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Valerie June - The Order Of Time (2017) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Valerie June
Title: The Order Of Time
Genre: Americana, Folk, Alternative/Indie Rock, Singer/Songwriter
Label: © June Tunes Music, Inc. Under exclusive license to Concord Music Group, Inc.
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 00:43:34
Recorded: Guilford Sound, Guilford, VT, Brooklyn Recording, Brooklyn, NY, The Seaside Lounge, Brooklyn, NY, Reservoir Studios, New York, NY, and Rayzor Studio, Brooklyn, NY


Following up her critically lauded 2013 label debut, Pushin' Against a Stone, Tennessean Valerie June offers The Order of Time, an ethereal dream sequence of Americana and roots music filtered through her own unique tendencies. What's refreshing about June is her gift for nuance, working unhurriedly through tones of Appalachian folk, gospel, blues, and even dream pop without feeling the need to hit listeners over the head with an overwrought delivery or even draw that much attention to her own stylistic diversity. With The Order of Time, she exudes the languid pace of the South with poetic songs and spacy arrangements that breeze out through the screen door. Though crowded with standouts, it's an album best enjoyed in full with a sequence that ebbs and flows with emotion and hidden intentions. From the sweet and slow nostalgia of "Long Lonely Road" to the droning enchantments of "If And" and the gently rousing dream-soul of "Got Soul," June weaves her strange and inviting spell, making it all seem so nonchalant. Her relaxed vocal style is distinctive and the frequent doubling of her vocal lines gives the songs a strangely alluring vibe amid the expansive organ, piano, and guitar parts. Where the slightly showier Pushin' Against a Stone covered a wider variety of styles, The Order of Time tends to flow more smoothly and gives the feeling that you've stumbled on a 45-minute section of ongoing music that has no beginning and no end. --AllMusic Review by Timothy Monger
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VA - The Life & Songs of Emmylou Harris - An AllStar Concert Celebration (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Emmylou Harris, Buddy Miller, Mavis Staples, Shawn Colvin, The Milk Carton Kids, Chris Hillman, Herb Pedersen, Holly Williams, Chris Coleman, Trampled By Turtles, Lucinda Williams, Rodney Crowell, Lee Ann Womack, John Starling, Daniel Lanois, Iron & Wine, Shovels & Rope, Mary Chapin Carpenter, Vince Gill, Patty Griffin, Conor Oberst, Martina Mcbride, Sheryl Crow, Kris Kristofferson, Alison Krauss, Steve Earle, Sara Watkins
Title: The Life & Songs of Emmylou Harris: An AllStar Concert Celebration
Genre: Country, Country Rock, Progressive Country, Traditional Country, Alt Country
Label: © Blackbird Production Partners, LLC. Under exclusive license to Rounder Records, a division of Concord Music Group, Inc.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 01:19:12
Recorded at Dar Constitution Hall, Washington, D.C. January 10, 2015


On January 10, 2015, a remarkable and diverse assemblage of artists gathered together at Washington, DC's DAR Constitution Hall to honor one of the most distinctive and deeply-admired musicians of our time. The house band, led by co-musical directors Buddy Miller (guitars) and Don Was (bass), featured Sam Bush (mandolin, banjo, fiddle), Audley Freed (guitars), Fred Eltringham (drums), Matt Rollings (keyboards), Greg Leisz (pedal steel, lap steel), and Sara Watkins (fiddle, harmony vocals).
The recording of that event, The Life & Songs of Emmylou Harris: An All-Star Concert Celebration, created and produced by Keith Wortman, CEO of Blackbird Presents - released last Friday in multiple formats, including Blu-ray, DVD, CD, and various combo packs -- certainly lives up to its title. Captured and presented in stunning HD with true Dolby 5.1 surround stereo, the concert film and companion audio recordings include a wide range of songs Harris has recorded, including "Born to Run," "Red Dirt Girl," "Boulder to Birmingham," "Two More Bottles of Wine," "Till I Gain Control Again," and "Sin City."
The set, heralded by American Songwriter magazine as a "consistently exhilarating experience," features an astounding array of performances by Harris' peers and admirers, including Mary Chapin Carpenter, Chris Coleman, Shawn Colvin, Sheryl Crow, Rodney Crowell, Steve Earle, Vince Gill, Patty Griffin, Chris Hillman, Iron & Wine, Alison Krauss, Kris Kristofferson, Daniel Lanois, Martina McBride, Lee Ann Womack, The Milk Carton Kids, Buddy Miller, Conor Oberst, Herb Pedersen, Shovels & Rope, Mavis Staples, John Starling, Trampled by Turtles, Sara Watkins, Holly Williams, Lucinda Williams, and Emmylou Harris herself.
A special version of the set, offered exclusively by Cracker Barrel Old Country Store®,, boasts bonus performances by a multi-generational array of luminaries from the worlds of country, bluegrass, and Americana music, including icons such as Alison Krauss, Kris Kristofferson, Rodney Crowell, and Steve Earle, as well as rising roots music stars Milk Carton Kids, Shovels & Rope, and Trampled by Turtles.
Hal Horowitz's four-star review of the set in American Songwriter concludes "Anyone reading this far is probably already an Emmylou fan, making this consistently enjoyable, wonderfully performed and heartfelt concert an essential addition to their existing collection from one of roots music's most eclectic, gifted and rightly acclaimed veterans."
A 13-time Grammy winner - including a 2014 Grammy for Best Americana Album, an award she shared with Rodney Crowell - and a Billboard Century Award recipient, Emmylou Harris' contributions as a singer and songwriter span 40 years. She has recorded more than 25 albums, which have sold over 15 million copies, and has lent her talents to myriad recordings by fellow artists. In 2008, Harris was inducted into the Country Music Hall of Fame. In addition to the aforementioned 13 Grammys, she has also won three Country Music Association Awards and two Americana Awards.
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Them - The Complete Them 1964-1967 (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Them
Title: The Complete Them 1964-1967
Genre: Rock, Pop Rock, Garage Rock, Beat, Blues Rock, British Blues, Rhythm and Blues, Rock & Roll, British Invasion
Label: © Legacy Recordings/Exile Productions/Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 03:21:47
Recorded: 1964-1967

The most thorough collection of Morrison's early studio and live performances ever assembled, THE COMPLETE THEM 1964-1967 includes all material recorded for the first two Them albums--The Angry Young Them (1965) and Them Again (1966)--in addition to singles, demos, live sessions, alternate takes and rarities (from 1964-1967), many of them long unavailable or previously unreleased.
All tracks on The Complete Them 1964-1967 have been newly remastered for this collection, ensuring the best possible listening experience for both new and seasoned fans of Van Morrison.
Formed in Belfast, Ireland in the early 1960s, Them's original five man lineup consisted of Van Morrison (lead vocals, saxophone, harmonica), Alan Henderson (bass guitar), Ronnie Millings (drums), Billy Harrison (guitar, vocals) and Eric Wrixon (keyboards). Taking their name from a 1954 science-fiction horror film, Them played for the first time in April 1964 at Belfast's Maritime Hotel, their set consisting of raw, dynamic interpretations of R&B, blues and soul music fueled by 18-year-old Van Morrison's undeniable power, presence and charisma. Within a few weeks, Them became the hottest band in Belfast, packing the Maritime with overflow crowds and spontaneous, dynamic shows.
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Thelonious Monk - Misterioso (Recorded on Tour) (1965/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Thelonious Monk
Title: Misterioso (Recorded on Tour)
Genre: Jazz, Bop, Hard Bop, Modal, Mainstream Jazz, Piano Jazz
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1965/2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:52:37
Recorded Live Recorded on Tour 1963-1965


Misterioso (Recorded on Tour) is a live album by Thelonious Monk. Not to be confused with the other Monk album of the name Misterioso, this one is a live set (which is maybe why they put "recorded on tour" in the title!) – done in quartet format with Charlie Rouse, and either Larry Gales or Butch Warren on bass, and either Ben Riley or Frank Dunlap on drums. Tracks are short, but well executed – and Rouse, as always, is a delight. Titles include "Evidence", "Bemsha Swing", "All The Things You Are", "Light Blue", and "Well You Needn't"
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The Spinners - Happiness Is Being With the Spinners (1976/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Spinners
Title: Happiness Is Being With the Spinners
Genre: R&B, Soul, Philly Soul, Smooth Soul, Disco
Label: © Atlantic Records
Release Date: 1976/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 35:14
Recorded: Sigma Sound Studios, Philadelphia, Pennsylvania; Kaye-Smith Studios, Seattle, Washington

Happiness Is Being with the Spinners is the seventh studio album recorded by American R&B group The Spinners, released in July 1976 on the Atlantic label. It was produced by Thom Bell and recorded at Sigma Sound Studios in Philadelphia and Kaye-Smith Studios in Seattle.
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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 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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