Peter Frampton – Frampton Comes Alive! (2xSACD, 1976) [Deluxe Edition 2003] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 95:02 minutes | Scans included | 6,24 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,91 GB
25th Anniversary Deluxe Edition | Features 2.0 Stereo and 5.1 multichannel surround sound | Genre: Rock

If you were challenged to name five rock albums that epitomized the ’70s, Frampton Comes Alive! should probably top the list. Former Humble Pie guitarist Peter Frampton recorded a few perfectly fine albums with his band Frampton’s Camel, but it wasn’t until some of those tracks were recorded at a live performance in San Francisco and released as Frampton Comes Alive! that he became a household name. Buoyant pop, sentimental ballads, arena rock–this album has it all. The double-LP package set sales records and contained three bona fide radio hits–“Baby, I Love Your Way,” “Show Me the Way,” and “Do You Feel Like We Do?” This 25th-anniversary remastered package features three previously unreleased tracks from the source shows, plus an additional selection recorded at the time as a radio promo.

At the time of its release, Frampton Comes Alive! was an anomaly, a multi-million-selling (mid-priced) double LP by an artist who had previously never burned up the charts with his long-players in any spectacular way. The biggest-selling live album of all time, it made Peter Frampton a household word and generated a monster hit single in “Show Me the Way.” And the reason why is easy to hear: the Herd/Humble Pie graduate packed one hell of a punch on-stage — where he was obviously the most comfortable — and, in fact, the live versions of “Show Me the Way,” “Do You Feel Like I Do,” “Something’s Happening,” “Shine On,” and other album rock staples are much more inspired, confident, and hard-hitting than the studio versions.

Tracklist:
CD1 #01. Introduction/Somethin’s Happening
CD1 #02. Doobie Wah
CD1 #03. Lines On My Face
CD1 #04. Show Me The Way
CD1 #05. It’s A Plain Shame
CD1 #06. Wind Of Change
CD1 #07. Just The Time Of The Year
CD1 #08. Penny For Your Thoughts
CD1 #09. All I Want To Be (Is By Your Side)
CD1 #10. Baby, I Love Your Way
CD1 #11. I Wanna Go To The Sun

CD2 #01. Nowhere’s Too Far For My Baby
CD2 #02. (I’ll Give You) Money
CD2 #03. Do You Feel Like We Do
CD2 #04. Shine On
CD2 #05. White Sugar
CD2 #06. Jumping Jack Flash
CD2 #07. Days Dawning

SACD ISO

mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part1.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part2.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part3.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part4.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part5.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part6.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003SACDIS.part7.rar

FLAC 24bit/88,2kHz

mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003FLAC2488.2.part1.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003FLAC2488.2.part2.rar
mqs.link_PeterFramptnFramptnCmesAlive1976DeluxeEditin2003FLAC2488.2.part3.rar

Peter Frampton – Thank You Mr Churchill (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 55:49 minutes | 1,23 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks.com | Digital Booklet | © New Door Records

Frampton remains one of the most celebrated artists and guitarists in rock history. At 16, he was lead singer and guitarist for British teen band, the Herd. At 18, he co-founded one of the first super groups, seminal rock act Humble Pie. His fifth solo album, the electrifying Frampton Comes Alive, is one of the top selling live records of all time.

Peter Frampton releases records so rarely that he’s almost forced to plainly admit their themes in the titles: 2003’s Now dealt with the present while its 2010 successor, Thank You Mr. Churchill, casts an eye toward the past, Frampton piecing together his history from WWII to modern times. Fittingly for a concept album so ambitious, Frampton has wound up with a heavy progressive rock record, roiling with dense riffs, segmented songs, and winding blues jams. Happily, he hasn’t ignored his previous life as either a Tamla/Motown devotee or pop star, cutting the introspection and ambition with a handful of lighter moments — such as the unashamed arena rocker “I’m Due a You,” the irrepressible bounce of “Invisible Man” (which does indeed feature members of the Funk Brothers), and even the circular acoustic guitar of “Restraint” — that give the album levity while broadening its palette, helping to push Thank You Mr. Churchill to one of Frampton’s richest records and unexpectedly one of his best.

Tracklist:
01. Thank You Mr. Churchill (5:17)
02. Solution (4:03)
03. Road To The Sun [With Smoking Gun featuring Julian Frampton] (5:39)
04. I’m Due A You (5:36)
05. Vaudeville Nanna And The Banjolele (4:43)
06. Asleep At The Wheel (7:23)
07. Suite: Liberte a. Megumi / b. Huria Watu (7:24)
08. Restraint (3:53)
09. I Want It Back (4:56)
10. Invisible Man (5:14)
11. Black Ice (4:16)

Download:

mqs.link_PeterFramptnThankYuMrChurchill2010HDTracks2496.part1.rar
mqs.link_PeterFramptnThankYuMrChurchill2010HDTracks2496.part2.rar

Peter, Paul and Mary – In The Wind (1963) [Audio Fidelity 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:02 minutes | Scans included | 1,53 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 778 MB
Mastered by Steve Hoffman | Audio Fidelity # AFZ-181 | Genre: Folk, Rock

Their third recording was one of the group’s stronger outings, even if it confirms their status as folk popularizers rather than musical innovators. In particular, this record was essential to boosting the profile of Bob Dylan, including their huge hit cover of “Blowin’ in the Wind,” their Top Ten version of “Don’t Think Twice, It’s All Right,” and the bluesy “Quit Your Lowdown Ways,” which Dylan himself would not release in the ’60s (although his version finally came out on The Bootleg Series). “Stewball,” “All My Trials,” and “Tell It on the Mountain” were other highlights of their early repertoire, and the dramatic, strident, but inspirational “Very Last Day” is one of the best original tunes the group ever did.

Tracklist:
01. Very Last Day
02. Hush-A-Bye
03. Long Chain On
04. Rocky Road
05. Tell It On The Mountain
06. Polly Von
07. Stewball
08. All My Trials
09. Don’t Think Twice, It’s Alright
10. Freight Train
11. Quit Your Low Down Ways
12. Blowin’ In The Wind

Mastered by Steve Hoffman at Stephen Marsh Mastering.

SACD ISO

mqs.link_PeterPaulandMaryInTheWind1963AudiFidelity2014SACDIS.part1.rar
mqs.link_PeterPaulandMaryInTheWind1963AudiFidelity2014SACDIS.part2.rar

FLAC 24bit/88,2kHz

mqs.link_PeterPaulandMaryInTheWind1963AudiFidelity2014FLAC2488.2.rar

Peter, Paul and Mary – In Concert (1964/2014)
DSF Stereo DSD64/2.82MHz | Time – 01:23:21 minutes | 3,29 GB | Genre: Folk, Rock
Official Digital Download – Source: AcousticSounds | Front Cover | © Warner Bros. Records Inc./Analogue Productions XAPF1555D64
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.

This double album opens with a then-new Bob Dylan song, “The Times They Are A’ Changin’,” and closes with the best-known song ever written by Pete Seeger and Lee Hayes, “If I Had a Hammer.” That seems to sum up Peter, Paul & Mary, but In Concert offers a lot more than that. The surprises include vignettes in blues and gospel, and, most notably, the group’s humorous digressions. Peter, Paul & Mary spared few opportunities for a good laugh on-stage, beginning with the introduction to “A’ Soalin’,” which shows off a lightheartedness that was an essential part of who they were, even as it leads into an exquisitely sung round-like piece that should have found its way into the repertory of Steeleye Span. “Blue” gives the trio a chance to play around with rock & roll, from doo wop to British Invasion, through the song “Old Blue” (satirizing folk music purists at the same time), and Paul Stookey adds his own sound effects to Woody Guthrie’s “Car-Car.” The solo spots are also worthwhile, particularly Peter Yarrow’s introspective version of “Le Deserteur,” followed by his dazzling, rousing singalong on “Oh, Rock My Soul,” and Mary Travers’ rendition of “Single Girl,” a low-key proto-feminist song. The group’s rendition of “It’s Raining” achieves an exquisite mix of gossamer-textured harmonizing and thematic innocence, and their rendition of the Reverend Gary Davis’ “If I Had My Way” is a bracing re-interpretation for three interwoven voices. Finally, the version of “If I Had a Hammer” that closes this album is superior to their hit single of the same song. –AllMusic Review by Bruce Eder

Tracklist:
1 The Times They Are A’ Changin’ 3:16
2 A ‘Soalin’ 5:28
3 500 Miles 3:02
4 Blue 4:01
5 Three Ravens 3:54
6 One Kind Favor 3:12
7 Blowin’ In The Wind 3:36
8 Riding In My Car (Car Song) 5:01
9 Puff (The Magic Dragon) 6:18
10 Jesus Met The Woman 4:24
11 Le Deserteur 4:32
12 Oh, Rock My Soul 5:47
13 Paultalk 12:38
14 Single Girl 2:31
15 There Is A Ship 3:00
16 It’s Raining 5:23
17 If I Had My Way 2:51
18 If I Had A Hammer 2:35

Personnel:
Peter Yarrow – vocals, guitar
Noel “Paul” Stookey – vocals, guitar
Mary Travers – vocals
Richard Kniss – bass

Download:

mqs.link_PeterPaulandMaryInCncert19642014AcusticSundsDSD64.part1.rar
mqs.link_PeterPaulandMaryInCncert19642014AcusticSundsDSD64.part2.rar
mqs.link_PeterPaulandMaryInCncert19642014AcusticSundsDSD64.part3.rar
mqs.link_PeterPaulandMaryInCncert19642014AcusticSundsDSD64.part4.rar

Peter, Paul and Mary – Album 1700 (1967/2014)
DSF Stereo DSD64/2.82MHz | Time – 40:19 minutes | 1,59 GB | Genre: Folk, Rock
Official Digital Download – Source: AcousticSounds | Front Cover | © Warner Bros. Records Inc./Analogue Productions XAPP993D64
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.

For a 1967 album that managed to yield a number one hit single and an additional Top Ten smash, Album 1700 was pretty out of sync with contemporary trends. This is not exactly a rock record, but the trio was unquestionably making more use of backup musicians and arrangements that owed a bit to pop/rock. (Paul Butterfield, Paul Winter, Canadian rock band the Paupers, and top New York folk-rock session musicians Paul Griffin, Russ Savakus, and Harvey Brooks all play on the record.) They never did sound too comfortable with that form, but at least they didn’t sound as uncomfortable as they had in the past. The material was an uneven mixture of passably pleasant original tunes covering light comedy and social/philosophical commentary, including an honest to God folk-rock cover of Eric Andersen’s “Rolling Home,” albeit with the pure folk harmonies of their early days unchanged; a Bob Dylan cover (“Bob Dylan’s Dream”) that could have easily fit onto a PPM album early in their career; and, perhaps to make sure there was one song for the toddler when it was played in the family living room, the positively embarrassing “I’m in Love With a Big Blue Frog.” “I Dig Rock and Roll Music,” though it made the Top Ten, was not a wholehearted embrace of the new rock sounds, coming off as a rather savage and strange parody of the Mamas & the Papas. The album’s ace in the hole was the melodic and slightly maudlin “Leaving on a Jet Plane,” an early John Denver composition that would became a number one smash in late 1969, two years after the LP’s release. –AllMusic Review by Richie Unterberger

Tracklist:
1. Rolling Home 3:33
2. Leaving On A Jet Plane 3:27
3. Weep For Jamie 4:08
4. No Other Name 2:28
5. The House Song 4:16
6. The Great Mandella (The Wheel Of Life) 4:44
7. I Dig Rock And Roll Music 2:31
8. If I Had Wings 2:20
9. I’m In Love With A Big Blue Frog 2:06
10. Whatshername 3:25
11. Bob Dylan’s Dream 4:00
12. The Song Is Love 2:46

Personnel:
Peter Yarrow, vocals, guitar
Noel “Paul” Stookey, vocals, guitar
Mary Travers, vocals

Download:

mqs.link_PeterPaulandMaryAlbum170019672014AcusticSundsDSD64.part1.rar
mqs.link_PeterPaulandMaryAlbum170019672014AcusticSundsDSD64.part2.rar

Philip Bailey – Soul On Jazz (2002)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 50:53 minutes | Covers included | 3,37 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Covers included | 1,01 GB
Features Stereo and Multichannel surround sound | Genre: Jazz, Soul

Vocalist Philip Bailey’s high-flying falsetto made Earth, Wind & Fire an immortal supergroup. On this album, he’s backed by a streamlined combo featuring saxophonist Bob Belden, keyboardists Scott Kinsey and Myron McKinley, and remixer DJ Smash. Nine of the 11 tracks are updated classic jazz, pop, and R&B/fusion-tinged tunes, from Nat “King” Cole’s “Nature Boy” to Freddie Hubbard’s “On the Red Clay”. Thelonious Monk’s “Ruby My Dear” is revived as a quiet-storm ballad, “Dear Ruby”. “My Indiscretions”, Bailey’s take on the funky, futuristic Weather Report jam, “Indiscretions”, features catchy lyrics by the singer’s son, Sir Bailey. Chick Corea’s “Sometime Ago” is turned into a club-friendly dance number, while Herbie Hancock’s “Tell Me a Bedtime Story” is retouched with Afro-Latin tinges. The church-inspired EW&F hit, “Keep Your Head to the Sky”, is rendered with hip-hop-styled rim shots. Philip Bailey’s vocalisms show that Soul on Jazz does mix.

There was a strong jazz vibe running through some of Philip Bailey’s sides with Earth, Wind & Fire. On Soul on Jazz, his second release for Heads Up International, co-producer Bailey remakes several jazz standards, some with new lyrics by his son, Sir Bailey. The foray is most successful on Thelonious Monk’s “Ruby My Dear,” a percussive take on Gene McDaniels’ “Compared to What,” and Joe Zawinul’s “Mercy, Mercy, Mercy.” R&B and jazz stylishly intersect on the smooth airy ballad “Unrestrained.” Bailey redoes the EWF classic “Keep Your Head to the Sky,” giving it a mellow sheen that’s close to one of his past cuts, “Children of the Ghetto.” On that and his dusky cover of Herbie Hancock’s “Tell Me a Bedtime Story” and the loopy “Bop-Skip-Doodle,” Bailey flexes his legendary falsetto. More jazz-oriented than Dreams, Soul on Jazz benefits from the sharing of production chores with Myron McKinley, Bob Belden, and Scott Kinsey. The album is definitely on track.

Tracklist:
01. My Indisrections
02. Dear Ruby
03. Compared To What
04. Nature Boy
05. Bop-Skip-Doodle
06. Unrestrained
07. Mercy, Mercy, Mercy
08. Keep Your Head To The Sky
09. Sometime Ago
10. Tell Me A Bedtime Story
11. On The Red Clay

SACD ISO

mqs.link_PhilipBaileySulnJazz2002SACDIS.part1.rar
mqs.link_PhilipBaileySulnJazz2002SACDIS.part2.rar
mqs.link_PhilipBaileySulnJazz2002SACDIS.part3.rar
mqs.link_PhilipBaileySulnJazz2002SACDIS.part4.rar

FLAC 24bit/88,2kHz

mqs.link_PhilipBaileySulnJazz2002FLACStere24882.part1.rar
mqs.link_PhilipBaileySulnJazz2002FLACStere24882.part2.rar

Pixies – Bossanova (1990) [MFSL 2008]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:12 minutes | Scans included | 1,63 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 828 MB
Mobile Fidelity Sound Lab # UDSACD 2035 | Genre: Rock

When Bossanova arrived in 1990, it reflected the exhaustion the Pixies felt after Doolittle’s enormous success: For the first time, the band seems to be running out of ideas. Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies’ weakest album – though Francis has said it’s his favorite – most of it finds the band in fine form. Gil Norton’s spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones’ “Cecilia Ann” and the glorious, shimmering closer “Havalina” perfectly. On the theremin-driven “Velouria”, science fiction imagery displaces Francis’ penchant for fetishistic lyrics; next to the token kinky song “Down to the Well”’s tired sound, it’s a refreshing change. The similarly cryptic “All Over the World” and alien abduction tale “The Happening” add to the sci-fi feel. Quirky pop songs like “Allison”, a tribute to jazz cool-cat Mose Allison, and “Dig for Fire”, Francis’ self-professed Talking Heads homage, heighten Bossanova’s playful, slightly off-kilter vibe, but rockers like “Hang Wire” and “Blown Away”, fall flat. However, “Rock Music” is one of the group’s most fiery outbursts, and “Is She Weird”‘s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanova’s strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. Like a straight-A student who suddenly receives a B+, Bossanova might have been a disappointment initially, but its (small) failings emphasize the strengths of the rest of the Pixies’ work.

Tracklist:
01. Cecilia Ann
02. Rock Music
03. Velouria
04. Allison
05. Is She Weird
06. Ana
07. All Over The World
08. Dig For Fire
09. Down To The Well
10. The Happening
11. Blown Away
12. Hang Wire
13. Stormy Weather
14. Havalina

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

SACD ISO

mqs.link_Pixies1990BssanvaUDSACD2035MFSL2008SACDIS.part1.rar
mqs.link_Pixies1990BssanvaUDSACD2035MFSL2008SACDIS.part2.rar

FLAC 24bit/88,2kHz

mqs.link_Pixies1990BssanvaUDSACD2035MFSL2008FLAC2488.2.rar

Pixies – Doolittle (1989) [MFSL 2008]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:43 minutes | Scans included | 1,57 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 810 MB
Mobile Fidelity Sound Lab # UDSACD 2033 | Genre:Rock

After 1988’s brilliant but abrasive Surfer Rosa, the Pixies’ sound couldn’t get much more extreme. Their Elektra debut, Doolittle, reins in the noise in favor of pop songcraft and accessibility. Producer Gil Norton’s sonic sheen adds some polish, but Black Francis’ tighter songwriting focuses the group’s attack. Doolittle’s most ferocious moments, like “Dead”, a visceral retelling of David and Bathsheba’s affair – are more stylized than the group’s past outbursts. Meanwhile, their poppy side surfaces on the irresistible single “Here Comes Your Man” and the sweetly surreal love song “La La Love You”. The Pixies’ arty, noisy weirdness mix with just enough hooks to produce gleefully demented singles like “Debaser”, – inspired by Bunuel’s classic surrealist short Un Chien Andalou – and “Wave of Mutilation”, their surfy ode to driving a car into the sea. Though Doolittle’s sound is cleaner and smoother than the Pixies’ earlier albums, there are still plenty of weird, abrasive vignettes: the blankly psychotic “There Goes My Gun”, “Crackity Jones”, a song about a crazy roommate Francis had in Puerto Rico, and the nihilistic finale “Gouge Away”. Meanwhile, “Tame”, and “I Bleed” continue the Pixies’ penchant for cryptic kink. But the album doesn’t just refine the Pixies’ sound; they also expand their range on the brooding, wannabe spaghetti western theme “Silver” and the strangely theatrical “Mr. Grieves”. “Hey” and “Monkey Gone to Heaven”, on the other hand, stretch Francis’ lyrical horizons: “Monkey”’s elliptical environmentalism and “Hey”’s twisted longing are the Pixies’ versions of message songs and romantic ballads. Their most accessible album, Doolittle’s wide-ranging moods and sounds make it one of their most eclectic and ambitious. A fun, freaky alternative to most other late-’80s college rock, it’s easy to see why the album made the Pixies into underground rock stars.

Tracklist:
01. Debaser
02. Tame
03. Wave Of Mutilation
04. I Bleed
05. Here Comes Your Man
06. Dead
07. Monkey Goes To Heaven
08. Mr. Grieves
09. Crackity Jones
10. La La Love You
11. No. 13 Baby
12. There Goes My Gun
13. Hey
14. Silver
15. Gouge Away

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

SACD ISO

mqs.link_Pixies1989DlittleUDSACD2033MFSL2008SACDIS.part1.rar
mqs.link_Pixies1989DlittleUDSACD2033MFSL2008SACDIS.part2.rar

FLAC 24bit/88,2kHz

mqs.link_Pixies1989DlittleUDSACD2033MFSL2008FLAC2488.2.rar

Pixies – Surfer Rosa (1988) [MFSL 2007]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 33:41 minutes | Scans included | 1,35 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 696 MB
Mobile Fidelity Sound Lab # UDSACD 2032 | Genre: Rock

One of the most compulsively listenable college rock albums of the ’80s, the Pixies’ 1988 full-length debut Surfer Rosa fulfilled the promise of Come on Pilgrim and, thanks to Steve Albini’s production, added a muscular edge that made their harshest moments seem even more menacing and perverse. On songs like “Something Against You”, Black Francis’ cryptic shrieks and non sequiturs are backed by David Lovering and Kim Deal’s punchy rhythms, which are so visceral that they’d overwhelm any guitarist except Joey Santiago, who takes the spotlight on the epic “Vamos”. Albini’s high-contrast dynamics suit Surfer Rosa well, especially on the explosive opener “Bone Machine” and the kinky, T. Rex-inspired “Cactus”. But, like the black-and-white photo of a flamenco dancer on its cover, Surfer Rosa is the Pixies’ most polarized work. For each blazing piece of punk, there are softer, poppier moments such as “Where Is My Mind?”, Francis’ strangely poignant song inspired by scuba diving in the Caribbean, and the Kim Deal-penned “Gigantic”, which almost outshines the rest of the album. But even Surfer Rosa’s less iconic songs reflect how important the album was in the group’s development. The “song about a superhero named Tony” (“Tony’s Theme”) was the most lighthearted song the Pixies had recorded, pointing the way to their more overtly playful, whimsical work on Doolittle. Francis’ warped sense of humor is evident in lyrics like “Bone Machine”’s “He bought me a soda and tried to molest me in the parking lot/Yep yep yep!” In a year that included landmark albums from contemporaries like Throwing Muses, Sonic Youth, and My Bloody Valentine, the Pixies managed to turn in one of 1988’s most striking, distinctive records. Surfer Rosa may not be the group’s most accessible work, but it is one of their most compelling.

Tracklist:
01. Bone Machine
02. Break My Body
03. Something Against You
04. Broken Face
05. Gigantic
06. River Euphrates
07. Where Is My Mind?
08. Cactus
09. Tony’s Theme
10. Oh My Golly!
11. Vamos
12. I’m Amazed
13. Brick Is Red

Mastered by Shawn R. Britton at Mobile Fidelity Sound Lab, Sebastopol, CA.

SACD ISO

mqs.link_Pixies1988SurferRsaUDSACD2032MFSL2007SACDIS.part1.rar
mqs.link_Pixies1988SurferRsaUDSACD2032MFSL2007SACDIS.part2.rar

FLAC 24bit/88,2kHz

mqs.link_Pixies1988SurferRsaUDSACD2032MFSL2007FLAC2488.2.rar

Sergei Prokofiev – Violin Concertos Nos. 1 & 2 – Vadim Gluzman, Estonian National Symphony Orchestra, Neeme Jarvi (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 60:21 minutes |  1,01 GB | Genre: Classical
Studio Master, Official Digital Download |  Source:eclassical.com |  Booklet , Front cover | © BIS Records AB
Recorded: July 2015 (Concerto No. 1) and May 2014 (Concerto No. 2) at the Estonia Concert Hall, Tallinn, Estonia; July 2015 at the Sendesaal Bremen, Germany (Sonata)

Nathan Milstein once described Sergei Prokofiev’s first violin concerto as: ‘indeed one of the best modern violin concertos… a brilliant piece, perhaps the finest of all Prokofiev’s works’, while the second concerto was taken up by violinists such as David Oistrakh and Jascha Heifetz. Here the two works are interpreted by the Ukrainian-born Vadim Gluzman, who as many critics have remarked is firmly based in the glorious tradition of these and other virtuosos of the 19th and 20th centuries. His several discs for BIS have included concertos by Tchaikovsky and Bruch as well as by Gubaidulina and Barber, earning him accolades such as Diapason d’or de l’année, and numerous recommendations by magazines and websites including The Strad, BBC Music Magazine, Fono Forum and ClassicsToday.com. On the present disc, Gluzman is supported by the eminent Estonian National Symphony Orchestra conducted by Neeme Järvi, with impressive credentials in Prokofiev’s music. Gluzman rounds off the programme with Prokofiev’s only solo work for the violin, the Sonata in D major, Op. 115 – one of the composer’s less familiar compositions for the instrument. Strictly speaking it is a sonata for violins in unison: Prokofiev wrote the piece in 1947 to be played in unison by violin students. Despite its pedagogical purpose, the sonata is, however, far more than just a technical exercise, presenting an overwhelming richness of ideas and emotions within a short time-frame.

Tracklist:

Sergei Prokofiev (1891–1953)

Violin Concerto No. 1 in D major, Op. 19 (1915–17)
1. I. Andantino 9’05
2. II. Scherzo. Vivacissimo 3’51
3. III. Moderato – Allegro moderato 7’34

Violin Concerto No. 2 in G minor, Op. 63 (1935)
4. I. Allegro moderato 10’25
5. II. Andante assai – Allegretto 10’02
6. III. Allegro ben marcato 5’59

Sonata in D major for solo violin, Op. 115 (1947)
7. I. Moderato 5’00
8. II. Andante dolce. Tema con variazioni 3’13
9. III. Con brio – Allegro precipitato 3’31

Personnel:
Vadim Gluzman violin
Estonian National Symphony Orchestra
Neeme Järvi conductor

Download:

mqs.link_PrkfievVilinCncertsNs.12VadimGluzmanENSNeemeJrvi2016eClassical2496.part1.rar
mqs.link_PrkfievVilinCncertsNs.12VadimGluzmanENSNeemeJrvi2016eClassical2496.part2.rar

Francis Poulenc – Works for Piano Solo and Duo – Alessio Bax, Lucille Chung (2016)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:02:10 minutes | 1,0 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records.co.uk | Booklet, Front Cover | © Signum Records
Recorded: January 2015, Snape Maltings, Suffolk, United Kingdom

Poulenc was a skilled pianist, cultivating a style of playing characterised by colorfulness and clarity, possessing an ear for melody that distinguished him as France’s finest song composer since Fauré. Canadian pianist Lucille Chung – acclaimed for her “stylish and refined performances” by Gramophone magazine, “combining vigor and suppleness with natural eloquence and elegance” – appears as a soloist on this new recording, performing Poulenc’s Improvisations and Novelettes before being joined by her duo partner (and husband) Alessio Bax for L’embarquement pour Cythere, the Sonata for Four Hands and Concerto for Two Pianos.

Another Signum issue well worthy of your attention features the husband and wife duo Alessio Bax and Lucille Chung. Here, for the first time on disc, she takes the lead, playing some of Poulenc’s solo piano music, and is then joined by her husband for some piano duet, and two piano pieces. The 50th anniversary of Poulenc’s death in 2013 passed almost without notice, which is sad, because Poulenc is one of the most captivating composers, with, as Stravinsky once said, “The greatest melodic gift of any 20th century composer. This is an interesting combination of the familiar and the unfamiliar. The Novelettes are quite well known, the 15 Improvisations, not so. For me the most attractive piece here is Poulenc’s own arrangement for two pianos of his Concerto for two pianos. The slow movement alone is worth the price of this exceptional disc. –David Mellor, Classic FM

Tracklist:

Francis Poulenc (1899-1963)

15 Improvisations, FP 63
1 Improvisation No 1 in B minor FP63 No 1[1’35]
2 Improvisation No 2 in A flat major FP63 No 2[1’37]
3 Improvisation No 3 in B minor FP63 No 3[1’36]
4 Improvisation No 4 in A flat major FP63 No 4[1’30]
5 Improvisation No 5 in A minor FP63 No 5[1’45]
6 Improvisation No 6 in B flat major FP63 No 6[1’35]
7 Improvisation No 7 in C major FP63 No 7[2’44]
8 Improvisation No 8 in A minor FP63 No 8[1’36]
9 Improvisation No 9 in D major FP63 No 9[1’29]
10 Improvisation No 10 in F major ‘Éloge des gammes’ FP63 No 10[2’11]
11 Improvisation No 11 in G minor FP113 No 1[0’51]
12 Improvisation No 12 in E flat major ‘Hommage à Schubert’ FP113 No 2[2’10]
13 Improvisation No 13 in A minor FP170 No 1[2’23]
14 Improvisation No 14 in D flat major FP170 No 2[1’28]
15 Improvisation No 15 in C minor ‘Hommage à Edith Piaf’ FP176[3’23]
16 Novelette in C major FP47 No 1[2’43]
17 Novelette in B flat minor FP47 No 2[2’01]
18 Novelette sur un thème de Manuel de Falla FP173[2’40]

Sonata for four hands FP8
19 Prélude[2’01]
20 Rustique[1’48]
21 Final[1’58]
22 L’embarquement pour Cythère FP150[2’16]

Concerto for two pianos in D minor FP61
23 Allegro ma non troppo[7’31]
24 Larghetto[5’24]25 Finale[5’55]

Download:

mqs.link_PulencWrksfrPianSlandDuAlessiBaxLucilleChung20169624.part1.rar
mqs.link_PulencWrksfrPianSlandDuAlessiBaxLucilleChung20169624.part2.rar

Ensemble Gilles Binchois, Dominique Vellard – Polyphonies oubliées (2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:47:16 minutes | 1,02 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Aparté

From the Middle Ages until the nineteenth century, plainchant was sung polyphonically all over Europe – in a great variety of ways. It is no exaggeration to say that for centuries it epitomized the sound of church music for congregations. Fauxbourdon was a means of solemnizing the Divine Office by embellishing the plainchant melody. This double CD featuring Dominique Vellard and the Ensemble Gilles Binchois offers a selection of this music that reflects the variety and diversity of four centuries of French polyphonic plainchant.

Tracklist:

CD1: XVIe > XVIIe
01. Ave consurgens aurora (versus)
02. Lumen ad revelationem (antienne) & Nunc dimittis (cantique de Siméon)
03. Credo in unum Deum
04. Mater regis angelorum (versus)
05. Nunc dimittis / Ayn apolis / Magnum nomen Domini (cantique de Siméon)
06. Litaniae B. Mariae Virginis (Litanies)
07. Miserere (psaume 50)
08. Creator omnium (versus)
09. Claudin de Sermisy (1490-1562) Magnificat du 6e ton
10. Laudate pueri (psaume 112)
11. Jean de Bournonville (1585-1632) Ave regina cœlorum (antienne)
12. In exitu Israel (psaume 113)
13. Laudate Dominum du 3e ton (psaume 116)
14. Marc-Antoine Charpentier (1643-1704) De profundis (psaume 129)

CD2: XVIIIe > XIXe
01. Pange lingua (hymne)
02. Dixit Dominus (psaume 109)
03. Ave maris stella (hymne)
04. Alleluia, O filii et filiæ
05. Ave maris stella (hymne)
06. Kyrie de la Messe des morts
07. Dies iræ (séquence)
08. Omne quod dat mihi (antienne) & Magnificat du 7e ton
09. François-Louis Perne (1772-1832) Kyrie de la messe des solennels mineurs
10. Ave verum corpus (séquence)
11. Ut queant laxis (hymne)
12. Inviolata (séquence)
13. Aloys Kunc (1832-1895) Adoremus in æternum (antienne)

Download:

mqs.link_PlyphniesubliesEnsembleGillesBinchisDminiqueVellard2014Qbuz2444.1.part1.rar
mqs.link_PlyphniesubliesEnsembleGillesBinchisDminiqueVellard2014Qbuz2444.1.part2.rar

Walter Piston: Symphony No. 6 / Bohuslav Martinu: Fantasies Symphoniques – Boston Symphony Orchestra, Charles Munch (1957/2016)
FLAC (tracks) 24 bit/96 kHz  | Time – 49:25 minutes | 1,92 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © RCA Records

A genial conductor with a particular gift for French music, Charles Münch extended the Boston Symphony’s glory years (begun under the baton of Serge Koussevitzky) into the early ’60s. Münch was born in the province of Alsace-Lorraine, which at the time (1891) was controlled by Germany and has long hovered between two cultural worlds. Münch himself benefited from both French and German musical training, and his first important musical posts were in Germany. Yet he came to be regarded as the quintessential French conductor, and his recordings of French repertory with the Boston Symphony remain standards by which others are judged. Münch studied violin at the Strasbourg Conservatory, where his father was a professor, and, from 1912, in Paris with Lucien Capet. As an Alsatian, he was conscripted into the German army at the outbreak of World War I. Gassed and wounded as an artillery sergeant, he nevertheless survived the war through sheer resiliency. In 1919, upon returning to Alsace-Lorraine (now back in French hands), he took French citizenship, and a violin professorship in Strasbourg. Nevertheless, his professional interests soon sent him to Germany; he studied violin with Carl Flesch in Berlin, then moved to Leipzig to take a violin professorship at the conservatory there, and then became concertmaster of the Leipzig Gewandhaus Orchestra from 1926 to 1933, during Furtwängler’s tenure.
But it was back in Paris, in 1933, where Münch made his successful conducting debut in a self-financed concert with the Straram Orchestra. He conducted the Paris Orchestre de la Société Philharmonique (1935-1938) and in 1937 was named director of the Société des Concerts du Conservatoire de Paris, a post he held through World War II. Münch introduced many new works, including, in 1945, Messiaen’s L’Ascension; he quickly became known as a conductor attentive to music’s larger formal structures, as well as details of color and sonority. Despite his allegiances 25 years before, Münch refused to collaborate with the Nazis, and indeed supported the French resistance; he was awarded the Légion d’honneur in 1945.
Münch’s career quickly accelerated after the war. In 1946, he made his debut with the Boston Symphony (and several other American orchestras) as a guest conductor, and he toured America with the French National Radio Orchestra in 1948. The following year, he was appointed music director of the Boston Symphony, which he took on an unprecedented tour of the Soviet Union in 1956. Münch retired from the BSO in 1962 but continued to guest conduct, and helped Serge Baudo launch the Orchestre de Paris in 1967. On tour in America with that orchestra, he died the following year.
Münch was easygoing in rehearsal, reluctant to drill the spontaneity out of an orchestra. He was particularly noted as an elegant, colorful interpreter of French music of the nineteenth and twentieth centuries; his recordings of that material with the Boston Symphony for RCA are still regarded as classics of their kind. He was a strong advocate for the Franco-Swiss composers of his own generation, especially Roussel, Milhaud, and Honegger. But he also had a good touch with the conservative contemporary music of other lands, as may be heard in his few but important recordings of Martinu, Piston, and Barber. Indeed, during his Boston years Münch’s commitment to American music was almost as strong as his allegiance to new French works. –Artist Biography by James Reel

Tracklist:

Walter Piston (1894-1976)
Symphony No. 6
I. Fleundo espressivo 06:40
II. Leggierissimo vivace 03:26
III. Adagio sereno 09:36
IV. Allegro energico 04:16

Bohuslav Martinů (1890-1959)
Fantasies Symphoniques, H. 343 (Symphony No. 6)
I. Lento – Andante moderato – Poco allegro 08:13
II. Poco allegro 07:02
III. Lento 10:08

Personnel:
Boston Symphony Orchestra
Charles Münch, conductor

Download:

mqs.link_PistnSymphnyN.6MartinuFantasiesSymphniquesBSCharlesMunch19572016AcusticSunds24192.part1.rar
mqs.link_PistnSymphnyN.6MartinuFantasiesSymphniquesBSCharlesMunch19572016AcusticSunds24192.part2.rar
mqs.link_PistnSymphnyN.6MartinuFantasiesSymphniquesBSCharlesMunch19572016AcusticSunds24192.part3.rar

Philippe Petrucciani, Nathalie Blanc – Remember Petrucciani (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:01:59 minutes | 1,17 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Jazz Village
Recorded: March 3, 4 and 5, 2014 at Studio La Buissonne, Pernes-les-Fontaines, France

His brother, Philippe, and singer Nathalie Blanc bring us this very special album as a tribute to Michel Petrucciani. Philippe often accompanied Michel on guitar. Michel saw his compositions as songs and dreamed of putting words to them. This is a musical portrait of a highly accomplished artist and highlights his gifts as a vocalist who could juggle with words and make them swing. He was an ace on six strings, having grown up listening to Kenny Burrell and Wes Montgomery.

Michel liked to say that his compositions were songs. :: With a musical portrait retracing his life, made by those closest to him and stepped in his personality, Nathalie and Philippe are acting on the wish dear to Michel’s heart of writing words to his music.
Nathalie too had long dreamed of doing this and is now making the dream come true. As she writes and sings: “his soul is given up to us”.
Having so often accompanied his brother on the guitar, Philippe certainly knows the repertoire! He and Nathalie chose the pieces they loved the best, from I Just Say Hello (Une vie), one of his earliest compositions, to Looking Up (Les étoiles), very popular to a wide audience.
The usual close-knit quartet with Dominique di Piazza on bass (replaced here by Michel Zenino on double bass on a few titles), Manhu Roche on drums, Philippe Petrucciani on guitar and Nathalie Blanc, as they appeared on the last album, Este Mundo, now becomes a septet. They are joined by Fabrizio Bosso on trumpet and bugle, Stefano Cantini on tenor and alto saxophones and by Franscesco Castellani on trombone. Musical director Philippe arranged Michel’s music in collaboration with Philippe Festou. –Catherine Vallon-Barry

Tracklist:
1 Les étoiles (Looking Up) 4:30
2 A Simple Word (Hidden Joy) 5:13
3 Hypocondriaque (One For Us) 5:15
4 C’est une danse (It’s A Dance) 4:30
5 My Old Friend (Colors) 5:09
6 Watching TV (Play Me) 5:19
7 I Remember Paris (Memories of Paris) 3:54
8 Soir de mai (I Wrote You A Song) 5:01
9 Une vie (I Just Say Hello) 5:59
10 Carioca (Brazilian Suite 2) 5:29
11 L’espoir (Thirteen) 3:49
12 Tôt dans le matin (Morning Sun in Blois) 4:19
13 Miles Davis Licks 3:39

Personnel:
Philippe Petrucciani, guitar
Nathalie Blanc, vocals
Fabrizio Bosso, trumpet
Stefano Coco Cantini, soprano and tenor saxophones
Francesco Castellani, trombone
Michel Zenino, double bass
Dominique Di Piazza, electric bass
Manhu Roche, drums

Download:

mqs.link_PhilippePetruccianiNathalieBlancRememberPetrucciani2015Qbuz2488.2.part1.rar
mqs.link_PhilippePetruccianiNathalieBlancRememberPetrucciani2015Qbuz2488.2.part2.rar

Peter Tosh – Legalize It (1976/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 38:15 minutes | 746 MB | Genre: Reggae
Studio Masters, Official Digital Download – Source: HDTracks.com | Booklet, Front covers | © Columbia Records
Recorded: 1975 at Treasure Isle and Randy’s, Kingston, Jamaica

Legalize It is the stunning solo debut by Peter Tosh, following his departure from the Wailers. Released in 1976, this seminal album showcases Tosh’s creative talents as he explores issues of spirituality. Legalize It remains a pivotal work in the history of reggae. It features the hits “Legalize It,” “No Sympathy,” “Why Must I Cry” and “Ketchy Shuby.” It features acclaimed musicians including Al Anderson, Rita Marley, Bunny Wailer and Judy Mowatt.

After years of being overshadowed by Bob Marley, Peter Tosh left the Wailers to pursue a solo career. Released in 1976, Legalize It is a bold statement that Peter Tosh had arrived and was a creative force in his own right. Although he explores some issues of spirituality, this is Tosh’s most lightweight album in the sense that it is his least political. This is not meant as a criticism — in fact, Tosh’s playfulness and joy (“Ketchy Shuby”) only add to the album’s charm. He does make political statements (the title track celebrates and promotes the use of marijuana), but they are done with a sense of humor and a melodic infectiousness that belie his sincere concern for the issues. Tosh incorporates many instruments and mixes slower ballads with upbeat grooving tunes. The album’s highlight is “Why Must I Cry,” a multi-layered song (co-written with Bob Marley) that conveys a sense of personal failure when fighting an uphill battle, whether it be against injustices of the world or within the confines of a relationship. Legalize It cemented Tosh’s position as a giant in reggae, and the album is one of the best albums of the genre. –AllMusic Review by Vik Iyengar

Tracklist:
1. Legalize It 04:40
2. Burial 03:53
3. Whatcha Gonna Do 02:25
4. No Sympathy 04:35
5. Why Must I Cry 03:05
6. Igziabeher (Let Jah Be Praised) 04:36
7. Ketchy Shuby 04:57
8. Till Your Well Runs Dry 06:08
9. Brand New Second Hand 04:03

Personnel:
Peter Tosh, guitar, keyboards, vocals
Al Anderson, guitar
Robbie Shakespeare, bass
Sly Dunbar, drums
Tyrone ‘Organ D’ Downie, keyboards
Donald Kinsey, guitar
Robbie ‘Ras’ Lee, harmonica
Rita Marley, background vocals
Judy Mowatt, background vocals
Bunny Wailer, background vocals

Download:

mqs.link_PeterTshLegalizeIt19762013HDTracks2496.rar

Phoebe Snow – Phoebe Snow (1974/2013)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 36:23 minutes | 1,43 GB
FLAC (tracks) 24-bit/88,2 kHz | Time – 36:23 minutes | 713 MB
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Digital booklet
Genre: Rock/Pop | © Analogue Productions

Phoebe Snow died at the age of 60, but her art will live forever. Her debut album, reproduced here, witnesses a masterful nine-track lineup. Most of the songs were written by a 23-year old Phoebe Snow, including her best-known smash hit “Poetry Man. Snow was renowned for her elastic contralto and jazz scat vocals; this album became as legendary as her career, which spanned decades.

It’s been said many times that being difficult to categorize or pigeonhole can be the kiss of death commercially, and no one bears that out more than Phoebe Snow – a pearl of a singer who never caught on because she simply didn’t fit neatly into any one category. Known primarily for her haunting single “Poetry Man,” this self-titled classic (which was recorded in 1973 and released on LP in 1974) found the earthy vocalist drawing on everything from folk and pop to soul, jazz, and blues. If anyone has bridged the gap between Joni Mitchell and Aretha Franklin, it’s Snow, who is as confident on the soul-influenced “Good Times” as she is on the introspective jazz offering “Harpo’s Blues.” In fact, many of the players backing Snow are jazzmen, including cool jazz great Zoot Sims (tenor sax) and piano legend Teddy Wilson. With as many risks as she takes, the album is generally quite accessible.

Tracklist:
01 – Good Times (Let The Good Times Roll)
02 – Harpo’s Blues
03 – Poetry Man
04 – Either Or Both
05 – San Francisco Bay Blues
06 – I Don’t Want The Night To End
07 – Take Your Children Home
08 – It Must Be Sunday
09 – No Show Tonight

Mastered from the original analog tape by Kevin Gray at Cohearent Audio.

DSF DSD64/2.82MHz

mqs.link_PhebeSnwPhebeSnw19742013AcusticSundsDSD64.part1.rar
mqs.link_PhebeSnwPhebeSnw19742013AcusticSundsDSD64.part2.rar

FLAC 24bit/88,2kHz

mqs.link_PhebeSnwPhebeSnw19742013FLAC24882.rar

Ping Machine – Easy Listening (2016)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 00:49:50 minutes | 490 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Neuklang

After 3 albums honoured by the jazz experts, the 15 musicians from Ping Machine have not run out of ideas and comes back from the Bauer Studios Ludwigsburg/Germany not with one but two discs in the hands.
If UBIK, a long labyrinthine and fascinating suite, which borrows from contemporary and electronic music, should be considered as the centrepiece of this new repertoire, it cannot exist without its counterpart EASY LISTENING which gathers shorter compositions and makes room for lyrical passages, strong and brilliant melodies.

Agitation and Contemplation. Two ways are possible to enter into Frédéric Maurin’s universe, whose composition’s singularity asserts itself once again with EASY LISTENING and UBIK, commissioned by the French State. The orchestral material builds a powerful architecture, with in the heart the willingness of sharing emotions. The collective adventure lived by Ping Machine for 10 years over the albums is strong and impressive, and does not let the listener uninterested.

Tracklist:
1. Kodama 10:01
2. Février 17:29
3. Pong 09:17
4. Alors, Chut… (Live/Bonus track) 13:04

Personnel:
Bastien Ballaz – trombone
Stephan Caracci – marimba, vibraphone, glockenspiel & other percussion
Guillaume Christophel – baritone saxophone & bass clarinet
Jean-Michel Couchet – alto & soprano saxophones
Andrew Crocker – trumpet, bugle
Fabien Debellefontaine – alto saxophone, clarinet & flute
Florent Dupuit – tenor saxophone, flute, alto flute & piccolo
Quentin Ghomari – trumpet & bugle
Didier Havet – bass trombone & tuba
Rafaël Koerner – batterie & percussions
Paul Lay – piano, synthesizers
Frédéric Maurin – electric guitar, Max 7, composition & direction
Fabien Norbert – trumpet, piccolo trumpet & bugle
Raphaël Schwab – double bass
Julien Soro – tenor saxophone & clarinet

Download:

mqs.link_PingMachineEasyListening2016Qbuz2444.1.rar

Ping Machine – Ubik (2016) 
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:04:54 minutes | 621 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Neuklang

After 3 albums honoured by the jazz experts, the 15 musicians from Ping Machine have not run out of ideas and comes back from the Bauer Studios Ludwigsburg/Germany not with one but two discs in the hands.

If UBIK, a long labyrinthine and fascinating suite, which borrows from contemporary and electronic music, should be considered as the centrepiece of this new repertoire, it cannot exist without its counterpart EASY LISTENING which gathers shorter compositions and makes room for lyrical passages, strong and brilliant melodies.

Agitation and Contemplation. Two ways are possible to enter into Frédéric Maurin’s universe, whose composition’s singularity asserts itself once again with EASY LISTENING and UBIK, commissioned by the French State. The orchestral material builds a powerful architecture, with in the heart the willingness of sharing emotions. The collective adventure lived by Ping Machine for 10 years over the albums is strong and impressive, and does not let the listener uninterested.

Tracklist:
1. Ubik 1 05:55
2. Ubik 2 05:01
3. Ubik 3 07:11
4. Ubik 4 04:55
5. Ubik 5 04:49
6. Ubik 6 03:05
7. Ubik 7 03:48
8. Ubik 8 06:33
9. Ubik 9 02:56
10. Ubik 10 03:47
11. Ubik 11 01:29
12. Ubik 12 06:30
13. Ubik 13 05:37
14. Ubik 14 03:18

Personnel:
Bastien Ballaz – trombone
Stephan Caracci – marimba, vibraphone, glockenspiel & other percussion
Guillaume Christophel – baritone saxophone & bass clarinet
Jean-Michel Couchet – alto & soprano saxophones
Andrew Crocker – trumpet, bugle
Fabien Debellefontaine – alto saxophone, clarinet & flute
Florent Dupuit – tenor saxophone, flute, alto flute & piccolo
Quentin Ghomari – trumpet & bugle
Didier Havet – bass trombone & tuba
Rafaël Koerner – batterie & percussions
Paul Lay – piano, synthesizers
Frédéric Maurin – electric guitar, Max 7, composition & direction
Fabien Norbert – trumpet, piccolo trumpet & bugle
Raphaël Schwab – double bass
Julien Soro – tenor saxophone & clarinet

Download:

mqs.link_PingMachineUbik2016Qbuz2444.1.rar

Pink Floyd – The Early Years 1965-1972 (2016/2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 666:02 minutes | 6,74 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Covers | © Pink Floyd Records WMG

The Early Years 1965–1972 is a compilation box set by Pink Floyd released on 11 November 2016. It contains early non-album singles plus unreleased studio and live recordings. Volumes 1–6 are available separately since March 24th 2017, while Volume 7 Continu/ation will be exclusive to the box set.

Pink Floyd – The Early Years, Volume 1: 1965–1967: Cambridge St/ation (2016/2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 131:34 minutes | 1,24 GB
Studio Master, Official Digital Download | Artwork: Front cover

Originally released as part of the mammoth 2016 rarities clearinghouse The Early Years 1965-1972, 1965-1967 Cambridge St/Ation collects all of the group’s unreleased music and film from Pink Floyd’s early years with Syd Barrett. Crucially, this contains several legendary rarities that have never seen the light of day, including a set of improvised recordings the Floyd recorded for a film by artist John Latham. Other highlights include the first release of “Vegetable Man” and “Scream Thy Last Scream,” but everything on this set is fascinating, whether it’s the exploratory live set from Stockholm in 1967 or the stilted blues the band played in 1965 under the name the Tea Set. The visual material – which is presented as both a DVD and a Blu-ray – is highlighted by promo clips for “The Scarecrow” and “Jugband Blues,” a Top of the Pops performance of “See Emily Play,” and the Floyd playing “Apples and Oranges” on American Bandstand with Barrett and Roger Waters being interviewed by Dick Clark afterward. Of all of the Early Years volumes, Cambridge St/Ation is among the best because it fills out portions of their beginnings in a way no other Floyd album does.

Tracklist:
01 – Lucy Leave
02 – Double O Bo
03 – Remember Me
04 – Walk with Me Sydney
05 – Butterfly
06 – I’m a King Bee
07 – Arnold Layne (2016 Remastered Version)
08 – See Emily Play (2016 Remastered Version)
09 – Apples and Oranges (2016 Remastered Version)
10 – Candy and a Currant Bun (2016 Remastered Version)
11 – Paintbox (2016 Remastered Version)
12 – Matilda Mother (2010 Mix) (2016 Remastered Version)
13 – Jugband Blues (2010 Mix)
14 – In the Beechwoods (2010 Mix)
15 – Vegetable Man (2010 Mix)
16 – Scream Thy Last Scream (2010 Mix)
17 – Introduction (Live in Stockholm 1967)
18 – Reaction in G (Live in Stockholm 1967)
19 – Matilda Mother (Live in Stockholm 1967)
20 – Pow R. Toc H. (Live in Stockholm 1967)
21 – Scream Thy Last Scream (Live in Stockholm 1967)
22 – Set the Controls for the Heart of the Sun (Live in Stockholm 1967)
23 – See Emily Play (Live in Stockholm 1967)
24 – Interstellar Overdrive (Live in Stockholm 1967)
25 – John Latham Version 1
26 – John Latham Version 2
27 – John Latham Version 3
28 – John Latham Version 4
29 – John Latham Version 5
30 – John Latham Version 6
31 – John Latham Version 7
32 – John Latham Version 8
33 – John Latham Version 9

Pink Floyd – The Early Years, Volume 2: 1968: Germin/ation (2016/2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 59:14 minutes | 665 MB
Studio Master, Official Digital Download | Artwork: Front cover

Originally released as part of the mammoth 2016 rarities clearinghouse The Early Years 1965-1972, 1968 Germin/Ation covers 1968, the year Pink Floyd spent regrouping after the departure of Syd Barrett. The guitarist can be seen on a performance from Belgium in early 1968, but he and the band are miming on-stage. It is one of several live performances on the visual component (they’re available both on DVD and Blu-ray), with the band being seen on various programs from London, Paris, and Rome. On the CD, the band’s four single sides from that year – “Point Me at the Sky,” “It Would Be So Nice,” “Julia Dream,” “Careful with That Axe, Eugene” – are paired with two outtakes, including “Roger’s Boogie” (which does not boogie). The set is rounded out by two BBC sessions, with the first containing early versions of “Careful with That Axe, Eugene” and “A Saucerful of Secrets” under different names.

Tracklist:
01 – Point Me at the Sky (2016 Remastered Version)
02 – It Would Be So Nice (2016 Remastered Version)
03 – Julia Dream (2016 Remastered Version)
04 – Careful with That Axe, Eugene (Single Version) (2016 Remastered Version)
05 – Song 1 (Capitol Studio Session, Los Angeles, 22 August 1968) (2016 Mix)
06 – Song 2 (Roger’s Boogie) (Capitol Studio Session, 22 August 1968) (2016 Mix)
07 – Murderotic Woman (Careful with That Axe, Eugene) (BBC Radio Session, 25 June 1968)
08 – The Massed Gadgets of Hercules (A Saucerful of Secrets) (BBC Radio Session, 25 June 1968)
09 – Let There Be More Light (BBC Radio Session, 25 June 1968)
10 – Julia Dream (BBC Radio Session, 25 June 1968)
11 – Point Me at the Sky (BBC Radio Session, 02 December 1968)
12 – Embryo (BBC Radio Session, 02 December 1968)
13 – Interstellar Overdrive (BBC Radio Session, 02 December 1968)

Pink Floyd – The Early Years, Volume 3: 1969: Dramatis/ation (2016/2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 155:27 minutes | 1,68 GB
Studio Master, Official Digital Download | Artwork: Front cover

Originally released as part of the mammoth 2016 rarities clearinghouse The Early Years 1965-1972, 1969 Dramatis/Ation contains all the known unreleased music and video Pink Floyd recorded that year. During 1969, Floyd released More and Ummagumma, and the first CD opens with songs from More that were heard in the film but not on the album, then it rounds out with a BBC session from May and a performance at Amsterdam’s Paradiso in August. A second CD contains an excellent live set of “The Man” and “The Journey” from Amsterdam in September 1969. The DVD/Blu-ray features a London rehearsal of “The Man” and “The Journey,” plus a terrific set from Belgium in October – the highlight is Frank Zappa sitting in on “Interstellar Overdrive” – along with footage from Germany from earlier that month.

Tracklist:
01 – Hollywood
02 – Theme from Film More (Beat Version)
03 – More Blues (Alternative Version)
04 – Seabirds (Instrumental) (Non-Album Track)
05 – Embryo (From Picnic)
06 – Grantchester Meadows (Live BBC Radio Session, 12 May 1969)
07 – Cymbaline (Live BBC Radio Session, 12 May 1969)
08 – The Narrow Way (Live BBC Radio Session, 12 May 1969)
09 – Green is the Colour (Live BBC Radio Session, 12 May 1969)
10 – Careful with That Axe, Eugene (Live BBC Radio Session, 12 May 1969)
11 – Interstellar Overdrive (Live at the Paradiso, Amsterdam, 9 August 1969)
12 – Set the Controls for the Heart of the Sun (Live at the Paradiso, Amsterdam, 9 August 1969)
13 – Careful with That Axe, Eugene (Live at the Paradiso, Amsterdam, 9 August 1969)
14 – A Saucerful of Secrets (Live at the Paradiso, Amsterdam, 9 August 1969)
15 – Daybreak (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
16 – Work (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
17 – Afternoon (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
18 – Doing It (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
19 – Sleeping (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
20 – Nightmare (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
21 – Labyrinth (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
22 – The Beginning (The Man Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
23 – Beset by Creatures of the Deep (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
24 – The Narrow Way, Pt. 3 (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
25 – The Pink Jungle (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
26 – The Labyrinth of Auximenes (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
27 – Footsteps / Doors (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
28 – Behold the Temple of Light (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)
29 – The End of the Beginning (The Journey Performed at Concertgebouw, Amsterdam, 17 September 1969) (Live)

Pink Floyd – The Early Years, Volume 4: 1970: Devi/ation (2016/2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 145:18 minutes | 1,51 GB
Studio Master, Official Digital Download | Artwork: Front cover

Originally released as part of the mammoth 2016 rarities clearinghouse The Early Years 1965-1972, 1970 Devi/Ation contains all the known unreleased music and video Pink Floyd recorded that year. Pink Floyd released the ambitious Atom Heart Mother and its title track suite is heard three times on the two CDs and is also in two different concerts on the visual component, which is presented as both DVD and Blu-ray; additionally, the original quad mix of the album is available on the DVD and Blu-ray. The second CD contains 16 unreleased tracks from their soundtrack to Michelangelo Antonioni’s Zabriskie Point, and this free-floating incidental music nicely contrasts with the exploratory but controlled BBC session from July that’s on disc one.

Tracklist:
01 – Atom Heart Mother (Live in Montreux, 21 November 1970)
02 – Embryo (Live BBC Radio Session, 16 July 1970)
03 – Fat Old Sun (Live BBC Radio Session, 16 July 1970)
04 – Green is the Colour (Live BBC Radio Session, 16 July 1970)
05 – Careful with That Axe, Eugene (Live BBC Radio Session, 16 July 1970)
06 – If (Live BBC Radio Session, 16 July 1970)
07 – Atom Heart Mother (Live BBC Radio Session, 16 July 1970)
08 – On the Highway (Zabriskie Point Remix)
09 – Auto Scene Version 2 (Zabriskie Point Remix)
10 – Auto Scene Version 3 (Zabriskie Point Remix)
11 – Aeroplane (Zabriskie Point Remix)
12 – Explosion (Zabriskie Point Remix)
13 – The Riot Scene (Zabriskie Point Remix)
14 – Looking at Map (Zabriskie Point Remix)
15 – Love Scene Version 7 (Zabriskie Point Remix)
16 – Love Scene Version 1 (Zabriskie Point Remix)
17 – Take Off (Zabriskie Point Remix)
18 – Take Off Version 2 (Zabriskie Point Remix)
19 – Love Scene Version 2 (Zabriskie Point Remix)
20 – Love Scene (Take 1) (Zabriskie Point)
21 – Unknown Song (Take 1) (Zabriskie Point)
22 – Love Scene (Take 2) (Zabriskie Point)
23 – Crumbling Land (Take 1) (Zabriskie Point)
24 – Atom Heart Mother (Early Studio Version)

Pink Floyd – The Early Years, Volume 5: 1971: Reverber/ation (2016/2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 67:01 minutes | 770 MB
Studio Master, Official Digital Download | Artwork: Front cover

Originally released as part of the mammoth 2016 rarities clearinghouse The Early Years 1965-1972, 1971 Reverber/Ation contains all the known unreleased music and video Pink Floyd recorded that year. The single CD contains a work-in-progress version of “Echoes” called “Nothing, Pt. 14,” plus a BBC session from September. There’s greater variety on the DVD/Blu-rays, which contain the quad mix of “Echoes”; a short film for German TV; performances in France, Austria, and Australia; an Ian Emes animation for “One of These Days”; a brief documentary called “24 Hours – Bootleg Records”; and an interview with the band’s album designer, Storm Thorgerson.

Tracklist:
01 – Nothing, Pt. 14 (Echoes Work in Progress)
02 – Fat Old Sun (Live BBC Radio Session, 30 September 1971)
03 – One of These Days (Live BBC Radio Session, 30 September 1971)
04 – Embryo (Live BBC Radio Session, 30 September 1971)
05 – Echoes (Live BBC Radio Session, 30 September 1971)

Pink Floyd – The Early Years, Volume 6: 1972: Obfusc/ation (2016/2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 107:29 minutes | 1,25 GB
Studio Master, Official Digital Download | Artwork: Front cover

Originally released as part of the mammoth 2016 rarities clearinghouse The Early Years 1965-1972, 1972 Obfusc/Ation contains all the previously unreleased video from that year, along with a new mix of that year’s Obscured by Clouds. The lack of unreleased music – the compilation also contains a stereo mix of Live at Pompeii on CD – makes this a comparatively underwhelming set in the Early Years box, but the video makes up for it. There’s footage of the recording of Obscured by Clouds, a live performance from Brighton Dome in June, several French news reports, and a remix of Live at Pompeii. Even if this doesn’t carry the same revelations as the companion sets, it nevertheless has plenty of treasures within its box.

Tracklist:
01 – Obscured by Clouds (2016 Remix)
02 – When You’re In (2016 Remix)
03 – Burning Bridges (2016 Remix)
04 – The Gold It’s In The… (2016 Remix)
05 – Wot’s…Uh the Deal (2016 Remix)
06 – Mudmen (2016 Remix)
07 – Childhood’s End (2016 Remix)
08 – Free Four (2016 Remix)
09 – Stay (2016 Remix)
10 – Absolutely Curtains (2016 Remix)
11 – Careful with That Axe, Eugene (Live at Pompeii) (2016 Remix)
12 – Set the Controls for the Heart of the Sun (Live at Pompeii) (2016 Remix)
13 – One of These Days (Live at Pompeii) (2016 Remix)
14 – A Saucerful of Secrets (Live at Pompeii) (2016 Remix)
15 – Echoes (Live at Pompeii) (2016 Remix)
16 – Careful with That Axe, Eugene (Alternative Take) (Live at Pompeii) (2016 Remix)

Download:

mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part1.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part2.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part3.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part4.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part5.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part6.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part7.rar
mqs.link_PinkFlydTheEarlyYears1965197220162017HDTracks24441.part8.rar

Pete Townshend – All The Best Cowboys Have Chinese Eyes (1982/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 41:22 minutes | 947 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © UMe
Recorded: 1981-1982 at Eel Pie Studios; A.I.R. Studios and Wessex Sound Studios, London

While Pete Townshend’s 1982 solo release, „All The Best Cowboys Have Chinese Eyes“, wasn’t as stellar as its predecessor (1980’s „Empty Glass“), several tracks easily stand among his best solo work. Townshend had just successfully conquered his life-threatening alcoholism and drug addiction, so „Chinese Eyes“ was the first album in a long time that he did completely sober. Again, Townshend worked with producers Chris Thomas and Bill Price (known for their work with the Sex Pistols and the Pretenders), who give the songs more pop flavor than an expected punk edge. Highlights include the quirky “Face Dances Part Two” (an early MTV favorite), the beautiful yet haunting album-closing “Slit Skirts,” “The Sea Refuses No River,” and “Somebody Saved Me.”

„If Empty Glass, an album filled with songs that could have been performed by the Who, was a solo album because it was too revealing and personal, All the Best Cowboys Have Chinese Eyes was a solo record since it’s impossible to hear anyone but Townshend wanting to indulge in this deliberately arty, awkwardly poetic bullsh*t. Where his other albums showed an inclination toward classical-influenced art rock, this is defiantly modern art, filled with stagey prose, synthesizers, drum machines, angular song structures, and a heavy debt to new wave — in short, Townshend’s vision of what modern music should sound like in 1982. This kind of record taunts cynics and critics, being nearly impenetrable in its content even if the production and the music itself aren’t all that inaccessible. The problem is, this is Arty with a capital A and Pretentious with a capital P, yet Townshend never seems embarrassed, never shies away from indulging himself in his own ego. While autobiographical to a certain extent (how else to read “Somebody Saved Me” or “Stardom in Acton,” which drops the Who’s home borough?), it’s hard to tell exactly what he’s on about. So it’s easy to see why many listeners are exasperated instead of intrigued (or even admire its damn impenetrability), but it’s also easy to get fascinated by the album’s very obtuseness. This is very much of a piece and, apart from the gems “North Country Girl” and “Slit Skirts,” it’s hard to separate individual songs and see them as their own works. Indeed, separating All the Best Cowboys from its era is even difficult, since the album’s surface glistens with new wave synths and guitars; this is clearly a record Townshend could only have made in 1982, emboldened by new wave, the reaction to Empty Glass, new sobriety, and general hubris. For these reasons, this is very much loved by a certain portion of Townsend’s fan base — and for the same reasons many, many people despise it. And any record that fractures an audience so considerably is worth a spin.“ –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1. Stop Hurting People 03:55
2. The Sea Refuses No River 05:54
3. Prelude 01:32
4. Face Dances 03:24
5. Exquisitely Bored 03:41
6. Communication 03:19
7. Stardom In Action 03:42
8. Uniforms (Corp D’Esprit) 03:43
9. North Country Girl 02:27
10. Somebody Saved Me 04:52
11. Slit Skirts 04:53

Personnel:
Pete Townshend, vocals, guitars, keyboards, Synthesizer, Synclavier
Virginia Astley, piano
Tony Butler, bass
Peter Hope-Evans, harmonica
Mark Brzezicki, drums
Simon Phillips, drums
Jody Linscott, percussion
Chris Stainton, additional keyboards
Poli Palmer, tuned percussion
John Lewis, Fairlight CMI synthesizer programming

Download:

mqs.link_PeteTwnshendAllTheBestCwbysHaveChineseEyes19822016HDTracks2496.rar