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Neil Diamond - Moods (1972/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Diamond
Title: Moods
Genre: Pop Rock, Soft Rock, AM Pop
Label: © Geffen Records
Release Date: 1972/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:35:47
Recorded: 1971-1972

Moods is the eighth studio album by Neil Diamond, released by Uni Records in 1972. It contained the second of his #1 songs, "Song Sung Blue", and was something of a follow-up in style to the highly experimental Tap Root Manuscript.
Billboard praised Moods highly, saying it contained "brilliant, diversified material." This album, and its follow-up live album Hot August Night, are generally acknowledged to be the two most important recording projects of Diamond's career in terms of defining his signature sound for the future. Within the music industry and among music professionals this is considered one of Diamond's better and more creative recordings. It received a Grammy Award nomination for Album of the Year for 1972. Song Sung Blue was nominated for Record of the Year and Song of the Year. Lee Holdridge was the arranger and conductor of the orchestra.
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Neil Diamond - Hot August Night (1972/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Diamond
Title: Hot August Night
Genre: Pop Rock, Folk Rock, Soft Rock, AM Pop
Label: © Geffen Records
Release Date: 1972/2012/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:59:42
Recorded in concert at The Greek Theatre, Los Angeles on August 24, 1972


Great live albums are rare and wondrous things. In fact, capturing a performer at the height of his creative powers for a live album is so unusual that, when it does happen, it becomes a phenomenon. Neil Diamond and his 1972 Hot August Night album was just such an event. Though he had enjoyed tremendous hits prior to the album, Diamond shot to the top of acclaimed and respected performers with one of the finest live albums of the ‘70s, the double live, double platinum Hot August Night.
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Neil Diamond - Gold: Recorded Live at the Troubadour (1970/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Diamond
Title: Gold: Recorded Live at the Troubadour
Genre: Pop Rock, Soft Rock, AM Pop
Label: © Geffen Records
Release Date: 1970/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:38:26
Recorded Live at Doug Weston's Troubador, Hollywood, July 15, 1970


Though Hot August Night is better known as the definitive Neil Diamond live album, Gold will have value for those who prefer the songsmith's pop-rock beginnings to the slick sophistication that made him a superstar. Recorded live at Hollywood club the Troubadour, Gold provides a chance to hear Diamond in a looser, more rock-oriented setting than he'd ever attempt on vinyl again. Leading a small, raucous band with breathless enthusiasm, Diamond pours sweat and energy into numbers like "Thank the Lord for the Night Time" and "Cherry Cherry," giving them a satisfyingly raw rock and roll spirit. As befits a gig of this type, ballads are kept to a minimum in favor of upbeat material, and Diamond's personable, unpretentious delivery on this recording saves songs like "Sweet Caroline" and "Lordy" from the bloated schmaltz that most listeners either love or loathe him for. By the climax of "Brother Love's Travelling Salvation Show," Diamond has sung himself nearly hoarse, and the connection with his audience is evident. As his career exploded in the years to come, there would be no more intimate venues like the Troubadour, and his music would swell in size accordingly. Gold is likely to sound thin and unpolished to the legions of fans who made Diamond a top concert draw for his mega-hit ballads, but it's still a great snapshot of the singer/songwriter at the end of his hit-making rock and roll days as he begins his ascent into adult contemporary pop stardom. --AllMusic Review by Fred Beldin
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Neil Diamond - Acoustic Christmas (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Neil Diamond
Title: Acoustic Christmas
Genre: Pop Rock, Soft Rock, Acoustic, Christmasб Holidays
Label: © Capitol Records, LLC
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:37:29
Recorded: 2016

Neil Diamond delivers a Christmas gift to fans with this 2016 release featuring traditional numbers and originals, all done acoustic style. For this recording, Diamond reunited with co-producers Don Was and Jacknife Lee, who worked on his acclaimed 2014 album Melody Road.
"One need look no further than Neil's earliest hits to know that something special happens when you set his voice in the middle of a few acoustic guitars: the vibrant expression that lives in the nuances of Neil's singing moves to the forefront and creates a profoundly intimate experience. The vibe in the studio seems inspired by the folk scene of Neil’s early years in Greenwich Village." --Don Was, co-producer
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Neil Diamond - 12 Songs (2005/2016) High-Fidelity FLAC Stereo 24bit/192kHz
Artist: Neil Diamond
Title: 12 Songs
Genre: Pop Rock, Soft Rock, Acoustic, Singer/Songwriter
Label: © Capitol Records, LLC
Release Date: 2005/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 49:58
Recorded: April 2004–Summer 2005

12 Songs is the twenty-sixth studio album by Neil Diamond, released in 2005. It was his first album of all-original, all-new material since 2001’s Three Chord Opera. It was produced by Rick Rubin and is often erroneously cited as the first Diamond album since the Bang Records era to feature the artist playing acoustic guitar; in truth he played guitar on his Uni/MCA output and his Columbia output, possibly uncredited on most, if not all, albums.
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Nathaniel Rateliff - Nathaniel Rateliff & The Night Sweats (2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Nathaniel Rateliff
Title: Nathaniel Rateliff & The Night Sweats
Genre: Rock, Soul, Retro Rock, Roots Rock, Blues Rock, Folk Rock, Americana
Label: © Stax Records/Concord Music Group
Release Date: 2015/2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: ProStudioMasters
Duration: 67:21


Songwriter Nathaniel Rateliff established himself as a critically celebrated folksy Americana singer/songwriter on 2010's In Memory of Loss, his Rounder Records debut. Though he played in straight-ahead rock & roll bands before then, his independent releases since have been of intimate, poignant, and pensive songs. Until now. This self-titled offering on Stax is a hard-swinging, house-rocking affair that draws heavily on vintage R&B, soul, and proto rock & roll. Though Rateliff has displayed emotion in his vocals since the beginning, even fans have never heard him like this. Influences from Sam & Dave to Van Morrison to Sam Cooke range freely on this set -- and he has the voice to pull it off. The sessions were helmed by producer Richard Swift, who captured Rateliff and his large band -- complete with a swaggering horn section (and occasionally subtle strings) -- with just enough reverb to make it sound live. "I've Been Falling," with its upright piano and handclaps, delves deep into vintage Morrison territory without really emulating him (though Rateliff comes closer on the album's last track, "Mellow Out"). The raw soul passion in "Trying So Hard Not to Know" evokes the historic Stax ethos perfectly, while sidling up to the Band's Big Pink era. "S.O.B." has verses saturated in Southern gospel, with foot stomping and handclaps as the only accompaniment, before the entire band erupts in a carousing chorus. This reverses gospel's usual Saturday-night-to-Sunday-morning course; it is one of the rowdiest broken-heart songs you'll ever hear. "I'd Be Waiting" is a tender, wide-open love song with a late-night jazzy soul feel. The singer's voice is haunted equally by the spirits of Cooke and Bobby "Blue" Bland. If this album has a weakness -- and it does -- it's that Rateliff's use of these forms and styles in his writing is not only basic -- which is fine -- but overly formulaic. Only the pedal steel-driven Americana in the absolutely lovely "Wasting Time" -- which recalls the Gregg Allman of Laid Back -- deviates; one or two more songs in this vein (especially with this band) would have made all the difference. That's a small complaint, one that will deter few. Rateliff's world-weary, deeply expressive tenor and lyrics place him on a different level than any of the current crew of revivalists. --AllMusic Review by Thom Jurek
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Wolfgang Amadeus Mozart - Violin Sonatas K305, 376 & 402 - Alina Ibragimova, Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alina Ibragimova, Cédric Tiberghien
Title: Mozart - Violin Sonatas K305, 376 & 402
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 99 minutes 4 seconds
Recorded: January 2015, Concert Hall, Wyastone Estate, Monmouth, United Kingdom


The earliest music here dates from when Mozart was just six years old, the latest from his first years as a freelance composer resident in Vienna. The distinguished advocacy of Alina Ibragimova and Cédric Tiberghien, in a second volume of the complete violin sonatas, is equally persuasive in both.
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Wolfgang Amadeus Mozart - Oboe Concerto & 'Gran Partita' - Les Dissonances, David Grimal (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: David Grimal, Les Dissonances
Title: Mozart - Oboe Concerto & 'Gran Partita'
Genre: Classical
Label: © Dissonances Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:06:50
Recorded: Opéra de Dijon, 19 February 2014 & 2 April 2015


Oboe Concerto in C major K314: All his life, Mozart (1756 - 1791) was an indefatigable traveller, especially during his childhood and youth. On 22 September 1777 he left Salzburg with his mother, en route for Augsburg, Mannheim and then Paris, with a view to obtaining a secure position and a regular income. The first reference to the Oboe Concerto appears in a letter from Leopold Mozart to his son dated 15 October 1777: ‘. . . if you had a copy of your oboe concerto, Perwein might enable you to make an honest penny in Wallerstein.’ The oboist Perwein had left the service of Archbishop Colloredo of Salzburg to take up a post in Wallerstein; his departure had led to the engagement in April 1777 of an Italian virtuoso, Giuseppe Ferlendis, for whom this concerto was initially conceived.
On 4 November Mozart answered his father. During his stay in Mannheim, he had discovered among the members of one of the nest orchestras of the day a small community of outstanding musicians who were to become his friends, including the Konzertmeister Cannabich and the first oboe Ramm. Mozart related that he had made the acquaintance of the oboist, ‘who plays very well and has a delightfully pure tone. I have made him a present of my oboe concerto . . . and the fellow is quite crazy with delight. I played this concerto to him today on the pianoforte at Cannabich’s, and although everybody knew that I was the composer, it was very well received! Nobody said that it was not well composed, because the people here do not understand such matters . . .’ (The last sentence is of course sarcastically intended.)
Friedrich Ramm, whom the composer described as ‘a very good, jolly, honest fellow of about thirty- ve, who has already travelled a great deal, and consequently has plenty of experience’, became a close friend and made this concerto his ‘cheval de bataille’ (speciality). He played it at least five times in 1778, ensuring the work acquired genuine popularity. So much so, indeed, that when Mozart received around this time a commission for ute concertos from a Dutch merchant, he only composed one new one (K313) and merely transposed the Oboe Concerto into D major to serve as the second.
Serenade no.10 in B flat major K361, ’Gran Partita’: ‘Outdoor’ music represents a significant proportion of the catalogue of Mozart’s works, since there are around forty serenades, cassations, nocturnes and divertimentos. Their format varies from wind or string trio to full orchestra, and almost all of them date from Mozart’s Salzburg period. But there was a type of serenade for which he was still commissioned to write in Vienna in the 1780s, namely Harmoniemusik. From 1782 onwards, music for wind ensemble became fashionable; in that year the Emperor Joseph II founded the Imperial Harmonie, a wind octet devoted to this repertory, which was played on festive occasions and dinners and in the court gardens.
The great Serenade K 361, known as ‘Gran Partita’, can be assigned to this period of Mozart’s maturity; contemporary with Die Entführung aus dem Serail, it was probably completed in 1781. We do not know the precise reason for its composition, but the large forces suggest it was conceived for a bene t concert for Anton Stadler, first clarinetist of the Imperial Harmonie and a friend of Mozart’s. It was doubtless these specific circumstances that enabled Mozart to augment the octet forces with two additional horns, two basset-horns and a double bass.
The style at once seems to suggest an outdoor serenade, although the breadth and profundity of the work – and its duration, which makes it Mozart’s most extended instrumental composition – make it impossible to believe it was written for some trivial occasion. The solemn slow introduction, marked Largo, would not be surprising in a symphony, but is unexpected in a serenade. The minuets, by contrast, are part and parcel of the genre, even if the use of minor keys is unusual. The Adagio constitutes the heart of the work with its long melodic line. The last three movements of the work are a Romance (a title rare in Mozart), followed by a theme and variations taken from the Flute Quartet K285b of 1778 and a brilliant finale.
The Gran Partita immediately aroused the curiosity of the Viennese for this ‘great wind piece of a very special kind’, as it was called by the advertisement for the first recorded performance, on 23 March 1784. The critic Johann Friedrich Schink, for instance, recalled in his ‘Literary Fragments’: ‘I heard music for wind instruments today, too, by Herr Mozart . . . – glorious and sublime! It consisted of thirteen instruments, viz. four horns, two oboes, two bassoons, two clarinets, two basset-horns, a double bass, and at each instrument sat a master – oh, what an effect it made – glorious and grand, excellent and sublime!’
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Wolfgang Amadeus Mozart - Complete Piano Sonatas - Fazil Say (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Fazil Say
Title: Mozart: Complete Piano Sonatas
Genre: Classical
Label: © Warner Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 06:14:25
Recorded: 27.VI.–3.VII.2014*; 15–17.IX.2014 & 13–16.III.2015, Great Hall, Stiftung Mozarteum Salzburg, Austria

With his extraordinary pianistic talents, Turkish pianist Fazıl Say has been touching audiences and critics alike for more than twenty-five years, in a way that has become rare in the increasingly materialistic and elaborately organised classical music world. He is a pianist, composer and director with firm reputation in Europe, Asia and the US. After spending five years under David Levine at the Robert Schumann Institute in Düsseldorf and further studies at the Berlin Conservatory he came to international attention 1994 when he was the winner of the Young Concert Artists International Auditions. Since then he has become a regular guest artist with orchestras such as the New York Philharmonic, the Israel Philharmonic, the Baltimore Symphony, the St Petersburg Philharmonic , the Concertgebouw Orchestra Amsterdam, the Vienna Symphony Orchestra, the BBC Philharmonic, and the Orchestre National de France.
This release sees him return to Mozart, a composer with whom he has a great affinity, and a recording of his complete piano sonatas. The sonatas here are grouped by key, revealing Mozart’s unique approach to tonality.
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Wolfgang Amadeus Mozart - Clarinet Concerto K 622; Adagio and Fugue K 546; Clarinet Quintet K 581 - Fabrizio Meloni, Artkronos, Ezio Rojatti (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Fabrizio Meloni, Artkronos, Ezio Rojatti
Title: Mozart - Clarinet Concerto K 622; Adagio and Fugue K 546; Clarinet Quintet K 581
Genre: Classical
Label: © Deutsche Grammophon | Universal Music Italia
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:08:30

Fabrizio Meloni incide il Concerto per clarinetto di Mozart, capolavoro che deve la sua popolarità planetaria all’Adagio, colonna sonora del film “La Mia Africa”. Meloni ha scelto di utilizzare il clarinetto di bassetto che si avvicina maggiormente all’idea di Mozart di uno strumento dal timbro dolce e con una accentuata profondità di suono nel registro grave, molto vicino alla voce umana. Completano il CD l’Adagio e fuga K546 e il Quintetto per clarinetto dove Meloni collabora con Marco Rizzi, Laura Bortolotto (violini), Danilo Rossi (viola) e Giovanni Gnocchi (violoncello).
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