MQS Albums Download

產品名稱: 第一滴淚 (SACD)
歌手名稱: 譚詠麟 (歌手)
推出日期: 2014-12-30
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD
出品商: 環球唱片(香港)

內容簡介／曲目
十款廣東流行錄音巨著SACD．強勢列陣
原裝封面、底式樣
終極聲效．質高量限

01. 世界停頓
02. 第一滴淚
03. 的士司機
04. 永不想您
05. 最佳福星 [電影｢最佳福星｣主題曲]
06. 和平之歌 [86國際和平年音樂會主題曲] (張學友/ 關正傑/ 陳美玲/ 林子祥/ 林珊珊/ 甄妮/ 蔡楓華/ 葉振棠/ 王雅文/ 周啓生合唱)
07. 舊信紙
08. 刺客
09. 珍重
10. 夢想的幻彩
11. 衝線 [86禁毒宣傳歌曲]
12. 無言感激

Download:

mqs.link_AlanTamSACDIS.part1.rar
mqs.link_AlanTamSACDIS.part2.rar
mqs.link_AlanTamSACDIS.part3.rar

SACD DSF

推出日期: 2017-03

语言: 粤语国语
制作来源地: 中国
光碟格式: SACD
Super Audio CD 镭射唱片
环球唱片 SACD
發行公司 : 环球唱片

一代巨星張國榮遺作終於曝光！哥哥臨終前所灌錄的10首作品，將一一收錄於其所屬的環球唱片推出新碟《一切隨風》。主打歌「玻璃之情」為哥哥親自作曲的最後作品，林夕填詞，歌詞十分淒怨，曲中描述一個人對愛情的怨恨，以玻璃來形容脆弱的愛，詞中的一句「牽手來空手去」，或者可反映出哥哥在臨終前的心情。
碟內共有七首新歌，當中有四首由哥哥親自作曲，另收錄三首舊歌，包括他重唱奧莉花妞頓莊(Olivia Newton-John)的英文歌「I honestly love you」、由他親自作曲的「挪亞方舟」及「我」。

內容簡介／曲目

1.千嬌百美
2.玻璃之情
3.敢愛
4.隨心
5.紅蝴蝶
6.蝶變
7.我知你好
8.挪亞方舟
9.我 (國)
10.I Honestly Love You
11.冤家

Download:

mqs.link_LeslieCheungSACDIS.part1.rar
mqs.link_LeslieCheungSACDIS.part2.rar

產品名稱: 影視金曲16首 (SACD) (限量編號版)
歌手名稱: 葉蒨文 (歌手)
推出日期: 2017-06-08
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD
出品商: 華納唱片 (HK)

yesasia

內容簡介／曲目
華納唱片SACD
(Super Audio Compact Disc)

影視金曲精選系列
首批500張編碼版，日本壓碟SACD (Hybrid)

01. 瀟灑走一回 [台灣電視劇＜京城四少＞主題曲]
02. 不了情 [電影＜賭城大亨之新哥傳奇＞主題曲]
03. 現實就是現實 [無線電視劇＜我為錢狂＞主題曲]
04. 春風秋雨 [電影＜莎莎嘉嘉站起來＞主題曲]
05. 焚心以火 [電影＜秦俑＞主題曲]
06. 諾言 [電影＜祝福＞主題曲]
07. 最愛是我家 [無線電視劇＜愛情三角錯＞主題曲]
08. 命運我操縱 [電影＜說謊的女人＞主題曲]
09. 流金歲月 [電影＜流金歲月＞主題曲]
10. 黎明不要來 [電影＜倩女幽魂＞主題曲]
11. 為何 [無線電視劇＜阿嬌正傳＞主題曲]
12. 躲也躲不了 [電影＜刀馬旦＞主題曲]
13. 迷惑 [電影＜愛神一號＞主題曲]
14. 只想擁有你 [電影＜女人心＞主題曲]
15. 晚風 [電影＜上海之夜＞主題曲]
16. 願死也為情 [無線電視劇＜呂四娘＞主題曲]

Download:

mqs.link_SallyYeh16SACDIS.part1.rar
mqs.link_SallyYeh16SACDIS.part2.rar

Sibelius: Violin Concerto – Jennifer Pike, Andrew Davis, Bergen Philharmonic (2014)
FLAC (tracks) 24 bit/96 kHz | 1 CD | Digital Booklet | 1.28 GB
Genre: Classical | Official Digital Download – Source: Linn Records

Jean Sibelius is perhaps best known for his seven great symphonies but there is also a large body of music for the concert hall, the theatre, and the salon, some of which is explored on this release. The Violin Concerto in D minor, Sibelius’s only full-length concerto, marries brilliantly idiomatic writing for the solo instrument with the seriousness characteristic of the symphonies. Intensely virtuosic, it is both a dramatic and a deeply romantic work. The Swan of Tuonela comes from the suite of four Lemminkäinen Legends, inspired by traditional Finnish myths. In it the majestic motion of the swan is evoked by the arching phrases of the cor anglais. Also featured are two well-known shorter works indelibly linked with Finnish identity.

Finlandia became a national emblem of the Finnish struggle for independence from Russia while Andante festivo is a staple of Finnish public occasions. The Karelia Suite is another patriotic work, the rough-hewn character of its three movements intended to evoke a folk-like authenticity.

Sir Andrew Davis continues his relationship with the Bergen Philharmonic Orchestra in this their third recording together on Chandos. They are joined in the Violin Concerto by Jennifer Pike, one of the brightest young violinists performing today.

Composer: Jean Sibelius
Performer: Jennifer Pike
Conductor: Sir Andrew Davis

Reviews: “This is an exceptionally fine reading of a testing concerto…She catches the sinuous ethereality of Sibelius’s vision, and the loneliness as well, but there’s plenty of passion where it matters and tremendous technical skill.”
“this enjoys one of the finest ever actual recordings…giving Jennifer Pike’s violin a tremendous sense of presence. And she plays it with impressive mastery. She inclines to the bittersweet Tchaikovskian view…This is a marvellously warm, flowing and passionate performance…Davis matches her with a rich-textured, powerful reading.”

Tracklist:

1. Concerto for Violin in D minor, Op. 47 by Jean Sibelius
Performer: Jennifer Pike (Violin)
Conductor: Sir Andrew Davis
Period: Romantic
Written: 1903-1905; Finland
Length: 31 Minutes 6 Secs.

2. Karelia Suite, Op. 11 by Jean Sibelius
Conductor: Sir Andrew Davis
Period: Romantic
Written: 1893; Finland
Length: 15 Minutes 43 Secs.

3. Lemminkäinen Suite, Op. 22: no 3, Swan of Tuonela by Jean Sibelius
Conductor: Sir Andrew Davis
Period: Romantic
Written: 1893-1897; Finland
Length: 8 Minutes 16 Secs.

4. Valse lyrique, for orchestra, Op. 96a by Jean Sibelius
Conductor: Sir Andrew Davis
Period: Post-Romantic
Written: 1921
Length: 4 Minutes 9 Secs.

5. Kuolema: Valse triste, Op. 44 no 1 by Jean Sibelius
Conductor: Sir Andrew Davis
Period: Romantic
Written: 1903-1904; Finland
Length: 5 Minutes 3 Secs.

6. Quartet for Strings “Andante festivo” by Jean Sibelius
Conductor: Sir Andrew Davis
Period: Romantic
Written: 1922; Finland
Length: 4 Minutes 6 Secs.

7. Finlandia, Op. 26 by Jean Sibelius
Conductor: Sir Andrew Davis
Period: Romantic
Written: Finland
Length: 8 Minutes 16 Secs.

Download:

mqs.link_SibeliusVilinCncertKareliaSuite2014FLAC24bit.part1.rar
mqs.link_SibeliusVilinCncertKareliaSuite2014FLAC24bit.part2.rar

Martin Haselbock, Orchester Wiener Akademie – Liszt: Hungarian Rhapsodies (2013)
FLAC (tracks) 24 bit/96 kHz | Full Scans | 1.24 GB
Genre: Classical | Official Digital Download – Source: Qobuz

Two years ago, on the occasion of the two hundredth anniversary of Liszt’s birth, the internationally renowned Austrian conductor Martin Haselböck began releasing his complete orchestral works in performances on original instruments of the nineteenth century. The Hungarian Rhapsodies number among Liszt’s most popular compositions.

Composer: Franz Liszt
Conductor: Martin Haselböck
Orchestra/Ensemble: Vienna Academy Orchestra

Reviews: Forget about the period instrument aspects of this recording. The claim that some of the musicians use instruments that were actually played in orchestras of Liszt’s time is nothing but a gimmick; it’s not the instrument that makes the performance, it’s the player. The claim that this represents “The Sound of Weimar” is pure puffery, and frankly I’m very tired of it and all such similar nonsense. So let’s get that out of the way and move on. It’s not a selling point.

What is a selling point is that this is a very attractive set of the six orchestral Hungarian Rhapsodies. Martin Haselböck remains a fine organist and musician generally, and his belief in Liszt is both honest and musically persuasive. This ongoing “Sound of Weimar” Liszt series has appeared on several labels, and has been largely impressive, not because of the period instrument aspect, but because the Orchestra of the Vienna Academy plays well (mostly), and because the interpretations ask us to take Liszt as seriously as the conductor does. In other words, the musicianship is there. Haselböck paces this music very well. The First Rhapsody, for example, doesn’t really get going until it’s almost half over, but Haselböck finds a flowing tempo from the outset that makes those introductory gestures sound, well, rhapsodic rather than merely spasmodic. Rhapsody No. 4 manages to sound less repetitious than it usually can, while No. 5, the darkest of the set, really does have a nicely “Hungarian” tang that never turns merely glum.

There are only two small caveats: these tasteful performances could benefit from a touch more sparkle, a bit more sense of fun, because the music can take it without necessarily turning vulgar. In both Rhapsody No. 2 and No. 6 Haselböck sounds a touch careful, but if too much seriousness is a fault then it’s probably one in the right direction given what usually happens to these pieces. Second, those “original” trumpets could be played more confidently; they have a lot to do and the players could offer a touch more swagger.

That said, these remain very pleasing, listenable performances even at a single sitting. Textures are clean and clear, and the fact that the music was arranged by Franz Doppler, later corrected and approved by Liszt, seems to make the orchestration in general less screechy than Liszt’s norm. Toss in excellent engineering from the Liszt Concert Hall in his home town of Raiding, and the result is a very enjoyable experience that just might be more musically substantial than you thought possible.

Tracklist:

1. Hungarian Rhapsodies (6) for Orchestra, S 359: no 1 in F minor by Franz Liszt
Conductor: Martin Haselböck
Orchestra/Ensemble: Vienna Academy Orchestra
Period: Romantic
Venue: Liszt-Konzertsaal, Raiding, Austria
Length: 12 Minutes 7 Secs.

2. Hungarian Rhapsodies (6) for Orchestra, S 359: no 2 in D minor by Franz Liszt
Conductor: Martin Haselböck
Period: Romantic
Venue: Liszt-Konzertsaal, Raiding, Austria
Length: 11 Minutes 0 Secs.

3. Hungarian Rhapsodies (6) for Orchestra, S 359: no 3 in D major by Franz Liszt
Conductor: Martin Haselböck
Period: Romantic
Venue: Liszt-Konzertsaal, Raiding, Austria
Length: 9 Minutes 17 Secs.

4. Hungarian Rhapsodies (6) for Orchestra, S 359: no 4 in D minor by Franz Liszt
Conductor: Martin Haselböck
Period: Romantic
Venue: Liszt-Konzertsaal, Raiding, Austria
Length: 13 Minutes 22 Secs.

5. Hungarian Rhapsody, for orchestra No. 5 in C sharp minor, S.359/5 (LW G21/5) by Franz Liszt
Conductor: Martin Haselböck
Period: Romantic
Written: 1860
Venue: Liszt-Konzertsaal, Raiding, Austria
Length: 10 Minutes 31 Secs.

6. Hungarian Rhapsodies (6) for Orchestra, S 359: no 6 in D major by Franz Liszt
Conductor: Martin Haselböck
Period: Romantic
Venue: Liszt-Konzertsaal, Raiding, Austria
Length: 13 Minutes 59 Secs.

Download:

mqs.link_LisztHungarianRhapsdiesNs.16Haselbck20132496FLAC.part1.rar
mqs.link_LisztHungarianRhapsdiesNs.16Haselbck20132496FLAC.part2.rar

One of today’s ‘popes’ of early and baroque lute playing, Hopkinson Smith returns to the magic masterpieces of Bach and records the renowned Suites BWV 1007, 1008 and 1009, transcribed by himself for the German theorbo…

Bach was a musical ecologist, the masterful recycler of his own compositions, arranging more than a few from one instrument or combination of instruments to another. Many of his works seem conceived on a somewhat abstract plane, above and beyond any specific instrument, and it was completely natural for the pragmatic 18th-century mind and ear to adapt them to the instrument of its choice.

Among the so-called ‘official’ lute works of Bach, there exist two such adaptations: from the solo violin repertoire, the Third Partita, BWV 1006, becomes BWV 1006a for the lute, and the Fifth Cello Suite is transformed into the Lute Suite in G minor, BWV 995. Of course, lutenists had been adapting music for their instrument for centuries. More than half of the continental lute music of the Renaissance is made up of adaptations of vocal works. In the French baroque, Robert de Visée couldn’t stop making transcriptions for his theorbo of orchestral and keyboard works by his contemporaries. The great 18th-century German lutenist, Sylvius Weiss, a friend of Bach’s, was said to have played violin concertos directly on the lute. These examples of adaptations are not given as a kind of ‘justification’ for the present project as if the idea needed to be defended historically. It is more to guide the modern musical thinker (who sometimes knows more about ‘authenticity’ than did the musicians of former times) to the state of experimentation and discovery that is completely natural for the musician: one sits alone with one’s instrument without a score, playing melodies and harmonies that one has heard here or there and making them one’s own.

Tracklist:
01 – Suite n°1 BWV 1007: I.Prelude
02 – Suite n°1 BWV 1007: II.Allemande
03 – Suite n°1 BWV 1007: III.Courante
04 – Suite n°1 BWV 1007: IV.Sarabande
05 – Suite n°1 BWV 1007: V.Menuet I – Menuet II
06 – Suite n°1 BWV 1007: VI.Gigue
07 – Suite n°2 BWV 1008: I.Prelude
08 – Suite n°2 BWV 1008: II.Allemande
09 – Suite n°2 BWV 1008: III.Courante
10 – Suite n°2 BWV 1008: IV.Sarabande
11 – Suite n°2 BWV 1008: V.Menuet I – Menuet II
12 – Suite n°2 BWV 1008: VI.Gigue
13 – Suite n°3 BWV 1009: I.Prelude
14 – Suite n°3 BWV 1009: II.Allemande
15 – Suite n°3 BWV 1009: III.Courante
16 – Suite n°3 BWV 1009: IV.Sarabande
17 – Suite n°3 BWV 1009: V.Bourrée I – Bourée II
18 – Suite n°3 BWV 1009: VI.Gigue

Download:

mqs.link_HpkinsnSmithJ.S.Bach.SuitesNs.1232013Qbuz2496.rar

Following on from Blue Moon, Ahmad Jamal and his dream team are back with a joyful album made up of the kind of ballads to which only he holds the key. Each one is a moment of grace, shining like a star in the sky of American Classical Music it also features one wonderful Duke Ellington cover and a tribute to Horace Silver. With his light-fingered but rhythmic style, he sends us into a sensuous trance and leads us to a musical climax: a sound which is pure groove.

The pianist returns with the team that created last year s Grammy-nominated Blue Moon drums,bass and Latin-tinged percussion underscoring Jamal s expansive lyrical flights. On the centrepiece title track, he spins a catchy motif into a graceful ten-minute epic. Elsewhere, there s subtle funk and poignant balladry. It s often said about musical gents of a certain age that they ve never played better: with Jamal this is absolutely so.
— The Times

Last year’s Blue Moon was a great album even by the standards of a recording career that began 60 years before. On Saturday Morning, pianist Ahmad Jamal similarly mixes Broadway ballads and riffy originals. The long, original title track, which turns on an almost identical piano/bass hook to the one on Blue Moon, is just repetition of a good trick a killer motif that has been Jamal’s trademark ever since his 1950s hit Poinciana, but the freshness with which he balances the cyclical and the spontaneous is remarkable. I Got It Bad and That Ain’t Good uses the intro from Take the A Train in a typically mercurial treatment that’s nonetheless respectful to Ellington; I’m in the Mood for Love lets the tune out in gasps between thunderous chordal dances. Not so much a followup to Blue Moon as a companion piece.
— The Guardian

It s not unusual for jazz artists to have a late-career renaissance, even one that Claude Monet-style demands a reassessment of everything that went before. The pianist Ahmad Jamal, now 83, is currently on such a roll: his previous album, Blue Moon, was followed by a Barbican concert earlier this year that led to widespread accusations of genius. Indeed, Jamal was greeted as perhaps the greatest jazz musician left alive, which is rich, because highbrow critics have been dissing him as too showbiz since the 1950s. Needless to say, he was great then, and he s still great now. Saturday Morning closely echoes Blue Moon, using the same band and a repertoire that allows Jamal to demonstrate his orchestral approach to the piano and inimitable sense of swing.
— Independent on Sunday

At 82, he was in tremendous form, winning standing ovations from a packed house with an elite quartet that embodied the classic Jamal virtues – rejecting jazz formulas and cliches to create infinite textures and possibilities, spontaneous compositions at once visceral and playful, witty and swinging. It was like the emancipation of the groove, the essence of jazz reclaimed by Jamal’s intellect, virtuosity and imagination, as piece after piece left the audience enraptured.
— Geoffrey Smith, BBC Music Magazine

Tracklist:
01 – Back To The Future
02 – I’ll Always Be With You
03 – Saturday Morning
04 – Edith’s Cake
05 – The Line
06 – I’m In The Mood For Love
07 – Firefly
08 – Silver
09 – I Got It Bad And That Ain’t Good
10 – One (Ahad)
11 – Saturday Morning (Radio Edit)
12 – Gyroscope
13 – Arabesque

Download:

mqs.link_AhmadJamalSaayMrning2013Qbuz24882.part1.rar
mqs.link_AhmadJamalSaayMrning2013Qbuz24882.part2.rar

Hailed as “triumphant” in Mojo, “spellbinding” in The Independent, “dazzling” in Jazz UK and “pioneering” in Musician magazine, the album was nominated in the BBC Jazz Awards, and reached the top 5 in both the HMV and the Radio 3 Jazz Charts. Curios have toured internationally since they formed, to rave reviews and have appeared live on radio sessions including Jazz On 3.

Formed in 2006 by pianist and composer Tom Cawley, the distinctive sound of Curios owes all to the group’s chemistry and the unrivalled interplay between the musicians. Drawing on romantic classical music as much as modern jazz, Cawley’s compositions are melodic, fiery, serene and intense. Live, the band covers the whole spectrum – at times delicate, at times wildly percussive; flashing from a whisper to a roar. Described in Time Out as “state-of-the-art piano trio music”.

Tracklist:
1 Captive 6:24
2 Coanda 5:30
3 The Corridor of Uncertainty 3:20
4 Meat Semantics 4:33
5 Him 4:03
6 Mistakes Have Started to Creep Into My Game 4:20
7 Blues for Phineas 6:15
8 Calentura 4:14
9 My Brain 3:34
10 Bokeh 4:16

Personnel
Tom Cawley – piano,
Joshua Blackmore – drums
Sam Burgess – double bass

Download:

mqs.link_CurisCaptive20144824.rar

Damon Albarn – Everyday Robots (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 46:40 minutes | 943 MB | Genre: Rock
Official Digital Download – Source: damonalbarnmusic.com | Front cover

Everyday Robots, the first fully-realised Damon Albarn solo album, features twelve songs that invite the listener into Albarn’s world for a genuine “one-to-one”. They are the most soul-searching and autobiographical since his musical journey began. This album is quite clearly about his experiences, from early childhood right through. Ghosts of Albarn’s boyhood in Leytonstone and Colchester walk hand-in-hand with reflections on life and love, on nature versus technology. The album was recorded in Albarn’s 13 Studio in London and produced by Richard Russell, head of XL Recordings.

If there ever were a modern rock star who could be called an auteur, it’d be Damon Albarn. As the leader of Blur, he was responsible for the group’s grand themes, taking credit for the birth of Brit-pop circa 1993’s Modern Life Is Rubbish, but his signature — a sly, theatrical blend of melodic post-punk and new wave undercut by electronic exoticism and a thirst for world music — grew ever more distinctive in the projects he pursued after the group’s 2003 dissolution, surfacing in the dystopian future of Gorillaz and the glum present of the Good, the Bad & the Queen. He didn’t hide within a collective so much as embrace collaboration, using other musicians to accelerate exploration, with all the different musicians underscoring his own world-view. Albarn is not without a collaborator on Everyday Robots, his first official pop solo album (he released the experimental opera Dr. Dee under his own name in 2012). He’s produced by Richard Russell, the head of XL Records, and Damon’s co-producer on Bobby Womack’s 2012 comeback The Bravest Man in the Universe, a sparse electronic soul album that shares some skeletal characteristics with Everyday Robots. Russell assists Albarn in shaping Everyday Robots into a quiet, contemplative extended meditation on modernity and the past, a record that seems personal but stops just short of confessional. “Hollow Ponds,” which intercuts pivotal vignettes from throughout his life, acts as the autobiographical centerpiece but often the lyrics that stick depict the isolation of modern technology, the “everyday robots on our phones” who press play when they’re lonely. Underneath this high-tech alienation, what’s left unspoken is how Albarn and Russell are hardly Luddites. Everyday Robots embraces modern technology — its rhythms are digitized, electronic instruments are interwoven with acoustics, spoken samples are deployed strategically — which doesn’t undercut Albarn’s disconnection thesis so much as underscore his resignation at existing in the fractured present. This is the key dichotomy of the album; its surfaces are Spartan, its tempos slow and measured — it quickens its step only at “Mister Tembo,” a joyous ode to the birth of an elephant — but it’s a soulful album, not chilly. Its sadness is a warm, enveloping melancholy that harks back to the floating psychedelic dissociation of “This Is a Low” while touching upon the digital desolation of Demon Days. Upon repeated listens, the sorrowful undertow of Everyday Robots becomes a comfort, a balm for moments of alienation; it’s the kind of record that when you’re lonely, you press play.

Tracklist:
01 – Everyday Robots
02 – Hostiles
03 – Lonely Press Play
04 – Mr. Tembo
05 – Parakeet
06 – The Selfish Giant
07 – You & Me
08 – Hollow Ponds
09 – Seven High
10 – Photographs (You Are Taking Now)
11 – The History Of A Cheating Heart
12 – Heavy Seas Of Love

Download:

mqs.link_DamnAlbarnEverydayRbts2014ffsite2496.rar

If You Leave… features eight new songs by Eleanor McEvoy as well as four covers. Stylistically, the album is a throwback to 60s blues and features Jimmy Smyth on guitar, James Delaney on keyboard, Paul Moor and Eoghan O’Neill on bass, and Des Lacey on drums.

Tracklist:
01 – Land In The Water
02 – Don’t Blame The Tune
03 – God Only Knows
04 – Listen To Me
05 – Ache In My Heart
06 – Heaven Help Us
07 – If You Leave Me
08 – Lift The Wings
09 – The Secret Of Living
10 – I Wish You The Best
11 – True Colours
12 – Dust My Broom

Download:

mqs.link_EleanrMcEvyIfYuLeave2013HDTracks2496.rar

Acclaimed singer Hilary Gardner grew up in Wasilla, Alaska infatuated with New York City. In 2010, Hilary was chosen by the Frank Sinatra estate to appear as the live, onstage singer in Tony-award winner Twyla Tharp’s Come Fly Away. Backed by a 19-piece big band, Hilary sang solos and duets with Frank Sinatra in a performance hailed by critics as “wonderful” (Huffington Post), “elegant” (USA Today), and “terrific” (New York Observer). Her solo recording debut The Great City is part love letter, part lament to New York and the big dreams it represents. The album has garnered effusive praise from New York’s jazz community, including Will Friedwald (Wall St. Journal) and Terry Teachout (Arts Journal, Wall St. Journal).

New York City has its fair share of sobriquets—”The City That Never Sleeps,” “The Big Apple,” and “Gotham” are just a few that spring to mind. It’s a place of joy and frustration, triumph and tragedy, hope and despair, and all that exists between the extremes. It’s a microcosm of the world we know, existing not as a great city, but as the great city. Just ask vocalist Hilary Gardner, an Alaskan- turned-New Yorker who’s been soaking up New York City’s aura and contributing to its cultural landscape since 2003.
Plenty of musicians, in New York or any other locale across the globe, try to build careers around or atop recordings, but Gardner went the other way. She spent her first New York decade carving her place into the city’s artistic fabric, working her way into the heart of live audiences at clubs, performing/collaborating with symphony orchestras, and taking Broadway by storm via her singing in Twyla Tharp’s Frank Sinatra extravaganza—Come Fly Away. Now, after firmly planting her flag in “The City So Nice, They Named Twice,” Gardner delivers her leader debut—a better-than-great offering called The Great City.
To many, this record may seem like a throwback date. It’s a classy collection of songs that speak, saunter, and/or swing with old world charm, but it’s not a look into the distant past or an overly romanticized vision of New York life. It’s a collection of stories that form a big(ger) picture about the city. There’s an after after hours perspective (“Drunk On The Moon”), a touch of sadness mixed into a season of beauty (“Autumn In New York”), references to “Ol’ Blue Eyes” (“Brooklyn Bridge”), and more. Through it all, Gardner proves to be poised, world-wise, and witty in her experience-shaded delivery.
Crafting a program of music that successfully puts Leonard Cohen next to Sammy Cahn and Jule Styne, Tom Waits beside Vernon Duke, and Nellie McKay after Johnny Mercer is no easy feat, but Gardner makes it seem like a breeze. She ties all of the music together beautifully and she works with a simpatico crew that’s able to bring her vision(s) to life. Pianist Ehud Asherie upholds and extends his reputation as an old soul living in modern times, guitarist Randy Napoleon serves as Gardner’s most trusted guide, saxophonist Jason W. Marshall and trumpeter Tatum Greenblatt capture the essence of the past without coming off as affected, and the rest of the crew provides superb backing. The Great City may be a paean to New York on the surface, but it’s something more: it’s recorded evidence indicating that Hilary Garder is a superb singer deserving greater recognition.

Tracklist:
01 – No One After You
02 – Brooklyn Bridge
03 – The Great City
04 – Autumn In New York
05 – Drunk On The Moon
06 – Sweetheart (Waitress In A Donut Shop)
07 – You Came A Long Way From St. Louis
08 – This Little Town Is Paris
09 – Chelsea Morning
10 – (Ah, The Apple Trees) When The World Was Young
11 – Manhattan Avenue

Produced By Eli Wolf.
Recorded and Mixed by Joe Marciano at Systems Two Recording Studio, Brooklyn, NY.
Mastered by Gene Paul at G&J Audio .

Musucians:
Hilary Gardner: Vocals
Tatum Greenblatt: Trumpet
Jason Marshall: Tenor Saxophone
Ehud Asherie: Piano
Jon Cowherd: Hammond C-3 Organ
Randy Napoleon: Guitar
Elias Bailey: Acoustic Bass
Jerome Jennings: Drums

Download:

mqs.link_HilaryGardnerTheGreatCity2014Bandcamp24882.rar

London Grammar – If You Wait {Deluxe Edition} (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 66:04 minutes | 716 MB | Genre: Indie
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Metal & Dust Recordings Ltd

Debut album by the British electronic music trio. Featuring ‘Hey Now’, the track that the band released onto the internet in 2012, ‘If You Wait’ debuted in the UK Albums Chart at #2.

It’s no understatement that London Grammar’s forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio’s innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. “That’s how this all started,” says Dan, “and it’s always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.” Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation’s KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele’s 21), joining them to master. Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building – as you would expect from London Grammar – from nothing, from the barest of bones, Hannah’s soaring vocals propels the song to its crashing climax. More than delivering on their promise, London Grammar’s electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

English trio London Grammar have quietly amassed a body of atmospheric, electronic pop material since they first posted “Metal & Dust” on the internet in 2012. Partnered with an appearance on Disclosure’s Mercury-nominated album Settle, the Nottingham University alumni had set the internet hype machine in motion, less than a year after forming. With obvious nods to the unfussy, reverbed guitar motifs of The xx, alongside Hannah Reid’s beautiful, emotive vocal ability — which rises and falls with an alarmingly disarming effect — the album is a practice in refrain, where each song is pushed to the brink of an inevitable climax and achingly, no further. The percussive production, synths, and basslines provided by multi-instrumentalist Dot Major, build on this sense of drama and urgency and are displayed perfectly in one of the highlights of the record, “Wasting My Young Years.” Its throbbing chorus is chastened by the slow-burning synths and guitars that come together with stunning results when coupled with Reid’s vocal delivery. The obvious confidence Reid has in her own voice belies the apparent vulnerability in the words she sings throughout, and the piano ballad “Strong” is testament to the loneliness and heartbreak that encapsulates the brooding feel of the album, which conflicts with the almost upbeat, danceable moments scattered amongst “Flickers” and “Stay Awake.” They pay homage to their electronic influences mid-album with a rework of Kavinsky’s “Nightcall” that unfolds gently into one of the most boisterous cuts on the record. It’s no surprise that Reid’s strong vocals are at the forefront of London Grammar’s sound, and her voice dominates their music in much the same way as Florence Welch’s does in Florence + the Machine. However, although at times they come close to overshadowing the subtle instrumentation provided by Major and Dan Rothman, it’s actually the intrinsic balance between the contributions of all three that defines their sound.

Tracklist:
01 – Hey Now
02 – Stay Awake
03 – Shyer
04 – Wasting My Young Years
05 – Sights
06 – Strong
07 – Nightcall
08 – Metal & Dust
09 – Interlude (Live)
10 – Flickers
11 – If You Wait
12 – Help
13 – Darling Are You Gonna Leave Me
14 – Help Me Lose My Mind (feat. Disclosure)
15 – High Life
16 – Maybe
17 – When We Were Young

Download:

mqs.link_LndnGrammarIfYuWait2013Qbuz24441.rar

London Grammar – Truth Is A Beautiful Thing {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:19:25 minutes | 850 MB | Genre: Indie Pop
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Ministry of Sound Recordings

“Truth Is a Beautiful Thing” is the second studio album, written and conducted by British dream pop trio London Grammar. It follow the critically acclaimed, platinum selling debut ‘If You Wait’. New album features production from Tim Bran, Paul Epworth, Jon Hopkins, Roy Kerr and Greg Kurstin.

Four years after their debut, English trio London Grammar returned with their sophomore set, Truth Is a Beautiful Thing, featuring production by Jon Hopkins (Imogen Heap, Coldplay), Paul Epworth (Florence + the Machine, Adele), and Greg Kurstin (Adele, Sia). Once again, vocalist Hannah Reid takes center stage with her powerful, angelic instrument, which can stir the soul at the smokiest depths before jolting everything to the heavens in a fashion much like Florence Welch or Annie Lennox. Dan Rothman and Dominic Major provide lush accompaniment to Reid’s voice, creating a gorgeous cinematic landscape that ranges from dreamlike wisps to fully enveloping grandeur. The first half of the album takes time to pick up, as Reid slowly eases listeners into “Wild Eyed,” an expansive moment that recalls 2013’s “Hey Now.” The thumping heartbeat of “Oh Woman, Oh Man” gives the band equal time to shine. Other highlights include the throbbing “Non Believer,” the uplifting Florence-esque “Bones of Ribbon,” and the sweeping “Leave the War with Me.” These tracks provide a much-needed jolt of energy to balance the album’s other quieter moments, which tend to lull the listener into a dreamlike haze. While it’s an overall relaxing experience, Truth Is a Beautiful Thing is never boring; it’s a comforting and often heartbreaking listen that really gets under the skin, especially with Reid’s emotive delivery.

Tracklist:
01 – Rooting for You
02 – Big Picture
03 – Wild Eyed
04 – Oh Woman Oh Man
05 – Hell To The Liars
06 – Everyone Else
07 – Non Believer
08 – Bones Of Ribbons
09 – Who I Am
10 – Leave The War With Me
11 – Truth Is a Beautiful Thing
12 – What A Day
13 – Different Breeds
14 – Control
15 – Trials (Demo)
16 – May The Best (Demo)
17 – Rooting For You (Demo)
18 – Bittersweet Symphony (Live at Maida Vale)

Download:

mqs.link_LndnGrammarTruthIsABeautifulThingDeluxeEditin2017Qbuz24441.rar

Produced by five-time GRAMMY® Award-winning producer Danger Mouse, Evil Friends is the undaunted reawakening for Portugal. The Man. The band constructed new songs melding together their ambitious visions. Each track on Evil Friends is as different from the next as Portugal. The Man’s previous records were from each other, which is to say a piece of growing mindscape, and wholly a part of the group’s tumbling fever dream.

Portugal. The Man found the opportunity to work with Brian “Danger Mouse” Burton so important that they scrapped two weeks of recording — and eight of ten new songs — in order to start fresh. Changing studio locations from El Paso to Danger Mouse’s headquarters in L.A., the collaboration has resulted in the band’s most accessible and “mainstream” recording to date. The punchy, rhythm-driven elements in Danger Mouse’s production style create an elastic tension when contrasted with the band’s loopy, hooky, guitar-centric, psych rock sound. He doesn’t change that sound, but he brightens it, adds textural layers, and makes it more dynamic and punchy. Set-opener “Plastic Soldiers” reveals that John Gourley’s songwriting, with its wonderfully idiosyncratic world view, remains loaded with signifiers from rock’s rich past. Strummed acoustic guitar and synth offer a dreamy intro. A little more than a minute later, the snare and handclaps enter, as do an all but hidden squiggly synth, and strings; the tempo picks up and the groove contrasts sharply with the tune’s lyrics. “Creep in a T-Shirt,” with its treated vocals, piano, whompy electronic keyboards, and synth horns, offers the trace elements of R&B while never leaving the psych behind. “Purple Yellow Red and Blue” is fingerpopping time — it’s almost funky with a popping bassline, low-end breakbeats, almost shimmering acoustic guitars, chorus-style vocals, a chugging B-3, and piano — while “Hip Hop Kids” (one of the two songs they kept and re-recorded) isn’t, its use of the genre’s tight, skittering rhythm, which drives a sprawling meld of distorted electric guitars and washed-out keyboards, is an example of the expansive elements that Danger Mouse brings to the rockist bent in P.TM’s aesthetic. The album’s hinge track, “Atomic Man,” shows the other side: a driving rocker with a near chanted backing chorus and fuzzed-out guitars is brightened considerably with a meaty rim shot snare. Though album-closer “Smile” may be the set’s least commercial track, it may also be the finest moment on the entire record. In just under five minutes it combines languid balladry, Baroque pop, a rhythm collision, screaming guitars, and strings. Evil Friends offers ample evidence that the match between Portugal. The Man and Burton expanded the horizons of both parties and will likely heighten the band’s profile considerably.

Tracklist:
01 – Plastic Soldiers
02 – Creep In A T-Shirt
03 – Evil Friends
04 – Modern Jesus
05 – Hip Hop Kids
06 – Atomic Man
07 – Sea of Air
08 – Waves
09 – Holy Roller (Hallelujah)
10 – Someday Believers
11 – Purple Yellow Red and Blue
12 – Smile

Download:

mqs.link_Prtugal.TheManEvilFriends2013HDTracks24441.rar

This is Shellac’s fifth studio album. Recording took place sporadically over the past few years at Steve’s Electrical Audio studios in Chicago. The record was mastered by Steve Rooke at Abbey Road. Audio quality is paramount, as always, with Shellac.

Shellac tend to take their own sweet time making albums — not because they’re pretentious about their art, but because they’re busy with their day jobs — and as a consequence, when they do drop a new LP it seems like a real event among the sort of indie rock/math rock dudes who treasure the band’s dark wit and masterful command of dynamics and instrumental interplay. So after waiting seven years, some folks might feel a tiny bit let down by Shellac’s fifth full album, Dude Incredible, which runs a mere 33 minutes and doesn’t have an epic-scale defining number in the manner of “The End of Radio” (from Excellent Italian Greyhound) or “Didn’t We Deserve a Look at You the Way You Really Are” (from Terraform). Dude Incredible does open with the impressive title cut, a taut but ambling rocker that follows a handful of thick-headed males out for bad adventures (sort of like a Big Black song, but with a greater distance from the subject matter) and skillfully turns on a dime several times, and “Riding Bikes” is a similarly effective and lyrically troubling song about teenage vandals. But most of the album is short on top-shelf material, and while Shellac have always taken a minimalist approach to their tunes, even by their standards “Mayor/Surveyor” and “Surveyor” feel like frameworks for riffs and not much more. But then again, songs have never been Shellac’s raison d’être, and the qualities that make the band special are here in abundant supply — the sharp, lean attack of Steve Albini’s guitar, the rumbling bass of Bob Weston, solid and fluid at once, and Todd Trainer’s drumming, rhythmically precise but expressive and imaginative. The members of Shellac have tremendous intuition in terms of how the pieces of their songs fit together, and simply hearing this band play this stuff, gracefully exploding like a string of firecrackers, is a very genuine pleasure. Ultimately, Dude Incredible is a good but not great album from an undeniably great band; it doesn’t sound lazy, just short one or two top-rank songs that would bump its status up a notch, but it’s clearly the work of as strong and interesting a band as you can hear these days.

Tracklist:
01 – Dude Incredible
02 – Compliant
03 – You Came in Me
04 – Riding Bikes
05 – All the Surveyors
06 – The People’s Microphone
07 – Gary
08 – Mayor/Surveyor
09 – Surveyor

Recorded at the Electrical Audio Studio in Chicago, IL.
Recording engineer: Steve Albini. Mastering engineer: Steve Rooke.

Shellac:
Steve Albini – Guitar
Bob Weston – Bass
Todd Trainer – Drums

Download:

mqs.link_Shellac2014DudeIncredible24bitWEB.rar

This is Shakira’s tenth studio album since she began her career in 1990. The self-titled album is an English record that was initially scheduled to be released in 2012, but was pushed back due to the singer’s pregnancy. Shakira. features the single “Can’t Remember to Forget You,” a duet with fellow Grammy-winning artist Rihanna. The title peaked at number fifteen on Billboard’s Hot 100 chart after its release in January 2014.

Like many eponymous albums, Shakira’s self-titled 2014 set marks a new beginning: a new album for a new label after she got a new job. The new job was as a co-host on the hit American televised musical contest The Voice, the new label was RCA, and the new album was her first full-fledged pop album since She Wolf, the rather brilliant, hard electronic dance record that stiffed in 2009. She bounced back in 2010 with Sale el Sol, but that album wasn’t made with the U.S. market in mind, something that certainly can’t be said of Shakira. Opening up with a duet with Rihanna, and later finding space for her Voice co-host Blake Shelton, Shakira is determined to appeal to all audiences here: don’t like the relentless dance of “Dare (La La La)”? Stick around for the reggae collaboration with Magic! on “Cut Me Deep,” or maybe the appealing faux-folk of “23” or the full-bore adult-pop assault of “The One Thing,” which may be the best cut here. Unlike Oral Fixation, which spilled over with so much ambition it couldn’t be contained on a single disc, this is concentrated: every track has its purpose; none has excess. That doesn’t necessarily mean that every cut is cohesive but Shakira is the rare pop star who can pull an album together through sheer force of personality. Whatever the setting, she not only sounds comfortable, she sounds powerful, and that goes a long way toward making Shakira a nice state-of-the-art pop album for America and the rest of the world.

Tracklist:
01 – Dare (La La La)
02 – Can’t Remember to Forget You [feat. Rihanna]03 – Empire
04 – You Don’t Care About Me
05 – Cut Me Deep [featuring Magic!]06 – Spotlight
07 – Broken Record
08 – Medicine [featuring Blake Shelton]09 – 23
10 – The One Thing
11 – Nunca Me Acuerdo de Olvidarte
12 – Loca por Ti

Produced by Shakira. Mastered by Stephen Marcussen.

Download:

mqs.link_ShakiraShakira2014HDTracks24441.rar

El Dorado is the eleventh studio album by Colombian musician Shakira. Instead of a refined effort, El Dorado is a mixture of different musical elements. Shakira channels the past for old fans and scopes the current landscape for new fans while those previously released duets are awkwardly thrown in there. It’s not a clear comeback album, but El Dorado cleverly cashes in on the versatility of Latin music’s golden superstar.

Shakira used to unite her albums with a grand concept, but that inclination faded in the new millennium. Maybe it’s a sign of the times, maybe it’s a sign of lessened artistic ambition, but she’s streamlined her albums so they’re lithe, tight, and bilingual. El Dorado, arriving three years after a star-studded eponymous wannabe blockbuster, feels as if it exists on a much smaller scale than any of her previous albums, with the possible exception of the breezy Sale el Sol. Like that album, El Dorado sails by swiftly, but this 2017 record packs a lot of different moods in its 45 minutes. Shakira swaps out American celebrities like Blake Shelton and Rihanna – the big cameos from her self-titled album – in favor of international musical stars, finding places for Nicky Jam, Black M, Carlos Vives, Prince Royce, and two tracks with Maluma. This move alone suggests how El Dorado is anchored in Spanish-language songs: only three of the album’s 13 tracks are sung in English, all three slickly produced adult pop. One of these songs – “What We Said” – is present in both languages, illustrating how the Spanish tracks aren’t necessarily livelier even though all the danceable cuts are in Spanish. Throughout El Dorado, Shakira shifts slyly between these percolating electronic rhythms, old-fashioned balladeering, and glassy adult contemporary pop. The only thing absent from her bag of tricks is a bit of arena rock, but it’s not missed because El Dorado feels coherent and mature in its understated – but not boring – control of mood.

Tracklist:
01 – Me Enamoré
02 – Nada
03 – Chantaje (feat. Maluma)
04 – When a Woman
05 – Amarillo
06 – Perro Fiel (feat. Nicky Jam)
07 – Trap (feat. Maluma)
08 – Comme moi
09 – Coconut Tree
10 – La Bicicleta
11 – Deja vu
12 – What We Said (Comme moi) [feat. MAGIC! – English Version]
13 – Toneladas

Download:

mqs.link_ShakiraElDrad2017Qbuz24441.rar

Few rock & roll records rock as hard or with as much originality as the Pretenders’ eponymous debut album. A sleek, stylish fusion of Stonesy rock & roll, new wave pop, and pure punk aggression, Pretenders is teeming with sharp hooks and a viciously cool attitude. Although Chrissie Hynde establishes herself as a forceful and distinctively feminine songwriter, the record isn’t a singer/songwriter’s tour de force — it’s a rock & roll album, powered by a unique and aggressive band. Guitarist James Honeyman-Scott never plays conventional riffs or leads, and his phased, treated guitar gives new dimension to the pounding rhythms of “Precious,” “Tattooed Love Boys,” “Up the Neck,” and “The Wait,” as well as the more measured pop of “Kid,” “Brass in Pocket,” and “Mystery Achievement.” He provides the perfect backing for Hynde and her tough, sexy swagger. Hynde doesn’t fit into any conventional female rock stereotype, and neither do her songs, alternately displaying a steely exterior or a disarming emotional vulnerability. It’s a deep, rewarding record, whose primary virtue is its sheer energy. Pretenders moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Few albums, let alone debuts, are ever this astonishingly addictive.

Tracklist:
01. Precious
02. The Phone Call
03. Up The Neck
04. Tattooed Love Boys
05. Space Invader
06. The Wait
07. Stop Your Sobbing
08. Kid
09. Private Life
10. Brass In Pocket
11. Lovers Of Today
12. Mystery Achievement

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD ISO

mqs.link_PretendersPretenders1980MFSL2014SACDIS.part1.rar
mqs.link_PretendersPretenders1980MFSL2014SACDIS.part2.rar
mqs.link_PretendersPretenders1980MFSL2014SACDIS.part3.rar

FLAC 24bit/88,2kHz

mqs.link_PretendersPretenders1980MFSL2014FLAC2488.2.rar

Tracklist
01. “Precious” – 3:36
02. “The Phone Call” – 2:29
03. “Up the Neck” – 4:27
04. “Tattooed Love Boys” – 2:59
05. “Space Invader” (Pete Farndon, James Honeyman-Scott) – 3:26
06. “The Wait” (Hynde, Farndon) – 3:35
07. “Stop Your Sobbing” (Ray Davies) – 2:38 (produced by Nick Lowe)
08. “Kid” – 3:06
09. “Private Life” – 6:25
10. “Brass in Pocket” (Honeyman-Scott, Hynde) – 3:04
11. “Lovers of Today” – 5:51
12. “Mystery Achievement” – 5:23

Download:

mqs.link_PretendersPretenders19792013HDTracks24192.part1.rar
mqs.link_PretendersPretenders19792013HDTracks24192.part2.rar

The Pretenders – Pretenders II (1981/2013)
FLAC (tracks) 24 bit/192kHz | Time – 46:32 minutes | 1,79 GB | Genre: Rock, Alternative Rock, New Wave
Official Digital Download – Source: HDTracks | © Warner Music
Recorded: 1980–81 at Wessex Studios, London and Pathe Marconi Studios, Paris

The Pretenders’ debut album was such a powerful, monumental record that its sequel was bound to be a bit of a disappointment, and Pretenders II is. Essentially, this album is an unabashed sequel, offering more of the same sound, attitude, and swagger, including titles that seem like rips on their predecessors and another Ray Davies cover. This gives the record a bit too much of a pat feeling, especially since the band seems to have a lost a bit of momentum — they don’t rock as hard, Chrissie Hynde’s songwriting isn’t as consistent, James Honeyman-Scott isn’t as inventive or clever. These all are disappointments, yet this first incarnation of The Pretenders was a tremendous band, and even if they offer diminished returns, it’s still diminished returns on good material, and much of Pretenders II is quite enjoyable. Yes, it’s a little slicker and more stylized than its predecessor, and, yes, there’s a little bit of filler, yet any album where rockers as tough as “Message of Love” and “The Adultress” are balanced by a pop tune as lovely as “Talk of the Town” is hard to resist. And when you realize that this fantastic band only recorded two albums, you take that second album, warts and all, because the teaming of Hynde and Honeyman-Scott was one of the great pairs, and it’s utterly thrilling to hear them together, even when the material isn’t quite up to the high standards they set the first time around. –Stephen Thomas Erlewine

Tracklist:
1 The Adultress 3:58
2 Bad Boys Get Spanked 4:07
3 Message Of Love 3:28
4 I Go To Sleep 2:57
5 Birds Of Paradise 4:16
6 Talk Of The Town 2:45
7 Pack It Up 3:52
8 Waste Not Want Not 3:46
9 Day After Day 3:47
10 Jealous Dogs 5:38
11 The English Roses 4:31
12 Louie Louie 3:29

Personnel:
Chrissie Hynde – rhythm guitar, lead vocals
Pete Farndon – bass guitar, backing vocals
Martin Chambers – drums, backing vocals
James Honeyman-Scott – lead guitar, keyboards, backing vocals
Additional:
Chris Mercer – tenor saxophone
Henry Lowther – trumpet
Jim Wilson – trumpet
Geoff Bryant – French horn

Download:

mqs.link_ThePretendersPretendersII198119224.part1.rar
mqs.link_ThePretendersPretendersII198119224.part2.rar

譚詠麟 (Alan Tam) –第一滴淚 (2014) SACD ISO

張國榮 (Leslie Cheung) –一切隨風 (2017) SACD ISO

葉蒨文 (Sally Yeh) –影視金曲16首 (2017) SACD ISO

Jennifer Pike, Andrew Davis, Bergen Philharmonic – Sibelius: Violin Concerto (2014) [LINN FLAC 24bit/96kHz]

Martin Haselbock, Orchester Wiener Akademie – Liszt: Hungarian Rhapsodies (2013) [Qobuz FLAC 24bit/96kHz]

Hopkinson Smith – Bach: Suites Nos. 1, 2, 3 (2013) [Qobuz FLAC 24bit/96kHz]

Ahmad Jamal – Saturday Morning (2013) [Qobuz FLAC 24bit/88,2kHz]

Curios – Captive (2014) [B&W FLAC 24bit/48kHz]

Damon Albarn – Everyday Robots (2014) [FLAC 24bit/96kHz]

Eleanor McEvoy – If You Leave (2013) [HDTracks FLAC 24bit/96kHz]

Hilary Gardner – The Great City (2014) [BandCamp FLAC 24bit/96kHz]

London Grammar – If You Wait {Deluxe Edition} (2013) [Qobuz FLAC 24bit/44,1kHz]

London Grammar – Truth Is A Beautiful Thing {Deluxe Edition} (2017) [Qobuz FLAC 24bit/44,1kHz]

Portugal. The Man – Evil Friends (2013) [HDTracks FLAC 24bit/44,1kHz]

Shellac – Dude Incredible (2014) [HDTracks FLAC 24bit/44,1kHz]

Shakira – Shakira. (2014) [HDTracks FLAC 24bit/44,1kHz]

Shakira – El Dorado (2017) [Qobuz FLAC 24bit/44,1kHz]

Pretenders – Pretenders (1980) [MFSL 2014] {SACD ISO + FLAC 24bit/88,2kHz}

Pretenders – Pretenders (1980/2013) [HDTracks FLAC 24bit/192kHz]

The Pretenders – Pretenders II (1981/2013) [HDTracks FLAC 24bit/192kHz]