Genre: Rock, Heartland Rock, Rock & Roll, Hard Rock
Label: © Reprise Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
2 is Mudcrutch’s second album released by Reprise Records. The album is the follow-up to the band's 2008 eponymous debut which Rolling Stone called "a country-rock instant classic" in a rave four star review. The new album is produced by band members Tom Petty and Mike Campbell with Ryan Ulyate. All members of Mudcrutch contribute songs on their new album 2. The album includes seven originals written by Tom Petty, with band members Mike Campbell, Tom Leadon, Randall Marsh and Benmont Tench composing one each.
Mudcrutch was initially formed in 1970 in Gainesville, Florida and is the precursor to the legendary Tom Petty & The Heartbreakers. Tom Petty (bass/vocals), Tom Leadon (guitar/vocals), Benmont Tench (keyboards/vocals), Mike Campbell (guitar/vocals), and Randall Marsh (drums/vocals) make up the band's current line-up. In 1974, Mudcrutch was signed to Shelter Records and moved to Los Angeles where they released one single, "Depot Street", to very little fanfare. The band broke up in 1975 and could have settled for being a legend, but instead Mudcrutch rose from the ashes in 2008 to remind us that the golden age of rock and roll bands still had a few treasures to unearth. Their debut, made some thirty-three years later, was an unexpected hit.
Artist: Mose Allison
Title: Mose Allison Sings
Genre: Jazz, Hard Bop, Jazz Blues, Piano Blues, Vocal Jazz, Piano Jazz
Label: © Prestige Records/Concord Music Group
Release Date: 1963/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Recorded: March 7,1957 and February 13,1959 at the Van Gelder Studio, Hackensack, NJ
Remastered: 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ
When he arrived in New York, Mississippi native Mose Allison presented himself as a piano player who occasionally sang and played trumpet. This was the balance Allison struck on six memorable Prestige albums recorded between 1957 and ’59; but what really caught the public’s attention and made him one of the music’s most influential crossover artists were Allison’s sly down-home vocals on blues classics and the clever lyrics of his originals.
All of the Prestige vocals were originally collected on the LP Mose Allison Sings, which quickly became the definitive Allison collection. When that album was reissued on compact disc, it was enhanced with two piano trio instrumentals, a rare sampling of the Allison trumpet, and the new title Greatest Hits, and became an even more comprehensive view of a jazz sage who is still going strong nearly 50 years later.
This is the first time an all-vocal Mose Allison album has been issued. It contains examples of the several types of material with which he comprises his repertoire: the blues; the "blues ballad"; and the ballad standard.
Monteverdi-Piazzolla - Una utopia Argentina - Leonardo Garcia Alarcon, Capella Mediterranea (2012) High-Fidelity FLAC Stereo 24bit/96kHz
Сomposer: Claudio Monteverdi (1567-1643), Astor Piazzólla (1921-1992), Aníbal Troilo (1914-1975)
Artist: Leonardo Garcia Alarcón, Capella Mediterranea
Title: Monteverdi-Piazzólla: Una utopia Argentina
Label: © Ambronay
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Recorded: Studio Dinemec (Switzerland) — 1st-5th March 2012
This innovative programme, created at Ambronay Festival in 2009 by the Argentine Leonardo García Alarcón chief sees musicians alternate between baroque and modern instruments to interpret the most beautiful pages of Piazzolla (Milonga del Angel, Ballada para un loco) and Monteverdi (Lamento della ninfa, Orfeo). During the extensive live tour of this project in 2009, members of the audience pointed out that in the end they didn’t know where Monteverdi stopped and Piazzolla began. This is what the principal musicians had to say:
"When I meet up with my musician friends, Argentinians of Europe like myself, we often start improvising and I discover we have a musical colour in common: the tango is never far away...The madrigal and the tango are affetti (emotions) that dictate the musical form. That’s also why it seemed such an obvious idea to me to associate them, quite apart from the fact that the energy of Monteverdi’s music is similar to that of Piazzolla’s. You can interpret them with the same freedom, allowing yourself to be guided by your emotions. The other aspect of mingling the two approaches, very liberating from the standpoint of the professional skills of a ‘classical’ musician, is the realisation of the way music evolves from one generation to another. My grandfather used to sing tangos, my father’s generation were rock enthusiasts, and I play early music having inherited all of that." Leonardo García Alarcón
Title: The Collection 1983-2008
Genre: Rock, Heavy Metal, Speed/Thrash Metal, Hard Rock
Label: © Blackened Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit (DR fixed)
Metallica were easily the best, most influential heavy metal band of the '80s and '90s. Responsible for bringing the genre back to earth, the bandmates looked and talked like they were from the street, shunning the usual rock star games of metal musicians during the mid-'80s pop-metal renaissance. Metallica also expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's Kill 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. To complete the package, Lars Ulrich's thunderous (yet complex) drumming clicked in perfectly with Cliff Burton's innovative bass playing.
After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden. Burton died in the accident. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, a self-titled effort that found the band trading in its long compositions for more concise song structures. Peppered with hits like "Wherever I May Roam" and "Enter Sandman," it resulted in a number one album that sold over seven million copies in the U.S. alone. To support the record, Metallica launched a long tour that kept the musicians on the road for nearly two years.
By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a feat. However, the group lost a portion of its core audience with its long-awaited follow-up to Metallica, 1996's Load. The album moved the band toward alternative rock in terms of image -- the bandmembers cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release, entering the charts at number one and selling three million copies within two months, certain members of the Metallica fan base complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off the original Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace and spun off several successful singles, including "Fuel" and "The Memory Remains." Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. Metallica's take on Bob Seger's "Turn the Page" helped maintain their presence in the charts, and the band continued its flood of product with 1999's S&M, which documented a live concert with the San Francisco Symphony. It debuted at number two, reconfirming the group's immense popularity.
Metallica spent most of 2000 embroiled in controversy by spearheading a legal assault against Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, Metallica notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN Awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with producer Bob Rock lined up to handle bass duties for the sessions (meanwhile, rumors swirled of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more harm than good to their "band of the people" image. That same summer, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined Metallica as they headed back into the studio in 2002 to record St. Anger, which was released in mid-2003.
The recording of St. Anger was capped with the search for a permanent replacement for Newsted. After a long audition process, former Ozzy Osbourne/Suicidal Tendencies bass player Robert Trujillo was selected and joined Metallica for their 2003-2004 world tour. The growing pains that the band experienced during the recording of St. Anger were captured in the celebrated documentary Some Kind of Monster, which saw theatrical release in 2004. Four years later, the band returned with Death Magnetic, an energized album that returned the band to its early-'80s roots. Former Slayer producer Rick Rubin helmed the album, having replaced the band's longtime producer Bob Rock, while Kirk Hammett (who was forbidden to play guitar solos on St. Anger) peppered the record with metallic riffs and frenetic solos.
Death Magnetic spent three weeks at number one on the Billboard charts and the group supported it with an extensive international tour that included a festival gig with Slayer, Megadeth, and Anthrax. Metallica closed out their Warner contract with Death Magnetic -- outtakes from the sessions appeared as the Beyond Magnetic EP in late 2011 -- and while they were exploring their options, they struck up a collaboration with Lou Reed, releasing the ambitious, arty Lulu in the fall of 2011. In 2012 Metallica launched their own label, Blackened, which would be distributed by Universal; then, the following year, they announced the release of their second motion picture, Through the Never, which combined spectacular concert footage of them blasting through gems from their back catalog with a surreal road-trip odyssey starring Dane DeHaan. The film and its accompanying soundtrack album were released in September 2013. Over the next few years, Metallica played the occasional high-profile concert as they worked on a new studio album. In 2016, the band launched a series of expanded reissues, starting with deluxe editions of Kill 'Em All and Ride the Lightning. --Artist Biography by Stephen Thomas Erlewine
Felix Mendelssohn - A Midsummer Night’s Dream - Swedish Chamber Orchestra, Thomas Dausgaard (2015) High-Fidelity FLAC Stereo 24bit/96kHz
Сomposer: Felix Mendelssohn Bartholdy (1809–47)
Artist: Swedish Chamber Orchestra, Thomas Dausgaard
Title: Mendelssohn - A Midsummer Night’s Dream
Label: © BIS Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Recorded: September 2014 at the Concert Hall of the School of Music, Theatre and Art, Örebro, Sweden
Following a series of acclaimed recordings of 19th-century music including complete cycles of the symphonies by Schubert and Schumann, Thomas Dausgaard and his Swedish Chamber Orchestra turn to Felix Mendelssohn. The team’s latest offering unites three of the composer's four celebrated concert overtures, written between 1826 and 1835 and setting new standards for this emerging genre: Mendelssohn’s overtures are also tone poems, combining a Classical conception with Romantic expressivity. The earliest of the three – A Midsummer Night’s Dream – Mendelssohn composed at the age of seventeen, and his sister Fanny later remarked how Shakespeare's play had been a constant presence at their home, and ‘how at various ages we had read all the different roles, from Peaseblossom to Hermia and Helena…’ The overture immediately became one of Mendelssohn’s signature pieces, and seventeen years later he returned to it, composing additional incidental music for a stage production of the play. Written for soloists, women's choir and orchestra, the complete Midsummer Night score is included here. The disc opens with the last of the four overtures to be composed, however: The Fair Melusine, which Mendelssohn wrote after having heard an opera based on the old French tale of the water spirit Mélusine and her sad fate. Actively disliking the opera, Mendelssohn was provoked into his own musical setting of the subject matter in the form of a concert overture. Water – and its depiction in music – also plays an important role in The Hebrides, the closing work on the present recording. Inspired by the poems by Ossian – which captured the imagination of an entire generation at the beginning of the Romantic era – Mendelssohn visited Scotland and the Hebrides in 1829, and already during this trip he sent a postcard to his family, with the overture's famous opening written down in a four-part setting.