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The Beach Boys - Love You (1977/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Beach Boys
Title: Love You
Genre: Pop Rock, Rock & Roll, AM Pop, Sunshine Pop, Baroque Pop
Label: © Brother Records
Release Date: 1977/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 34:28
Recorded: January 1970, March–November 1973, October 1976–January 1977; Brother Studios and Brian Wilson's home studio, California


Love You (also known as The Beach Boys Love You) is the 21st studio album by American rock band the Beach Boys, released on April 11, 1977. Originally conceived as a Brian Wilson solo album entitled Brian Loves You, the album is almost entirely written and performed by Wilson, with the other band members mainly serving as additional lead vocalists. Peaking at number 53 on US record charts, the album was received with a sharp divide between fans and critics. One single was issued from the album: "Honkin' Down the Highway" backed with "Solar System".
Penned during a process of mental and drug rehabilitation for Wilson, Love You has been praised by reviewers for the album's honest, unpretentious lyrics, and has been described as a portrait into his sense of self in 1977. Heavily reliant on 1970s analog synthesizers, the album has been recognized as an early work of synthpop, a forerunner to new wave experiments, and an idiosyncratic and creative oddity in the Beach Boys' canon. After being asked where somebody should begin with the Beach Boys discography, Wilson answered: "Pet Sounds first, then listen to The Beach Boys Love You." A follow-up album, Adult Child, was completed by the group, but left unreleased.
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The Beach Boys - Live In Chicago 1965 (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Beach Boys
Title: Live In Chicago 1965
Genre: Rock, Pop Rock, Sunshine Pop, Baroque Pop
Label: © Capitol Records, LLC
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 01:47:39
Recorded Live at the Arie Crown Theater, Chicago – March 26 & 27, 1965

Over the past several years since copyright laws were changed in the EU, it has become a tradition at the end of the year for record labels to release “copyright extension” releases featuring unreleased material from their biggest artists to protect their interests in said material. Hot off the heels of a compilation of Motown unreleased material from 1965 comes another release in this vein from a group who has made this a yearly tradition: The Beach Boys. This last Friday, Capitol put up quietly (as is the norm with these releases) on all digital download services a set of two unreleased concerts: Live In Chicago 1965.
Recorded on March 26 and 27 at the Arie Crown Theater in Chicago, this set presents two full concerts. The Beach Boys sang many of their biggest hits up to that point in time and also threw in some covers like “Monster Mash.” The two concerts feature a nearly identical tracklisting just with some shuffled songs and the second concert being slightly longer. As a matter of fact, the song lineup is fairly similar to the Beach Boys Concert album released in 1964, which was expanded with one of last year’s copyright extension releases: Live in Sacramento 1964. Also in this new release are four rehearsal takes for the concerts.
Three studio albums were released by the Beach Boys in 1965. The final one of those, Beach Boys’ Party! was just expanded to two CDs and 81 tracks a little under a month ago as a physical release. The Beach Boys Today! and Summer Days (And Summer Nights!!) have yet to see any unreleased material freed from the vaults as of yet in 2015. Last year, Capitol put out a second “copyright extension” release for studio outtakes (Keep An Eye on Summer), so there is the chance of something else appearing before the New Year.
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The Beach Boys - L.A. (Light Album) (1979/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Beach Boys
Title: L.A.(Light Album)
Genre: Pop Rock, Rock & Roll, AM Pop, Sunshine Pop, Baroque Pop
Label: © Brother Records
Release Date: 1979/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 41:18
Recorded: July 1978 - January 1979

L.A. (Light Album) is the 23rd studio album by The Beach Boys, released on March 19, 1979. Produced by Bruce Johnston, James William Guercio and the band itself, the album was The Beach Boys' first on CBS Records, and the first to feature contributions from Johnston since his departure from the band in 1972. Johnston was brought in when it became clear that the ailing Brian Wilson was in no fit state to produce the album, and has remained in the band ever since.
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The Beach Boys - Keepin' The Summer Alive (1980/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Beach Boys
Title: Keepin' The Summer Alive
Genre: Pop Rock, Rock & Roll, AM Pop, Sunshine Pop, Baroque Pop
Label: © Brother Records
Release Date: 1980/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 33:12
Recorded: November 1969–February 1980; Criteria Studios, FL; Bachman Studio, WA; Brian Wilson's home studio, CA; United Western Recorders, CA

Keepin' The Summer Alive, released in 1980, was lushly produced by Bruce Johnston after an ill-fated attempt to have Brian Wilson helm the album. Featuring string and horn sections and many contributing musicians, among them Joe Walsh on guitar on the title track, this is the last Beach Boys album issued before the death of Dennis Wilson in 1983. The drummer refused to participate in the recording of Keepin' The Summer Alive and only appears on one old track from 1972.
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The Beach Boys - Holland (1973/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Beach Boys
Title: Holland
Genre: Pop Rock, Rock & Roll, AM Pop, Sunshine Pop, Baroque Pop
Label: © Brother Records
Release Date: 1973/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 54:27
Recorded: June 3–October 9, 1972; BBC 2 Studio, Baambrugge, Utrecht, Netherlands; Village Recorders, California

Recorded in a custom-built studio in the Netherlands, the Beach Boys released Holland in early 1973 to critical acclaim and commercial success, charting in the top 20 in the UK and the top 40 in the US. Holland includes the last-minute addition Sail On, Sailor and the three-part California Saga, written by homesick members of the band. This reissue also contains the contentious EP Mount Vernon and Fairway (A Fairy Tale), originally included as a bonus, along with the rare track We Got Love.
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The Beach Boys - Carl and the Passions 'So Tough' (1972/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Beach Boys
Title: Carl and the Passions 'So Tough'
Genre: Pop Rock, Rock & Roll, AM Pop, Sunshine Pop, Baroque Pop
Label: © Brother Records
Release Date: 1972/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 34:31
Recorded: December 4, 1971 – April 13, 1972б Brian Wilson's home studio, Los Angeles


Taking its title from Carl Wilson's teenage band, Carl and the Passions - "So Tough" originally included Pet Sounds as a bonus when it was released in 1972. The Beach Boys' personnel was in flux at this point, with outside members coming and going and minimal input from Brian Wilson. Nevertheless, the album hit number 25 in the UK and number 50 in the US.
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Tchaikovsky & Bloch - Piano Trios - Osiris Trio (2007) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840 - 1893), Ernest Bloch (1880 - 1959)
Artist: Osiris Trio
Title: Tchaikovsky & Bloch - Piano Trios
Genre: Classical
Label: © Cobra Records
Release Date: 2007
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:53:42
Recording location: Mediatrack Amsterdam
Recording dates: february 6, 7, 8 - 2007

All his life Tchaikovsky struggled against what he himself called ‘the inability in gene- ral to maintain a good grip on form. I have fought this innate weakness and – some- thing I’m proud of – not without some decent results. Nonetheless I will go to my grave without having produced anything at all which has a perfect form.’ Dilettantism was anathema to him: ‘You really have to outdo yourself if you want to avoid lapsing into dilettantism, of which even someone as gifted as Glinka was not entirely free...’ Although Pyotr Illyich Tchaikovsky is generally seen as belonging to the Western-orientated Russian school, as indeed are most of his professional colleagues in Moscow, his musical art was not in fact very far removed from the ideals of the so-called ‘Mighty Five’ (or ‘Mighty Handful’.) In 1869 he met Balakirev, the actual founder of this national school in Petersburg. Balakirev recognized the young Tchaikovsky’s talent and would ideally have liked to include him in his group. But the greatest problem as he saw it was that Tchaikovsky had received a formal conservatoire education, and that clashed with his ideals of an uncultivated, original Russian music.
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Tchaikovsky & Khachaturian - Piano Concertos - Xiayin Wang, Royal Scottish National Orchestra, Peter Oundjian (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Il’yich Tchaikovsky (1840 – 1893), Aram Khachaturian (1903 – 1978)
Artist: Xiayin Wang, Royal Scottish National Orchestra, Peter Oundjian
Title: Tchaikovsky & Khachaturian - Piano Concertos
Genre: Classical
Label: © Chandos Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICALshop
Duration: 75:19
Recorded: Royal Concert Hall, Glasgow; 8 and 9 November 2015

After a year off the concert platform, Xiayin Wang, a specialist in the romantic repertoire, presents a new recording of two relatively little-played piano concertos: No. 2 by Tchaikovsky, in its much lesser-known yet extremely virtuosic original version, and Khachaturian’s. The disc also marks the 125th anniversary of the Royal Scottish National Orchestra, here conducted by its Music Director, Peter Oundjian.
Involving the same forces as Wang’s earlier recording of American concertos (Editor’s Choice in the magazine Pianist), the album follows a performance in Edinburgh’s Usher Hall, described by The Scotsman as ‘breathtakingly athletic’.
Composed more than fifty years apart, these pieces have perhaps only one thing in common, namely an opening grandiosity or grandeur. Yet, while Tchaikovsky in 1879, in his heyday, undercut imperial splendour with a wealth of contrasting material that pointed the way ahead to more experimental, post-imperial concertos such as Prokofiev’s Second, Khachaturian’s folk generalisations, vaguely Armenian or Georgian, remain the consistent thumbprint of a rather heavier style.
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Pyotr Ilyich Tchaikovsky - Piano Trio - Vladimir Ashkenazy, Itzhak Perlman, Lynn Harrell (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840-1893)
Artist: Vladimir Ashkenazy, Itzhak Perlman, Lynn Harrell
Title: Tchaikovsky - Piano Trio
Genre: Classical
Label: © Parlophone Records/Warner Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:49:17
Recorded: CBS Studios, New York, 24–26 January 1980

Throughout his recording career, Itzhak Perlman has shown a real attraction for the trio repertoire. Following the lead of such eminent predecessors as Jascha Heifetz, David Oistrakh and Isaac Stern, he has formed lasting chamber relationships with other, equally talented musicians. He recorded the major works of the trio repertoire for EMI with Russian-born pianist Vladimir Ashkenazy and American cellist Lynn Harrell – notably the works of Beethoven and Brahms. In later years they also recorded the Ravel Trio (this time for Decca), while Perlman also added the two Mendelssohn trios to his discography, on that occasion working with Emanuel Ax and Yo-Yo Ma (for Sony). The first album released by Perlman, Ashkenazy and Harrell was devoted to the Tchaikovsky Piano Trio, a work well served by the recording industry, having been immortalised in the 1950s by three legendary versions laid down by the Oistrakh Trio, the grouping of Kogan, Gilels and Rostropovich, and the famous “million-dollar trio” of Heifetz, Rubinstein and Piatigorsky respectively (Zukerman, Barenboim and Du Pré later joined forces and recorded an impassioned live version for EMI in 1972). Tchaikovsky composed the work in homage to his late friend the pianist-composer Nikolai Rubinstein, brother of Anton. He had gone to see Rubinstein’s body, after his funeral service, and in the Trio expressed a sense of death’s physical, haunting presence and a genuine, scarcely bearable terror, which he was to develop further in The Queen of Spades. Although he had often condemned the very form of the piano trio, arguing that his “ears would not accept the combination of piano, violin and cello”, and even writing that he found it “real torture to listen to a trio or a sonata with violin or cello”, it somehow came to be the natural choice for this memorial on a grand scale. The piano symbolised the now-silenced voice of Rubinstein, the violin and cello those of his old friends, Tchaikovsky himself and his patroness Madame von Meck. A work of tact and restraint, free from any excess of sentiment, the Trio, Op.50 “to the memory of a great artist” remained in manuscript form for over a year before the composer agreed to its publication in 1883, thereby allowing it to take its place among the masterpieces of the genre. --Jean-Michel Molkhou

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Tadd Dameron with John Coltrane - Mating Call (1957/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Tadd Dameron with John Coltrane
Title: Mating Call
Genre: Jazz, Bop, Mainstream Jazz, Post Bop, Piano Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1957/2014
Quality: High-Fidelity FLAC 2.0 Mono 44,1kHz/24bit
Source: HDTracks
Duration: 35:16
Recorded: November 30, 1956 at Van Gelder Studio, Hackensack, NJ
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

While there are only four men present for this session and arranging is certainly not stressed, Tadd’s composing is as potent as ever with such memorable items as “Mating Call,” “Soultrane,” “Gnid,” and “On a Misty Night” far above the usual “originals” that often appear on a recording date. To play these compositions, the aid of tenorman John Coltrane was enlisted. Trane’s tenor answered the mating call of Tadd’s music.
Tadd’s intelligent comping, the strength of veteran John Simmons’s bass and the brightly burning power of the consistent Philly Joe Jones adds up to the solid sum that is the rhythm section. Each track has something to offer: the exotic “Mating Call,” the aptly named ballad that is “Soultrane,” the acrid, tart, stimulating “Gnid,” the bright-tempoed “Super Jet,” the sad/happy charm of “On a Misty Night,” and the creeping funk of the blues “Romas.”
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