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The Who - Two's Missing (1987/2014) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: The Who
Title: Two's Missing
Genre: Rock
Label: © Geffen Records
Release Date: 1987/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 45:39
Recorded: 1965-1972


Two's Missing is a compilation album by The Who that was released in 1987. It gathered singles and EP tracks that hadn't appeared on an album or CD and was produced by Glyn Johns, Kit Lambert, Shel Talmy, and The Who.
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The Who - Who's Missing (1985/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Who
Title: Who's Missing
Genre: Rock
Label: © Geffen Records
Release Date: 1985/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 41:31
Recorded: 1965–1971


Who's Missing is a rare compilation album by the acclaimed British rock band comprised of previously unreleased tracks. The record was released in 1985 and was later superseded by the follow-up album Two's Missing. Who's Missing features James Brown cover "Shout and Shimmy", Paul Revere & the Raiders cover "Lubie (Come Back Home)" as well as a few original works by The Who.
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The Paul Butterfield Blues Band - The Studio Album Collection 1965-1971 (2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: The Paul Butterfield Blues Band
Title: The Studio Album Collection 1965-1971
Genre: Blues, Blues Rock, Chicago Blues, Electric Blues, Modern Electric Chicago Blues
Label: © Elektra Entertainment/Rhino Entertainment
Release Date: 1965-1971/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 04:06:29
Recorded: 1965-1971


With a style honed in the gritty blues bars of Chicago's south side, the Butterfield Blues Band was instrumental in bringing the sound of authentic Chicago blues to a young white audience in the mid-'60s, and although the band wasn't a particularly huge commercial success, its influence has been enduring and pervasive. The band was formed when singer and harmonica player Paul Butterfield met guitarist and fellow University of Chicago student Elvin Bishop in the early '60s. Bonding over a love of the blues, the pair managed to hijack Howlin' Wolf's rhythm section (bassist Jerome Arnold and drummer Sam Lay) and began gigging in the city's blues houses, where they were spotted in 1964 by producer Paul Rothchild, who quickly had them signed to Elektra Records. Guitar whiz Mike Bloomfield joined the band just before they entered the studio to record their debut album (and in time to be on-stage with the group when they backed up Bob Dylan at his infamous electric set at the 1965 Newport Folk Festival). Organist and pianist Mark Naftalin also came on board during the sessions for the self-titled The Paul Butterfield Blues Band, which was released by Elektra late in 1965. Lay became ill around this time, and his drum chair was taken by Billy Davenport, whose jazz and improvisational background came in handy during the recording of the band's second album, the Ravi Shankar-influenced East-West, released in 1966. Bloomfield departed to form Electric Flag in 1967, and Bishop handled all the lead guitar on the more R&B-oriented third album, The Resurrection of Pigboy Crabshaw, which was released later that year and featured an entirely new rhythm section of Bugsy Maugh on bass and Phil Wilson on drums. Bishop and Naftalin left the band following the recording of 1968's In My Own Dream, and Butterfield drafted in 19-year-old guitarist Buzzy Feiten to help with the recording of 1969's Keep On Moving, which also featured the return of drummer Billy Davenport. After a live album in 1970 and the lackluster Sometimes I Just Feel Like Smilin', released in 1971, Butterfield put the band to rest. In retrospect, the Butterfield Blues Band had pretty much put their cards on the table in their first two albums, both of which are classics of the era, featuring a heady mixture of folk, rock, psychedelia, and even Indian classical music played over an embedded base of good old Chicago blues. --Artist Biography by Steve Leggett
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The Paul Butterfield Blues Band - The Resurrection Of Pigboy Crabshaw (1968/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Paul Butterfield Blues Band
Title: The Resurrection Of Pigboy Crabshaw
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: 45:44

The band's third album finds guitar hero Mike Bloomfield MIA and replaced by a horn section including the very young David Sanborn. (Ironically, Bloomfield departed to start his own horn band, the ill-fated Electric Flag). Stylistically, the band was inching away from blues purism, and moving toward jazz and r&b, particularly of the Stax-Volt variety, as witness the idiomatic cover of Albert King's 'Born Under a Bad Sign.' (The band must have been listening to Motown as well, hence the thoroughly rocked-out re-arrangement of Marvin Gaye's 'One More Heartache,') The album title, incidentally, refers to an alias of remaining guitarist Elvin Bishop, who gets plenty of room to work out here, particularly on 'Driftin and Driftin''.
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The Beach Boys - Summer Days (And Summer Nights!!) (1965/2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: The Beach Boys
Title: Summer Days (And Summer Nights!!)
Genre: Pop Rock, Rock & Roll, Baroque Pop, Sunshine Pop
Label: © Capitol Records
Release Date: 1965/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 27:14
Recorded: February 24, March 4–20, June 4, 1965, United Western Recorders, Gold Star Studios, and CBS Columbia Square, Hollywood


Summer Days (And Summer Nights!!) is the ninth studio album by American rock band The Beach Boys, released on July 5, 1965. Today is the 50th anniversary of Summer Days (and Summer Nights!), released the day after USA independence day and featuring only the Wilson brothers and Mike Love on the cover -Al apparently had the ‘flu. Summer Days can be seen as the Beach Boys classic “pop” album. While today was noted for its innovative use of the studio and “confessional” lyrics, Summer Days can be seen as a more up-tempo effort that is best known for the two massive hits, Help Me Rhonda and California Girls. Although much of the first part of the album is fairly lightweight and pop-oriented, this section does include the excellent Beatles pastiche Girls Don’t Tell Me..
The second part of the album does include two further milestones on the route to Pet Sounds, the lush instrumental Summer Means New Love and the ornate and lyrically deep Let Him Run Wild. And Your Dream Comes True is also a beautiful a-capella closer that captures the magic of summer and the mid-60s Beach Boys. If it is a bit of a holding operation- remember we are only two records away from Pet Sounds, it still shows Brian and the Beach Boys as masters of the pop scene .
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The Beach Boys - Little Deuce Coupe (1963/2015) High-Fidelity FLAC Stereo 24bit/192kHz


Artist: The Beach Boys
Title: Little Deuce Coupe
Genre: Pop Rock, Rock & Roll, Surf, Hot Rod
Label: © Capitol Records
Release Date: 1963/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 25:43
Recorded: April 19, 1962, January 5, July 12 & 16, September 2, 1963, United Western Recorders, Hollywood


Newly remastered for vinyl and in hi-res by Kevin Gray from the original master tapes, Little Deuce Coupe is presented here in stereo.
Released just one month after the Surfer Girl album, Little Deuce Coupe was, incredibly, the Beach Boys' fourth album in less than a year. Brian Wilson and the band responded by turning in arguably their most consistent effort to date — and a concept album, to boot.
Little Deuce Coupe expanded the band's subject matter to encompass 1963 America's burgeoning love affair with hot rods, surrounding previously released cuts such as the title track, "409," and others with strong new material (much of it cowritten by Wilson and a DJ, Roger Christian). A highpoint: the a cappella James Dean tribute "A Young Man Is Gone" (a reworking of Bobby Troup's beautiful "Their Hearts Were Full of Spring"), a prime example of Wilson's arranging genius and the band's vocal prowess. "Their Hearts Were Full Of Spring" had been a standard for the vocal group The Four Freshmen, whose lush and distinctive jazz-based vocal arrangements had a huge influence on Brian's musical development.
Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965.
The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.
"Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market," says Alan Boyd, producer and Beach Boys' archivist.
The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines!
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The Beach Boys - Beach Boys' Party! (1965/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Beach Boys
Title: Beach Boys' Party!
Genre: Pop Rock, AM Pop, Frat Rock, Sunshine Pop, Rock & Roll
Label: © Capitol Records
Release Date: 1965/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 31:07
Recorded: September 8–27, 1965 at United Western Recorders, Hollywood


Newly remastered for vinyl and in hi-res by Kevin Gray from the original master tapes, Beach Boys Party! is presented here in stereo.
The album is the tenth by the band, and featured the hit single "Barbara Ann". The album peaked at #6 on the US Billboard 200 chart, and although it was recorded in a studio, was meant to sound like it was an impromptu live recording of a party.
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Dmitri Shostakovich: Under Stalin's Shadow - Symphony No. 10 - Boston Symphony Orchestra, Andris Nelsons (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Dmitri Shostakovich (1906 - 1975)
Artist: Boston Symphony Orchestra, Andris Nelsons
Title: Shostakovich: Under Stalin's Shadow - Symphony No. 10
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:04:50
Recorded: Boston, Symphony Hall, 4/2015


In their inaugural release on Deutsche Grammophon, the Boston Symphony Orchestra and its Music Director Andris Nelsons are heard in live performances of Dmitri Shostakovich's Symphony No. 10 and the Passacaglia from his opera "Lady Macbeth of Mtsensk."
This album is the first in a series of five live-performance CDs entitled "Shostakovich Under Stalin's Shadow," to encompass the composer's symphonies 5-10 and other works written in the period from the mid-1930s, when Shostakovich fell from Stalin's favor, to 1953, the year of the dictator's death. The goal of this new BSO/DG partnership is a complete Shostakovich cycle led by Andris Nelsons, one of today's most exciting young conductors, and among the last of his generation to train under the Soviet musical tradition.
Symphonies 5, 8, and 9, plus Shostakovich's incidental music to "Hamlet," will be recorded during the BSO's 2015-16 season and released in a two-CD set in 2016. In summer 2017, a second two-disc set will include Symphonies 6 and 7 and incidental music from the composer's Suite from "King Lear."
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Franz Schubert - Piano Sonata D568; 6 Moments musicaux - Mitsuko Uchida (2001) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Franz Schubert (1797-1828)
Artist: Mitsuko Uchida
Title: Schubert - Piano Sonata D568; 6 Moments musicaux
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2001/2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:07:32
Recorded: Grosser Saal, Musikverein, Vienna, August 2001


This is the penultimate issue in Mitsuko Uchida’s eight-album series, and thanks to her magical recreation of the E flat Sonata I’m already inclined to regard it as one of the best. Let me not make an exaggerated claim for the piece: it comes near the beginning of Schubert’s 12 completed piano sonatas, and the later ones are of course played more often because they’re greater. But this one is an enchantment, and weighing in at 31 minutes, as it does here, it sits proudly as the first of his grand four-movement sonatas, fully achieved and characteristic, purposeful and confident in the space it makes for itself.

It is subtler in its expression, too, than some commentators would have us believe, with the sunny disposition of its outer movements being constantly inflected and made more attractive by passing inflections and local areas of darker harmonic colour. The journey through it is delightful, with lots of incident. The Menuetto third movement was an addition after Schubert reworked his three-movement original which was in D flat major, a tone lower.

How characteristic of Uchida to make you want to celebrate the music, first of all. She inhabits it completely, and her preferred Steinway for Schubert, and this recording of it – at the Musikverein in Vienna, in the main auditorium – are at one with her endeavour, perfectly judged in what they bring to it, part of the focus. In the Sonata I would not have anything different. In the Moments musicaux, however, it is possible to question the weight with which almost every phrase and paragraph are invested – perhaps some of the rhythmic freedom too – while being carried through by the power of Uchida’s vision and her technical control. Carried through, yes, but borne along? This is magnificent playing and I submit willingly and with wonderment to a presentation of these pieces with a richly detailed ‘interior’ quality and a proto-Mahlerian panoply of sound.

But to enjoy her to the full you do have to accept Uchida’s slow tempi and to a projection of the expression which is painstaking to the point (some might feel) of laboriousness, especially with all the repeats. Nearly a quarter-of-an-hour has gone by before we get to No 3, the ‘Air russe’, and No 6, the last of the cycle, lasts not far short of 11 minutes. C’est bon, mais c’est long. It is spellbinding, but I do find myself missing, by the end, the kind of lyrical impulse that is delivered on the breath and touches you swiftly and directly. No singer could push Schubert as far as Uchida does – but so what? A stunning record nonetheless, and perhaps one to feel quite possessive about. --Gramophone Magazine
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Franz Schubert - Fantasie D-Dur, Rondo h-Moll, Sonate A-Dur - Carolin Widmann, Alexander Lonquich (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz


Сomposer: Franz Schubert (1797-1828)
Artist: Carolin Widmann, Alexander Lonquich
Title: Schubert - Fantasie D-Dur, Rondo h-Moll, Sonate A-Dur
Genre: Classical
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:01:56
Recorded: October 2010, Historischer Reitstadel, Neumarkt


Carolin Widmann, who received praise and awards both for her accounts of Schumann’s violin sonatas and for the recital disc “Phantasy of Spring” (with music of Feldman, Zimmermann, Schoenberg and Xenakis) now applies her acute interpretive sensibilities to Franz Schubert. Widmann and Alexander Lonquich (whose own New Series disc with music of Schumann and Holliger was also a critical success) play the C-Major Fantasy of 1827 and the Violin Sonata in A-Major of 1817, as well as the B-minor Rondo of 1826 (the only one of these works published in Schubert’s lifetime). This is duo playing at a very high level, as Hans-Klaus Jungheinrich emphasizes in the liner notes: “Not once does Carolin Widmann and Alexander Lonquich’s intelligent and empathetic reading devolve into the trivial state of music for a domineering violin with piano accompaniment. Instead we are treated to a magically iridescent poem of changing colours, melodies and counterpoints.”
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