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The Afghan Whigs - Congregation (1992/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Afghan Whigs
Title: Congregation
Genre: Rock, Alternative/Indie Rock
Label: © Sub Pop Records
Release Date: 1992/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 44:38
Recorded: July–September 1991, Bear Creek Studios in Woodinville, Washington; Buzz's Kitchen in Los Angeles, California; and Ultrasuede in Cincinnati, Ohio

Congregation was the Afghan Whigs' breakthrough album and has been called the grunge era's most overlooked masterpiece. The album was very well received by critics, and the band achieved a cult following, receiving offers from major record labels. They eventually signed with Elektra Records. Stylistically distinct from other Sub Pop grunge music, the album features songs with themes of pleasure and guilt, dysfunctional relationships and sexual deviancy.
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The Afghan Whigs - Black Love (1996/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Afghan Whigs
Title: Black Love {20th Anniversary}
Genre: Rock, Alternative/Indie Rock
Label: © Elektra Entertainment
Release Date: 1996/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:21:49
Recorded: August–September 1995, Ardent Studios in Memphis, Tennessee

The Afghan Whigs hit a high-water mark with 1993's Gentlemen, an album that upped their game musically and plumbed the depth of Greg Dulli's self-loathing with its tales of a ladies' man whose attitude toward women (and himself) borders on the malignant. It was the band's finest and most most ambitious work, and the band was faced with the challenge of trying to top it. The Afghan Whigs' follow-up, 1996's Black Love, ultimately missed the mark, though not for a lack of trying. The performances were every bit as strong as those on Gentlemen, as Rick McCollum's mix of hard rock riffing and wailing slide guitar grew even stronger and the rhythm section laid down a beat that hit hard but retained a bit of their more graceful R&B influences. And vintage soul and funk were a significantly bigger part of the band's formula this time out, with the keyboards on "Bulletproof," the strings and percussion on "Blame, Etc.," and the hip-hop-influenced percussion on "Going to Town" serving as key signifiers. While the band was in great form on Black Love, Greg Dulli's songwriting wasn't as impressive; Black Love lacks the thematic unity and power of Gentlemen, the melodies just aren't as compelling, and while songs like "My Enemy," "Honky's Ladder," and "Night by Candlelight" are striking and well crafted, their strength points to the fact many of the other songs don't quite click. And as a lyricist, here Dulli was reworking the themes he'd explored in depth on Gentlemen and Congregation, and by this time he'd just about run out of juice. The Afghan Whigs were just too good a band to make an album that wasn't worth hearing, and the musicians blaze hard on Black Love, but the closer one scrutinizes the work, the more this record feels like a misstep after the excellence of Gentlemen and Congregation. --AllMusic Review by Mark Deming
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Richard Strauss - Elektra & Der Rosenkavalier Suites - Pittsburgh Symphony Orchestra, Manfred Honeck (2016) High-Fidelity DSF Stereo DSD256/11.20MHz

Сomposer: Richard Strauss (1864 - 1949)
Artist: Pittsburgh Symphony Orchestra, Manfred Honeck
Title: Strauss: Elektra & Der Rosenkavalier Suites
Genre: Classical
Label: © Reference Recordings
Release Date: 2016
Quality: DSF Stereo DSD256/11.20MHz
Source: nativeDSDmusic
Duration: 00:58:31
Recorded: May 13-15, 2016, Heinz Hall for the Performing Arts, Pittsburgh, PA


This new recording presents orchestral suites based on two of the most significant operas in history. Der Rosenkavalier found its place in the concert hall from the beginning, first with two waltz sequences and later with the famous 1944 suite. But Elektra remained purely on the opera stage until now. Conductor Manfred Honeck has made his own symphonic adaptation, in collaboration with the Czech composer Tomás Ille.We proudly present these Strauss suites, new and old, in definitive interpretations from Manfred Honeck and the Pittsburgh Symphony Orchestra, in superb audiophile sound.
The comprehensive notes by Manfred Honeck offer an in-depth look into the composer's soul, and a fascinating look at the mind and decisions of a great conductor. To quote from Honeck's music notes: "it is undoubtedly clear that Tchaikovsky truly put all of his soul into this unique masterpiece. I dare to say that in a way, Tchaikovsky experienced his own death through the music. One can be sure that only somebody who is deeply empathetic about both life and death can be capable of creating such an atmosphere and I am deeply grateful for the great musicians of the Pittsburgh Symphony Orchestra who went with me on this journey, requiring the utmost technical perfection to reach such a level of expression." FR-720 also includes the world premiere of the "Rusalka Fantasy," an orchestral suite drawn from Dvorák's opera by Mr. Honeck and arranger Tomás Ille.
This release is the fifth in the highly acclaimed Pittsburgh Live! series of multi-channel hybrid SACD releases on the FRESH! series from Reference Recordings. Each has received dozens of critical accolades. Dvorák/Janacek (FR-710SACD) and Bruckner 4 (FR-713SACD) have each received GRAMMY® nominations for Best Orchestral Performance.
With a legacy of more than 120 years, the Pittsburgh Symphony Orchestra is known for its artistic excellence, a rich history of the world's finest conductors and musicians, and a strong commitment to the Pittsburgh region and its citizens. Past music directors have included many of the greats, including Fritz Reiner (1938-1948), William Steinberg (1952-1976), Andre Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1995-2004). This tradition of outstanding international music directors was furthered in fall 2008, when Austrian conductor Manfred Honeck became music director of the Pittsburgh Symphony.
The orchestra has been at the forefront of championing new American works, and gave the first performance of Leonard Bernstein's Symphony No. 1 "Jeremiah" in 1944, and John Adams' "Short Ride in a Fast Machine" in 1986. The Pittsburgh Symphony also has an illustrious history in the areas of recordings and radio concerts dating back to the 1930s. And, with a long and distinguished history of touring both domestically and overseas since 1900—including more than 37 international tours to Europe, the Far East and South America—the Pittsburgh Symphony continues to be critically acclaimed as one of the world's greatest orchestras. NOTE: Pittsburgh Symphony Orchestra recordings are made possible by a generous grant from BNY Mellon.
This release and the entire Pittsburgh Live! series are recorded and mastered by the team at Soundmirror, whose outstanding orchestral, solo, opera and chamber recordings have received more than 80 Grammy nominations and awards. Soundmirror has recorded for every major classical record label, including Reference Recordings.
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Daniel Steibelt - Piano Concertos Nos. 3, 5 & 7 - Howard Shelley, Ulster Orchestra (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Daniel Steibelt (1765-1823)
Artist: Howard Shelley, Ulster Orchestra
Title: Steibelt - Piano Concertos Nos. 3, 5 & 7
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 79 minutes 56 seconds
Recorded: November 2014, Ulster Hall, Belfast, United Kingdom


Howard Shelley and the Ulster Orchestra return for a second volume in Hyperion’s new Classical Piano Concerto series. Daniel Steibelt—the man who dared to challenge Beethoven and lost—ruled the keyboards of northern Europe for a quarter of a century, his own concertos as sensationally popular as their composer was ostentatious.
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Sonny Rollins - Tour De Force (1957/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Rollins
Title: Tour De Force
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Prestige Records/Concord Music Group, Inc.
Release Date: 1957/2017
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:33:28
Recorded: December 7, 1956, Van Gelder Studio, Hackensack, NJ


Released in 1957 on Prestige, Tour De Force includes the final recordings Sonny Rollins made for the label. The saxophonist is backed by pianist Kenny Drew, bassist George Morrow and drummer Max Roach, with Earl Coleman appearing on vocals on two tracks.
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Sonny Rollins - The Sound of Sonny (1957/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Rollins
Title: The Sound of Sonny
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Riverside Records/Concord Music Group, Inc.
Release Date: 1957/2017
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:38:02
Recorded: Reeves Sound Studios, New York City on June 11 (#5,6,8), June 12 (#2,3,7,9), and June 19 (#1,4), 1957

Sonny Rollins made his debut for the Riverside label with this album, recorded and released in 1957, the same year he was named New Star of the tenor saxophone by the critics of DownBeat. Rollins is surrounded by top names, including pianist Sonny Clark, bassists Percy Heath and Paul Chambers and drummer Roy Haynes on a programme of covers and standards, with one original Rollins song.
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Sonny Rollins - The Freedom Suite (1958/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Rollins
Title: The Freedom Suite
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Riverside Records/Concord Music Group, Inc.
Release Date: 1958/2017
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:36:12
Recorded: WOR Recording Studios, New York City on February 11 (#2-5), and March 7 (#1), 1958

Freedom Suite is an album by jazz saxophonist Sonny Rollins, his last recorded for the Riverside label, featuring performances by Rollins with Oscar Pettiford and Max Roach.
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Sonny Rollins - Sonny Boy (1961/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Rollins
Title: Sonny Boy
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Prestige Records/Concord Music Group, Inc.
Release Date: 1961/2017
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:39:15
Recorded: October 5 and December 7, 1956, Van Gelder Studio, Hackensack, NJ

Sonny Boy is a 1961 album by jazz saxophonist Sonny Rollins comprising four tracks from his final recordings for the Prestige label, three of which were originally released on Tour de Force, along with an unissued performance from the session that produced Rollins Plays for Bird.

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Sonny Rollins - Moving Out (1956/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Rollins
Title: Moving Out
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Prestige Records/Concord Music Group, Inc.
Release Date: 1956/2017
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:31:39
Recorded: August 18 and October 25, 1954, Van Gelder Studio, Hackensack, NJ

Moving Out is an album by jazz saxophonist Sonny Rollins, his second for the Prestige label, featuring performances by Rollins with Kenny Dorham, Elmo Hope, Percy Heath, and Art Blakey, and one track with Thelonious Monk, Tommy Potter, and Art Taylor. It was released in 1956 as PRLP 7058.
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Skye & Ross - Skye & Ross (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Skye & Ross
Title: Skye | Ross
Genre: Electronic, Trip-Hop
Label: © 2016 Fly Agaric Records under exclusive licence to Cooking Vinyl Limited
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:38:16

Spring, 2014, and Skye Edwards and Ross Godfrey are standing at the side of the main stage at an Australian Gold Coast music festival, coming down from their own set there a short while ago. “The headliners were playing a raw, gutsy set,” Ross recalls, “and we both thought, ‘Wouldn’t it be really fun to make a record that had this sort of intensity to it?’” For over a dozen years, he and Skye had been playing across the globe as Morcheeba, but Ross’ brother, Paul – their co-producer, with whom they’d founded the band – had stayed at home. During this time, the inevitable separation between what happened in the studio and what happened live had become increasingly pronounced, and, as they observed the band beside them with delight, the singer and guitarist shared an epiphany. “Why don’t we make our records feel more live?”
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