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Status Quo - Aquostic! Live at the Roundhouse (2015) Blu-ray 1080i AVC DTS-HD MA 5.1

Title: Status Quo – Aquostic! Live at the Roundhouse
Released: 2015
Genre: Rock
Artist: Francis Rossi – guitar, vocals; Rick Parfitt – guitar, vocals; Andy Bown – keyboards, guitar, vocals; John “Rhino” Edwards – bass, vocals; Leon Cave – drums

Released: earMUSIC
Duration: 1:26:47
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: DTS, PCM
Video: MPEG-4 AVC 19995 kbps 1920 * 1080i / 29,970 fps / 16: 9 / High Profile 4.1
Audio # 1: DTS-HD MA 5.1 / 48 kHz / 4592 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Size: 19.44 GB

This landmark release, recorded in October 2014 in a joint effort by earMUSIC and the BBC, captures the band’s first ever live acoustic performance at the glorious Roundhouse in London. This sensational recording features the new pared-back side of Quo, as revealed on the hit 2014 album ‘Aquostic! (Stripped Bare)’. This album soared to number 5 in the charts, giving the band their highest placing for 18 years, and has now been certified Gold. It was in fact the best-selling independent label album of 2014!
BBC Radio 2 broadcast this special ‘Aquostic’ performance live, and the footage was made available on the night on ‘red button’ and was the BBC’s highest-rated programme with over a million views in just five days. Now, with the release of ‘Aquostic! Live At The Roundhouse’, it is available for Quo fans to own. 2015 sees Francis Rossi, Rick Parfitt, Andrew Bown, John ‘Rhino’ Edwards and Leon Cave building on the incredible momentum that ‘Aquostic’ has generated. Classic Rock said of this show, “It was triumphant”, adding, “It works. Brilliantly. Quo acoustic? It’s no gimmick”. The DVD and Blu-ray formats will feature bonus behind the scenes material.
As well as working towards the release of this superb live album, the band will also undertake a truly special 6 date “Aquostic Live 2015” UK tour in April. After 50 years at the top of their game as one of the world’s premiere hard rock acts, Quo have leapt out of their comfort zone, this re-working of their legendary songbook is fully acoustic and features female backing vocalists, additional musicians and even a string section; a totally new Quo live experience!
The Times said, “It’s time to… reclaim them as one of Britain’s great bands.” The Sun said that the new Quo style, “Helps confirm their national treasure status”. ‘Aquostic! Live At The Roundhouse’ is packed with hits, both new and old, taken from that unbelievable back catalogue and comprehensively reworked in a faultless live show.
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Sharon Isbin - Troubadour: Documetary & Performances (2015) Blu-ray 1080i AVC PCM 2.0

Title: Sharon Isbin – Troubadour: Documetary & Performances
Release Date: 2015
Genre: Documetary, Guitar Virtuoso
Artist: Sharon Isbin, Joan Baez, Martina Navratilova, First Lady Michelle Obama, Garrison Keillor and David Hyde Pierce; Steve Vai, Janis Ian and Leslie Gore; Tan Dun, John Corigliano, Christopher Rouse and Joan Tower; Stanley Jordan and Paul Winter; Mark O’Connor; and many others.

Production/Label: Video Artists International
Duration: 01:20:28
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: PCM
Video: MPEG-4 AVC 31000 kbps / 1920*1080i / 29.970 fps / 16:9 / High Profile 4.1
Audio: LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Size: 22 GB

As seen on Public Television! The two-time GRAMMY Award winner Sharon Isbin is a trailblazing performer and teacher who broke through numerous barriers to rise to the top of a traditionally male-dominated field. The film Sharon Isbin: Troubadour, produced by Susan Dangel, explores her unique and inspiring journey which has expanded and transformed the landscape of the guitar. Performances are showcased from international concert stages, the GRAMMY Awards, and the White House. The colorful array of guests appearing in the film in interviews and performances includes John Corigliano, Christopher Rouse, Tan Dun, Joan Tower, Steve Vai, Stanley Jordan, and Mark O’Connor, as well as commentary from such celebrated figures as First Lady Michelle Obama, Joan Baez, Martina Navratilova, David Hyde Pierce, and Garrison Keillor. The film also explores Isbin s role as teacher of a new generation of guitarists at both The Juilliard School, where she created the first guitar department, and the Aspen Music Festival. “A wonderful piece that artfully shares this artist s passion for musical creation and exploration…. Fantastic… Wonderful to watch.” Guitar World.

The colorful array of guests appearing in the film in interviews and performances include John Corigliano, Christopher Rouse, Tan Dun, Joan Tower, Steve Vai, and Stanley Jordan, as well as commentary from such celebrated figures as First Lady Michelle Obama, Joan Baez, Martina Navratilova, David Hyde Pierce, and Garrison Keillor.

In addition to the documentary, the disc includes performances of works by Howard Shore, Mark O Connor (in performance with Isbin), Augustín Barrios Mangoré, Antonio Lauro, and Isaac Albéniz, and including duets with Romero Lubambo.
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Antonin Dvorak - Tone Poems - Berliner Philharmoniker, Simon Rattle (2005/2014) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Antonín Dvořák (1841–1904)
Artist: Berliner Philharmoniker, Sir Simon Rattle
Title: Dvořák - Tone Poems
Genre: Classical
Label: © Warner Classics
Release Date: 2005/2014
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: HDTracks
Duration: 01:24:00
Recorded: Philharmonie, Berlin, 4–7 March, 23–25 April 2004

Review by: David Hurwitz "" 9\9
Simon Rattle and the Berlin Philharmonic have not made a finer recording than this excellent two-fer containing Dvorák’s four late tone poems based on grisly Czech folk legends. And what a pleasure it is to see these hugely entertaining works being taken up by the big names on the major labels! The music itself operates within parameters comfortable to the orchestra (as opposed to, say, Mahler or Messiaen), which sounds confidently at home here. The color-filled narrative structures also give Rattle a platform on which to leave his interpretive mark without, as is so often the case, seeming to impose his ideas gratuitously on the music just to prove that he has them. The only reservation worth mentioning is his failure to solve the cymbal problem in The Water Goblin (suspended or plates–Dvorák’s intentions are slightly unclear and everyone plays it differently). This matters for reasons of rhythm as much as sheer timbre. Rattle opts for suspended cymbals throughout (clearly wrong), ensuring that they remain mostly inaudible in all of the louder passages. Kubelik (DG) and Harnoncourt (Teldec) both offer better examples of how it should be done, with the former offering the ideal solution both in terms of sonic effectiveness and the indications in the score.
Elsewhere, however, even in this same work, Rattle seizes the moment. The variations representing the conversation between mother and daughter are wonderfully atmospheric and fabulously played, and the big storm at the end is aptly cataclysmic. Rattle and company romp through The Golden Spinning Wheel with keen attention to each episode. He doesn’t cut the “body-part swap” section, but at the same time he holds the work together as well as anyone and brings it all home to a joyously raucous conclusion. The Wood Dove is outstanding for its vivacious central party music, taken unusually swiftly, and for the luminous textures Rattle and the players capture throughout the transfigured ending.
The Noonday Witch comes off best of all, with ferocious string playing in the Beethoven’s Fifth figures at the opening, followed by a truly devilish chase/scherzo and a stunningly anguished conclusion. Note how skillfully Rattle manages the tempo adjustments after figure 15, when the father comes home and sees his wife and child unconscious–his startled reaction has an almost visual realism.
Among modern recordings, my personal preference remains Harnoncourt and the Royal Concertgebouw on Warner Classics (if you can find it), simply because the Amsterdam winds have few peers, and if anything, Harnoncourt is even more pictorially specific than Rattle. But truth to tell, the differences are rather few.
These performances are certainly satisfying taken on their own terms. The Berlin sound rests primarily on the resplendence of its strings, and they play magnificently here, not just in terms of tonal luster, but also regarding rhythm and articulation. This stands in stark contrast to their comparatively amorphous work in Abbado’s Mahler Sixth (DG). The engineering also represents the best yet from this source, with solid bass, fine internal balances between sections (the barely audible cymbals in Water Goblin notwithstanding), and the overall warmth and tonal heft that you expect from a great orchestra such as this, but which seldom has been captured since Karajan’s glory days. In sum, this is an easy recommendation, and one I’m particularly pleased to be able to make, critical as I have been of Rattle and his various orchestras over the years. [7/21/2005]
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Dreamers' Circus - A Little Symphony (2013) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Dreamers' Circus
Title: A Little Symphony
Genre: Folk
Label: © GO' Danish Folk Music
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 1:00:39
Recorded: “The Village“, Copenhagen in February 2013

Rune Tonsgaard Sørensen, Ale Carr og Nikolaj Busk has once again created new musical heights in the borderland between the styles of Scandinavian fiddle tunes and classical music. Since their debut EP Dreamers Circus, they have made a lot of projects including many concerts with the Copenhagen Phil and The Danish String Quartet, Kristian Leth (front singer in the band The William Blakes) a.o. which also set it's clear footmark on this recording.

Kristian Leth says: "Their ambitious and youthful virtuosity is aced with that new connection, that old freshness".
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Don Walker - Live at the Caravan (2012/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Don Walker
Title: Live at the Caravan
Genre: Rock, Pub Rock, Blues, Singer/Songwriter
Label: © Palomarr
Release Date: 2012/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 01:22:29
Recorded live by the Australian Broadcasting Corporation at the Caravan Music Club, Oakleigh RSL, Victoria, Australia, 27th July 2012. Mixed by Chris Thompson at ABC Studios Melbourne. Mastered by Don Bartley for Benchmark.

Don Walker releases a brand new live album, recorded at Melbourne's Caravan Club, featuring songs from the acclaimed album 'Hully Gully' and the vast Don Walker catalogue.
Walker has few peers, if any, in illuminating the darker underbelly of the Australian psyche, whether he's performing with Cold Chisel, Tex, Don and Charlie or solo. Angry women, luck-chasers, heartbroken prodigals who don't smell good and anyone who just wants to throw the afternoon away on a game of pool - they're all still there recorded live.
Featuring the warm neighbourly sound of his band The Suave Fucks, who happen to be some of the country's finest musicians, including Glen Hannah, Roy Payne, Garrett Costigan, Michael Vidale, Hamish Stuart and special guest Dave Blight, this album will place you front row at any one of Don's live shows. From dreams of the Landsborough Highway to the greasiest rockabilly, Don tells the tales and his wholesome friends paint the horizon behind.
Recorded by the Australian Broadcasting Corporation at the Caravan Music Club in Oakleigh in July 2012, the album was mixed by Chris Thompson at ABC Studios, Melbourne.
This rare live album will only be available for digital download via Don Walker's website and Bandcamp. And for those music nuts out there that appreciate a high quality sound recording it available as 96K 24bit wav files for your listening pleasure.
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Deep Purple - The Book of Taliesyn (1968/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Deep Purple
Title: The Book of Taliesyn
Genre: Rock, Hard Rock, Prog Rock, Psychedelic Rock
Label: © Parlophone Records
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:43:56
Recorded: De Lane Lea Studios, Kingsway, London, August and October 1968

Several months after the innovative remake of "You Keep Me Hanging On," England's answer to Vanilla Fudge, was this early version of Deep Purple, which featured vocalist Rod Evans, and bassist Nick Simper, along with mainstays Ritchie Blackmore, Jon Lord, and Ian Paice. This, their second album, followed on the heels of "Hush," a dynamic arrangement of a Joe South tune, far removed from the flavor of one of his own hits, "Walk a Mile in My Shoes." Four months later, this album's cover of Neil Diamond's Top 25, 1967 gem "Kentucky Woman," went Top 40 for Deep Purple. Also like Vanilla Fudge, the group's own originals were creative, thought-provoking, but not nearly as interesting as their take on cover tunes. Vanilla Fudge did "Eleanor Rigby," and Deep Purple respond by going inside "We Can Work It Out" -- it falls out of nowhere after the progressive rock jam "Exposition," Ritchie Blackmore's leads zipping in between Rod Evans smooth and precise vocals. As Vanilla Fudge was progressively leaning more towards psychedelia, here Deep Purple are the opposite. The boys claim to be inspired by the Bard of King Arthur's court in Camelot, Taliesyn. John Vernon Lord, under the art direction of Les Weisbrich, paints a superb wonderland on the album jacket, equal to the madness of Hieronymous Bosch's cover painting used for the third album. Originals "The Shield" and "Anthem" make early Syd Barrett Pink Floyd appear punk in comparison. Novel sounds are aided by Lord's dominating keyboards, a signature of this group.
Though "The Anthem" is more intriguing than the heavy metal thunder of Machine Head, it is overwhelmed by the majesty of their "River Deep, Mountain High" cover, definitely not the inspiration for the Supremes and Four Tops 1971 hit version. By the time 1972 came around, Deep Purple immersed themselves in dumb lyrics, unforgettable riffs, and a huge presence, much like Black Sabbath. The evolution from progressive to hard rock was complete, but a combination of what they did here -- words that mattered matched by innovative musical passages -- would have been a more pleasing combination. Vanilla Fudge would cut Donovan's "Season of the Witch," Deep Purple followed this album by covering his "Lalena"; both bands abandoned the rewrites their fans found so fascinating. Rod Evans voice was subtle enough to take "River Deep, Mountain High" to places Ian Gillam might have demolished. --Joe Viglione
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Deep Purple - Shades of Deep Purple (1968/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Deep Purple
Title: Shades of Deep Purple
Genre: Rock, Hard Rock, Prog Rock, Psychedelic Rock
Label: © Parlophone Records
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:42:45
Recorded: May 11 - 13 1968 at Pye Studios, London.

The usual perception of early Deep Purple is that it was a band with a lot of potential in search of a direction. And that might be true of their debut LP, put together in three days of sessions in May of 1968, but it's still a hell of an album. From the opening bars of "And the Address," it's clear that they'd gotten down the fundamentals of heavy metal from day one, and at various points the electricity and the beat just surge forth in ways that were startlingly new in the summer of 1968. Ritchie Blackmore never sounded less at ease as a guitarist than he does on this album, and the sound mix doesn't exactly favor the heavier side of his playing, but the rhythm section of Nick Simper and Ian Paice rumble forward, and Jon Lord's organ flourishes, weaving classical riffs, and unexpected arabesques into "I'm So Glad," which sounds rather majestic here. "Hush" was the number that most people knew at the time (it was a hit single in America), and it is a smooth, crunchy interpretation of the Joe South song. But nobody could have been disappointed with the rest of this record -- one can even hear the very distant origins of "Smoke on the Water" in "Mandrake Root," once one gets past the similarities to Jimi Hendrix's "Foxy Lady"; by the song's extended finale, they sound more like the Nice. Their version of "Help" is one of the more interesting reinterpretations of a Beatles song, as a slow, rough-textured dirge. "Hey Joe" is a bit overblown, and the group clearly had to work a bit at both songwriting and their presentation, but one key attribute that runs through most of this record -- even more so than the very pronounced heaviness of the playing -- is a spirit of fun; these guys are obviously having the time of their lives rushing through their limited repertoire, and it's infectious to the listener; it gives this record much more of a '60s feel than we're accustomed to hearing from this band. --Bruce Eder
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Deep Purple - Deep Purple (1969/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Deep Purple
Title: Deep Purple
Genre: Rock, Hard Rock, Prog Rock, Psychedelic Rock
Label: © Parlophone Records
Release Date: 1969/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:44:20
Recorded: January to March 1969 at De Lane Lea Studios, London.

This is a record that even those who aren't Deep Purple fans can listen to two or three times in one sitting -- but then, this wasn't much like any other album that the group ever issued. Actually, Deep Purple was highly prized for many years by fans of progressive rock, and for good reason. The group was going through a transition -- original lead singer Rod Evans and bassist Nick Simper would be voted out of the lineup soon after the album was finished (although they weren't told about it until three months later), organist Jon Lord and guitarist Ritchie Blackmore having perceived limitations in their work in terms of where each wanted to take the band. And between Lord's ever-greater ambitions toward fusing classical and rock and Blackmore's ever-bolder guitar attack, both of which began to coalesce with the session for Deep Purple in early 1969, the group managed to create an LP that combined heavy metal's early, raw excitement, intensity, and boldness with progressive rock's complexity and intellectual scope, and virtuosity on both levels. On "The Painter," "Why Didn't Rosemary?," and, especially, "Bird Has Flown," they strike a spellbinding balance between all of those elements, and Evans' work on the latter is one of the landmark vocal performances in progressive rock. "April," a three-part suite with orchestral accompaniment, is overall a match for such similar efforts by the Nice as the "Five Bridges Suite," and gets extra points for crediting its audience with the patience for a relatively long, moody developmental section and for including a serious orchestral interlude that does more than feature a pretty tune, exploiting the timbre of various instruments as well as the characteristics of the full ensemble. Additionally, the band turns in a very successful stripped-down, hard rock version of Donovan's "Lalena," with an organ break that shows Lord's debt to modern jazz as well as classical training. In all, amid all of those elements -- the orchestral accompaniment, harpsichord embellishments, and backward organ and drum tracks -- Deep Purple holds together astonishingly well as a great body of music. This is one of the most bracing progressive rock albums ever, and a successful vision of a musical path that the group might have taken but didn't. Ironically, the group's American label, Tetragrammaton Records, which was rapidly approaching bankruptcy, released this album a lot sooner than EMI did in England, but ran into trouble over the use of the Hieronymus Bosch painting "The Garden of Earthly Delights" on the cover; although it has been on display at the Vatican, the work was wrongly perceived as containing profane images and never stocked as widely in stores as it might've been. --Bruce Eder
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Dave Matthews Band - 1-31-95 - Live Trax Vol 33 Lupos Heartbreak Hotel (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dave Matthews Band
Title: Live Trax Vol 33 Lupos Heartbreak Hotel
Genre: Rock, jam band, jazz fusion, folk rock, bluegrass, funk rock, pop rock, alternative rock
Label: © RCA Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 02:26:52
Recorded: January 31, 1995 at Lupo's Heartbreak Hotel, Providence, Rhode Island.

The 33rd installment in Dave Matthews Band’s Live Trax series will come in the form of the band’s January 31, 1995 show at Providence, RI’s Lupo’s Heartbreak Hotel.
The second night of a two-night stand at the intimate Providence venue, the band delivered some of their classic early material like “Seek Up,” “Minarets,” “Warehouse” and others. According to DMBAlmanac, the “Minarets” contains a “Tomorrow Never Knows” intro, a popular interpolation during the early years of the tune. LeRoi Moore also teases “We Want the Funk” during his solo in “Jimi Thing” later on in the set.
The release will also be complemented by a series of selections from the previous night including “Tripping Billies,” “Granny,” “Recently” (with an “On Broadway” intro), “Say Goodbye,” “Two Step,” “Best of What’s Around” and a previously unheard jam from soundcheck earlier that day.
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The Dave Brubeck Quartet - Jazz At Oberlin (1953/2003) High-Fidelity DSF 2.0 Mono DSD64/2.82MHz

Artist: The Dave Brubeck Quartet
Title: Jazz At Oberlin
Genre: Jazz, Bop, Cool Jazz, West Coast Jazz, Piano Jazz
Label: © Fantasy Records
Release Date: 1953/2003
Quality: DSF 2.0 Mono DSD64/2.82MHz
Source: ISO SACD
Duration: 00:37:58
Recorded live in Finney Chapel, Oberlin College in Ohio, March 2, 1953.

Jazz at Oberlin is a live album by the Dave Brubeck Quartet. It was recorded in the Finney Chapel at Oberlin College in March 1953, and released on Fantasy Records as F 3245.
Critic Nat Hentoff wrote in Down Beat magazine that the album ranks with the College of the Pacific and Storyville sets "as the best of Brubeck on record", and jazz critic Gary Giddins has written that it would "make many short lists of the decade's outstanding albums".
The concert is credited with making jazz a legitimate field of musical study at Oberlin, but it and the album did much more than that. The album is further credited with initiating making jazz a subject of serious intellectual attention in a listening-centric environment; Wendell Logan, the chair of Oberlin's Jazz Studies Department, described it as "the watershed event that signaled the change of performance space for jazz from the nightclub to the concert hall".
In addition, it was one of the early works in the cool jazz stream of jazz; The Guardian's John Fordham wrote that it "indicated new directions for jazz that didn't slavishly mirror bebop, and even hinted at free-jazz piano techniques still years away from realisation"; he further observed that it "marked Brubeck's eager adoption by America's (predominantly white) youth - a welcome that soon extended around the world ... for a rhythmically intricate instrumental jazz".
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