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Wilco - What's Your 20?: Essential Tracks 1994–2014 (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Wilco
Title: What's Your 20?: Essential Tracks 1994–2014
Genre: Rock, Alternative/Indie Rock, Alternative Country-Rock, Experimental Rock
Label: © Nonesuch Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 02:37:08
Recorded: Easley Recording in Memphis, TN; Chicago Recording Company, King Size Sound Laboratories, The Loft, and WarZone Recorders in Chicago, IL; Totally Wired Studio and Windmill Lane in Dublin, Ireland; Fort Apache Studio in Boston, MA; Pedernales Recording Studio in Spicewood, Texas; The White House in Nashville, TN; The Fidelitorium in Kernersville, North Carolina; and Dead Aunt Thelma’s in Portland, Oregon.


In celebration of their 20th anniversary, Wilco releases What's Your 20, a compilation album of essential tracks culled from the band’s previously released studio recordings that span from 1994 to 2014. These are the first compilations of Wilco music of any kind. The collection was produced by Grammy-nominated producer Cheryl Pawelski, co-founder of Omnivore Recordings, whose credits include Big Star’s Keep an Eye on the Sky, The Band’s A Musical History and Townes Van Zandt’s Sunshine Boy: The Unheard Studio Sessions and Demos 1971–1972. What’s Your 20 gathers songs from Wilco’s eight studio albums plus two songs from Mermaid Avenue, the collection of Woody Guthrie-penned tunes set to music by Wilco and Billy Bragg.
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Warren Zevon - Excitable Boy (1978/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Warren Zevon
Title: Excitable Boy
Genre: Rock, Singer/Songwriter, Hard Rock
Label: © Asylum Records/Elektra Entertainment
Release Date: 1978/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 31:49
Recorded: 1977, The Sound Factory, Los Angeles

Warren Zevon's self-titled 1976 album announced he was one of the most striking talents to emerge from the Los Angeles soft rock singer/songwriter community, and Linda Ronstadt (a shrewd judge of talent if a sometimes questionable interpreter) recorded three of its songs on two of her biggest-selling albums, which doubtlessly earned Zevon bigger royalty checks than the album itself ever did. But if Warren Zevon was an impressive calling card, the follow-up, Excitable Boy, was an actual hit, scoring one major hit single, "Werewolves of London," and a trio of turntable hits ("Roland the Headless Thompson Gunner," "Lawyers, Guns and Money," and the title track). But while Excitable Boy won Zevon the larger audience his music certainly deserved, the truth is it was a markedly inferior album; while it had all the bile of Warren Zevon, and significantly raised Zevon's dark-humor factor, it was often obvious where his previous album had been subtle, and while all 11 tracks on Warren Zevon were strong and compelling, two of the nine tunes on Excitable Boy -- "Johnny Strike Up the Band" and "Nighttime in the Switching Yard" -- sound like they're just taking up space. Musically, most of Excitable Boy is stuck in a polished but unexceptional FM pop groove, and only "Veracruz" hints at the artful intelligence of Warren Zevon's finest moments. It's hard to say if Zevon was feeling uninspired or just dumbing himself down when he made Excitable Boy, but while it made him famous, it lacks the smarts and substance of his best work. --AllMusic Review by Mark Deming
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Van Morrison - Common One (1980/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Van Morrison
Title: Common One
Genre: R&B, Soul, Pop Rock, Singer/Songwriter, Soft Rock, Blue-Eyed Soul, Rock & Roll
Label: © Warner Bros. Records
Release Date: 1980
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Pono
Duration: 01:10:38
Recorded: 11–19 February 1980 at Super Bear Studios

Van Morrison was working through one of his greatest -- yet least appreciated -- creative periods when he made this album, one that burrows deeply into an introspective jazz-rooted spiritual groove. With Mark Isham's lonely muted trumpet up front, listeners are in the jazz world immediately with "Haunts of Ancient Peace," merging perfectly with Morrison's idiosyncratic vocal style. A low-pressure soul-jazz organ riff lays down the base of the most easily assimilated track, "Satisfied," as Morrison's lyric indicates that he has reached a state of internal peace. "Wild Honey" has R&B horn riffs over Philly-style strings, while "Spirit" mostly pursues a self-fulfillment path similar to that of "Satisfied." Ultimately, the record stands or falls upon two remarkable, gigantic 15-minute pieces, "Summertime in England" and "When Heart Is Open." The propulsive opening of "Summertime" drops names of Morrison's favorite poets and authors; the track teeters upon indulgence but you are drawn in by Morrison's obsessions with lines and phrases like "common one" and "let your red robe go," his voice becoming a twin brother of arranger Pee Wee Ellis' riffing sax. Lonely horns over the hilltops open "When Heart Is Open," and it begins to resemble a sequel to Miles Davis' treatment of "In a Silent Way," setting a peaceful, mesmerizing mood that carries you through its enormous length to the end of the record. No wonder the rock critics of the time didn't get it; this is music outside the pop mainstream, and even Morrison's own earlier musical territory. But it retains its trancelike power to this day. --AllMusic Review by Richard S. Ginell
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The Doobie Brothers - The Best Of The Doobies (1976/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Doobie Brothers
Title: The Best Of The Doobies
Genre: Rock, Pop Rock, Soft Rock, Boogie Rock, Blue-Eyed Soul
Label: © Warner Bros. Records
Release Date: 1976/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Pono
Duration: 46:24
Recorded: 1972–1976

Best of The Doobies is the first greatest hits album by The Doobie Brothers. The album has material from Toulouse Street through Takin' It to the Streets, and is also a diamond record. The album was first released by Warner Bros. Records in November 1976 and has been re-released numerous times.
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The Doobie Brothers - Takin' It To The Streets (1976/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Doobie Brothers
Title: Takin' It To The Streets
Genre: Rock, Pop Rock, Soft Rock, Boogie Rock, Blue-Eyed Soul
Label: © Warner Bros. Records
Release Date: 1976/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 35:16
Recorded: 1975 at Warner Brothers Studios, North Hollywood, California


The group's first album with Michael McDonald marked a shift to a more mellow and self-consciously soulful sound for the Doobies, not all that different from what happened to Steely Dan -- whence McDonald (and Jeff Baxter) had come -- between, say, Can't Buy a Thrill and Pretzel Logic. They showed an ability to expand on the lyricism of Patrick Simmons and Baxter's writing on "Wheels of Fortune," while the title track introduced McDonald's white funk sound cold to their output, successfully. Simmons' "8th Avenue Shuffle" vaguely recalled "Black Water," only with an urban theme and a more self-consciously soul sound (with extraordinarily beautiful choruses and a thick, rippling guitar break). "Rio" and "It Keeps You Runnin'" both manage to sound like Steely Dan tracks -- and that's a compliment -- while Tiran Porter's hauntingly beautiful "For Someone Special" was a pure soul classic right in the midst of all of these higher-energy pieces. Tom Johnston's "Turn It Loose" is a last look back to their earlier sound, while Simmons' "Carry Me Away" shows off the new interplay and sounds that were to carry the group into the 1980s, with gorgeous playing and singing all around. --AllMusic Review by Bruce Eder
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The Doobie Brothers - Minute By Minute (1978/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Doobie Brothers
Title: Minute By Minute
Genre: Rock, Pop Rock, Soft Rock, Boogie Rock, Blue-Eyed Soul
Label: © Warner Bros. Records
Release Date: 1978/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 36:47
Recorded: 1978 at Warner Bros. Recording Studios, North Hollywood, California


With Tom Johnston gone from the lineup because of health problems, this is where the "new" Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald's piano more than on Patrick Simmons' or Jeff Baxter's guitars. Not that they were absent entirely, or weren't sometimes right up front in the mix, as the rocking, slashing "Don't Stop to Watch the Wheels" and the bluegrass-influenced "Steamer Lane Breakdown" demonstrate. But given the keyboards, the funky rhythms, and McDonald's soaring tenor (showcased best on "What a Fool Believes"), it's almost difficult to believe that this is the hippie bar band that came out of California in 1970. There's less virtuosity here than on the group's first half-dozen albums, but overall a more commercial sound steeped in white funk. It's still all pretty compelling even if its appeal couldn't be more different from the group's earlier work (i.e., The Captain and Me, etc.). The public loved it, buying something like three million copies, and the recording establishment gave Minute by Minute four Grammy Awards, propelling the group to its biggest success ever. --AllMusic Review by Bruce Eder
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The Doobie Brothers - Livin' On The Fault Line (1977/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Doobie Brothers
Title: Livin' On The Fault Line
Genre: Rock, Pop Rock, Soft Rock, Boogie Rock, Blue-Eyed Soul
Label: © Warner Bros. Records
Release Date: 1977/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 35:16
Recorded: 1977 at Sunset Sound Recorders, Hollywood, CA; Western Recorders, Hollywood, CA; Warner Bros. Recording Studios, North Hollywood, CA


Livin' on the Fault Line fell between two of the Doobie Brothers' biggest-selling records. The album had no hit singles, and one-time leader Tom Johnston kept a markedly low profile (this would be his last record with the group, not including a later reunion). Despite this, Livin' on the Fault Line contains some of the most challenging and well-developed music of the band's career, with Patrick Simmons and Michael McDonald really stepping to the fore. There's a vague mood of melancholia running through the songs, as well as a definite jazz influence. This is most obvious on the title track, which has several instrumental passages that showcase the guitar abilities of Simmons and Jeff Baxter. Similarly, "Chinatown" is a spooky mood piece not unlike the smooth fusion of late-period Steely Dan or Little Feat. But "Echoes of Love" and "Nothin' But a Heartache" are both intelligent, glistening pop songs that confirm Simmons and McDonald as first-rate tunesmiths. The record slips a little at the end, with a plodding R&B song and a Piedmont guitar instrumental thrown in as filler. Overall, though, this is a chapter in the Doobie Brothers' history that deserves a second look. --AllMusic Review by Peter Kurtz
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Umphrey's McGee - 2016-05-07 - Brooklyn Bowl Las Vegas, Las Vegas, NV (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Umphrey's McGee
Title: 2016-05-07 - Brooklyn Bowl Las Vegas, Las Vegas, NV
Genre: Rock, progressive rock, neo-prog, jam band, jazz fusion, funk rock
Label: © Umphrey's McGee
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: livedownloads.com
Duration: 02:41:23
Recorded: 2016/05/07, Brooklyn Bowl Las Vegas, Las Vegas, NV

A jam band coming out of the Midwest in the mid-'90s, Umphrey's McGee edged toward the Frank Zappa side of the improv rock scale, as opposed to the Grateful Dead/Allman Brothers Band direction of their many contemporaries. The members of Umphrey's McGee met at the University of Notre Dame in South Bend, Indiana. The original four bandmembers (keyboardist Joel Cummins, guitarist Brendan Bayliss, bassist Ryan Stasik, and drummer Mike Mirro) had been playing in various campus bands when they got together in December 1997, naming themselves after a cousin of Bayliss'. With the national jam band infrastructure already in place, the band quickly began disseminating their live shows and soon released their first studio album, Greatest Hits, Vol. 3. The fourth-generation jam band often included songs by Phish and moe. in their live sets, along with the usual selection of wacky covers.
The quartet won a large following in the South Bend area. As bandmembers graduated, the group began a more and more rigorous rehearsal schedule. Half of the band had degrees in music, so emphasis was placed on constant precision. The bandmembers religiously studied tapes of their performances in order to improve them. While their record sales still hadn't reached high levels, they used live recordings to pave the way for gigs in parts of the country they'd never been to before. (A story circulates of the band selling out shows in Colorado before their first trip there due to the distribution of their live CDs.)
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Umphrey's McGee - 2016-05-06 - Brooklyn Bowl Las Vegas, Las Vegas, NV (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Umphrey's McGee
Title: 2016-05-06 - Brooklyn Bowl Las Vegas, Las Vegas, NV
Genre: Rock, progressive rock, neo-prog, jam band, jazz fusion, funk rock
Label: © Umphrey's McGee
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: livedownloads.com
Duration: 03:28:03
Recorded: 2016/05/06, Brooklyn Bowl Las Vegas, Las Vegas, NV

A jam band coming out of the Midwest in the mid-'90s, Umphrey's McGee edged toward the Frank Zappa side of the improv rock scale, as opposed to the Grateful Dead/Allman Brothers Band direction of their many contemporaries. The members of Umphrey's McGee met at the University of Notre Dame in South Bend, Indiana. The original four bandmembers (keyboardist Joel Cummins, guitarist Brendan Bayliss, bassist Ryan Stasik, and drummer Mike Mirro) had been playing in various campus bands when they got together in December 1997, naming themselves after a cousin of Bayliss'. With the national jam band infrastructure already in place, the band quickly began disseminating their live shows and soon released their first studio album, Greatest Hits, Vol. 3. The fourth-generation jam band often included songs by Phish and moe. in their live sets, along with the usual selection of wacky covers.
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Thelonious Monk Trio - Thelonious Monk Trio (1954/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Thelonious Monk Trio
Title: Thelonious Monk Trio
Genre: Jazz, Bop, Piano Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1954/2014
Quality: High-Fidelity FLAC 2.0 Mono 44,1kHz/24bit
Source: HDTracks
Duration: 34:48
Recorded: October 15 (#5,6,7,8), December 18 (#3,4,9,10), 1952, and September 22 (#1,2), 1954 at the Van Gelder Studio in Hackensack, NJ
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


The position of legendary figure is usually reserved for a deceased musician who has played two decades before. It usually requires this posthumous status and span of time, for the various stories concerning him to grow into a legend but it took a very much alive Thelonious Monk only five years to surround himself with an air of mystery and receive the title “High Priest of Bebop” in the Forties.
Perhaps this element of weird glamour prevented many people from enjoying Monk’s music to the fullest extent. Certainly he is always low man on the totem pole whenever the triumvirate of the founding fathers of bop is evaluated. This is due in part, no doubt, to the greater solo prowess of Charlie Parker and Dizzy Gillespie, but Thelonious’s contributions in time, chord patterns, and the original lines resulting from them were unjustly minimized. Actually they were the basis for much of the jazz of the Forties and Fifties.
Today he stands as an individual, a highly original musician who is the mentor of many young musicians in New York and the influence of countless others all over the globe. In his writing and playing, he consistently proves his right to the often misapplied title of creator. This album is composed of two separate sessions. As a belated sequel to Thelonious’s successful trio sessions of 1952, this one was also richly rewarding.
Though not a great soloist from the standpoint of technique, brilliance, and flash, Monk’s originality of style and width of idea serve to make him a highly interesting and important one. His playing can be characterized by roast beef, and a martini in which vermouth plays a very minor supporting role; much meat and very dry.
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