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Vincenzo Bellini - I Puritani - Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge (1973/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Vincenzo Bellini (1801-1835)
Artist: Luciano Pavarotti, Joan Sutherland, Piero Cappuccilli, Nicolai Ghiaurov, London Symphony Orchestra, Richard Bonynge
Title: Bellini - I Puritani
Genre: Classical, Opera
Label: © Decca Music Group
Release Date: 1973/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 02:54:05
Recorded: Kingsway Hall, London, May–July 1973

Pavarotti made only one studio recording of I Puritani. In 1973 he recorded the opera with Richard Bonynge conducting the London Symphony Orchestra and with Joan Sutherland as Elvira.

“Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma...The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies...with Sutherland, Bonynge and all on electrifying form.” --The Penguin Guide
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Vincenzo Bellini - Beatrice di Tenda - Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge (1966/2013 ) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Vincenzo Bellini (1801-1835)
Artist: Luciano Pavarotti, Joan Sutherland, Josephine Veasey, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge
Title: Bellini - Beatrice di Tenda
Genre: Classical, Opera
Label: © Decca Music Group
Release Date: 1966/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 02:27:45
Recorded: Walthamstow Assembly Hall, London, January & February 1966

„Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. More recent recordings include a Rizzoli set – Mariana Nicolescu in the title role – and a brand new one starring Edita Gruberova on the ominously named Nightingale label, which I have not yet heard.“ --Hugh Canning, BBC Music Magazine
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Art Blakey & The Jazz Messengers - Mosaic (1961/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Art Blakey & The Jazz Messengers
Title: Mosaic
Genre: Jazz, Hard Bop, Modal
Label: © Blue Note Records
Release Date: 1961 (BLP 4090/BST 84090)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:40:06
Recorded: October 2, 1961 at at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Mosaic is a 1961 jazz album released by Art Blakey & the Jazz Messengers on Blue Note Records. It was the first album recorded by one of the most critically acclaimed Jazz Messengers lineups: Wayne Shorter (tenor saxophone), Freddie Hubbard (trumpet), Curtis Fuller (trombone), Cedar Walton (piano), Jymie Merritt (bass) and Art Blakey (drums). They recorded and performed together from 1961 into 1964. Hubbard, Walton and Workman became permanent members of the group following the 1961 departures of trumpeter Lee Morgan, pianist Bobby Timmons and bassist Jymie Merritt, though Merritt and others would appear infrequently on subsequent recordings.
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Andrew Hill - Point Of Departure (1964/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Andrew Hill
Title: Point Of Departure
Genre: Jazz, Avant-Garde Jazz, Post Bop, Piano Jazz
Label: © Blue Note Records
Release Date: 1964 (BLP 4167/BST 84167)/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:39:48
Recorded: March 21, 1964 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalogue -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz. --Thom Jurek, AllMusic
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Santana - Spirits Dancing In The Flesh (1990/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Santana
Title: Spirits Dancing In The Flesh
Genre: Rock, Blues-Rock, Hard Rock, Latin Rock, Psychedelic Rock
Label: © Columbia Records
Release Date: 1990/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:48:17
Recorded at The Plant Recording Studios, Sausalito, CA. Mastered at Precision Disc Mastering, Hollywood, CA. Mixed at The Plant Recording Studios, Sausalito, CA. and Sound Castle, Los Angeles, CA.

Following a 20th anniversary reunion tour in 1989 to promote Viva Santana!, Carlos Santana reorganized the band as a sextet and recorded Spirits Dancing in the Flesh, Santana's 15th and final studio album for Columbia Records. It was an unusually eclectic collection, featuring songs by Curtis Mayfield ("Gypsy Woman"), the Isley Brothers ("Who's That Lady"), and Babatunde Olatunji ("Jin-Go-Lo-Ba"). For all those influences, it was more of a straightforward, guitar-heavy rock album than usual. Coming more than three years after Santana's last new album, Freedom, it sold to the band's core audience only, reaching number 85. --William Ruhlmann, AllMusic
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Santana - Beyond Appearances (1985/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Santana
Title: Beyond Appearances
Genre: Rock, Blues-Rock, Hard Rock, Latin Rock, Psychedelic Rock
Label: © Columbia Records
Release Date: 1985/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:39:49
Recorded: Record One, Los Angeles; Additional recording at Plant Studios, Sausalito and Studio 55, Los Angeles between March 28, 1984 to November 1, 1984

Beyond Appearances is the thirteenth studio album by Santana, released in 1985 (see 1985 in music). The album took seven months to make, and (apart from Carlos Santana himself) involved a completely different line-up from Santana's previous album (released two and a half years earlier). It was firmly in the style of the 1980s, making much use of synthesizers and drum machines. Beyond Appearances performed relatively poorly, reaching only fifty on the Billboard album chart; one of its tracks, "Say It Again", reached number 46 on the Billboard Hot 100 singles chart (though it performed better on Billboard's Mainstream Rock Tracks chart, reaching number fifteen).
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The Decemberists - What A Terrible World, What A Beautiful World (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: The Decemberists
Title: What A Terrible World, What A Beautiful World
Genre: Rock, Alternative, Indie Rock, Indie Folk
Label: © Capitol Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: ProStudioMasters.com
Duration: 53:03
Recorded: 2014

The Decemberists belatedly embraced their indie pop sensibilities (or at very least their fondness for R.E.M.) on 2011's The King Is Dead, and were rewarded with a number one chart placing and the group's greatest commercial success to date, leading some to wonder if Colin Meloy and his bandmates were going to go for more hooks or return to the more ornate sound of their earlier work now that they had a large audience waiting for the follow-up. As it turns out, 2014's What a Terrible World, What a Beautiful World finds the Decemberists managing to have it both ways; if anything, many of these songs are brighter and hookier than those on The King Is Dead, but if this is pop, it's pop that's keenly intelligent, melodically adventurous, obsessively literate, and perfectly willing to explore sadness and disappointment rather than just the upbeat moods that are expected to accompany catchy melodies. The melodies on "Lake Song" and "Till the Water Is All Long Gone" may be more streamlined than you'd hear on Picaresque or The Crane Wife, but the arrangements are richly detailed, playing on the dynamics of Chris Funk's guitars, Jenny Conlee's keyboards and accordions, and John Moen's percussion, and the group takes much pleasure in the dour beauty of its melodies. The band also embraces its upbeat side on this album with numbers like "The Wrong Year" and "Philomena" (the latter pondering teenage lust as only the Decemberists can), and the opening track, "The Singer Addresses His Audience," is a witty but cutting meditation on the notion of fame, its impact on the culture, and where the Decemberists fit into the puzzle in the wake of hit records and appearances on Parks & Recreation. There's still more than enough folk in the Decemberists' approach to make them stand apart from their peers on the upper reaches of the pop charts, and the intuitive smarts of their stylistic vision are still front and center, but What a Terrible World, What a Beautiful World is an album where the creative sprawl is more a matter of how this divergent selection of melodies and moods interacts, rather than how many elements can be folded into one song; this is very clearly the Decemberists, but with a new kind of focus in their songs and arrangements that makes it clear this album's sound is a result of creative evolution, not an offering to their newer, larger audience, and it's a sweet and sour wonder that rewards repeated listening. --Mark Deming
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Steppenwolf - The Second (1968/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Steppenwolf
Title: The Second
Genre: Rock, Blues Rock, Acid Rock, Hard Rock, Psychedelic, Garage, Rock & Roll
Label: © Geffen Records | Univercal Music GmbH
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:39:58
Recorded: 1968 at American Recording Co.

The Second is the second studio album by Canadian-American acid rock band Steppenwolf, released in 1968 on ABC Dunhill Records. The album contains one of Steppenwolf's most famous songs, "Magic Carpet Ride". The background of the original ABC LP cover was a shiny "foil", in contrast to later (MCA Records) LP issues and the modern CD sleeve.
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Steppenwolf - Steppenwolf 7 (1970/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Steppenwolf
Title: Steppenwolf 7
Genre: Rock, Blues Rock, Acid Rock, Hard Rock, Psychedelic, Garage, Rock & Roll
Label: © Geffen Records | Univercal Music GmbH
Release Date: 1970/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:40:21
Recorded: 1970

Steppenwolf 7 is an album by the band Steppenwolf, released in 1970, and their fifth studio recording for Dunhill Records. It is the first Steppenwolf album with new bass player George Biondo. While the album featured Steppenwolf's trademark rock and roll sounds, none of the songs were able to make the Top 40. The album featured a cover of Hoyt Axton's "Snowblind Friend", their second cover of one of his anti-drug songs (the first being "The Pusher"). Along with "Who Needs Ya", it was one of two singles from the album which made the charts but fell short of the Top 40. The album track "Renegade" is autobiographical for lead vocalist John Kay, recounting his flight with his mother from East to West Germany in 1948.
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Steppenwolf - Steppenwolf (1968/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Steppenwolf
Title: Steppenwolf
Genre: Rock, Blues Rock, Acid Rock, Hard Rock, Psychedelic, Garage, Rock & Roll
Label: © Geffen Records
Release Date: 1968/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 47:13
Recorded: Fall 1967 at American Recording Co. Studio, Studio City, California

This landmark album that unleashed The Wolf upon the world! Hits on the record include "Born to Be Wild", "The Pusher", and "Hootchie Kootchie Man". Both "Born to Be Wild" and "The Pusher" were used in the 1969 movie Easy Rider. Steppenwolf peaked at #6 on the Rock Albums chart in 1968, and "Born to Be Wild" reached #2 on the Rock Singles chart in the same year.
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