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Pink Floyd - The Wall (1979/2016) High-Fidelity FLAC Stereo 16bit/44,1kHz

Artist: Pink Floyd
Title: The Wall
Genre: Rock, Art Rock, Prog Rock, Hard Rock
Label: © Parlophone Records Ltd
Release Date: 1979/2011/2016
Quality: FLAC Stereo 44,1kHz/16bit
Source: Qobuz
Duration: 01:20:46
Recorded: December 1978 – November 1979, Britannia Row, Super Bear Studio, Studio Miraval, France; CBS 30th Street Studio, New York; Producers Workshop, Los Angeles


The Wall was Roger Waters' crowning accomplishment in Pink Floyd. It documented the rise and fall of a rock star (named Pink Floyd), based on Waters' own experiences and the tendencies he'd observed in people around him. By then, the bassist had firm control of the group's direction, working mostly alongside David Gilmour and bringing in producer Bob Ezrin as an outside collaborator. Drummer Nick Mason was barely involved, while keyboardist Rick Wright seemed to be completely out of the picture. Still, The Wall was a mighty, sprawling affair, featuring 26 songs with vocals: nearly as many as all previous Floyd albums combined. The story revolves around the fictional Pink Floyd's isolation behind a psychological wall. The wall grows as various parts of his life spin out of control, and he grows incapable of dealing with his neuroses. The album opens by welcoming the unwitting listener to Floyd's show ("In the Flesh?"), then turns back to childhood memories of his father's death in World War II ("Another Brick in the Wall, Pt. 1"), his mother's over protectiveness ("Mother"), and his fascination with and fear of sex ("Young Lust"). By the time "Goodbye Cruel World" closes the first disc, the wall is built and Pink is trapped in the midst of a mental breakdown. On disc two, the gentle acoustic phrasings of "Is There Anybody Out There?" and the lilting orchestrations of "Nobody Home" reinforce Floyd's feeling of isolation. When his record company uses drugs to coax him to perform ("Comfortably Numb"), his onstage persona is transformed into a homophobic, race-baiting fascist ("In the Flesh"). In "The Trial," he mentally prosecutes himself, and the wall comes tumbling down. This ambitious concept album was an across-the-board smash, topping the Billboard album chart for 15 weeks in 1980. The single "Another Brick in the Wall, Pt. 2" was the country's best-seller for four weeks. The Wall spawned an elaborate stage show (so elaborate, in fact, that the band was able to bring it to only a few cities) and a full-length film. It also marked the last time Waters and Gilmour would work together as equal partners. --AllMusic Review by Rovi Staff
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Pink Floyd - Meddle (1971/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pink Floyd
Title: Meddle (2016 Mix)
Genre: Rock, Art Rock, Prog Rock, British Psychedelia
Label: © Pink Floyd Music Ltd. under license to Parlophone Records Ltd., a Warner Music Group Company
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Blu-ray Audio
Duration: 00:46:49
Recorded: January–August 1971, AIR Studios, Abbey Road Studios, Morgan Studios, London


Meddle is the sixth studio album by English progressive rock group Pink Floyd, released on 31 October 1971 by Harvest Records. It was produced between the band's touring commitments, from January to August 1971. The album was recorded at a series of locations around London, including Abbey Road Studios and Morgan Studios.
With no material to work with and no clear idea of the album's direction, the group devised a series of novel experiments which eventually inspired the album's signature track, "Echoes". Although many of the band's later albums would be unified by a central theme with lyrics written mainly by Roger Waters, Meddle was a group effort with lyrical contributions from each member, and is considered a transitional album between the Syd Barrett-influenced group of the late 1960s and the emerging Pink Floyd. The cover, incorporating a close-up shot of an ear underwater was, as with several previous albums, designed by Hipgnosis, though Storm Thorgerson was unhappy with the final result.
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Pink Floyd - Cre/ation - The Early Years 1967-1972 (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pink Floyd
Title: Cre/ation - The Early Years 1967-1972
Genre: Rock, Art Rock, Prog Rock, British Psychedelia
Label: © Pink Floyd Music Ltd. under license to Parlophone Records Ltd., a Warner Music Group Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:52:54
Recorded: 1965-1972

Set across 2 CD’s, Cre/ation The Early Years 1967 – 1972 charts the evolution of the band and bears witness to their part in cultural revolutions, from their earliest recordings and studio sessions to the years prior to the release of The Dark Side Of The Moon, one of the biggest selling albums of all time. From the single Arnold Layne to the 24-minute epic Echoes, fans will see the invention of psychedelic progressive rock via an insightful collection that explores the Pink Floyd story from the time Roger Waters, Richard Wright, Nick Mason and Syd Barrett met at London’s Regent Street Polytechnic, through to Syd’s departure and David Gilmour joining to form the iconic lineup.
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Peter, Paul and Mary - Album 1700 (1967/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Peter, Paul and Mary
Title: Album 1700
Genre: Folk, Pop Rock, Folk Rock
Label: © Warner Bros. Records Inc./Analogue Productions XAPP993D64
Release Date: 1967/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:40:19
Recorded: 1966-1967, A&R Studios, New York City
Mastered by Kevin Gray at Cohearent Audio, DSD files created from the Analogue Productions SACD cutting master.


Arguably Peter, Paul and Mary's best record since their debut LP, Album 1700 (named for its catalog number) found the trio confidently incorporating the stylistic developments first introduced on Album while growing enormously as songwriters. As usual, their songwriting peers were included, as the album led off with Eric Andersen's "Rolling Home," followed by John Denver's "Leaving On A Jet Plane" (a recording that would find belated success in a couple of years) and also featured "Bob Dylan's Dream," another Freewheelin' alumnus.
But eight of the 12 songs were credited to the singers, singly, or in combination with co-writers. And they were of unusual quality. Yarrow's "The Great Mandella (The Wheel of Life)" was an agonizing anthem about the struggle and death of a pacifist. The song not only expressed what many in the anti-war movement felt, but predicted much of the cynicism and despair they would come to experience.
Stookey's "The House Song" was an extended metaphor that began a journey of self-discovery for the songwriter. "The House Song' was a curiosity for me because it truly began as a song about a house and then transformed itself," Stookey recalled. "It began walking, it became the shell of my life, and it was a beginning, really. The House Song was very significant for me because it was the beginning of telling the truth about my life, which then required me, in a sense, to take seven years off to implement because prior to that I had not been playing with a straight deck." Such songs were deeply felt statements, and they were only the highlights of an album that also boasted Yarrow's "Weep For Jamie" and concluded with the stirring, group-written (with Dave Dixon and PP&M on-stage bassist Dick Kniss) "The Song Is Love."
Yarrow identified one important new name in the credits as a force in achieving the album's artistic success: chief engineer Phil Ramone. "It is only, really, from my perspective, [with] our association with Phil that there [occurred] a kind of artistic flow and flex that united the album so it felt of one piece, even though each song sounded different," Yarrow explained. "Phil would make each song its own sonic world. He was officially only the engineer, but he was as much the producer as he ever was. He would suggest ideas that were very, very unusual. In a song for instance like "Weep For Jamie," he would get a little religious pump organ that would have this textural energy that was so strong, and he would set the echoes in a way that was masterful."
He adds, "It was just so present and so rich and so spatial, the echo that he created, and he was such a catalyst and such an innovative person. His treatment of echo, for instance, on 'The House Song' was just extraordinary. The Paul Winter Consort joined Noel on that. We for the first time used percussion on that album. There was a group called the Paupers, and their percussion player played on some of the songs, like 'If I Had Wings'. This was a real breakthrough album for us. It completely realized what the experiments were about, and it was really something which, when guided by Phil and led by Phil, really reached a new artistic high for Peter, Paul and Mary: I'd say the second wave of our recording experience was personified by that album. In terms of recordings in the studio, no doubt there was a great leap that we made for Album 1700."
Album 1700 entered the Billboard Top LP's chart for the week ending September 2, 1967, and peaked at #15 on October 21. It remained in the charts 28 weeks, falling out of the list in March 1968. Then it returned to the charts in July, stayed for two months and dropped off again. Peter, Paul and Mary were also nominated for the 1967 Grammy Award for Best Folk Performance for Album 1700.
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Peter, Paul and Mary - In Concert (1964/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Peter, Paul and Mary
Title: In Concert
Genre: Folk, Pop Rock, Folk Rock, Traditional Folk
Label: © Warner Bros. Records Inc./Analogue Productions XAPF1555D64
Release Date: 1964/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 01:23:21
Recorded live 1964, San Francisco, California; Sacramento, California; Long Beach, California; Dayton Beach, Florida; Terre Haute, Indiana
Mastered by Kevin Gray at Cohearent Audio, DSD files created from the Analogue Productions SACD cutting master.


The In Concert set, which was released on July 24 (the second day of the 1964 Newport Folk Festival), gave a good idea of the on-stage abilities of an act that had become a worldwide success. A trade ad for the album noted that, since forming, the trio had played over 400 concerts to more than two million people.
More than half of the 18 selections had not appeared previously on a Peter, Paul and Mary album. And the nearly 82-minute running time allowed space for the whole range of the group's talents, from its mastery of traditional and thoughtful new material to Stookey's previously unrecorded comic sensibility.
"I think that the In Concert album in it's own way had something very, very special," said Peter Yarrow. "There was a sense of really being there at the concert, and there really was a sense of capitulation of the flow of the concert. It had a point of view. It had a consistency in sound terms."
At a time when double-LP sets were practically unheard of, In Concert peaked at #4 in September of 1965, staying on the charts for 54 weeks, and becoming Peter, Paul and Mary's fourth straight gold record in the process.
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Pat Metheny - Unity Band (2012/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pat Metheny
Title: Unity Band
Genre: Jazz, Post Bop, Modern Creative, Guitar Jazz
Label: © Nonesuch Records Inc.
Release Date: 2012/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:05:49
Recorded: February 2012 at Avatar Studios, New York, NY

2012 Grammy Award Winner: Best Jazz Instrumental Album: For the first time since his 1980 release 80/81, guitarist Pat Metheny has recorded with a band that features tenor saxophone. Unity Band, due from Nonesuch on June 12, 2012, introduces a new Metheny ensemble with Chris Potter on sax and bass clarinet, longtime collaborator Antonio Sanchez on drums, and the up-and-coming Ben Williams on bass. The album features nine new Metheny compositions.
Metheny says of the three-decade gap since his last project to feature saxophonists (the late great Dewey Redman and Michael Brecker): “In many ways my bands were envisioned as an alternative to the more conventional kinds that I had come up playing in. The fact that it has taken another 30 years to get to it again is kind of a testament to how busy those ‘alternative’ ways of thinking have kept me.
“We all always talked about revisiting that band at some point, but with both Mike and Dewey gone now, that will never happen,” he continues. “But then Chris Potter came along. As a fan, I have watched as he has become one of the greatest musicians of our time, and when we were both invited to play on Antonio Sanchez’s debut record, I immediately saw that we had a natural way of playing and phrasing that suggested something more. I started thinking right then of somehow building a project around that.”
For the rhythm section, Metheny explains, “Antonio was kind of an obvious choice; he has been one of my closest associates over the past ten years and has also played a lot with Chris. He is such a special musician. There was a certain kind of power I knew that Chris and I would be getting to and I can’t think of anyone who could take us to that place better than Antonio.” He continues, “A few years ago, Christian McBride invited me to an event that he was leading with the jazz students at Juilliard. Ben Williams was featured on a few tunes and his playing spoke to me immediately. I used Ben a few times to sub for Christian with the trio and found him to be a great playing partner and a great person too. He and Antonio had an instantly effortless rapport.”
Once he had assembled this stellar band, Metheny wrote a considerable amount of new material for them. Through rehearsals, they winnowed the music down to the nine tunes on the Unity Band album. “It’s funny, I have heard so many guitar/tenor records that have been clearly influenced by that 80/81 sound, and yet I really wanted to try to take it to a different place this time, even though that record was certain to be a reference point along the way,” Metheny says. “One of Antonio’s specialties is this even eighth-note thing he does, and in a lot of ways that set a direction for the writing. But still, this is a group of musicians who can do just about anything.”
Over the course of more than three decades, guitarist Pat Metheny has set himself apart from the jazz mainstream, expanding and blurring boundaries and musical styles. His record-setting body of work includes 19 Grammy Awards in 12 separate categories; a series of influential trio recordings; award-winning solo albums; scores for hit Hollywood motion pictures; and collaborations and duets with major artists such as Ornette Coleman, Steve Reich, Charlie Haden, Brad Mehldau, and many others. His band the Pat Metheny Group, founded in 1977, is the only ensemble in history to win Grammys for seven consecutive releases.
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Pat Metheny - Tap: John Zorn's Book Of Angels, Vol. 20 (2013/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Pat Metheny
Title: Tap: John Zorn's Book Of Angels, Vol. 20
Genre: Jazz, Modern Creative, Avant-Garde Jazz, Contemporary Jazz
Label: © Nonesuch Records Inc.
Release Date: 2013/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 00:50:39
Recorded by Pat Metheny in New York, NY; Additional Recording at MSR Studios, New York, NY


Nonesuch Records and Tzadik simultaneously release guitarist Pat Metheny s recording of John Zorn s Tap: The Book of Angels, Vol. 20 from Zorn s Masada Book Two. This album is the first collaboration between the two artists, considered among their generation s most innovative musicians. Besides his frequent collaborator, drummer Antonio Sanchez, Metheny plays all other instruments guitars, sitar, tiples, bass, keyboards, orchestrionics, electronics, bandoneón, percussion, flugelhorn, and more himself.
Beginning in the 1990s, Zorn wrote 500 songs inspired by traditional Jewish music; they came to be known as two volumes of the Masada Book. He performed the first 200 songs of Book One with the rotating members of the Masada ensemble for a decade before writing Book Two s 300 tunes in just three months. Over the past eight years, the songs from Book Two have been recorded as volumes of The Book of Angels by a stellar group of musicians, including the Masada Quintet, Masada String Trio, Medeski Martin & Wood, and Marc Ribot.
Zorn says of Metheny s recording, 'Pat is of course a living legend one of those rare lights in the universe. His incredible facility and dedication, indefatigable energy and focus, imagination, and never-ending curiosity have distinguished him as truly one of the greatest musicians on the planet. ' He continues, 'Tap is a showcase for Pat s remarkable imagination, technique, passion, and love for the world. No matter how many times I listen to this recording I am hit with that same sense of exhilaration that hit me the very first time.'
Metheny, who won his 20th Grammy Award in 2013, adds, 'I have admired John Zorn since the late 70s and have followed his amazing output every step of the way. A few years ago, after contacting me to write some notes for one of his Arcana publications, John and I began an inspired e-mail connection. (As hard as it is to believe, we had never met in person over the years.) I mentioned that I had followed his Book of Angels series from the start and felt like I might be able to contribute something unique to the collection. With his enthusiastic encouragement, he gave me some suggestions as to which tunes were still unrecorded, and I picked the ones that jumped out and spoke to me. Over the next year, in between breaks from the road, I recorded them one by one in my home studio whenever I got a chance. '
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Giovanni Pierluigi da Palestrina - Missa Papae Marcelli; Motets - Sistine Chapel Choir, Massimo Palombella (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Giovanni Pierluigi da Palestrina (1525-1594)
Artist: Sistine Chapel Choir, Massimo Palombella
Title: Palestrina - Missa Papae Marcelli; Motets
Genre: Classical, Choral
Label: © Deutsche Grammophon
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:00:27
Recording: Vatican, Sistine Chapel, 2 & 4/2016


Some of you were in Rome last year to launch the first album ever to be recorded inside the Sistine chapel. Now Deutsche Grammophon is proud to announce the follow-up – giving a clear sign of the growing bond and collaboration between the label and the Vatican. Simply titled “Palestrina”, it is a new release by the world’s oldest choir – performed and recorded in the heart of the Catholic Church, and featuring works by the most celebrated Italian musician of his time and reformer of church music: Giovanni Pierluigi da Palestrina. Recorded in this, the year of the "Extraordinary Jubilee of Mercy“ (8 December 2015 to 20 November 2016) - which Pope Francis has defined as “a revolution of tenderness and love” giving justice to the world – it is pure music carrying the essential message of divine generosity and care, selected by choir leader Massimo Palombella. DG has also recorded the brand new official Hymn for the Year of Mercy to support the on-going message and theme of mercy. The Sistine Chapel Choir has developed greatly in this exclusive relationship and the ensemble is now a proud and significant member of the DG family with much to celebrate and champion: a spiritual place to record the sound of the Vatican – the famous Sistine Chapel; special access for our guests and treasures from the Vatican libraries: three world premiere recordings: Palestrina’s most famous mass, based on the first printed edition from 1967, and two previously unreleased motets.

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Olov Olofsson, Anders Eby, Mikaeli Kammarkor, Jazzgrupp - Dagen skimrar i graset (1976/2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Olov Olofsson, Anders Eby, Mikaeli Kammarkör, Jazzgrupp
Title: Dagen skimrar i gräset...
Genre: Jazz, Vocal Jazz, Contemporary Jazz, Choral
Label: © 2xHD | Proprius Musik AB
Release Date: 1976/2016
Quality: DSF Stereo DSD128/5.64MHz
Source: AcousticSounds
Duration: 00:38:33
Recorded: October 1975 and January 1976 in Västerledskyrkan, Bromma, Sweden. Track #3 recorded in Johannes Kyrka, Stockholm, during an official concert on April 22, 1975, Track #6 recorded in Abrahamsbergskyrkan on November 27th, 1975.

Anders Eby conducts the Mikaeli Chamber Choir and a cast of acclaimed soloists on this programme dedicated to works by composer Olov Olofsson. Originally recorded in 1975 for Swedish audiophile label Proprius, the album has been remastered by 2xHD for the high-resolution music lover.

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Ola Gjeilo - Northern Lights - Phoenix Chorale, Charles Bruffy (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Ola Gjeilo (b. 1978)
Artist: Phoenix Chorale, Charles Bruffy
Title: Ola Gjeilo - Northern Lights
Genre: Classical
Label: © Chandos Records
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD-ISO
Duration: 58:54
Recorded: Camelback Bible Church, Paradise Valley, Arizona, USA 28-30 May 2011


The critically acclaimed, Arizona-based Phoenix Chorale (formerly Phoenix Bach Choir) originally focused on music of the Renaissance and baroque periods, but today is equally dedicated to the creation and performance of new music.
On this album the Choir performs choral works, and settings of sacred texts by the Norwegian composer Ola Gjeilo.
When he first heard Gjeilo’s Ubi caritas, Charles Bruffy was instantly hooked, finding the music ‘refreshing and magnetic’. Bruffy brought Gjeilo’s music to the Chorale and its audiences, and the response was immediate. Soon after, Gjeilo was invited to be the Chorale’s first Composer-in-Residence.
Phoenix, a setting of the Agnus Dei, is dedicated to Charles Bruffy and the Phoenix Chorale in honour of its fiftieth anniversary. When Gjeilo first visited the choir in Arizona, he had never been to the desert before, and the ‘quiet beauty and barrenness of the landscape’ moved him deeply. He describes Phoenix as ‘symphonic in nature… one of those pieces where the text is very much the servant of the music, not the other way around’.
In contrast, Northern Lights takes its inspiration from Gjeilo’s homeland, Norway, and the ‘terrible beauty’ of the natural phenomenon that may be observed there. The music reflects the powerful and electric quality of the northern lights, which must have seemed both mesmerising and terrifying to people in the past when no one knew what they were, and superstition prevailed.
The Phoenix Chorale made its first appearance on Chandos in 2004 with Shakespeare in Song. Since then it has released several joint recordings with its sister choir, the Kansas Chorale, featuring among others Alexander Grechaninov’s Passion Week, the disc nominated for a Grammy in no fewer than four categories, including Best Classical Album and Best Choral Performance, winning in the Best Engineered and Classical album categories.
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