless playing from all concerned…both in the suavity of sound, the perfect balance and neat interplay between the voices, and the keen sense of drama they bring to Telemann’s outstanding chamber music.”
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Piotr Ilyich Tchaikovsky - Piano Concertos Nos. 1 & 2 - Denis Matsuev, Mariinsky Orchestra, Valery Gergiev (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840–1893)
Artist: Denis Matsuev, Mariinsky Orchestra, Valery Gergiev
Title: Tchaikovsky - Piano Concertos Nos. 1 & 2
Genre: Classical
Label: © Mariinsky
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:18:30
Recorded: #1-3 recorded 14 & 15 April 2013, #4-6 recorded 5 & 6 March 2013, Concert Hall of The Mariinsky Theatre, St Petersburg, Russia

Since winning the 11th International Tchaikovsky Competition in 1998, Denis Matsuev has established a reputation as one of Russia's leading pianists. His début release on the Mariinsky label featuring Rachmaninov’s Piano Concerto No 3 and Paganini Variations, received widespread acclaim. His second Mariinsky release featured piano concerts by Shostakovich and Shchedrin, which was awarded Clef du Mois by ResMusica and ***** by Audiophile Audition. For his third release, Matsuev turns to the music of Tchaikovsky, with the two Piano Concertos. His first Piano Concerto is one of his most popular works: Tchaikovsky balances core motivic elements with a sense of lyrical spontaneity to create a technically challenging but instantly appealing work.
The Piano Concerto No.2 was dedicated to pianist Nikolai Rubinstein, with whom the composer had a close working relationship. Tchaikovsky wrote, “I want to dedicate it to N. G. Rubinstein in recognition of his magnificent playing of my First Concerto and of my Sonata, which left me in utter rapture after he performed it for me in Moscow.” After a tremendous piano cadenza in the first movement, Tchaikovsky allows other instruments to shine, with prominent solos for violin and cello in the second movement.
Other Tchaikovsky recordings on the Mariinsky label include a DVD/Bluray release of his last three symphonies, and 2011 Tchaikovsky Competition winner Daniil Trifonov’s interpretation of the first Piano Concerto on SACD.
In March and April Denis Matsuev joins the London Symphony Orchestra and Valery Gergiev for a European tour, with concerts in London, Paris and Turin.
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