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Brian Wilson - No Pier Pressure (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Brian Wilson
Title: No Pier Pressure
Genre: Rock
Label: © Capitol Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 51:02
Recorded: Early 2013–November 2014

Brian Wilson is one of popular music’s most deeply revered figures, a legendary writer, producer, arranger and performer of some of the most cherished music in pop music history. Indeed, it is no exaggeration to call Brian Wilson one of the most gifted and influential composers of the past 50 years. For the release of his 11th solo studio album, titled No Pier Pressure, Wilson has returned to Capitol Records, his original label home with The Beach Boys.
For the No Pier Pressure sessions, Brian Wilson reunited with longtime collaborator Joe Thomas, with whom he co-produced The Beach Boys’ No. 3 Billboard album That’s Why God Made The Radio for the iconic band’s 50th anniversary reunion in 2012. In addition, Wilson was joined at Hollywood’s Ocean Way Studios by talented musicians he personally invited to record with him, including his former Beach Boys bandmates Al Jardine, David Marks and Blondie Chaplin, as well as Kacey Musgraves, fun.’s Nate Ruess, She & Him’s Zooey Deschanel and M. Ward, Peter Hollens, Capital Cities’ Sebu Simonian, and trumpet master Mark Isham.
Wilson has also brought in session all-stars Don Was, Jim Keltner, Dean Parks, and Kenny Aronoff. Members of Wilson’s longtime touring band, including Scott Bennett, Paul Mertens, Darian Sahanaja, and Probyn Gregory also participated in the sessions, along with Matt Jardine, son of Al Jardine, and former bandmate Jeffrey Foskett.
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Boz Scaggs - A Fool to Care (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Boz Scaggs
Title: A Fool to Care
Genre: Blues, R&B, Modern Blues, American Trad Rock, Retro-Soul
Label: © 429 Records | The Savoy Label Group
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 52:17
Recorded: Blackbird Studio, Nashville


Another spellbinding album in a prolific career, this new collection of songs boasts Boz Scaggs' pioneering blend of rock, soul, jazz and R&B taken to new heights A Fool To Care is the follow-up to the critically acclaimed 2013 album Memphis, which Rolling Stone described as "sublime" and hit the #1 spot on the Billboard Blues Chart and the Top 20 on the Billboard 200.
A Fool To Care showcases the patchwork of influences and innovations that make up a Boz Scaggs album and sees the artist letting loose and having some fun. You can hear that sense of fun, as well as his ability and willingness to wander in any musical direction throughout these twelve tracks. The inspirational heart of the album lies in the sounds of Texas, Louisiana and Oklahoma that played such a vital role in shaping Scaggs' musical sensibility, but they venture forth boldly from there.
Scaggs brings a sly drawl to a funky workout like Li'l Millet and the Creoles' "Rich Woman" and an elegant delicacy to the Impressions' "I'm So Proud." He easily negotiates the Latin flavoring of "Last Tango on 16th Street" and "I Want to See You," both written by San Francisco bluesman (and longtime Scaggs compatriot) Jack Walroth. Horns, strings, soulful background vocalists and guests like guitarist Reggie Young and steel guitarist Paul Franklin lift the album into the stratosphere.
Produced by Steve Jordan (Stevie Nicks, Bob Dylan, John Mayer) and recorded over four days at Blackbird Studio in Nashville, A Fool To Care features two very special guests – Bonnie Raitt contributes slide guitar and sassy vocals on the original song "Hell To Pay" and Lucinda Williams trades vocal lines with Scaggs as a kind of prayer for deliverance on The Band's "Whispering Pines." The core band joining Boz on A Fool To Care is Willie Weeks (bass), Ray Parker Jr. (guitars), Jim Cox (keyboard) and Steve Jordan (drums).
Raised in Texas with an abiding respect for a wide spectrum of American roots music, William Royce "Boz" Scaggs began a long and storied career in 1965 with the release of his first solo recording Boz. After cutting his teeth playing with Steve Miller and honing his rock and R&B chops with the likes of the Muscle Shoals Rhythm Section and Duane Allman, Scaggs achieved multi-platinum success with Silk Degrees in 1976. He has continued on a lauded and multi-genre musical journey to the present day. With a trademark voice, a rich catalogue and many accolades, Scaggs continues to establish himself as one of music's most creative and original artists.
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Billie Holiday - A Recital By Billie Holiday (1956/2015) High-Fidelity FLAC 2.0 Mono 24bit/192kHz

Artist: Billie Holiday
Title: A Recital By Billie Holiday
Genre: Jazz, Classic Female Blues, Vocal Jazz, Torch Songs, Traditional Pop, Standards
Label: © The Verve Music Grop
Release Date: 1956/2015
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 37:06
Recorded: #1-3: Los Angeles, CA, April, 1952; #4-9: New York, July 27, 1952; #10-12: New York, April 14, 1954

This compilation, gathered from recordings of her New York sessions in 1954, is an excellent sampler of the skills and charms of Lady Day. While the disc may appear to be just another throw-together of Holiday hits, with nothing in particular to distinguish it from the others, the arrangements, the performances and the recordings themselves are all wonderful. Backed by tight, laid-back session musicians (Oscar Peterson plays piano on many of the tracks--check out his solo on "Lover, Come Back to Me"), Holiday here enjoys the last full flush of her talents before health and substance abuse problems claimed her voice in the late '50s.

In tracks like "He's Funny That Way" and "Softly," her raspy voice plays over melodies, caressing them, trailing off the end of phrases for emotional punctuation. Her tone is at once rich and wispy, managing simultaneously to convey vulnerability, despair, strength and sexuality. From the up-tempo swing of "Too Marvelous for Words" to the piano/vocal duo "I Thought About You, Recital is full of gems and a perfect album to put on at 3:00 in the morning.
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Ben Webster Quintet - Soulville (1957/2013) High-Fidelity DSF 2.0 Mono DSD64/2.82MHz

Artist: Ben Webster Quintet
Title: Soulville
Genre: Jazz, Mainstream Jazz, Saxophone Jazz
Label: © Verve Records | Analogue Productions
Release Date: 1957/2013
Quality: DSF 2.0 Mono DSD64/2.82MHz
Source: ISO SACD
Duration: 00:40:58
Recorded: October 15, 1957

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

Soulville is quintessential Ben Webster: intimate, tender, endlessly expressive. Webster was internationally recognized as one of jazz's elder statesman when he recorded this album in 1957, but the youthful fire that had marked his playing with the Duke Ellington Orchestra two decades earlier was undiminished. Leading a stellar combo through a program consisting mostly of vintage pop tunes, the great tenor saxophonist is at his peak. And this reissue includes three rare recordings of Webster on piano, the first instrument he played as a young professional musician.

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Ben Webster - The Soul Of Ben Webster (1960/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Ben Webster
Title: The Soul Of Ben Webster
Genre: Jazz, Mainstream Jazz, Saxophone Jazz
Label: © Verve Records | Analogue Productions
Release Date: 1960/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 00:44:59
Recorded: July, 1958, New York City

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
"I really think that the people who are willing to lay down their money for these reissues are going to get something really outstanding." — George Marino, Sterling Sound engineer, commenting on Analogue Productions' Verve 25-title reissue series.
A blowing session that matches the matchless jazz tenor sax master with fellow tenorist Harold Ashby in a program of loose originals.
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Bad Company - Straight Shooter (1975/2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Bad Company
Title: Straight Shooter
Genre: Rock, Blues-Rock, Hard Rock
Label: © Swan Song Records
Release Date: 1975/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 38:50
Recorded: Ronnie Lane's Mobile at Clearwell Castle, Gloucestershire, UK, September 1974.


Bad Company followed up their initial success with the 1975 release of the triple-platinum album Straight Shooter which contained the Top Ten smash ballad "Feel Like Makin' Love" which was Grammy nominated. Paul Rodgers stated, "I started writing ‘Feel Like Makin Love’ when I was 18 and felt it needed an extra something. When I played it for Mick he added the big guitar bada ba bada ba then I felt the song was finished.” Other tracks from the album, such as "Shooting Star" have long since become concert and radio staples.
Straight Shooter enjoyed international success, reaching number three on both the UK and US album charts. The ecstatic response to the album accelerated the group's momentum and their standing as one of the most popular concert attractions in the world.
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Bad Company - Bad Company (1974/2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Bad Company
Title: Bad Company
Genre: Rock, Blues-Rock, Hard Rock
Label: © Swan Song Records
Release Date: 1974/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 34:54
Recorded: Headley Grange, Hampshire, UK, November 1973.

Bad Company is the debut studio album by British hard rock supergroup Bad Company. The album was recorded at Headley Grange with Ronnie Lane's Mobile Studio in November 1973, and the first release of Led Zeppelin's Swan Song Records.
The album reached the top of the US Billboard 200. Since then, the album has been certified five times platinum by the RIAA, and became the 46th best selling album of the 1970s. The album spent 25 weeks in the UK Albums Chart, entering at No. 10 and reaching its highest position of No. 3 in the second week. Kerrang! magazine listed the album at No. 40 among the "100 Greatest Heavy Metal Albums of All Time".
The singles "Can't Get Enough" and "Movin' On" peaked at No. 5 and No. 19 on the Billboard Hot 100, respectively. "Rock Steady", "Bad Company" and "Ready for Love" (the last originally recorded by guitarist Mick Ralphs during his tenure with Mott the Hoople on All the Young Dudes) are also "classic rock" radio staples. In 2006 a limited edition CD of 24K gold was released. A previous remaster was released in 1994.
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Avi Avital - Vivaldi (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Antonio Vivaldi (1678-1741)
Artist: Avi Avital
Title: Vivaldi
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 51:24
Recorded: Treviso, Teatro delle Voci, 9–10/2014; Berlin, Meistersaal, 12/2014 (Trio Sonata)

Grammy-nominated classical mandolinist Avi Avital is an artist who relentlessly pushes at boundaries and defies expectations. From Bach to tangos, from Balkan improvisations to Dvořák string quartets, his concert programmes fearlessly and seamlessly transcend musical genres, while his disco graphy demonstrates a masterful versatility. With his current recording project, however, he brings the mandolin “home”, to the music of Antonio Vivaldi, the beloved Venetian composer whose Mandolin Concerto forms the cornerstone – “the Old Testament”, says Avital – of the instrument’s repertoire.
Yet a virtuoso interpretation of the four Vivaldi concertos here recorded – that for mandolin and its sibling for lute, together with two familiar violin concertos in Avital’s own transcriptions – is not enough. For Avital, as both soloist and musical director, recording a Vivaldi album is not an act of passive veneration, but an open-ended invitation to explore the man’s music and his world. On this journey of discovery there are no taboos: much as in Venice itself, the lines between historical practice and contemporary spirit are blurred, the exalted and the profane sit side by side. Avital is dogmatic only in the spirit of tireless experimentation – daring, risking and teasing startling new sounds out of these familiar pieces.
As the recording sessions unfold, it becomes clear that not only historically-informed performance practice, but also the spirit of rock music is at heart of Avital’s interpretative approach. The music-making is bold, personal and immediate. Avital often uses a dif- ferent plectrum or pick for each section of music. His sense of dynamic contrast pushes the limits of the recording engineers’ technical capacities. Tempos are not defined in strict intervals, but remain as dynamic as volume, subject to the ebb and flow of the melodic architecture. Intonation is precise, but tones are occasionally “bent”, as a jazz musician might, to add exotic spice to moments of emotional extreme. The accompanying lute, cello and harpsichord are given freedom to temperamentally punctuate the music’s structure.
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Art Taylor - Taylor's Wailers (1957/2014) High-Fidelity DSF 2.0 Mono DSD64/2.82MHz

Artist: Art Taylor
Title: Taylor's Wailers
Genre: Jazz, Bop, Hard Bop
Label: © Prestige Records | Analogue Productions
Release Date: 1957/2014
Quality: DSF 2.0 Mono DSD64/2.82MHz
Source: ISO SACD
Duration: 00:41:03
Recorded: February 25, 1957 (#1, 3-6), March 22, 1957 (#2) at Van Gelder Studio, Hackensack, New Jersey

In 1956 drummer Art Taylor formed a group called Taylor’s Wailers. Donald Byrd and Charlie Rouse were members of the working group that debuted at The Pad, a Greenwich Village nightclub on Sheridan Square booked by Bob Reisner, the man who had run the legendary Open Door Sessions. In 1957 Taylor recorded the Wailers for Prestige, adding the alto saxophone of Jackie McLean to the front line. Two of the highlights are the Thelonious Monk compositions, “Well, You Needn’t” and “Off Minor,” with arrangements by Thelonious himself. One track, “C.T.A.,” by Jimmy Heath, is from another session featuring John Coltrane backed by Red Garland, Paul Chambers, and Taylor, a potent Prestige studio combination in those days. There have been many distinguished drummer-leaders in jazz. One expects their groups to be rhythmically exciting. Taylor’s Wailers are no exception to this swinging heritage.
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Antonio Carlos Jobim - Wave (1967/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Antônio Carlos Jobim
Title: Wave
Genre: Jazz, Bossa Nova, Brazilian Jazz, Brazilian Traditions, World Fusion
Label: © A&M Records, CTI Records
Release Date: 1967/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: acousticsounds.com
Duration: 00:31:08
Recorded: May 22-24 and June 15, 1967 at the Van Gelder Studio, Englewood Cliffs


Expectations run high when a successful producer resigns his post to join a rival company. Things were no different in the case of Creed Taylor who left Verve for A&M, taking along the bossa guru Jobim. This liaison resulted in the album Wave, which Latin specialists regard as one of the most artistic ever, perhaps because Jobim rides the gentlest of waves in this particular recording. While the large instrumental ensemble might lead one to suspect that sensationalism was the aim here, listening to the music proves that Jobim has remained true to his clear melodies and his simple, sensitive style. A relaxed carpet of sound is rolled out which enhances and refines the essence of Jobim’s musical roots, turning them into miniature tone poems.
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