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Mariah Carey - Emotions (1991/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Mariah Carey
Title: Emotions
Genre: Pop, R&B
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1991/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 46:48
Recorded: 1991


Emotions is the second studio album by American singer and songwriter Mariah Carey. It was released on September 17, 1991 by Columbia Records. The album deviated from the formula of Carey's 1990 self-titled debut album, as she had more creative control over the material she produced and recorded. Additionally, Emotions features influences from a range of genres such as gospel, R&B, soul and 1950s, 1960s and 1970s balladry infusion. On the record, Carey worked with a variety of producers and writers, including Walter Afanasieff, the only hold over from her previous effort. Additionally, Carey wrote and produced the album's material with Robert Clivillés and David Cole from C+C Music Factory and Carole King, with whom she wrote one song.
Upon release, Emotions received generally mixed reviews from contemporary music critics. The album debuted at number four on the Billboard 200, surprising many critics following the success of Carey's debut, which spent eleven weeks atop the chart. While selling far less than Mariah Carey, Emotions was eventually certified quadruple-platinum by the Recording Industry Association of America (RIAA), denoting shipments of four million copies throughout the country, with estimated sales standing at 3,595,000 copies. Emotions achieved moderate success outside the United States, peaking within the top ten in Australia, Canada, the Netherlands, New Zealand, Norway and the United Kingdom. Its success in Japan was strong, shipping one million copies there. The album has sold 8 million copies worldwide.
Three commercial singles were released from the album. The title track, the album's lead song, became Carey's fifth chart topper on the Billboard Hot 100, making her the only artist in history to have their first five singles reach the chart's summit. Additionally, it became Carey's third chart topper in Canada, and reached the top ten in France, the Netherlands and New Zealand. "Can't Let Go" was released as the second single from Emotions on October 23, 1991. Due to Columbia's removal of the single from stores in an attempt to boost the album's sales, "Can't Let Go" failed to become her sixth chart topper in the US, peaking at number two. European and worldwide success was very limited, reaching the top 20 in only Canada and the UK. Similarly, "Make It Happen" peaked at number five in the US, and achieved relatively weak international charting, prompting Columbia to halt promotion of the album.
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Living Voices - The Little Drummer Boy (1965/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Living Voices
Title: The Little Drummer Boy
Genre: Pop, Jazz Pop, Vocal Pop, Easy Listening, Holiday, Christmas
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1965/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:28:44
Recorded: RCA Victor Studios, Nashville
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Living Voices - Sing Christmas Music (1962/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Living Voices
Title: Living Voices Sing Christmas Music
Genre: Pop, Jazz Pop, Vocal Pop, Easy Listening, Holiday, Christmas
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1962/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:32:17
Recorded: RCA Victor's Studio
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Libby Morris - Ad-Libby (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Libby Morris
Title: Ad-Libby
Genre: Pop, Vocal Pop, Easy Listening, Cabaret, Stage & Screen
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:42:40
Recorded: RCA Victor's Studio A, New York City


Libby Morris (born 1930) is a Canadian comic actress and clown famous for her facial contortions and fast talking. She appeared in several BBC radio shows of the 1950s and moved into TV and film from the 1960s onwards. She then moved on to London, England, where she starred in her own show doing impersonations.
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Lavinia Meijer - The Glass Effect (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Philip Glass (b.1937)
Artist: Lavinia Meijer
Title: The Glass Effect
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:56:04
Recording: Muziekgebouw Eindhoven, Netherlands, July 1–6, 2016

This double album includes the theme of Koyaanisqatsi and 10 Etudes by Philip Glass. Lavinia: “This tribute album is about the effect Glass’s music has on me and his influence on the younger generation composers. His music connected me to the younger generation of composers of today: Bryce Dessner, Nico Muhly, Nils Frahm, Ólafur Arnalds and Ellis Ludwig-Leone. They all have been influenced by Glass and created their own musical language. You will hear music of these wonderful composers as well on this album!”
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Kurt Elling - The Beautiful Day - Kurt Elling Sings Christmas (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Kurt Elling
Title: The Beautiful Day - Kurt Elling Sings Christmas
Genre: Jazz, Vocal Jazz, Modern Creative, Holiday, Christmas
Label: © Okeh/Sony Music Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:54:34
Recorded: Transient Sound Studio, Chicago, IL

With The Beautiful Day, Kurt Elling has pulled off something close to a Christmas miracle. He has taken a secular approach to a religious holiday, without shying away from a spiritual message. He has taken Christmas – a day of the year that holds deep meaning and memories for him – and embraced it in all its Christian imagery and lore. But from these specifics he has chosen to amplify the holy day's universal themes of wonder, mystery, goodwill and hope. And he has done so with such deftness and generosity that people of all faiths can share in those concepts.
"In the Western World, whether you're a Christian or not, Christmas has some kind of seasonal relevance to you," Elling said, shortly after completing this album. "You can't really escape the holiday – even it's just coming at you on television. I would hope as many people as possible have a positive connotation of Christmas – and that when they put this record on, they feel included in its energy. This record is not meant to be a reinforcement of dogma. At the same time, I?m not afraid to say the word 'Christmas': it's the name of the holiday.
"I knew I didn't want to make a 'religious' record, just as I knew I didn't want to make something musically cheap or just for commerce – or even just a standard, swinging Jazzy Christmas. If anything, I'm trying to expand my consciousness and embrace the goodness of the season. For me, Christmas is a time of consideration, of pondering mysteries. It's a dark time of year, both figuratively and literally, here in the northern hemisphere. It's a time when the snow quiets everything within its blanket, and of solitude, because people tend to rush back indoors – leaving the poet, like the poor, out on the streets alone. It's a time when I can go out on a stormy night, as I like to do, and listen to the wind through the trees." This experience is now memorialized in Elling's lyric "The Michigan Farm", set to the music of the 19th Century Norwegian composer Edvard Grieg.
Elling has investigated matters of the soul and of faith throughout his career. He's done so through his choice of repertoire; through his inventive infusions of poetry, some of which date back to the 13th century; and through his own writing (such as his lyrics to John Coltrane's epic spiritual quest A Love Supreme). Filling an entire album with such matters required a different effort. Making that album an inclusive ode to Christmas raised the bar.
"It's a funny thing, going in to make a Christmas record – a strange, exhilarating, challenging thing – especially when your father was a church musician, as mine was, and so much of your childhood was based around the church calendar and preparing music for religious observances. For me, the holiday comes enriched with a lot of beautiful personal memories. It also comes freighted with the knowledge that millions of other people around the world carry their own such memories; and not all those memories are of happy occasions. So it was daunting to take on something with so much history and resonance. I hope that with this material I found a sweet spot. The music has meaning; it's inclusive; it's seasonal, by which I mean the actual season of winter in North America; and it has a little bit of searching weight to it - avoiding, I hope, the usual seasonal cliché."
The Beautiful Day is definitively a jazz record, but the material draws from several genres - from traditional carols to the modern soul of Donny Hathaway and the folk-rock of Dan Fogelberg, with several delightful songs written by Leslie Bricusse for the lesser-known 1970 film musical Scrooge. The arrangements come courtesy of Elling himself in collaboration with newcomer pianist Stuart Mindeman and longtime guitarist John McLean. The band?s longest-serving member, bassist Clark Sommers, arranged the catchy "Christmas Children." And Kendrick Scott cloaked the "Little Drummer Boy" in a New Orleans street beat. "We Three Kings" gets an assist from the pen of Tori Amos. And the next generation – Elling's preternaturally poised daughter Luiza – bows winningly on the title track.
At several points, a misty shadow of "Good King Wenceslaus" (a tale of benevolence) reappears in the program. "It's a lovely story, but the lyrics are immovably time-bound," Elling explained. So rather than insert the song itself, he took "little mirror images: smoky phantoms from a slant angle, where the lighting of the Christmas tree is blurry and in your side vision," and used them as a recurring motif. These not only bind the album, they also provide "a settling influence to keep the listener in a steady contemplation."
Nothing captures the essence of The Beautiful Day better than "Some Children See Him," a song specific to Christianity yet dismissive of any clannish appropriation. "It's a deceptively simple song about how the central image of Christmas overflows the boundaries we try to construct," Elling said. "I believe that all races – and even genders – rightly see themselves in the Holy Infant. The spirit of Christ transcends any representative face we may imagine. One cannot 'own' the image of Christ, just as one cannot 'own' Christmas itself."
The human capacity for a quiet transcendence, born within each of us, is a concept at the foundation of virtually every creed, and ought to resonate for people of every faith tradition. That Elling can share it without diluting an ounce of his own belief is the reason this Christmas album transcends Christmas. (And the music soars; you can imagine happily playing The Beautiful Day in the heat of summer.) This may not qualify as an actual miracle. But in troubled times, it comes close enough. --NEIL TESSER
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Khachaturian: The Masquerade Suite / Kabalevsky: The Comedians - Kiril Kondrashin, RCA Victor Symphony Orchestra (1958/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Aram Khachaturian (1903-1978), Dmitri Kabalevsky (1904-1987)
Artist: Kiril Kondrashin, RCA Victor Symphony Orchestra
Title: Khachaturian: The Masquerade Suite / Kabalevsky: The Comedians
Genre: Classical
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1958/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: HDTracks
Duration: 00:33:03
Recorded: Manhattan Center, New York, October 30, 1958

RCA's "golden age" was more like a "golden minute" - in a scant period, roughly from 1958 to 1963, the beginning of the stereo era - pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and midband illumination.
One of the best sounding recordings in the Living Stereo catalog finds Kiril Kondrashin conducting the RCA Victor Symphony Orchestra in performances of Aram Khachaturian's The Masquerade Suite and Dmitri Kabalevsky's The Comedians. Produced by Richard Mohr and recorded by Lewis Layton.
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Kazumi Watanabe - GRACIM (2013/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Kazumi Watanabe
Title: GRACIM
Genre: Jazz, New Age, Fusion, Guitar Jazz
Label: © Warner Music Japan
Release Date: 2013/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:49:04
Recorded: 2013

Special duet featuring Japanese vocalist Minako Yoshida and jazz/fusion guitarist Kazumi Watanabe. Kazumi Watanabe has for the past 20 years been one of the top guitarists in fusion, a rock-oriented player whose furious power does not mask a creative imagination. Watanabe studied guitar at Tokyo's Yamaha Music School and he was a recording artist while still a teenager. In 1979, he formed the group Kylyn and, in 1983, he put together the Mobo band. Several of his recordings have been made available by Gramavision and they show that he ranks up with Al DiMeola (when he is electrified) and Scott Henderson among the pacesetters in the idiom.
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Katia & Marielle Labeque - Invocations (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Igor Stravinsky (1882-1971), Claude Debussy (1862-1918)
Artist: Katia & Marielle Labèque
Title: Invocations
Genre: Classical
Label: © Deutsche Grammophon GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:19:00
Recorded: London, Abbey Road Studios, 6/2016 (Concerto); Hamburg-Harburg, Friedrich-Ebert-Halle, 9/2016 (Ballades)


“Whether Mozart or Stravinsky, their musical line always sounds as if it’s being woven for the very first time... But the illusion of improvisation is the genius of their performances. In all their recordings there is a deceptive sprezzatura that is born of throwing the preparation to the winds and hanging onto each others ears.” (The Times)
Katia and Marielle Labèque are sibling pianists renowned for their ensemble of synchronicity and energy. Their musical ambitions started at an early age and they rose to international fame with their contemporary rendition of Gershwin's Rhapsody in Blue (one of the first gold records in classical music) and have since developed a stunning career with performances worldwide.
“The best piano duo in front of an audience today” (New York Times)
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