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The Palm Beach Band Boys - Winchester Cathedral (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Palm Beach Band Boys
Title: Winchester Cathedral
Genre: Pop
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:21:20
Recorded: RCA Victor's Studios A and B in New York City, 1966

The Palm Beach Band Boys was studio recording group ostensibly assembled by RCA Victor to capitalize on the success of The New Vaudeville Band's hit single, "Winchester Cathedral". They performed in a style for which the New Vaudeville Band's promoters coined the term, newstalgia, a kind of faux 1920s/1930s sound, featuring nasal vocals, banjo, brass, electric guitar, rock drums, and bassoon. (Mort Goode uses the term in his liner notes for their first album.) According to a December 1966 TIME article, the vocalist is actually "an RCA executive who croons while holding his nose."
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The Orwells - Terrible Human Beings (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Orwells
Title: Terrible Human Beings
Genre: Rock, Punk Rock, Garage Rock, Alternative/Indie Rock
Label: © Atlantic Recording Corp.
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:38:29

The Orwells started making music when they were in high school, and their first two albums had a high-spirited, suburban-bros-coming-of-age feel and a simple, effective guitar rock crunch. On the quartet's third album, Terrible Human Beings, the group and producer Jim Abbiss streamline their sound into something slick and punchy, suitable for modern rock radio but still bratty beneath the high-pro gloss. The album has a very post-Nirvana feel, harking back to the days when major-label A&R people were signing up every decent rock band with a pulse and an attitude. The Orwells aren't as forgettable as most of those bands and, thanks to the hookiness of its best songs, Terrible Human Beings likely would have managed to claw its way to the top of the pile if it were released in 1995. The uptempo tracks, like "Fry" and "Vacation," have a nice kick and a light touch, kind of like a Midwestern Strokes. "Buddy" has some of the loose, ramshackle appeal of their earliest efforts; also, it's great for drunken singalongs. The songs that utilize some dynamic tension show the band to be maturing sonically, especially the self-explanatory "Black Francis," the almost jangly pop tune "M.A.D.," and the epic-length album closer, "Double Feature," which has a naggingly catchy vocal line and shows off some nimble guitar work. There are a few spots that sound like the band is treading water just a little, and occasionally singer Mario Cuomo's lyrics sound a bit forced and overly studied as he attempts to stretch past adolescent concerns toward something more adult. Call them growing pains that are more like occasional jabs instead of life-threatening injuries, certainly not mortal or anything to call a doctor about. If the Orwells' first two albums and their goofy antics appealed in the past, there's nothing on Terrible Human Beings to cause any concern. The mild growth and light sophistication they show in spots doesn't make the record any less of a rollicking good time. Just like they have since their early days, the Orwells bring the songs, the suds, and the knuckleheaded energy to the party. --AllMusic Review by Tim Sendra
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The Masque of Moments - Theatre of the Ayre, Elizabeth Kenny (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Theatre of the Ayre, Elizabeth Kenny
Title: The Masque of Moments
Genre: Classical
Label: © LINN Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: LINN
Duration: 71 minutes 15 seconds
Recorded: June 2015, St Martin's Church, Salisbury, United Kingdom

Elizabeth Kenny's Theatre of the Ayre reveals some of the most extraordinary music of the seventeenth century on The Masque of Moments, their debut recording for Linn.
Focusing on the 'ayre', the central part of a masque, it offers a fascinating glimpse of the audacious and experimental virtuosity that is often absent from our image of English music of this time.
Inspired by the achievements of the 'Lutes and Voices', Kenny developed The Masque of Moments in 2015, highlighting the glories of little-known vocal music from the Jacobean and Caroline masque.
The 'lutes''plucked soundworld, of which this recording gives a hint, reflects a cornucopia of sounds used to create everything from a tavern scene to a reflection of paradise. The 'voices' come courtesy of Sophie Daneman, William Purefoy, Ian Wicks, Nicholas Mulroy, Giles Underwood, Rosanna Wicks and Salisbury Cathedral Choir.
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The Mahler Album - Amsterdam Sinfonietta, Candida Thompson (2011) DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911), Ludwig van Beethoven (1770-1827)
Artist: Amsterdam Sinfonietta, Candida Thompson
Title: The Mahler Album
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2011
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:59:28
Recorded: Philharmonie, Haarlem, The Netherlands; Stadsgehoorzaal, Leiden, The Netherlands; 3, 4, 5 October 2010 (Beethoven/Mahler Adagietto); 14,15 April 2010 (Mahler Adagio)


"A quartet for string orchestra! That sounds strange to you. I already know all the objections that will be raised: ruination of intimacy, of individuality. But that is an error. What I intend is only an ideal representation of the quartet. Chamber music is primarily written for the living room. It is really enjoyed only by the performers. The four ladies and gentlemen who sit at their music stands are also the audience towards which this music turns. If chamber music is transferred to the concert hall, this intimacy is already lost. But even more is lost. In a large space the four voices are lost and do not speak to the listener with the power that the composer wanted to give them. I give them this power by strengthening the voices. I unravel the expansion that is dormant in the voices and give the sounds wings."
Thus Mahler in an open letter in the Viennese newspaper Die Wage in January 1899. On 14 January, during his first season as chief conductor of the Viennese Philharmonic Orchestra, he was to conduct the premiere of his arrangement for string orchestra of Beethoven's String Quartet opus 95 ‘Quartetto serioso’. And what Mahler had anticipated did indeed occur during this concert: after the first movement loud cries of boo erupted, countered by fervent applause from Mahler's supporters. Despite his deep conviction, Mahler never performed his arrangement again. His score and the orchestral parts were found in the late 1980s in the Viennese Philharmonic Orchestra archive. The arrangement was first published in 1990, and since then Mahler's version of the ’Quartetto serioso’ has had a permanent place on concert stages around the world.
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The Count Basie Orchestra - High Voltage (1970/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: The Count Basie Orchestra
Title: High Voltage
Genre: Jazz, Big Band, Swing
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1970/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 00:34:23
Recorded: January 23–25, 1970, A&R Studio, NY


When in January, 1970 Count Basie entered the studio with his 17-piece big band to record “High Voltage”, he ushered in the last full decade as bandleader of his Orchestra. The Orchestra had left its imprint on the sixties by recording with the likes of Frank Sinatra and Ella Fitzgerald. There would be more great albums with star vocalists in the seventies, but the band’s purely instrumental works, which had begun in 1965, would also continue. Back then Basie had engaged acclaimed Cuban composer/arranger Chico O’Farrill to arrange the music for such concept albums as “Basie Meets Bond” and “Basie’s Beatle Bag”, transforming them into crossover gems. On “High Voltage” O’Farrill demonstrates his affinity to Basie’s big band sound, this time with a repertoire of standards. For this album, Basie specifically chose pieces the band had never recorded in their more than 30-year existence. This is saying something, since the band covers such an impressive span of jazz history, from the beginning of the swing era to the bop-influenced bands of the 50’s on through to the present album. The Count’s new drummer Harold Jones propels Fred Fisher’s “Chicago” with a tremendous drive. The Rogers and Hart classic “Have You Met Miss Jones” features beguilingly dense deep-register horn lines and an almost languorous piano, and Eric Dixon’s tasty flute solo spices up “The Lady Is A Tramp”. With its smoky sophistication, Eddie Lockjaw Davis’ Tenor dominates “Bewitched”, whereas guest trumpeter Joe Newman’s muted tongue-in-cheek solo highlights “Day In Day Out”. Of course, Basie himself also steps forward: for instance, on the Fats Waller-like intro to “I’m Getting Sentimental Over You”, and with the playful grace notes on “If I Were A Bell”.” Reminiscent of the Las Vegas shows the band performed with Frank Sinatra, “Get Me To The Church On Time” is also a masterful dialogue between the horn sections.
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Piotr Ilyich Tchaikovsky - The Nutcracker & Symphony No. 4 - Mariinsky Orchestra, Valery Gergiev (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840–1893)
Artist: Mariinsky Orchestra, Valery Gergiev
Title: Tchaikovsky - The Nutcracker & Symphony No. 4
Genre: Classical
Label: © Mariinsky
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 02:09:02
Recorded: Concert Hall of the Mariinsky Theatre, St Petersburg, Russia, The Nutcracker - 16th June & 30th December 2015, Symphony No 4 - 10th June & 29th September 2015

On the 18th December, 1892 at the Imperial Mariinsky Theatre, The Nutcracker was first introduced to the world. Now, almost 125 years since that opening night and from the very same hall, the Mariinsky’s current Artistic Director, Valery Gergiev, reveals a perfectly judged interpretation of Tchaikovsky’s ballet masterpiece.
Tchaikovsky was a pioneer, his music a new style that combined developments of the Western European musical tradition while remaining distinctively Russian. From an early age he had relished stage works involving magic or fantasy such as Weber’s Der Freischütz and Mozart’s Don Giovanni, and after seeing Adolphe Adam’s Giselle he became a ballet devotee.
Based upon E.T.A. Hoffmann’s tale of a young girl’s magical Christmas Eve, as a whole The Nutcracker was poorly received at first. But Tchaikovsky’s spellbinding score proved simply too good to lose and The Nutcracker has become an essential part of festive celebrations the world over. Adored for pieces like The Dance of the Sugar Plum Fairy and The Waltz of the Flowers, it contains some of Tchaikovsky’s most popular work and is perhaps the most famous ballet music ever written.
Closing the album is Tchaikovsky’s powerfully emotional Fourth Symphony. As the composer wrote, it is ‘patterned after Beethoven’s Fifth’ and is well known for its theme of ‘fate’, announced by the ominous recurring fanfare that holds the unique symphonic form together.
Tempering the sweetness of The Nutcracker, this coupling displays two very different sides of Tchaikovsky’s music, illustrating him as a complex man who battled to balance inner turmoils as well as utmost joys. Perhaps summed up by the final line of his famous programme note: ‘Reproach yourself and do not say that all the world is sad. Simple but strong joys do exist. Rejoice in other’s rejoicing. To live is still bearable.’
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Pyotr Ilyich Tchaikovsky - Symphonies Nos. 3, 4 & 6 - Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840–1893)
Artist: Royal Liverpool Philharmonic Orchestra, Vasily Petrenko
Title: Tchaikovsky - Symphonies Nos. 3, 4 & 6
Genre: Classical
Label: © Onyx Classics
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 02:09:40
Recorded: Liverpool Philharmonic Hall, Symphony No.3 – 1 & 4 December 2015; Symphony No.4 – 4, 8 & 13 March 2015; Symphony No.6 – 9 & 10 June 2015

Petrenko’s Tchaikovsky promises to be one of the most important orchestral releases of 2017. Universal praise from reviewers for the first volume of Symphonies 1, 2 and 5 bodes well for this eagerly-awaited release: Gramophone gave Volume One an Editor’s choice and it reigned as a top 10 UK Classical chart title for 7 weeks in 2016.
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Pyotr Ilyich Tchaikovsky - Symphonies Nos. 1, 2 & 5 - Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840–1893)
Artist: Royal Liverpool Philharmonic Orchestra, Vasily Petrenko
Title: Tchaikovsky - Symphonies Nos. 1, 2 & 5
Genre: Classical
Label: © Onyx Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:57:51
Recorded: Liverpool Philharmonic Hall, 15 & 16 November 2014 (No.5), 23 & 24 November 2014 (No.1), 15 May 2015 (No.2)

The eagerly awaited Tchaikovsky Symphony cycle from the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko gets underway with Symphonies 1, 2 & 5. In 2015 The Tchaikovsky Album with Petrenko and the RLPO, released to coincide with the orchestra’s 175 anniversary, became one of the best-selling classical CDs in the UK and met with fulsome praise from reviewers. Volume I of the Symphonies looks set to replicate that success and indeed critical acclaim.
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