Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
» Articles for 17.11.2017
The Doors - The Doors (1967/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: The Doors
Title: The Doors
Genre: Rock, Hard Rock, Proto-Punk, Psychedelic/Garage, Rock & Roll, AM Pop
Label: © Elektra Entertainment Group/Analogue Productions XAPP74007D64
Release Date: 1967/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:44:40
Recorded: August 24–31, 1966, Sunset Sound Recorders, Hollywood, California
Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer. DSD files created from the Analogue Productions SACD cutting master by Gus Skinas.


The Doors self-titled 1967 release famously contains some incorrect speed and pitch issues. While there have been "corrected" versions made, in the interests of being historically accurate, this Analogue Productions reissue was cut without speed or pitch correction.
One of rock music’s most famous debuts, The Doors self-titled 1967 smash is legend. And now it becomes the kick-off for a positively stunning reissue series from Analogue Productions!
The Doors was born after Jim Morrison and Ray Manzarek — who’d met at UCLA’s film school — met again, unexpectedly, on the beach in Venice, CA, during the summer of 1965. Although he’d never intended to be a singer, Morrison was invited to join Manzarek’s group Rick and the Ravens on the strength of his poetry. The group later changed its moniker, taking their name from Aldous Huxley’s psychotropic monograph "The Doors of Perception." The band signed to Elektra Records following a now-legendary gig at the Whisky-a-Go-Go on the Sunset Strip.
The Doors’ arrival on the rock scene produced a string of hit singles and albums destined to become clasics. Belting out a standard like “Back Door Man” or talk-singing such originals as “The Crystal Ship,” and “I Looked at You,” one reviewer wrote that leather-clad frontman Morrison exuded “both sensuality and menace.”
The Doors reached Billboard’s No. 2 slot and delivered the No. 1 signature smash “Light My Fire” plus “Break On Through,” “The Crystal Ship,” and “The End.”

  • 100
The Doors - Waiting For The Sun (1968/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: The Doors
Title: Waiting For The Sun
Genre: Rock, Hard Rock, Proto-Punk, Psychedelic/Garage, Rock & Roll, AM Pop
Label: © Elektra Entertainment Group/Analogue Productions XAPP74024D64
Release Date: 1968/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:33:03
Recorded: February–May 1968, TTG Studios, Hollywood, California
Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer. DSD files created from the Analogue Productions SACD cutting master by Gus Skinas.


Waiting For The Sun, The Doors’ third album and its first chart-topper, delivered the No. 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier.”
Slant Magazine proclaims that Waiting For The Sun contains some of The Doors’ prettiest, most genial lilts: “Love Street,” a fictionalized sketch of the Bohemian street where Morrison lived with his wife, Pamela Courson; the wistful “Summer’s Almost Gone,” which includes the lovely refrain, “Morning found us calmly unaware/Noon burned gold into our hair”; and the placid piano ballad “Yes, The River Knows.” More and more, says Slant, Morrison was starting to emulate one of his idols, Frank Sinatra — “after all, they had an insatiable taste for women and alcohol in common.”
Waiting For The Sun was also some of The Doors’ most combative, political work. "The Unknown Soldier" was a barefaced antiwar attack, a reaction to the Vietnam-era hostilities brewing on the home front.
Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days,Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six titles are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.
A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!
  • 60
The Doors - Strange Days (1967/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: The Doors
Title: Strange Days
Genre: Rock, Hard Rock, Proto-Punk, Psychedelic/Garage, Rock & Roll, AM Pop
Label: © Elektra Entertainment Group/Analogue Productions XAPP74014D64
Release Date: 1967/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:35:21
Recorded: May–August 1967, Sunset Sound Recorders, Hollywood, California
Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer. DSD files created from the Analogue Productions SACD cutting master by Gus Skinas.


Sinister, beguiling ... these were words reviewers used to describe The Door’s melodic psychedelic-era genre-blending sound. A mix of blues, Eastern music, classical and pop fueled hits such as the bluesy “Love Me Two Times” and “People Are Strange” from The Door’s debut follow-up, Strange Days.
Strange Days featured a smattering of edgy recitations (“Horse Latitudes”) and smoky rockers (“My Eyes Have Seen You”). Morrison’s rallying cry “We want the world, and we want it now!” from the ambitious extended track, “When the Music’s Over,” marked a touchstone for that era’s counterculture movement. Rolling Stone described Strange Days as having “all the power and energy of the first LP, but (it’s) more subtle, more intricate and much more effective.”
Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six titles are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.
A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!
  • 100
Terje Rypdal - Waves (1978/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Terje Rypdal
Title: Waves
Genre: Jazz, Post Bop, Fusion, Jazz Rock, Guitar Jazz
Label: © ECM Records GmbH | ECM Reviews
Release Date: 1978/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:41:22
Recorded: September 1977 at Talent Studio, Oslo


Norwegian guitarist and composer Terje Rypdal, tone poet of the Fender Stratocaster, began his relationship with ECM back in 1970, when he was part of Jan Garbarek's quartet on Afric Pepperbird, the saxophonist's own label debut. Some Rypdal material that didn't find its way onto Garbarek's Sart the following year led ECM's Manfred Eicher to suggest Rypdal record his own album, thereby beginning one of the label's most fertile and long-lasting collaborations.
Rypdal's eponymous debut as leader was recorded that same year. After the Rain (1976) and Waves (1977) followed, the latter featuring some of the jazziest material of Rypdal's career created amidst a stellar supporting cast of Palle Mikkelborg, Sveinung Hovensjø and Jon Christensen. Michael Tucker described "Rypdal's blending of rock and jazz phrasing with a rubato concern for tone colour and dynamics often redolent of the classical world."
  • 100
Temple Of The Dog - Temple Of The Dog (1991/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Temple Of The Dog
Title: Temple Of The Dog
Genre: Rock, Alternative Rock, Grunge, Hard Rock
Label: © A&M Records
Release Date: 1991/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:38:35
Recorded: November–December 1990 at London Bridge Studios, Seattle, Washington


Featuring members of Soundgarden and what would soon become Pearl Jam, Temple of the Dog's lone eponymous album might never have reached a wide audience if not for Pearl Jam's breakout success a year later. In turn, by providing the first glimpse of Chris Cornell's more straightforward, classic rock-influenced side, Temple of the Dog helped set the stage for Soundgarden's mainstream breakthrough with Superunknown. Nearly every founding member of Pearl Jam appears on Temple of the Dog (including the then-unknown Eddie Vedder), so perhaps it isn't surprising that the record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness. What is surprising, though, is that Cornell is the dominant composer, writing the music on seven of the ten tracks (and lyrics on all). Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities. It isn't just the band, either -- he displays more emotional range than ever before, and his melodies and song structures are (for the most part) pure, vintage hard rock. In fact, it's almost as though he's trying to write in the style of Mother Love Bone -- which makes sense, since Temple of the Dog was a tribute to that band's late singer Andrew Wood. Not every song here is directly connected to Wood; once several specific elegies were recorded, additional material grew quickly out of the group's natural chemistry. As a result, there's a very loose, jam-oriented feel to much of the album, and while it definitely meanders at times, the result is a more immediate emotional impact. The album's strength is its mournful, elegiac ballads, but thanks to the band's spontaneous creative energy and appropriately warm sound, it's permeated by a definite, life-affirming aura. That may seem like a paradox, but consider the adage that funerals are more for the living than the dead; Temple of the Dog shows Wood's associates working through their grief and finding the strength to move on. --AllMusic Review by Steve Huey
  • 0
Georg Philipp Telemann - Concertos & cantata Ihr Volker Hort - Florilegium, Clare Wilkinson (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georg Philipp Telemann (1681 - 1767)
Artist: Florilegium, Clare Wilkinson
Title: Telemann: Concertos & cantata Ihr Völker Hört
Genre: Classical
Label: © Channel Classics Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: channelclassics.com
Duration: 01:24:51
Recording: St. Michael’s Church, Highgate, London, uk, 1­3 December 2015


As I look back over the last 25 years of performances and recordings (our debut concert was in London on 13 July 1991) I hope and trust that we still offer our audiences the same enthusiasm and excitement for baroque and classical music that we had in the early days. Concert performances have taken us all over Europe, to the Far East and Australia and throughout North and South America. In recent years our work in the Mission Churches of the Chiquitos and Moxos Indians in Bolivia has had a much wider impact than we could have imagined, promoting a rich cultural heritage that was until 10 years ago almost entirely unknown outside of Bolivia. Our recordings for Channel Classics during this period have not only embraced mainstream baroque music but also given rise to some unique projects, which have demonstrated the mutual trust and respect we have for each other. The opportunity to propose and then record some of these seemingly crazy ideas I have had over the years has further strengthened our relationship with Channel Classics, a record company who trust its artists integrity and take a keen interest in their development and promotion. Over the years the membership of the ensemble has naturally evolved and instead of seeing change as a weakness, I feel strongly that each new member has brought something unique to the ensemble and offered us a refreshing insight into repertoire we have known and loved for years, reinvigorating the ensemble. So to the next 25 years!
  • 100
Tchaikovsky - Piano Trios - Swiss Piano Trio (2011) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Peter Ilyich Tchaikovsky (1840-1893)
Artist: Swiss Piano Trio
Title: Tchaikovsky: Piano Trio, Op. 50 “In Memory of a Great Artist“
Genre: Classical
Label: © Audite Musikproduktion
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: audite.de
Duration: 00:50:38



In March 1881 Pyotr Ilyich Tchaikovsky received the news of the death of his friend Nikolai Rubinstein whilst he was in Paris - a great blow for the composer who had been engaged to teach at the newly founded Moscow Conservatory thanks to Rubinstein. Tchaikovsky decided to dedicate a piece of music to his late friend - not a classical work for choir or orchestra but one for piano trio. The memory of Rubinstein evidently enraptured him to the extent that he burst all dimensions with his Trio Op. 50. Two monumental movements make up a memorial work which, however, also has optimistic moments. Following an 'Elegiac piece' is a set of variations with a duration of nearly thirty minutes which comprises a slow movement, scherzo and finale, all under the roof of a simple Russian theme. Technically, this trio presents a challenge to every piano trio.
  • 0
Peter Ilyich Tchaikovsky - Manfred Symphony - Russian National Orchestra, Mikhail Pletnev (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Manfred Symphony
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:59:28
Recorded: DZZ Studio 5, Moscow, April 2013


Peter Ilyich Tchaikovsky’s Manfred is a hermaphrodite – at least, as far as the music is concerned. For although the work (dating from 1885) was indeed dubbed by its creator as a symphony, it still did not receive a number alongside Tchaikovsky’s further six contributions to the category. And thus it was – and has still to some extent remained – “draped” over a stool, as it were: isolated in Tchaikovsky’s oeuvre somewhere between the categories of the symphony and the symphonic poem. Nevertheless, Manfred is definitely based on a literary programme. And what a programme – the eponymous dramatic poem written by the “dark romantic” poet, Lord Byron. Tchaikovsky devoted himself to this and to its eponymous hero with zeal, and seemed to even somewhat transform himself into Manfred during the intensive period of work. After all, he was also suffering from inner torment. And this can be heard in the music, which appears to be full of inner conflict. Nowadays, Manfred is rarely heard in the concert hall. Perhaps due to its rather “overloaded” subject? Perhaps due to its unclear stylistic positioning? Or perhaps due to the model upon which it is based, which today is virtually unknown? Towards the end, during the redemption of Manfred, there is even an organ added to the full orchestra. (Incidentally, this was recorded separately in Berlin for the recording at hand.) An apotheosis – however, the “taste” involved here is a subject worthy of debate. And this may, in fact, be the reason...
  • 0
	Pyotr Ilyich Tchaikovsky - Complete Works for Violin and Orchestra - Jennifer Koh, Odense Symphony Orchestra, Alexander Vedernikov (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840-1893)
Artist: Jennifer Koh, Odense Symphony Orchestra, Alexander Vedernikov
Title: Tchaikovsky: Complete Works for Violin and Orchestra
Genre: Classical
Label: © Cedille Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: cedillerecords.org
Duration: 01:14:20
Recorded: September 14—17, 2015, in the Odense Concert House's Carl Nielsen Hall, Odense, Denmark

David Hurwitz (classicstoday.com) 9\9 :: Jennifer Koh really is an exceptional violinist. Up to this point, most of her recordings have featured mixtures of new and old music which, however intelligently planned, were not exactly destined to attract the audience for the popular classics. Here, however, on a well-filled disc no less smartly assembled, she has the opportunity to attract a larger following, and on evidence here she deserves to.

This program contains all of Tchaikovsky’s music for solo violin and orchestra. The concerto is gorgeously played. Koh isn’t just technically polished, but she has a genuinely beautiful tone, smooth throughout the instrument’s entire range and at all dynamic levels. It retains its sweetness even when muted, as in the Canzonetta, and her double stops are so in tune and so devoid of harshness that they sound like single tones. She doesn’t “attack” the concerto, but plays with a light touch, never stinting the lyricism–but at the same time never turning sticky. This may not be the most “Russian” sounding interpretation, but it is distinctive, songful, exciting (in the finale), and a wholly legitimate, personal view.

Souvenir d’un lieu cher, in Glazunov’s orchestration, is also a major work. If the opening Meditation has ever been more beautifully sung-out, I haven’t heard it. The scherzo is dashing, and the concluding Melodie another example of Koh’s ability to sustain a genuine cantabile line. The program opens with the two shorter works, lovely hors d’oeuvres whetting the appetite for the larger courses to come. Alexander Vedernikov leads the Odense Symphony with the expected expertise, but the focus remains, rightly, on Koh. She really is a star; perhaps this beautifully engineered release will serve notice.
  • 0
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.