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Bon Jovi - This House Is Not For Sale (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bon Jovi
Title: This House Is Not For Sale
Genre: Rock, Hard Rock
Label: © Captain Kidd Corp.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:10:35
Recorded: 2015–16, Avatar Studios, The Power Station

"I ain't livin' with the ghost/No future living in the past," sings Jon Bon Jovi on "Living with the Ghost," the second song on This House Is Not for Sale, the first new Bon Jovi album without guitarist Richie Sambora. From those words, it's clear that Jon Bon Jovi isn't shedding many tears for his departed collaborator, and This House Is Not for Sale proves this to be true. While there are certainly moments of sweetness here -- he pens love songs to his woman ("Labor of Love") and guitar ("Scars on This Guitar") -- they're somewhat overwhelmed by the aggressive arena rock that dominates the album. Musically, this is a throwback -- not to the '80s but to 2005's Have a Nice Day, which is the first album Bon Jovi recorded with producer John Shanks. Often, This House Is Not for Sale -- which is the sixth album Shanks has recorded with Bon Jovi -- recalls the exuberant singalongs from Have a Nice Day ("God Bless This Mess" is a kissing cousin to "Who Says You Can't Go Home"), but where that 2005 album felt joyful, this 2016 album is driven in part by spite. Thirty years into his career and Jon Bon Jovi still acts like the underdog ("Every day I wake up with my back against the wall/Anytime you get up, someone wants to see you fall"), and he still sings like he has scores to settle. Presumably, some of these outstanding debts may be with Sambora, who did not leave on good terms, but Jon Bon Jovi is determined that "This isn't how the story ends, my friends, it's just a fork along the road," which goes a long way toward explaining how muscular This House Is Not for Sale is. Bon Jovi and Shanks may not have done much to freshen up the band's sound -- they don't take any mid-2010s musical trends into consideration -- but that simmering defiance does mean this is the band's liveliest album in years. --AllMusic Review by Stephen Thomas Erlewine
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Bob Marley & The Wailers - Live! (1975/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Bob Marley & The Wailers
Title: Live!
Genre: Reggae, Political Reggae, Rocksteady, Roots Reggae
Label: © Island Records, a division of UMG Recordings, Inc.
Release Date: 1975/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 02:13:21
Recorded live at the Lyceum, London, July 17 & 18, 1975 using the Rolling Stones Mobile Studio

Bob Marley & the Wailers were at the peak of their artistic powers when they arrived at the Lyceum London for two shows on July 17 and 18, 1975, having just released Natty Dread the year before and about to unleash Rastaman Vibration on the world. The Rolling Stones mobile studio was on hand to record both shows, with seven songs from the second released as Live! in December of that same year. The recording was subsequently broadcast as part of the syndicated radio program King Biscuit Flower Hour in 1976.
The Marley Family will now release for the first time the complete sets from both shows, Bob Marley & the Wailers – Live!, as a three-LP set in 180-gram black vinyl and as a digital package on December 16 in a tri-gatefold package that also includes a reproduction of the tour program from the band’s historic ’75 U.K. tour.
Marley and the Wailers’ classic line-up included bassist Aston “Family Man” Barrett, drummer Carlton “Carly” Barrett, guitarist Al Anderson, keyboardist Tyrone Downie, percussionist Alvin “Seeco” Patterson and the I-Three — backing vocalists Rita Marley, Judy Mowatt and Marcia Griffiths. The group was fresh off its legendary five-night stint at the Roxy Theatre in Los Angeles from July 9 through July 13, when they stepped on the stage at London’s Lyceum Theatre for an abbreviated U.K. tour which would also include dates at The Odeon in Birmingham on July 19 and The Hard Rock in Manchester on July 20. Marley was in top form during the two Lyceum shows, animatedly interacting with the crowd, who sang along to what most consider the definitive version of “No Woman, No Cry.”
The BBC’s Chris Jones wrote about the album in 2009: “This seminal live document captures almost exactly the point where both roots reggae and Rastafarianism finally entered popular culture… Capturing the band at the peak of their powers with a set list that held absolutely no low points… this was a Wailers that could more than handle the lusher, fuller rock reggae that transformed Marley’s Rastaman diatribes into pop gold. No one before this had combined both roots and R&B in this way… uniting both working and middle classes with his songs of universal struggle and religious metaphor.”
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Bob Dylan - The Real Royal Albert Hall 1966 Concert (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bob Dylan
Title: The Real Royal Albert Hall 1966 Concert
Genre: Rock, Folk, Political Folk, Rock & Roll, Blues-Rock
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:34:23
Recorded live at The Royal Albert Hall, London, 26 May 1966

The title of The Real Royal Albert Hall 1966 Concert is a nod to the fact that the famous bootleg known as The "Royal Albert Hall" Concert was actually recorded at the Manchester Free Trade Hall on May 17, 1966. The historical record was corrected when the concert was released as the second installment in Bob Dylan's Bootleg Series in 1998 (it's labeled the fourth volume, but the first three editions were all rounded up in a 1991 box), so when it came to release a sampler album from the mammoth 36-disc set The 1966 Live Recordings, the only option was to release The Real Royal Albert Hall 1966 Concert, a show given on May 26, 1996. This double-disc set follows the same contours of the Manchester Free Trade Hall show, offering the acoustic set on the first disc and the electric on the second. Furthermore, the set lists are identical, so The Real Royal Albert Hall 1966 Concert feels a bit like a mirror image of the Manchester Free Trade Hall. Like on Manchester, the acoustic set is quite good, but it's overshadowed by an electric set that feels wild and alive. Perhaps the performance isn't as epochal as The "Royal Albert Hall" Concert, but it offers similar thrills and pleasures, and that's enough for any Dylan fan who wants to hear more music from this rich period. --AllMusic Review by Stephen Thomas Erlewine
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Ben Harper & The Innocent Criminals - Live From Mars (2001/2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Ben Harper & The Innocent Criminals
Title: Live From Mars
Genre: Rock, Alternative/Indie Rock, Folk Rock, Southern Rock, Rhythm & Blues, Soul
Label: © Virgin Records America, Inc.
Release Date: 2001/2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 02:17:46
Recorded live between 1998 and 2000

Seeing Ben live is an amazing experience, which for the first time has been captured in this double album set. This collection includes all of Ben's greatest songs, along with his versions of such classics as Led Zeppelin's "Whole Lotta Love," Marvin Gaye's "Sexual Healing," plus many more.
Throughout the '90s, Ben Harper's blend of blues, funk, soul and folk quietly earned him a hardcore following of diehard fans over the span of four studio albums. For Live From Mars, Harper and his tight three-piece band the Innocent Criminals cull performances from a variety of concerts, featuring interesting arrangements and odd nuances applied to his best-known songs, along with an eclectic array of covers.
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Beck - Odelay (1996/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Beck
Title: Odelay
Genre: Rock, Alternative/Indie Rock, Alternative Hip Hop, Noise Rock, Lo-Fi
Label: © DGC/Geffen Records
Release Date: 1996/2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: ProStudioMasters
Duration: 51:38
Recorded: 1994–96

Unlike Stereopathetic Soul Manure and One Foot in the Grave, the indie albums that followed his debut Mellow Gold by a mere matter of months, Odelay was a full-fledged, full-bodied album, released on a major label in the summer of 1996 and bearing an intricate, meticulous production by the Dust Brothers in their first gig since the Beastie Boys' Paul's Boutique. Odelay shared a similar collage structure to that 1989 masterpiece, relying on a blend of found sounds and samples, but instead of lending the album its primary colors, the Dust Brothers provided the accents, highlighting Beck's ever-changing sounds, tying together his stylistic shifts, making the leaps from the dirge-blues of "Jack-Ass" to the hazy party rock of "Where's It's At" seem not so great. Like Mellow Gold, Odelay winds up touching on a number of disparate strands -- folk and country, grungy garage rock, stiff-boned electro, louche exotica, old-school rap, touches of noise rock -- but there's no break-neck snap between sensibilities, everything flows smoothly, the dense sounds suggesting that the songs are a bit more complicated than they actually are. Most of the songs here betray Beck's roots as an anti-folk singer -- he reworks blues structures ("Devil's Haircut"), country ("Lord Only Knows," "Sissyneck"), soul ("Hotwax"), folk ("Ramshackle") and rap ("High 5 [Rock the Catskills]," "Where It's At") -- but each track twists conventions, either in their construction or presentation, giving this a vibrant, electric pulse, surprising in its form and attack. Like a mosaic, all the details add up to a picture greater than its parts, so while some of Beck's best songs are here, Odelay is best appreciated as a recorded whole, with each layered sample enhancing the allusion that came before. --AllMusic Review by Stephen Thomas Erlewine
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Beck - Guero (2005/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Beck
Title: Guero
Genre: Rock, Alternative/Indie Rock, Alternative Hip Hop, Noise Rock, Lo-Fi
Label: © DGC/Geffen Records
Release Date: 2005/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 49:57
Recorded: The Boat, Silverlake, CA, September 2003 – August 2004

Ever since his thrilling 1994 debut with Mellow Gold, each new Beck album was a genuine pop cultural event, since it was never clear which direction he would follow. Kicking off his career as equal parts noise-prankster, indie folkster, alt-rocker, and ironic rapper, he's gone to extremes, veering between garishly ironic party music to brooding heartbroken Baroque pop, and this unpredictability is a large part of his charm, since each album was distinct from the one before. That remains true with Guero, his eighth album (sixth if you don't count 1994's Stereopathetic Soul Manure and One Foot in the Grave, which some don't), but the surprising thing here is that it sounds for all the world like a good, straight-ahead, garden-variety Beck album, which is something he'd never delivered prior to this 2005 release. In many ways, Guero is deliberately designed as a classicist Beck album, a return to the sound and aesthetic of his 1996 masterwork, Odelay. After all, he's reteamed with the producing team of the Dust Brothers, who are widely credited for the dense, sample-collage sound of Odelay, and the light, bright Guero stands in stark contrast to the lush melancholy of 2002's Sea Change while simultaneously bearing a knowing kinship to the sound that brought him his greatest critical and commercial success in the mid-'90s. This has all the trappings of being a cold, calculating maneuver, but the album never plays as crass. Instead, it sounds as if Beck, now a husband and father in his mid-thirties, is revisiting his older aesthetic and sensibility from a new perspective. The sound has remained essentially the same -- it's still a kaleidoscopic jumble of pop, hip-hop, and indie rock, with some Brazilian and electro touches thrown in -- but Beck is a hell of a lot calmer, never indulging in the lyrical or musical flights of fancy or the absurdism that made Mellow Gold and Odelay such giddy listens. He now operates with the skill and precision of a craftsman, never dumping too many ideas into one song, paring his words down to their essentials, mixing the record for a wider audience than just his friends. Consequently, Guero never is as surprising or enthralling as Odelay, but Beck is also not trying to be as wild and funny as he was a decade ago. He's shifted away from exaggerated wackiness -- which is good, since it wouldn't wear as well on a 34 year old as it would on a man a decade younger -- and concentrated on the record-making, winding up with a thoroughly enjoyable LP that sounds warm and familiar upon the first play and gets stronger with each spin. No, it's not a knockout, the way his first few records were, but it's a successful mature variation on Odelay, one that proves that Beck's sensibility will continue to reap rewards for him as he enters his second decade of recording. --AllMusic Review by Stephen Thomas Erlewine
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Bela Bartok - The Two Violin Concertos - Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Béla Bartók (1881-1945)
Artist: Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski
Title: Bartók - The Two Violin Concertos
Genre: Classical
Label: © Pentatone
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD-ISO
Duration: 01:01:11
Recorded: Victoria Hall, Geneva, Switzerland, June/July, 2009

Whilst unfulfilled passion and unre- quited love have driven many to depression, Béla Bartók was able to sublimate such personal disappointment into exuberant creativity. In February 1908, after his passionate courting attempts had been rejected by the Swiss violinist, Stefi Geyer, Bartók wrote her: “Having read your letter, I sat down at the piano – and had the sad premonition that, in life, music is to be my only consolation.” He illustrated these lines with a musical quotation which included the broken major-seventh chord, c-sharp – e – g-sharp – b-sharp, adding the words: “This is your leitmotiv.” It will have been particularly bitter for the composer that he had completed the score of the violin concerto, which had been written for Stefi, and into which he had poured his profound feelings for her, just a few days before her rejection. It is also to her that he dedicated the concerto, which, as in “a narcotic dream” (Römer), had been inspired a year earlier by his intoxicating love for her, but he did not do so without adding a tragic poem by Béla Balázs to the autograph score. Stefi Geyer kept the score until her death in 1956, with- out every performing the concerto publicly. It was not until 30 May 1958, thirteen years after Bartók’s death, that the concerto finally had its first public performance, in Basel, under the baton of Paul Sacher, with Hansheinz Schneeberger as soloist.
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Barry Gibb - In The Now (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Barry Gibb
Title: In The Now
Genre: Pop Rock, Soft Rock, Singer/Songwriter
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 00:54:31
Recorded: The Hit Factory, Miami

With a legendary career both with the Bee Gees and as a songwriter and producer outside the group, it seems somehow impossible that 2016's In the Now is only Barry Gibb's second true solo album. Working with his sons Steve and Ashley, recording in the studios where the Gibb brothers made their classic mid-'70s hits, still haunted by the deaths of his three brothers, the album is a family affair and the songs feel like they are true statements of where Barry Gibb stands as he reaches the back stretch of his life. The lyrics speak of journeys and memories, death and rebirth, sadness and the comfort of lasting love, all sung in a voice battered by the years. Traces of the elastic falsetto Gibb made famous flicker here and there, but the bulk of the vocals are delivered with a husky vibrato that makes everything he sings sound ripped from somewhere adjacent to his soul. If only the music made the same kind of impact. The crew of musicians backing Gibb seems determined to make everything sound as smooth and featureless as possible, the production (for which Gibb and John Merchant share the blame) is airless, and the arrangements do the songs no favors at all. To that end, the team of Gibbs doing the writing don't really settle on any one kind of style and the wide range means that the album ends up sounding unfocused. Hard-ish rockers like "Blowin' a Fuse" back up against laid-back country-rock tunes ("Home Truth Song"), one song mixes in some Bee Gees-style psych pop in an uneasy manner ("Amy in Colour), gentle disco-pop groovers ("In the Now") balance uneasily with choogling barroom rock like "Diamonds," and it really doesn't fit together cohesively. If there is one thread that runs through the album, it's the kind of adult contemporary balladry that Gibb nailed in the '80s with songs like "Islands in the Stream." The problem is that those songs had a gentle pop soul that made them stick; the songs here aim for romantic, but land closer to somnambulant. Songs like "Star Crossed Lovers" and "Shadows" sound embarrassingly old-fashioned and make Gibb sound ancient. A more sympathetic production style and some focus would have made all the difference on In the Now. It's not unprecedented for musicians of Gibb's caliber to refashion themselves as wise balladeers (Neil Diamond, Johnny Cash) or even as club icons (Cher); his desire to try a bunch of stuff and not nail any of it leads to an album that fails to make a positive impression. Had he done a disco album that balanced his lived-in vocals with funky grooves or maybe dug deep into the tattered and worn humanity behind his words and presented something unvarnished, maybe it would have worked as a kind of career-topping statement instead of the disappointment that it is. --AllMusic Review by Tim Sendra
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Band of Horses - Why Are You OK (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Band of Horses
Title: Why Are You OK
Genre: Rock, Alternative/Indie Rock, Southern Rock
Label: © Interscope Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 49:37

In the past, Band of Horses founder and leader Ben Bridwell would literally run away from home to write: holing up in a secluded cabin or other such remote location, emerging months later with new songs for his band to flesh out and fully animate. This time—whether by happenstance or conscious need for a drastic change—Ben stayed home to write. In the estrogen-charged atmosphere of a home shared with his wife and four—yes, four–daughters he allowed his everyday experiences to inform his process. Between dropping off and picking up the girls, changing diapers, and playing dress up, Bridwell spent every precious free minute—often the wee hours on the morning into daybreak–in his garage writing.
The result is Band of Horses’ fifth studio album, Why Are You OK, a record informed by experience and at the same time retaining the vulnerability that birthed their greatest songs. Creating capsule worlds populated by the strange but true cast of characters from Bridwell’s hometown Charleston, SC, Why Are You OK‘s songs combined universal sentiments with Bridwell’s patented knack for storytelling—all wrapped in the lush melodic textures that have long been the bedrock of Band of Horses’ signature sound.
The album was produced by Jason Lytle, Executive Produced by Rick Rubin and mixed by Dave Fridmann.
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Johann Sebastian Bach - The Six Sonatas & Partitas for Solo Violin - James Ehnes (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: James Ehnes
Title: Bach, J.S. - The Six Sonatas & Partitas for Solo Violin
Genre: Classical
Label: © Analekta
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Duration: 02:30:17
Recorded: November 1999 and June 2000 at à l’Église St-Augustin, Québec
Remastering: Carl Talbot, Jack Kelly, Productions Musicom

Bach’s solo violin music has always been very dear to my heart and central to my performing repertoire. Being able to record these monumental works early in my career was a rare privilege, and I will always be grateful to Analekta for allowing me this wonderful opportunity. Though my interpretations have evolved over the years, and will continue to evolve throughout my life, it gives me great pleasure to revisit these recordings and remember with pride the incredible journey of recording these masterpieces. --James Ehnes
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