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Pearl Jam - Yield (1998/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Pearl Jam
Title: Yield
Genre: Rock, Alternative Rock, Hard Rock, Grunge
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1998/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: AcousticSounds
Duration: 48:29
Recorded: February–September 1997 at Studio Litho and Studio X, Seattle, Washington; Southern Tracks Recording and Doppler Studios, Atlanta, Georgia

Yield is the fifth studio album by the American alternative rock band Pearl Jam, released on February 3, 1998. Following a short promotional tour for its previous album, No Code (1996), Pearl Jam recorded Yield throughout 1997 at Studio Litho and Studio X in Seattle, Washington. The album was proclaimed as a return to the band's early, straightforward rock sound, and marked a more collaborative effort from the band as opposed to relying heavily on frontman Eddie Vedder to compose the songs. The lyrics deal with contemplative themes, albeit seen in a more positive manner compared to the band's earlier work.
Yield received positive reviews and debuted at number two on the Billboard 200. While like No Code the album soon began dropping down the charts, Yield eventually outsold its predecessor. The band did more promotion for the album compared to No Code, including a return to full-scale touring and the release of a music video for the song "Do the Evolution". The record has been certified platinum by the RIAA in the United States. The album is Pearl Jam's last release with drummer Jack Irons, who left the band during the album's promotional tour.
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Pearl Jam - No Code (1996/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Pearl Jam
Title: No Code
Genre: Rock, Alternative Rock, Hard Rock, Grunge
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1996/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: AcousticSounds
Duration: 49:28
Recorded: July 12, 1995 – May 1996 at Chicago Recording Company, Chicago; Kingsway Studio, New Orleans; Studio Litho, Seattle

No Code is the fourth studio album by the American rock band Pearl Jam, released on August 27, 1996 through Epic Records. Following a troubled tour for its previous album, Vitalogy (1994), in which Pearl Jam engaged in a much-publicized boycott of Ticketmaster, the band went into the studio to record its follow-up. The music on the record was more diverse than what the band had done on previous releases, incorporating elements of garage rock, worldbeat, and psychedelia.
Although No Code debuted at number one on the Billboard 200, it left a large section of the band’s fanbase unsatisfied and quickly fell down the charts. Critical reviews were also mixed, with praise to the musical variety but the album being considered inconsistent. The album became the first Pearl Jam album to not reach multi-platinum status, receiving a single platinum certification by the RIAA in the United States.
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Patricia Barber - Cafe Blue (1994/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Patricia Barber
Title: Cafe Blue
Genre: Jazz, Vocal Jazz, Contemporary Jazz
Label: © Premonition Records
Release Date: 1994/2013 (2011 remixed)
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 01:02:52
Recorded: Chicago Recordings Company, Studio 5, Chicago IL. June 28-30, July 1, 1994.
Analog 2-track mixes transferred to 24/192 kHz by Doug Sax. Converted to DSD from the 24/192 by Gus Skinas


Cafe Blue was recorded at Chicago Recording Company in early 1994 by recording engineer Jim Anderson. It was the first release Barber recorded for Premonition Records. Recorded in 16/48 kHz on a 32-track Otari machine, the original multitracks were then transferred and remixed in 2011 at Capitol Studios in Holywood, California. The idea was to reimagine the album, which had become one of the most widely praised jazz recordings of the 1900s, at one of the legendary recording facilities of the golden era of jazz recording, the late 1950s. Utilizing Studio B's remarkably warm Neve 808 console, which was actually the first Neve console in the U.S., and Capitol's EMT plate reverbs and live chambers, Anderson delivered a stunning reinterpretation that has become the standard versiion of this recording. The album was mastered from the original analog mixes by David Glasser of Airshow Mastering.
Cafe Blue itself is so special that it outshines its peers. This recording of an outstanding female vocalist won more than 15 awards of best reviews from international major magazines of music institutions. But the most important aspect of this disc crystallizes in the two songs for which Barber herself has written the lyrics. The down-and-out sophistication of "What A Shame" and the self-effacing wonderment of "Too Rich For My Blood," show a serious jazz musician exploring the emotional domain normally occupied by pop and rock artists.
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Prokofiev, Tchaikovsky - Piano Concertos - Beatrice Rana, Orchestra dell’Accademia Nazionale di Santa Cecilia, Antonio Pappano (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Sergei Sergeievitch Prokofiev (1891-1953), Pyotr Ilyich Tchaikovsky (1840-1893)
Artist: Beatrice Rana, Orchestra dell’Accademia Nazionale di Santa Cecilia, Antonio Pappano
Title: Prokofiev, Tchaikovsky - Piano Concertos
Genre: Classical
Label: © Warner Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:06:58
Recorded: July 13-17, 2015


Maestro Antonio Pappano insisted he wanted to record with Beatrice Rana, the 22-year-old Italian pianist championed by Martha Argerich who shot to stardom when she claimed the Silver Medal and the coveted Audience Award in the 2013 Van Cliburn International Piano Competition. On that occasion, Huffington Post described the seasoned competition winner’s performance as ‘an endlessly fascinating piece of humanity that had the orchestra riveted on every note’. Warner Classics signed this young piano sensation in mid-2015; the Italian virtuoso now makes her label debut with the Orchestra dell’Accademia Nazionale di Santa Cecilia under the baton of Sir Antonio Pappano. Recorded in Rome, the formidable programme pairs two Russian masterpieces: a thrillingly fresh take on the warhorse of Tchaikovsky’s Piano Concerto No.1 in B-flat minor – an indispensable repertoire benchmark and calling card for concert pianists all over the world – and Prokofiev’s stormy, emotionally charged Piano Concerto No.2. This coupling is a bold statement for a musician who ‘possesses an old soul that belies her twenty years, and more than a touch of genius’ (Gramophone), but the soloist believes she has ‘the right character’ for this kind of music: ‘People say that South Italians are very dramatic!’
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