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Miley Cyrus - Bangerz Tour (2014) Blu-ray 1080i AVC LPCM 5.1

Title: Miley Cyrus: Bangerz Tour
Released: 2014
Genre: Pop

Issued: United States | RCA
Duration: 1:24:18
Size: 20.64 GB

Miley Cyrus, took the world by storm as she brought her Bangerz Tour to fans across the world. The highly anticipated Blu-ray features show stopping performances from tour stops in Barcelona and Lisbon, along with behind-the-scenes look into the tour and her personal life. Miley gives larger than life performances of SMS (Bangerz) , 4×4, Love Money Party, FU and Get It Right. Bangerz Tour also includes countrified covers of Hey Ya! by Outkast and Jolene by Dolly Parton, as well as, party anthems We Can’t Stop and Party in the USA.
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Devo - Hardcore Devo Live! (2015) Blu-ray 1080p AVC LPCM 2.0

Title: Devo – Hardcore Devo Live!
Release Date: 2015
Genre: Rock, Punk, New Wave, Post-Punk, Synth-Pop
Director: Keirda Bahruth
Artist: Gerald Casale – bass guitar, vocals, bass synthesizer; Mark Mothersbaugh – synthesizers, vocals, guitar; Bob Mothersbaugh – guitar, vocals; Josh Freese – drums; Alex Casale – bass guitar; Brian Applegate – keyboards, bass

Production/Label: MVD Visual
Duration: 01:24:41 + 01:23:22
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: AC-3, PCM
Video: MPEG-4 AVC 18097 kbps / 1920*1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio#1: English LPCM 2.0 / 48 kHz / 1536 kbps / 16-bit
Audio#2: English Dolby Digital 2.0 / 48 kHz / 640 kbps

Devo, captured live in Oakland, performing early experimental tracks written between 1974 and 1977, prior to any label deal or public success. No matter how messy, beginnings are exciting. Especially when what happens next endures the test of time. For Devo, the beginning happened in the basements and garages of Akron, Ohio. The songs they wrote were raw and unfiltered with no commercial intent. They called it Hardcore Devo. Performing 21 oddities, this is a tribute to departed, original Devo bandmate, Robert “Bob 2″ Casale. Filmed live on June 28, 2014 at the Fox Theater in Oakland, California.
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Carla Bruni - A l’Olympia (2014) Blu-ray 1080p AVC DTS-HD 5.1

Name: Carla Bruni: A l’Olympia
Released: 2014
Genre: Chanson

Issued: France | Universal Music
Duration: 1:17:04
Size: 22.04 GB

Carla Bruni sort son premier album live avec un tour de chant qui balaie tous ses titres majeurs. De “Quelqu’un m’a dit” à “L’amoureuse” en passant par “Chez Keith et Anita”… mais aussi “All The Best”, un duo inédit avec Marianne Faithfull.
Carla Bruni, nouvel album live “A l’Olympia” – Sortie le 20 octobre 2014.
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Gil Shaham - 1930s Violin Concertos, Vol 1 (2014) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Various
Artist: Gil Shaham
Title: 1930s Violin Concertos, Vol 1
Genre: Classical
Label: © Canary Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 02:05:31

The 1930s was an incredibly rich decade for the violin concerto, thriving on what was the uncertainty of the age. Over 30 violin concertos materialized across the decade with well over a dozen, from Stravinskyand Berg’s through to Barber’s and Britten’s concertos all commanding iconic status within the violinist’s repertory.
Gil Shaham is the leading violinist of his generation. He was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012, Gil was named “Instrumentalist of the Year” by Musical America, citing his “special kind of humanism”. Combine this “humanism” with a flawless technique and his generosity of spirit, and the musical results are nothing short of inspired.
Gil’s recording of the Barber Violin Concerto displays his trademark rich soulfulness as well as the sounds of urban America when called for, skyscrapers, sirens, clearly manifest themselves in the last movement. The weeping, if not lamenting, solo violin in the Berg concerto, harmonized with very poignant 12-tone chords, reveals emotionally charged heart on sleeve mourning in this recording. For Hartmann’s Concerto funebre Gil is reunited with acclaimed Sejong Soloists, with whom he has recorded Mendelssohn’s octet and Haydn concerti (CC08), the New York Times observing from a concert performance of the Hartmann that Shaham “perfectly characterised the work’s anguished and occasionally angry spirit”.
Stravinsky’s Violin Concerto is a concerto with which Gil and conductor David Robertson have performed together countless times. The result is an interpretation which is luminous, light and dancing, The Times noting from this performance that “Shaham’s interpretation was exceptionally spirited and fresh, always at one with the incisive accompaniment from Robertson’s orchestra.” Benjamin Britten’s concerto is arguably the most challenging to play on this collection and is arguably the most sobering work here, and shows another side of Shaham’s musical personality; a work with a martial-like drama, and for the most part a forceful bordering on violent execution of the work unfolds, interspersed, where called for, an ethereal sound world bordering on the surreal; the tonal ambiguity at the end of the third movement positively haunting. In concert the Chicago Classical Review notes, “This is music that fits Gil Shaham like a well-tailored glove.”
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Freddie Hubbard - Blue Spirits (1965/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: Blue Spirits
Genre: Jazz, Hard Bop, Post Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1965 (BLP 4196/BST 84196)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:44:44
Recorded: February 19, (#1,4) and February 26, (#2,3,5), 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

One of the acknowledged giants of jazz trumpet, Freddie Hubbard recorded many albums for Blue Note in the 1960s including the 1965 hard bop gem, Blue Spirits, which found him in three different ensembles - an octet with congas and a euphonium, a septet with McCoy Tyner (piano), and a sextet with Herbie Hancock (piano, celeste) and Elvin Jones (drums) - and served as his last studio effort for the label. Also featured intermittently are Joe Henderson (tenor saxophone), Hank Mobley (tenor saxophone), Reggie Workman (bass) and Pete La Roca (drums) among others. The set is comprised of five diverse Hubbard originals including the Latin tinged "Soul Surge" and "Cunga Black" and the brooding numbers "Blue Spirits" and "Jodo."
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Fleet Foxes - Fleet Foxes (2008/2013) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Fleet Foxes
Title: Fleet Foxes
Genre: Rock, Folk Rock, Alternative, Indie Rock, Baroque Pop
Label: © Sub Pop Records
Release Date: 2008/2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 39:20
Recorded: Summer and Autumn 2007

Borrowing from ageless folk and classic rock (and nicking some of the best bits from prog and soft rock along the way), on their self-titled debut album Fleet Foxes don't just master the art of taking familiar influences and making them sound fresh again, they give a striking sense of who they are and what their world is like. Their song titles reference the Blue Ridge Mountains -- never mind that they're actually from Seattle -- but it's the ease and skill with which they mix and match British and American folk and rock from the far and not too distant past that makes the band's music so refreshing. While this mix could be contrived or indulgent, Fleet Foxes use restraint, structuring their flourishes into three- and four-minute pop songs full of chiming melodies and harmonies that sound like they've been summoned from centuries of traditional songs and are full of vivid, universal imagery: mountains, birds, family, death. Despite drawing from so many sources, there's a striking purity to Fleet Foxes' sound. Robin Pecknold's voice is warm and sweet, with just enough grit to make phrases like "premonition of my death" sound genuine, and the band's harmonies sound natural, and stunning, whether they're on their own or supported by acoustic guitars or the full, plugged-in band. "Tiger Mountain Peasant Song" and "Meadowlarks" show just how much the Foxes do with the simplest elements of their music, but Fleet Foxes' best songs marry that purity with twists that open their sound much wider. As good as the Sun Giant EP was, Fleet Foxes saved many of their best songs for this album. "White Winter Hymnal" is remarkably beautiful, building from a vocal round into glorious jangle pop with big, booming drums that lend a sense of adventure as the spine-tingling melody lightens some of the lyrics' darkness ("Michael you would fall and turn the white snow red as strawberries in summertime"). The suite-like "Ragged Wood" moves from a galloping beat to sparkling acoustic picking, then takes a trippy detour before returning to a more thoughtful version of its main theme. "Quiet Houses" and "He Doesn't Know Why"'s driving pianos show off the band's flair for drama. Dazzling songs like these are surrounded by a few songs that find the band leaning a little more heavily on its influences. "Your Protector" nods to Zeppelin's misty, mournful side, and "Blue Ridge Mountains" is the kind of earthy yet sophisticated song CSNY would have been proud to call their own. But, even when the songs aren't as brilliant as Fleet Foxes' highlights, the band still sounds alluring, as on the lush interlude "Heard Them Stirring." Throughout the album, the band sounds wise beyond its years, so it's not really that surprising that Fleet Foxes is such a satisfying, self-assured debut. --Heather Phares
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Elvis Presley - His Hand in Mine (1960/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Elvis Presley
Title: His Hand in Mine
Genre: Gospel, Rock & Roll, Rockabilly
Label: © RCA Records
Release Date: 1960/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 28:12
Recorded: October 30 and 31, 1960, at RCA Studio B in Nashville, Tennessee.

From rock & roll firebrand to pop crooner to gospel believer, Elvis' career went in many directions that his earliest critics could hardly have believed. Was it heresy or conversion or commercialism that had caused Elvis the Pelvis to record a gospel EP in 1957, and then a full LP in 1960, just months after he returned from his Army stint? The answer was, of course, none of the above. What the critics didn't understand was that Elvis wasn't just a cultural phenomenon but a cultural chameleon, a vocalist who took in a range of influences -- from Big Mama Thornton to Dean Martin to the Statesmen -- without ever considering the possibility of a contradiction. The same teenager who couldn't stop listening to black R&B was also in attendance at each one of the monthly gospel singing meetings held in Memphis during the early '50s -- and the teenage Presley was well-known to Jake Hess and the Statesmen for his exuberance and innumerable questions about the technical side of gospel quartet singing. Several years after his first rock success, during a single late-night-and-early-morning session in October, 1960, Presley recorded the material for his first full gospel LP, His Hand in Mine. Combining the spiritual force and the physical release he'd experienced from the best gospel singing, Elvis revealed himself as an all-time-great gospel singer, someone who had energy to spare (hardly a surprise) but also immense reserves of control and precision (a rarer commodity among rock & roll singers). Most of the songs were standards from the Statesmen, Blackwood Brothers, and other classic quartets Elvis loved, and represent some of the best ballad singing of his career -- after all, it was recorded at the peak of his balladic powers, a time when "It's Now or Never" and "Fame and Fortune" had not yet given way to "Can't Help Falling in Love." He's fantastic serving as the lead voice in a group vocal -- years of advice from the best had paid off -- and he shows off his excellent high-tenor singing in a range of situations (tender on "Known Only to Him," playful on "I Believe in the Man in the Sky"). His Hand in Mine isn't just one of Elvis' best LPs, it's one of the best (and best-recorded) gospel sessions of all time. --John Bush
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Elvin Jones - The Ultimate (1968/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Elvin Jones
Title: The Ultimate
Genre: Jazz, Hard Bop, Post Bop
Label: © Blue Note Records
Release Date: 1968 (BST 84305)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:36:38
Recorded: September 6, 1968 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Within a few years of leaving the John Coltrane Quartet, Elvin Jones became a very important bandleader. Due to his consistent brilliance and mastery of polyrhythms, the drummer always inspired his sidemen, bringing out a raw intensity in their playing that was not often heard in other settings.
Produced by Duke Pearson, this 1968 date for Blue Note finds the master drummer in a pianoless trio with Joe Farrell (tenor & soprano saxophone, flute) and Jimmy Garrison (bass) performing a well balanced 6-track set comprised of three Garrison originals ("What Is This?," "Ascendant," "Sometimes Joie"), one from Farrell ("In the Truth") and a pair of standards ("Yesterdays," "We'll Be Together Again").
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Elvin Jones - Merry-Go-Round (1972/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Elvin Jones
Title: Merry-Go-Round
Genre: Jazz, Hard Bop, Post Bop, Modal Music
Label: © Blue Note Records
Release Date: 1972 (BST 84414)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:32:05
Recorded: February 12 (#1) and December 16 (#2-8), 1971 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Inexcusably, there are no date or personnel listings on this LP from Blue Note's declining years, but the music is generally quite worthwhile, if a bit eclectic. The personnel changes throughout the session, despite all the performances being apparently recorded on the same day. The great drummer Elvin Jones is joined by the reeds of David Liebman, Steve Grossman and Joe Farrell; baritonist Pepper Adams is also on two numbers, keyboardists Chick Corea and Jan Hammer generally alternate (although they both appear on a few tunes together), guitarist Yoshiaki Masuo has guest appearances on two songs, and most selections include bassist Gene Perla and percussionist Don Alias. The group mostly plays concise versions of band originals, including Corea's classic "La Fiesta." An interesting set, but Elvin Jones has recorded many more rewarding albums. --Scott Yanow
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