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Dean Martin - (Remember Me) I'm the One That Loves You (1965/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: (Remember Me) I'm the One That Loves You
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Vocal jazz, Swing
Label: © Reprise Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 31:52
Recorded: 1965

By the summer of 1965, the formula that arranger Ernie Freeman and producer Jimmy Bowen had used to come up with hits for Dean Martin starting with "Everybody Loves Somebody" a year earlier -- piano triplets, a 4/4 beat, swooping strings, a female chorus -- had become so obvious that even the unsigned liner notes to his new album, named after his most recent hit, (Remember Me) I'm the One Who Loves You, referred to it as "the Formula." In fact, however, Bowen and Freeman were moving beyond the formula by this time, having developed for Martin what those same notes called "an updated pop-country sound." With the hits still coming ("Remember Me" was his fifth straight Top 40 entry), Martin was willing to let them do what they liked, and the team looked around for current material suitable to the singer and chose Roger Miller's "King of the Road," Jewel Akens' "The Birds and the Bees," and "Red Roses for a Blue Lady," the old Vaughn Monroe hit recently revived by Vic Dana. They also picked good vintage country and countrypolitan songs like Jim Reeves' "Welcome to My World," Ray Price's "My Shoes Keep Walking Back to You," Leroy Van Dyke's "Walk on By" (not to be confused with the Bacharach/David song that had been a hit for Dionne Warwick in 1964), Hank Williams' "Take These Chains From My Heart," and Dottie West's "Here Comes My Baby." Martin was fortunate to have a producer with such a broad knowledge of pop and country music and a sense of what would work for him. The country market never bit at these records, but Martin had a clutch of material that sounded fresh to pop fans. And, the liner notes notwithstanding, Bowen and Freeman knew that the time had come to vary the formula. --AllMusic Review by William Ruhlmann
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Dean Martin - Houston (1965/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Houston
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 29:33
Recorded: 1965


On Dean Martin's previous album, (Remember Me) I'm the One Who Loves You, he had turned in an excellent version of Roger Miller's "King of the Road," and Lee Hazlewood wrote him a similar easygoing country-pop ballad about a drifter in "Houston," which he took into the Top 40 in the summer of 1965. The song therefore lent its name to his next album, handled, as usual, by producer Jimmy Bowen, although arranger/conductor Ernie Freeman was replaced by Bill Justis. Freeman had done the chart for "Everybody Loves Somebody," the record that launched Martin's 1960s comeback, but Justis proved he could write in a similar style, notably on "The First Thing Ev'ry Morning (And the Last Thing Ev'ry Night)," which shared its 1950s-style rock & roll arrangement with many of the hits Martin had scored over the last year. And Justis was not afraid to take Martin even further into pop/rock with Tommy Boyce and Bobby Hart's "Little Lovely One." He also had a good sense of middle-of-the-road pop, best shown on "I Will," which was on its way to the Top Ten when the album was released. All of this demonstrated that Bowen was shrewdly expanding Martin's contemporary base beyond the formula records he had made in the wake of "Everybody Loves Somebody," and doing it successfully. Houston actually charted higher than Martin's last two albums (it didn't hurt that he now had a television series on which to promote his records), indicating that his comeback was being sustained, not diminishing. --AllMusic Review by William Ruhlmann
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Dean Martin - Dream with Dean (1964/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Dream with Dean
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1964/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:34:08
Recorded: 1964


A profile of a rugged Dean Martin by the fireplace with a cigarette adorns the jacket of this very interesting concept album. As Stan Cornyn's liner notes explain, "his longtime accompanist" on piano, Ken Lane, with "three of Hollywood's most thoughtful rhythm men" -- those being drummer Irv Cottler, bassist Red Mitchell, and guitarist Barney Kessel -- do create a mood, Dean Martin performing as if he were a lounge singer at 1:15 a.m. as the Saturday night crowd is dwindling. His signature tune, "Everybody Loves Somebody," is here in a laid-back style, produced by Jimmy Bowen, who would go on to produce Reba McEntire, Kenny Rogers & the First Edition, and so many others, also the same man who was behind the 1964 number one smash. This album with the original Martin recording was released after the hit single version and on the same day as the Everybody Loves Somebody LP, but how many times does the audience get a different studio reading of a seminal hit record? Not only that, but the version that preceded the hit. The backing is so sparse it is almost a cappella, with Kessel's guitar noodlings and Ken Lane's piano. The bass is mostly invisible, coming in only when needed. It's a slow and sultry version that caps off side one. There is a rendition of Rodgers & Hart's "Blue Moon" that strips away the doo wop of the Marcels' number one 1961 remake, and a run-through of the Bloom/Mercer hit for Glen Miller, "Fools Rush In," which Rick Nelson had launched into the Top 15 in 1963. Martin is just crooning away, and if the album has one drawback, it is that the 12 songs are incessant in their providing the same atmosphere. The backing quartet does not deviate from their job, nor does producer Jimmy Bowen add any technique, other than putting Martin's voice way out in the mix. But Dream With Dean was no doubt excellent research and development as Bowen landed 11 Top 40 hits with the singer from 1964's "Everybody Loves Somebody," which evolved out of this original idea to 1967's "Little Old Wine Drinker, Me." It sounds as if they tracked the album in one afternoon, and it is not only a very pleasant listening experience, it shows what a tremendous vocalist Dean Martin truly was. --AllMusic Review by Joe Viglione
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Dean Martin - Dean Martin Hits Again (1965/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dean Martin
Title: Dean Martin Hits Again
Genre: Pop, Easy Listening, Traditional Pop, Vocal Pop, Swing
Label: © Reprise Records
Release Date: 1965/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 24:37
Recorded: 1965

By the beginning of 1965, Reprise Records had adjusted itself to the commercial success Dean Martin had begun to enjoy in the spring of 1964 with his hit recording of "Everybody Loves Somebody." Dean Martin Hits Again was the label's first album to be constructed entirely by Jimmy Bowen, producer of that hit, and Ernie Freeman, who had arranged and conducted it, and they used the same arranging formula that had worked before, employing a 4/4 beat, piano triplets, female backup vocals, and swooping string effects to the songs here. In attempting to keep up with demand, Reprise had recycled old songs on Martin's last two albums. This one was mostly new, although "You're Nobody 'Til Somebody Loves You" had appeared on The Door Is Still Open to My Heart the previous October and then gone on to become a Top 40 pop hit (number one on the easy listening charts) and "You'll Always Be the One I Love," its B-side, had also charted. But if the material was recent, there was less of it; Reprise cut the usual 12 tracks for an LP to ten, with a running time of only 24 minutes. The made the album skimpy, even though it produced another hit, "Send Me the Pillow You Dream On," which went Top 20 pop and Top Five easy listening. And even at the shortened time, the Bowen/Freeman formula was already sounding very repetitious. But that didn't keep the LP from being a Top 20 hit that eventually became Martin's fourth gold album. --AllMusic Review by William Ruhlmann
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Cyndi Lauper - True Colors (1986/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Cyndi Lauper
Title: True Colors
Genre: Pop, Pop Rock, New Wave, Punk
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1986/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 38:07
Recorded: November 22, 1985 – May 31, 1986, The Power Station, The Hit Factory, New York City, NY

True Colors is the second album by American pop singer Cyndi Lauper, released on September 15, 1986. The album produced several hits as "True Colors", "Change of Heart", and "What's Going On" reached the top twenty of the Billboard Hot 100, with the first two becoming top 5 hits.
Upon its release, the album received generally positive reviews from music critics. The album earned Lauper several awards and accolades, including two nominations at the 29th Grammy Awards. True Colors peaked at number four on the Billboard 200 chart, staying on the chart for 14 weeks.

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Coleman Hawkins - The Hawk Relaxes (1961/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Coleman Hawkins
Title: The Hawk Relaxes
Genre: Jazz, Bop, Mainstream Jazz, Swing, Saxophone Jazz
Label: © Prestige Records, Moodsville series/Concord Music Group
Release Date: 1961/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 37:17
Recorded: Van Gelder Studio, Englewood Cliffs, NJ, February 28, 1961
Remastered: 2005, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


Despite the inherent modesty of its title, The Hawk Relaxes is far more than merely a tenor saxophonist—albeit one of the greatest who ever lived—at his ease. Recorded for Prestige’s Moodsville subsidiary, the album presents Coleman Hawkins (1904-1969), paterfamilias of the tenor and one its master balladeers.
As he grew older, Hawkins often made it a point to perform with much younger musicians, in order to keep his work fresh. Pianist Ronnell Bright, 30 years old at the time of this recording, was the oldest of Hawkins’s accompanists herein, while drummer Andrew Cyrille was, at just 21, the junior partner. With the multifaceted guitarist Kenny Burrell and bassist Ron Carter, at the dawn of what would be a ubiquitously brilliant career, rounding out a highly simpatico group, Hawkins adroitly weaves his way rhapsodically through seven timeless popular songs that lend themselves to his signature harmonic brilliance.
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Coleman Hawkins - At Ease With Coleman Hawkins (1960/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Coleman Hawkins
Title: At Ease With Coleman Hawkins
Genre: Jazz, Bop, Mainstream Jazz, Swing, Saxophone Jazz
Label: © Prestige Records, Moodsville series/Concord Music Group
Release Date: 1960/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 41:53
Recorded: Van Gelder Studio, Englewood Cliffs, NJ, January 29, 1960
Remastered: 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


At Ease is one of the most charming and attractive of the many albums Coleman Hawkins and Tommy Flanagan made together—a collection of ballads played with great affection for the melody. Hawkins could be fiercely aggressive in his playing. In this collection, he displays his tenderness. If ever there was a master of the ballad, it was Coleman Hawkins. His romantic style and sound caused one writer to say: "Hawk turned the saxophone into the sexophone."
At Ease was done for the Moodsville series but while Hawkins, with the expert help of his pianist, Tommy Flanagan, sets a mood on eight standards, it is never merely mood music.
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Cheap Trick - Heaven Tonight (1978/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Cheap Trick
Title: Heaven Tonight
Genre: Rock, Pop Rock, Hard Rock, Power Pop, Punk/New Wave
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1978/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 43:45
Recorded: Record Plant and Sound City Studios, Los Angeles, California, 1977–1978

Heaven Tonight is rock group Cheap Trick's third studio album. Critics and fans agree the 1978 release is one of the band's best albums, the main reason being that the group was able create a perfect mix of pop and rock. Heaven Tonight features singles "Surrender", "High Roller" and "Heaven Tonight".
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Charles Earland - Black Talk! (1970/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Charles Earland
Title: Black Talk!
Genre: Jazz, Jazz Funk, Soul Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1970/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 38:36
Recorded: December 15, 1969 at the Van Gelder Studio, Englewood Cliffs, NJ
Remastered: 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

The young organist Charles Earland converted the Beatles’ “Eleanor Rigby” into an anthem called “Black Talk” and came up with one of the huge soul-jazz hits of the early Seventies. In this album, Earland worked the same magic with two other pop songs, “Aquarius” and “More Today than Yesterday,” giving them the urgency and forward movement of R&B but managing to inject them with jazz values. He was greatly aided by a pair of soloists—trumpeter Virgil Jones and tenor saxophonist Houston Person—who added fuel to Earland’s fiery concept. Guitarist Melvin Sparks and the quintessential soul jazz drummer Idris Muhammad helped keep the blaze going. It is not coincidence that his blues composition, and Earland himself, were called “The Mighty Burner.” Black Talk! went on to become an enormous hit, spending most of 1970 on the best-seller charts.
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Cat Stevens - Tea For The Tillerman (1970/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Cat Stevens
Title: Tea For The Tillerman
Genre: Soft Rock, Folk Rock, Acoustic, Singer/Songwriter
Label: © Island Records/Universal Music Special Markets/Analogue Productions XAPP9135D64
Release Date: 1970/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 36:47
Recorded: May–July 1970, Morgan Studios, Island Studios and Olympic Studios, London
Mastered by George Marino at Sterling Sound. Download files authored direct to native DSD from analog tape by Gus Skinas.


Mona Bone Jakon only began Cat Stevens' comeback. Seven months later, he returned with Tea for the Tillerman, an album in the same chamber-group style, employing the same musicians and producer, but with a far more confident tone. Mona Bone Jakon had been full of references to death, but Tea for the Tillerman was not about dying; it was about living in the modern world while rejecting it in favor of spiritual fulfillment. It began with a statement of purpose, "Where Do the Children Play?," in which Stevens questioned the value of technology and progress. "Wild World" found the singer being dumped by a girl, but making the novel suggestion that she should stay with him because she was incapable of handling things without him. "Sad Lisa" might have been about the same girl after she tried and failed to make her way; now, she seemed depressed to the point of psychosis. The rest of the album veered between two themes: the conflict between the young and the old, and religion as an answer to life's questions. Tea for the Tillerman was the story of a young man's search for spiritual meaning in a soulless class society he found abhorrent. He hadn't yet reached his destination, but he was confident he was going in the right direction, traveling at his own, unhurried pace. The album's rejection of contemporary life and its yearning for something more struck a chord with listeners in an era in which traditional verities had been shaken. It didn't hurt, of course, that Stevens had lost none of his ability to craft a catchy pop melody; the album may have been full of angst, but it wasn't hard to sing along to. As a result, Tea for the Tillerman became a big seller and, for the second time in four years, its creator became a pop star. --AllMusic Review by William Ruhlmann
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