Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
» Articles for May 2015 Year » page 4
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
Source: donwalker.bandcamp.com
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.
  • 0
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
  • 0
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
  • 0
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
  • 0
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
Source: davematthewsband.com
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.
  • 0
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".
  • 0
Commodores - Movin' On (1975/2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: Commodores
Title: Movin' On
Genre: Soul, Funk, R&B, Disco
Label: © Motown Records
Release Date: 1975/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:37:37
Recorded, Mixed and Mastered at Motown Recording Studios, Hollywood, CA.


R&B purists have often argued that the Commodores did their most essential work before 1977. It was in 1977 that they crossed over to the pop/adult contemporary audience in a major way with "Easy," and subsequent hits like 1978's "Three Times a Lady" and 1979's "Still" (both of which reached number one on Billboard's pop singles charts) certainly weren't the work of R&B snobs. Of course, Lionel Richie never claimed to be an R&B purist, although it is safe to say that the Commodores were still a hardcore funk/soul band when their third album, Movin' On, came out in 1975. From an R&B standpoint (as opposed to a pop or adult contemporary standpoint), this is one of their most essential releases. Those who love hard, gutsy 1970s funk can't go wrong with horn-powered gems like "Mary, Mary," "(Can I) Get a Witness," "Gimme My Mule," and "Hold On"; however, the song that Movin' On is best remembered for is the laid-back, gospel-drenched hit "Sweet Love." Written by Richie, "Sweet Love" is one of those secular soul tunes that isn't really gospel but borders on it; when Richie belts out the lyrics, "You got to keep on searching/harder/day by day," you feel like you're in the front row during an AME church service. And even though Movin' On is an LP that R&B purists rave about (rightly so), you can't say that it was ignored by pop audiences -- "Sweet Love" was a number two R&B hit, but it also reached number five on Billboard's pop singles chart. --Alex Henderson
  • 20
Commodores - Midnight Magic (1979/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Commodores
Title: Midnight Magic
Genre: Rhythm & Blues, Soul, Funk, Disco
Label: © Motown Records
Release Date: 1979/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 41:17
Recorded: 1979, Motown Recording Studios, Hollywood, California


Chart History/Awards
Reached #1 on Billboard's Top R&B Albums.
Reached #3 on the Billboard 200.
“Sail On” reached #4 on Billboard’s Hot 100.
“Still” reached #1 on Billboard’s Hot 100.

Midnight Magic is the landmark seventh recording by the Commodores. It found the group at the peak of their careers and is filled with the band’s signature funk and soul. It would reach #3 on the Billboard charts and includes the massively popular singles “Sail On” and “Still.”
  • 20
Commodores - Machine Gun (1974/2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: Commodores
Title: Machine Gun
Genre: Soul, Funk, R&B
Label: © Motown Records
Release Date: 1974/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:35:56
Recorded, Mixed and Mastered at Motown Recording Studios, Hollywood, CA.

Before the Commodores started having major adult contemporary hits like "Three Times a Lady," "Easy," and "Still," they were happy to be a full-time funk/soul band. The Southerners became increasingly pop-minded in the late '70s, but when their debut album, Machine Gun, came out in 1974, their music was unapologetically gritty. This was, without question, a very promising debut -- Lionel Richie and his allies really hit the ground running on sweaty funk items like "Young Girls Are My Weakness," "The Bump," "Gonna Blow Your Mind," and the single "I Feel Sanctified." These songs aren't funk-pop or sophisticated funk -- they're hardcore funk. What you won't find on Machine Gun are a lot of sentimental love ballads. In the late '70s, the Commodores became as famous for their ballads as they were for their funk and dance material, but believe it or not, there are no ballads to be found on this consistently funky, mostly up-tempo debut. As much as this LP has going for it, Machine Gun isn't the Commodores' best or most essential album. Machine Gun is rewarding, but their subsequent albums Caught in the Act (1975), Movin' On (1975), and Hot on the Tracks (1976) are even stronger. --Alex Henderson
  • 20
Commodores - In The Pocket (1981/2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: Commodores
Title: In The Pocket
Genre: Soul, Funk, R&B, Disco
Label: © Motown Records
Release Date: 1981/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:37:07
Recorded at Web IV Recording Studio, Atlanta, Georgia; 'Oh No' and 'Lucy' recorded at A&M Recording Studio, Hollywood, CA; Mixed at Motown/Hitsville U.S.A. Recording Studios, Hollywood, CA; Mastered at A&M Recording Studio


In 1980 and 1981, many people in the music world suspected that Lionel Richie would soon be leaving the Commodores to pursue a solo career -- and sure enough, he officially became a full-time solo artist in 1982. In the Pocket, released in 1981, turned out to be his final album with the group. Not surprisingly, Richie dominates the album, singing lead on everything from adult contemporary ballads like "Lucy" and "Oh No" (a number four pop/number five R&B smash) to the sophisticated funk of "Why You Wanna Try Me" and the Top Five R&B favorite "Lady (You Bring Me Up)." Walter Orange and Thomas McClary also contribute some lead vocals, but the album's best-known songs are the ones that feature Richie. While In the Pocket doesn't contain a lot of hardcore funk à la "Brickhouse" or "Slippery When Wet," the sleeker, smoother sophisti-funk style is well represented by "Why You Wanna Try Me" and "Lady (You Bring Me Up)," as well as "Saturday Night" and "Keep on Taking Me Higher." Overall, In the Pocket isn't great -- "Lady (You Bring Me Up)" is certainly a gem, although the rest of the material is merely decent. But while In the Pocket isn't among the Commodores' essential releases, it was still a pleasant way for Richie to end his association with the Southern band. --Alex Henderson
  • 20
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.