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Nirvana - In Utero (2013) [High Fidelity Pure Audio Blu-Ray Disc]

Artist: Nirvana
Title: In Utero
Genre: Rock, Grunge, Alternative
Label: © Universal Music | DGC Records
Release Date: 1993/2013
Recorded: February 12–26, 1993 at Pachyderm Studio, Cannon Falls, Minnesota.
Quality: Blu-ray Audio
Duration: 00:41:26
Video: MPEG-4 AVC 4780 kbps 1080p / 24 fps / 16:9 / High Profile 4.1
Audio#1: English LPCM 2.0 / 96 kHz / 4608 kbps / 24-bit
Audio#2: English DTS-HD MA 2.0 / 96 kHz / 3560 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)
Audio#3: English Dolby TrueHD 2.0 / 96 kHz / 2999 kbps / 24-bit (AC3 Embedded: 2.0 / 48 kHz / 640 kbps)

To say that Nirvana’s third and ultimately final studio album In Utero was 1993′s most polarizing record would be the understatement of a decade. The unadorned sonic rawness of Steve Albini’s recording laid bare every primal nuance of the most confrontational yet vulnerable material Kurt Cobain, Krist Novoselic and Dave Grohl would ever record. And with its 1991 predecessor Nevermind having sold some 30 million copies, single-handedly returning honest rock ’n’ roll to the top of the pop charts, In Utero was essentially the first record Nirvana would make with any expectations from the public.

So from the opening quasi-shamble melodics of “Serve The Servants” through the bittersweet closing strains of “All Apologies,”In Utero was the sound of the most incredible yet conflicted rock ‘n’ roll band of the era at the peak of its powers coming to terms with a generational spokes-band mantle they’d never seen coming – and ultimately surmounting these struggles to make the record they needed to make. As Rolling Stone’s David Fricke said in his review at the time, “In Utero is a lot of things – brilliant, corrosive, enraged and thoughtful, most of them all at once. But more than anything, it’s a triumph of the will.”

Blu-ray Pure Audio Discs:

Audio is taken from the original master tapes and mastered in 24-bit/96kHz resolution with a choice of three sound formats: PCM, Dolby True HD, or DTS-HD Master Audio. You can finally enjoy the music in the fidelity originally experienced in the studio.
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Nirvana - Nevermind (2013) [High Fidelity Pure Audio Blu-Ray Disc]

Artist: Nirvana
Title: Nevermind
Genre: Rock, Alternative, Grunge
Label: © Universal Music
Release Date: 1991/2013
Recorded: May–June 1991 at Sound City Studios, Van Nuys and Devonshire, North Hollywood, California; "Polly" recorded in April 1990 at Smart Studios, Madison, Wisconsin
Quality: Blu-ray Audio
Duration: 00:59:27
Video: MPEG-4 AVC 6917 kbps / 1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio#1: LPCM 2.0 / 96 kHz / 4608 kbps / 24-bit
Audio#2: DTS-HD MA 2.0 / 96 kHz / 3302 kbps / 24-bit (DTS Core: 3.0 / 48 kHz / 1509 kbps / 24-bit)
Audio#3: Dolby TrueHD 2.0 / 96 kHz / 2554 kbps / 24-bit (AC3 Embedded: 2.0 / 48 kHz / 640 kbps)



Released in September of 1991, Nirvana’s sophomore album and major label debut elevated Kurt Cobain, Krist Novoselic and Dave Grohl from a critically acclaimed Aberdeen, Washington, cult band to generational spokesmen who’d unwittingly created a cultural shift and musical touchstone.

Rising to #1 the world over by year’s end and ultimately selling over 30 million copies worldwide, Nevermind would come to be much more than one of the most successful and influential albums of its or any era. As the album that returned unaffected rock ’n’ roll integrity and passion to the top of the charts, Nevermind would prove a singular inspiration to fans and musicians alike over the last two decades, and will undoubtedly do so for generations to come!

“The overnight-success story of the 1990s, Nirvana’s second album and its totemic first single, “Smells Like Teen Spirit,” shot up from the nascent grunge scene in Seattle to kick Michael Jackson off the top of the Billboard album chart and blow hair metal off the map. No album in recent history had such an overpowering impact on a generation – a nation of teens suddenly turned punk – and such a catastrophic effect on its main creator.” – #17 on Rolling Stone’s ’500 Greatest Albums of All Time’

Blu-ray Pure Audio Discs:

Audio is taken from the original master tapes and mastered in 24-bit/96kHz resolution with a choice of three sound formats: PCM, Dolby True HD, or DTS-HD Master Audio. You can finally enjoy the music in the fidelity originally experienced in the studio.
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Supertramp - Crime Of The Century (1974/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Supertramp
Title: Crime Of The Century
Genre: Rock, Art Rock, Prog-Rock
Label: © A&M Records | Universal Music
Release Date: 1974/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:44:15
Recorded: Ramport Studios (South London), Scorpio Sound Studios (London), and Trident Studios (London) from February to June 1974

Supertramp came into their own on their third album, 1974's Crime of the Century, as their lineup gelled but, more importantly, so did their sound. The group still betrayed a heavy Pink Floyd influence, particularly in its expansive art rock arrangements graced by saxophones, but Supertramp isn't nearly as spooky as Floyd -- they're snarky collegiate elitists, an art rock variation on Steely Dan or perhaps a less difficult 10cc, filled with cutting jokes and allusions, best heard on "Bloody Well Right." This streak would later flourish on Breakfast in America, but it's present enough to give them their own character. Also present is a slight sentimental streak and a heavy fondness for pop, heard on "Dreamer," a soaring piece of art pop that became their first big hit. That and "Bloody Well Right" are the concise pop moments on the record; the rest of Crime of the Century is atmospheric like Dark Side of the Moon, but with a lighter feel and a Beatles bent. At times the album floats off into its own world, with an effect more tedious than hypnotic, but it's still a huge leap forward for the group and their most consistent album outside of that 1979 masterwork, Breakfast in America. --Stephen Thomas Erlewine
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Sonny Rollins - Volume 2 (1957/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonny Rollins
Title: Volume 2
Genre: Jazz, Bop, Hard Bop, Saxophone Jazz
Label: © Blue Note Records
Release Date: 1957 (BLP 1558)/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 40:48
Recorded: Van Gelder Studios, Hackensack, New Jersey on April 14, 1957.

"In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you've set up your chaise lounge right in the middle of Rudy Van Gelder's studio!" - Blue Note President, Don Was.

Sonny Rollins, Vol. 2 brought together some of the greatest players of the post-bop era. In addition to Rollins, it featured Art Blakey on drums, Horace Silver and Thelonious Monk on piano, Paul Chambers on bass, and J.J. Johnson on trombone. This classic record is a must-have for any jazz lover.

„Compared to his Prestige, Riverside, and Contemporary recordings of the 1950s, some of Rollins' appearances on Blue Note seemed anticlimactic, but none should be overlooked. This unusual album mostly has Rollins in an all-star quintet with trombonist J.J. Johnson, pianist Horace Silver, bassist Paul Chambers, and drummer Art Blakey, but Thelonious Monk sits in on his ballad 'Reflections' and on 'Misterioso' both Silver and Monk get to take contrasting solos. Of the other selections, Rollins' two originals ('Why Don't I' and 'Wail March') are worth reviving, and he finds something new to say on 'Poor Butterfly' and an uptempo 'You Stepped Out of a Dream.' --Scott Yanow
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Otis Redding - The Dock Of The Bay (1968/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Otis Redding
Title: The Dock Of The Bay
Genre: R&B, Deep Soul, Southern Soul, Memphis Soul
Label: © Atlantic Records
Release Date: 1959/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTrack
Duration: 30:55
Recorded: July 11, 1965 - September 1, 1968

Otis Redding, an influential icon in soul music, had his life cut tragically short. The Dock of the Bay, one of several posthumous releases, is one of Redding’s most celebrated recordings. The album flourishes with hard pounding and intense soul showcasing Redding’s gritty vocal range. The album listed on Rolling Stone’s 500 “Greatest Albums of All Time” features the smash-hit singles, “I Love You More Than Words Can Say,” “The Glory of Love,” and Redding’s biggest hit “(Sittin’ On) The Dock of the Bay,” which topped the pop and R&B charts. In 1968, the single won Otis Redding two GRAMMY® Awards, one for Best Male R&B Vocal Performance and one for Best R&B Song. The album peaked at #4 on Billboard’s Top 200 and #1 on Billboard’s Top R&B albums. Experience one of Rolling Stone’s “100 Greatest Artists of All Time” with startling clarity.
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Ornette Coleman - The Shape of Jazz To Come (1959/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Ornette Coleman
Title: The Shape of Jazz To Come
Genre: Jazz, Avant-Garde, Free Jazz, Saxophone Jazz
Label: © Atlantic Records
Release Date: 1959/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 38:09
Recorded: Los Angeles, CA, May 22, 1959

The Shape of Jazz to Come is the third album by jazz musician Ornette Coleman.Though Coleman initially wished for the album to be titled Focus on Sanity, after one of the songs on the album, it was ultimately titled The Shape of Jazz to Come at the urging of Atlantic producer Nesuhi Ertegun, who felt that the title would give consumers "an idea about the uniqueness of the LP." Released on Atlantic Records in 1959, it is his debut on the label and his first album featuring his working quartet including himself, trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins. The recording session for the album took place on May 22, 1959, at Radio Recorders in Hollywood, California. Two outtakes from the session, "Monk and the Nun" and "Just for You," would later be released respectively on the 1970s compilations Twins and The Art of the Improvisers. In 2012, the Library of Congress added the album to the National Recording Registry.
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Mein Weihnachten: Gedichte & Songs - Thomas Quasthoff (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Thomas Quasthoff
Title: Mein Weihnachten: Gedichte & Songs
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 38:56
Recorded: March 2014 at Teldex Studio, Berlin, Germany

'Mein Weihnachten' - Thomas Quasthoff singt US-Standards und liest deutsche Gedichte Incl. It's beginning to look like Christmas, White Christmas und Gedichten von Bonhoeffer, Brecht, Rilke u.a. mit Frank Chastenier, Dieter Ilg, Wolfgang Haffner, Bruno Müller.

Dass Thomas Quasthoff sein Karriereende als Lied- und Opernsänger bekannt gegeben hat, bedeutet nicht, dass seine Stimme verstummt ist. Diesen Sommer hat er in Baden-Baden an der Seite von Rolando Villazón den Bassa Selim aus Mozarts Entführung aus dem Serail gesprochen, regelmäßig tritt er mit seiner Jazz-Combo auf, und immer wieder rezitiert er öffentlich aus Büchern oder Gedichten. Schließlich hat die Karriere dieses Ausnahme-Baritons ja nicht als Sänger begonnen: Quasthoff war eine der charakteristischsten Stimmen im Norddeutschen Rundfunk.

Nun hat Quasthoff den lässigen Song-Sound seiner Jazzkarriere und seinen Faible für gute Gedichte in einem neuen, konzeptionellen Album vereinigt: Mein Weihnachten ist ein vokaler Ausflug in die cool-beschwingte Vorweihnachtszeit der USA und ein literarischer Blick auf unsere deutsche Weihnacht: Bing Crosby und White Christmas treffen Ringelnatz, Rilke und Bertolt Brecht. Und natürlich ist Mein Weihnachten auch ein Blick zurück in die eigene Kindheit.
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Pietro Mascagni - Cavalleria Rusticana - Maria Callas, Orch del Teatro alla Scala di Milano, Tullio Serafin (1953/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pietro Mascagni 1863–1945
Artist: Maria Callas, Orch del Teatro alla Scala di Milano, Tullio Serafin
Title: Mascagani - Cavalleria Rusticana
Genre: Classical, Opera
Label: © Warner Classics
Release Date: 2014
Quality: High-Fidelity FLAC 2.0 Mono 96kHz/24bit
Source: highresaudio.com
Duration: 1:18:00
Recorded: 16–25.VI & 3–4.VIII.1953, Basilica di Sant’Eufemia, Milan

Playing Santuzza in a student production of Cavalleria rusticana in Athens in April 1939 was the very first time that Maria Callas, then aged 15, appeared in a leading role in a complete opera, albeit a short one. Her performance went well, both vocally and histrionically, despite the fact that she was suffering from toothache, and her shortsightedness on stage proved to be a problem that needed to be overcome, both then and throughout her career. She later sang Santuzza professionally with the Greek National Opera Company in 1944. After her sensational triumph in I puritani in Venice in 1949 she embarked on a glittering international career and became established as the leading star of La Scala, Milan, which became her artistic home throughout the 1950s. It was with the forces of La Scala that she would go on to make a series of opera recordings that remain unsurpassed to this day, beginning with I puritani in March 1953. Her next recording at La Scala was to be Tosca in August, but before then a recording of Cavalleria rusticana was being made in June at La Scala with a distinguished mezzo-soprano as Santuzza. Despite the fact that this singer was appearing in the role successfully in live performances around that time, she spectacularly failed to hit the top note at the recording sessions, even after repeated tries. The mezzo was given a period of rest and the sessions were postponed until early August, but just before they were about to resume she announced that she was ill and was dropped completely from the project. In a desperate attempt to save the situation, Callas was asked to step in and, despite pressing engagements elsewhere, she agreed. After two days’ rehearsal with Maestro Serafin, she ran through the performance in fine style and the recording now takes its rightful place in the Callas catalogue. --TONY LOCANTRO, 2014
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Mahler - Symphony No. 8 - New York Philharmonic, Lorin Maazel (2009) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gustav Mahler (1860–1911)
Artist: New York Philharmonic, Lorin Maazel
Title: Mahler - Symphony No.8 in Eb ‘Symphony of a Thousand'
Genre: Classical
Label: © New York Philharmonic
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:31:46
Recorded: June 24–27, 2009, Avery Fisher Hall at Lincoln Center for the Performing Arts

Today Gustav Mahler is universally recognized as one of the supreme masters of the symphony, but this status was hard-won, and, for the most part, posthumous. His First Symphony was such a disastrous failure at its premiere in 1889 that afterward, by the composer's own account he "went around like a sick person or an outcast."

Not until the premiere of his complete Third Symphony, in 1902, did Mahler score a firm success with a symphony, but that would remain the exception rather than the rule as he continued to unveil his works. His Eighth Symphony, happily, proved to be another exception. Its premiere was an unmitigated triumph; and, although it is far from his most performed symphony – its exorbitant physical demands make it strictly a "special occasion" work – audience enthusiasm has only increased through the century since it was introduced. (The concerts heard in this recording certainly followed the tradition of a special occasion, as they were Lorin Maazel's final performances with the New York Philharmonic as the Orchestra's Music Director.)
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Lou Donaldson, Clifford Brown - New Faces, New Sounds (1953/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Lou Donaldson, Clifford Brown
Title: New Faces, New Sounds
Genre: Jazz, Bop, Hard Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1953 (10"BLP 5030)/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 24:22
Recorded at WOR Studios, NYC, June 9, 1953.

One of the few remaining musicians that defined the sound of jazz after the bebop musical revolution, alto saxophonist Lou Donaldson illustrates the richness and ambiguities of jazz evolution during the crucial period between the late forties and early seventies. During these intense and fascinating times of contemporary United States history, jazz exploded into a variety of paths that ran parallel with different environments, artistic, social and political concerns. In coexistence with the upcoming Black Power movement and its multiple expressions, jazz took off with different responses and approaches.
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