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Waylon Jennings & Willie Nelson - Waylon & Willie (1978/2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Waylon Jennings & Willie Nelson
Title: Waylon & Willie
Genre: Country, Country Folk, Progressive Country, Traditional Country
Label: © RCA Victor | Sony Music Entertainment
Release Date: 1978/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 33:36
Recorded: American Studios, Nashville, Tennessee between August 1977 and November 1977


It sat on the top of the country charts for 11 weeks and went double platinum, making it one of the biggest hits in either Waylon Jennings' or Willie Nelson's catalog. Years after its initial 1978 release, Waylon & Willie remains one of their biggest-selling albums, but its perennial popularity has more to do with their iconic status -- something this album deliberately played up -- than the quality of the music, which is, overall, merely good. Released in early 1978, a few months after Jennings' Ol' Waylon spent 13 weeks on the top of the charts in the summer of 1977, thanks in part to the hit single "Luckenbach, Texas" featuring a chorus sung by Nelson, the album was intended as a celebration of the peak of outlaw, but in retrospect, it looks like where the movement was beginning to slide into predictability, even if both singers are more or less in command of their talents here. Though still at the peak of his popularity, Waylon had begun to slip slightly creatively starting with the very good, but not great, Are You Ready for the Country, which suggested that he was having a little harder time getting a full album of consistently great material together. The patchwork nature of this album suggests that he still had the problem, but since it was divided into three solo songs apiece and five duets, this plays to his strengths, because the limited number of new songs doesn't give him room to stumble. Though a moody cover of Fleetwood Mac's "Gold Dust Woman" is a little awkward, his original "Lookin' for a Feeling" is sturdy, and the album-closing "The Wurlitzer Prize (I Don't Want to Get Over You)" is brilliant, possibly the best song here, even if the heart of the record -- what the album is selling -- is the four duets with Willie. One of these, of course, is the monster hit "Mammas Don't Let Your Babies Grow Up to Be Cowboys," with two others -- "The Year 2003 Minus 25" and "Don't Cuss the Fiddle" -- being laid-back, funny Kris Kristofferson songs that showcase Waylon & Willie's roguish humor and charm. The other, "Pick Up the Tempo," is one of Willie's classics, but it, like Nelson's three solo tracks, is a previously released Waylon recording stripped of his vocals and overdubbed by Nelson. This isn't a crippling problem -- the songs are good, as are the performances and the singing, so they're modestly enjoyable -- but they do sound a little distant, and it makes the entire album sound cobbled together: not the deliberate compilation of The Outlaws, but significantly less than a real album from either Waylon or Willie or both of them. Instead, it sounds like a vehicle for them to keep riding their huge popularity. Since it was cut at a time they were making consistently enjoyable music, it's fun, but it could have been much, much more than it is. --AllMusic Review by Stephen Thomas Erlewine
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Warren Haynes feat. Railroad Earth - Ashes & Dust (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Warren Haynes feat. Railroad Earth
Title: Ashes & Dust
Genre: Rock, Americana, Singer/Songwriter
Label: © Concord Music Group
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:44:38
Recorded by Jeremy Gillespie at The Barber Shop Studios, Hopatcong, NJ


GRAMMY-award winning artist Warren Haynes has been recognized as a cornerstone of the American music landscape and revered as one of the finest guitar players in the world. Throughout his prolific career as part of three of the greatest live groups in rock history – Allman Brothers Band, Gov’t Mule and the Dead – his virtuosic artistry has led to thousands of unforgettable performances and millions of album and track sales. Despite all of the ground that Haynes has covered on his musical journey, the impressive thing is that he still has many miles to explore. On his newest solo album Ashes and Dust, he puts forth one of his most gorgeous, musically rich and personal albums to date. It is endlessly exciting to see one of the most brilliant minds in modern music shine an entirely new light on the depths of his creativity.
Ashes and Dust, only the third studio album Haynes has ever released under his own name, is a masterful work of art and a particularly important statement for Haynes. The songs are immediately and clearly different from his usual style – encompassing beautiful acoustic arrangements, a rootsy/Americana soundscape and honeyed vocals that cut straight through to the soul. Although many of these songs are brand new, some of the tunes that make up this album have been dear to Warren for years. In some cases he has been carrying them around for 20 or 30 years, waiting for the right time to record them.
This Deluxe Edition features four demo tracks, plus a live performance of Hallelujah Boulevard.
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Voces8 - Lux (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Various
Artist: Voces8
Title: Lux
Genre: Classical, Vocal Music, Acappella, Classical Crossover
Label: © Decca is a Universal Music Company
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 71:43
Recorded: July 2014, Dore Abbey, Herefordshire, United Kingdom


Lux – the Latin for “light” – brings radiance, hope and comfort; from the pale glow of the moon or starlight to the blaze of summer sun, it nurtures both the body and the spirit. There is something inherently comforting about the sound of unaccompanied voices in harmony and as this luminous selection of pieces demonstrates, composers across the ages have felt the same way.
A luminous selection of pieces spanning over 400 years: from Thomas Tallis and Gregorio Allegri to Massive Attack (Teardrop) and Ben Folds Five (The Luckiest - which appeared on the soundtrack for Richard Curtis film About Time).
Includes popular classics such as Miserere (Allegri) and Nimrod (Elgar) as well as Ubi Caritas by Paul Mealor, a piece commissioned by Prince William and Catherine Middleton and premiered at their wedding in 2011.
Features works by two of the most talked about composers of our time: Ola Gjeilo (Norway) and Will Todd (UK). In addition to the soothing sound of unaccompanied voices blended in harmony, several tracks feature otherworldly additions of saxophone, cello, harp and water glasses.
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Trio Rosenrot - Lenz: Deutsche Volkslieder (2014) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Trio Rosenrot
Title: Lenz: Deutsche Volkslieder
Genre: Jazz, World, Acoustic, Folk, Fusion
Label: © Westpark Music, Cologne
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:52:31


Das trio Rosenrot aus Berlin hat im Januar sein Album Lenz – deutsche Volkslieder auf den Markt gebracht. Jennifer Kothe (Gesang), Hub Hildenbrand (Gitarre) und Denis Stilke (Schlagzeug) sind der Mittelpunkt der Band. Ihr Musikstil ist mit Ethno, Pop, Jazz, Folk, improvisierter – und Weltmusik schon sehr weit gefächert und ich war gespannt auf das, was mich da erwartet. Die Titelliste ist sehr vielversprechend mit bekannten und weniger bedeutenden deutschen Liedern.
Mit Erwachen beginnt die Musik des Albums ganz vorsichtig, ruhig, aber auch kurz mit viel Energie. Man erwacht im Idealfall neben seinem Liebsten und so wird unter anderem das Lied Dat du min Leevsten büst kurz angestimmt. Mit Vogelgezwitscher geht es nahtlos mit Nun will der Lenz uns grüßen weiter. Eine sehr schöne Melodie erklingt und dazu gesellt sich die klare Stimme von Jennifer Kothe. Dieses sehr stimmungsvolle und mit viel Gefühl eingespielte Stück gehört zu meinen Favoriten des Silberlings. Das Gleiche kann ich zu Zum Tanze, da geht ein Mädel sagen. Es macht Spaß, dem Lied zuzuhören.
Mit Titel fünf, sechs und sieben verliere ich den Faden und die Musik pendelt zwischen den Stühlen. Sehr ungewöhnlich sind die Interpretationen, aber es gehört zum Stil des Trios. Dat du min Leevsten büst erinnert wieder mehr an das Gewohnte, aber hier hat auch die Band ihren Stempel aufgedrückt. Es erklingt indes gefälliger als die vorherigen Stücke. Mit Der Mond ist aufgegangen ertönt das letzte Lied der CD und mein dritter Höhepunkt des Albums. Ruhig, mit einer gewissen Leichtigkeit hört man die drei Elemente der Musiker: Schöner Gesang, sachtes Trommelspiel und eine liebevoll, mit Gefühl gezupfte Gitarre. Am Ende des Titels wird viel Energie hineingelegt und nichts spricht dagegen, das Lied noch einmal zu hören.
Es ist ein Album mit zwei Gesichtern! Die eine Seite ist sehr melodisch, stimmungs- und gefühlvoll. Die Kehrseite der Medaille kommt sehr individuell und zum Teil extravagant rüber. Diese CD bietet dem Auditorium eine gewagte und eigenständige Fusion aus vielen Elementen der Musik. Man muss den Mix schon mögen, denn das Trio hat den Liedern ein neues Gewand angezogen, wenn man von den drei doch eher traditionell gelassenen Stücken absieht. Wer den musikalischen Stil der Band mag, wird sein Vergnügen sicher haben. Alle anderen werden ihre Schwierigkeiten bekommen und könnten womöglich einen Fehlkauf beklagen.
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The Paul Butterfield Blues Band – In My Own Dreams (1968/2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: The Paul Butterfield Blues Band
Title: In My Own Dreams
Genre: Blues, Blues Rock, Chicago Blues, Electric Blues, Modern Electric Chicago Blues
Label: © Elektra Entertainment
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 36:28

In My Own Dream is a 1968 album by The Butterfield Blues Band. It continued the trend of its predecessor The Resurrection of Pigboy Crabshaw in moving towards a more soul-oriented sound, supported by a first rate horn section, (featuring a young David Sanborn), but was not so well-received either by critics or the public as its predecessor. The title cut features a long solo by Sanborn. The drums were handled by Philip Wilson, who went on to jazz renown in the Art Ensemble of Chicago. This album is also notable as the last Butterfield record with original members Mark Naftalin and Elvin Bishop who both moved on to solo ventures of varying success.
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The Carpenters - Singles 1969-1981 (2004/2013) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: The Carpenters
Title: Singles 1969-1981
Genre: Pop Rock, Soft Rock, Vocal, Easy Listening
Label: © A&M Records
Release Date: 2004/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 77:10
Recorded: 1969-1981

In 1990, Richard Carpenter revised and expanded the Carpenters' 1973 compilation LP Singles 1969-1973 for the CD era, retaining that album's 12 tracks and adding nine more in his survey of his and his sister Karen's run on the pop chart. Now, the set included all of the duo's 12 Top Ten hits (and their holiday chart-topper, "Merry Christmas Darling"), but it did not contain all their Top 20 hits, eschewing "Solitaire" and "There's a Kind of Hush (All Over the World)," along with Top 40 hits "I Need to Be in Love" and "All You Get From Love Is a Love Song" in favor of minor chart entries "Ticket to Ride" (their chart debut), "Bless the Beasts and Children" (the B-side of "Superstar"), and "I Believe You," as well as the non-charting B-side "This Masquerade." Richard Carpenter also took the opportunity to re-sequence the collection, giving a sense of the retrospective tone by starting with "Yesterday Once More," followed by the introductory "We've Only Just Begun." Both songs are in the Carpenters' familiar ballad style, with Richard Carpenter's piano prominent in the mix along with Karen Carpenter's (or Hal Blaine's) drums in the center of the mix, and strings and background vocals (by Karen and Richard) in the back. Gradually, the tempos of the songs increase and other instruments appear, such as the electric guitar solo by Tony Peluso on the fifth track, "Goodbye to Love," the flute by Bob Messenger on the eighth track, "This Masquerade," and the pedal steel guitar by Buddy Emmons on the country-inflected "Top of the World." The sequencing relieves the sameness of Richard Carpenter's arrangements at least somewhat. Of course, the group's real draw remains Karen Carpenter's melancholy alto, which makes even the happier lyrics seem heartbreaking. The 2005 reissue on an SACD hybrid disc adds clarity and, in its three versions (CD audio, SACD stereo, and SACD Surround Sound), increases space between the instruments so that each part can be focused on separately. This is not always an advantage, since it sometimes tends to make music that sounded lush and full in its old, compressed analog form seem surprisingly spare and austere. But Karen Carpenter's vocals benefit from the central attention they receive. --Review by William Ruhlmann
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The Beach Boys - Keep An Eye On Summer- The Beach Boys Sessions 1964 (2014/2015) High-Fidelity FLAC Stereo 24bit/88.2kHz


Artist: The Beach Boys
Title: Keep An Eye On Summer - The Beach Boys Sessions 1964
Genre: Pop Rock, Surf Rock, Hot Rod, Rock & Roll
Label: © Capitol Records
Release Date: 2014/2015
Quality: High-Fidelity FLAC 88,2kHz/24bit (Tracks 14, 17, 23, 28, 31, 34, 41 to 46 are in mono; tracks 21, 23, 26, 35, 36 are mono with stereo reverb and the rest are stereo.)
Source: HDTracks
Duration: 02:27:14
Recorded: October 18, 1963–November 6, 1964; Sacramento Memorial Auditorium, California (December 1963); BBC Playhouse Theatre, London (November 1964)


A compilation of 46 outtakes, alternate versions and live recordings, released in order to protect copyrights in certain countries. According to the collection's producer, the Beach Boys had made a point of keeping all their work tapes; along with some recently unearthed long long recordings there was plenty of fascinating unreleased material to make this package possible and essential for fans. Many of the songs are works in progress here, displaying the incredible vocal arrangements, compositional skills and rapidly evolving production techniques behind the creation of these timeless records.
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The Alan Parsons Project - The Turn Of A Friendly Card (1980/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Alan Parsons Project
Title: The Turn Of A Friendly Card
Genre: Rock, Prog Rock, Art Rock
Label: © Arista Records
Release Date: 1980/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: DSD64 (converted at KORG AudioGate 2.3.3 / DSD Filter Soft Roll-off -3dB/50kHz / TPDF Diter)
Duration: 40:42
Recorded: Late 1979 – mid 1980 at Acousti Studio, Paris


“I’ve often, in common with many other writers, been inspired at the oddest of moments and one of the things that did start the creative juices flowing was actually sitting in casinos in Monte Carlo, with the din going on of people with machines, people talking, people moving about, and all the hustle and bustle that goes on there. It stimulated the writing of the track in particular ‘Turn of a Friendly Card’ and of course the track ‘Snake Eyes.’” —Eric Woolfson
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The Alan Parsons Project - The Turn Of A Friendly Card (1980/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: The Alan Parsons Project
Title: The Turn Of A Friendly Card
Genre: Rock, Prog Rock, Art Rock
Label: © Arista Records
Release Date: 1980/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 40:42
Recorded: Late 1979 – mid 1980 at Acousti Studio, Paris


“I’ve often, in common with many other writers, been inspired at the oddest of moments and one of the things that did start the creative juices flowing was actually sitting in casinos in Monte Carlo, with the din going on of people with machines, people talking, people moving about, and all the hustle and bustle that goes on there. It stimulated the writing of the track in particular ‘Turn of a Friendly Card’ and of course the track ‘Snake Eyes.’” —Eric Woolfson
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The Alan Parsons Project - I Robot (1977/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Alan Parsons Project
Title: I Robot
Genre: Rock, Prog Rock, Art Rock
Label: © Arista Records
Release Date: 1977/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: DSD64 (converted at KORG AudioGate 2.3.3 / DSD Filter Soft Roll-off -3dB/50kHz / TPDF Diter)
Duration: 00:40:58
Recorded and mixed at Abbey Road Studios, London, between December 1976 and March 1977.

The man behind the recording of Dark Side of the Moon is none other than Alan Parsons. If you want to hear what is his definitive recording and a bit of the Dark Side then this is it. I Robot was produced and engineered by Alan at Abbey Road Studios and is an audiophile’s dream recording. Transferred on an all-tube cutting system from the original 1/4" analog master tapes at Bernie Grundman Mastering.



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