MQS Albums Download

A pleasing vocalist with a warm delivery reminiscent of Andy Williams or Tony Bennett, John Gary unfortunately came along just at the beginning of the British Invasion and never managed to make much of an impression on the adult vocal audience. Born in 1932 in Watertown, New York, he was a singer on Don McNeill’s radio show Breakfast Club before signing a contract with RCA Records in 1962. Though only one single charted on the U.S. pop charts the Top 100 “Soon I’ll Wed My Love” in 1964 John Gary did reach the Top 20 with mid-’60s LPs such as The Nearness of You, Encore, and A Little Bit of Heaven, and fared even better on the easy listening charts (with albums including the number one Cold) and Cash Box, where Gary albums hit the Top Ten twice. He also covered a wide repertoire for the time, from show tunes to country hits and romantic ballads though, remarkably, very few of the novelty pop songs which dragged down fellow vocalists.

Tracklist:
01. A Foggy Day
02. In the Still of the Night
03. I’m Glad There Is You
04. It’s Magic
05. September Song
06. Portrait of My Love
07. You And I
08. You’re My Everything
09. Paper Doll
10. “A”-You’re Adorable
11. I’ll Walk Alone
12. I Don’t Want to Set the World On Fire

Download:

mqs.link_JhnGarySingsSwings1968201824192.part1.rar
mqs.link_JhnGarySingsSwings1968201824192.part2.rar

John Williams – Raiders Of The Lost Ark (Original Motion Picture Soundtrack) (1981/2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:13:38 minutes | 774 MB | Genre: Soundtrack
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Concord Records

On June 12, 1981, America met Indiana Jones when George Lucas and Steven Spielberg brought Raiders of the Lost Ark to theaters. If George Lucas were to say that he could make terrific entertainment out of Chairman Mao’s Little Red Book, at this point I’d be inclined to believe him – this point being just a few hours after seeing his Raiders of the Lost Ark. And if he wanted to bring along Steven Spielberg to direct, I’d believe him even more.

Tracklist:
01. In The Jungle
02. The Idol Temple
03. Escape From The Temple
04. Flight From Peru
05. Washington Men / Indy’s Home
06. A Thought For Marion / To Nepal
07. The Medallion
08. Flight To Cairo
09. The Basket Game
10. Bad Dates
11. The Map Room: Dawn
12. Reunion In The Tent / Searching For The Well
13. The Well Of The Souls
14. Indy Rides The Statue
15. The Fist Fight / The Flying Wing
16. Desert Chase
17. Marion’s Theme / The Crate
18. The German Sub
19. Ride To The Nazi Hideout
20. Indy Follows The Ark
21. The Miracle Of The Ark
22. Washington Ending / Raiders March

Download:

mqs.link_JhnWilliamsRaidersfTheLstArkriginalMtinPictureSundtrack198120172444.1.rar

Koryn Hawthorne is on a mission to move people with her music, and the 20-year old chart-topper has continued to garner acclaim as a young superstar on the rise. First wowing international audiences as a finalist on NBC’s The Voice, the genre-crossing sounds and powerful anthems on her EP provided just a tasted of Koryn’s explosive abilities as an artist, full of contagiously uplifting songs that provide the jolt of energy and intensity the world has been waiting for, with Koryn to release a new full-length album later this summer. With accolades from industry heavy-hitters and 2 nominations at the recent 2018 Stellar Awards for Contemporary Female Vocalist of the Year and New Artist of the Year, Koryn also performed on the Stellar Awards from the first time, making a splash on the stage performing “Won’t He Do It.” Her empowering anthem “Warriors” was featured in a campaign late last Fall for the National Women’s Soccer League 2017 playoffs. In addition to her performace on the Stellar Awards, Koryn also debuted “Won’t He Do It” on the OWN hit show Greenleaf, where she performed the song in an appearance on Season 2. “Won’t He Do It” was also the featured single on the NAACP Image Award and Stellar Award-winning soundtrack for the show, Greenleaf Soundtrack: Volume 2. Keep an eye on Koryn for a return appearance on Greenleaf Season 3. Of “Won’t He Do It,” Koryn says of the bouncy, up-tempo song that reminds folks not to sweat the small stuff. – “It’s catchy, it’s uplifting, and everyone has gone crazy over this track. It’s God like you’ve never experienced Him before.”

Tracklist:
01. Warriors
02. Unstoppable
03. Bless Up
04. Stay Away
05. Won’t He Do It (Remix)
06. You Still Love Me
07. For the Truth
08. Speak the Name (feat. Natalie Grant)
09. Reasons (feat. J. Monty)
10. Down Goes Rome

Download:

mqs.link_KrynHawthrneUnstppable20182444.1.rar

The album features sixteen tracks, all radically reworked, spanning Kylie’s incredible 25 year career. The album was recorded in London’s legendary Abbey Road Studios with Kylie’s band and a full orchestra. Nick Cave re-recorded his vocal on the famous duet, “Where The Wild Roses Grow”, especially for the album. Other highlights of the album include a wonderfully poignant “Better The Devil You Know”, the ever-amazing “Confide In Me”, a sultry “On A Night Like This”, a joyous “All The Lovers”, the beautiful “Finer Feelings” and a version of “The Locomotion” which swaggers with true 1950’s panache.

Over all 16 tracks one thing becomes very clear – stripped of her high end pop production, the emotional resonance of many of Kylie’s songs has never been clearer, nor has her voice ever sounded better.

During her 25-year career in the music biz, Kylie Minogue’s ability to re-invent herself and stay current is rivaled only by Madonna’s. Unlike her American counterpart, though, Kylie’s changes never seem desperate, and everything she does exudes a touch of class that makes her shifts seem far more organic. From chirpy teen popper to indie diva to dance-pop heavyweight, every step she’s taken has made perfect sense and in the process, she’s released some of the best pop records of her era. In 2012, as part of her own look back at the highlights of a long and successful career, Kylie and her band went to Abbey Road studios to run through a selection of her biggest hits and best songs. Joined by an array of backing singers and an orchestra, the songs are re-imagined in ways that bring out the underlying emotions behind the glittery pop facades. Stripping the songs down to their basics and then adding strings on top proves to be very effective, especially on “All the Lovers” or “Hand on Your Heart,” and most of the new arrangements are imaginative and sometime inspired. The piano ballad version of “Better the Devil You Know” works very well, as does the sultry trip-hop take on “Slow,” while the strings and vocals on “I Should Be So Lucky” turn the song into a classy ’30s musical showstopper. The most interesting reboot takes place on “Can’t Get You Out of My Head” where the insistent strings push the song along with a tightly coiled electricity that is impossible to resist. The only song that really falls flat is the cutesy, Motown-inspired take on “The Locomotion.” Though Kylie may not have the strongest voice around, she has more than enough charm and understated emotional strength to fill the more intimate arrangements with a solid and exceedingly warm center. The album stands as both as a reminder of all the classic pop songs Kylie has released and of her fearless nature. She’s always been willing to take risks, and despite the initial thought that her music may not stand up to the orchestral treatment, The Abbey Road Sessions is another victory in a career full of them.

Tracklist:
01. All The Lovers
02. On a Night Like This
03. Better the Devil You Know
04. Hand On Your Heart
05. I Believe in You
06. Come Into My World
07. Finer Feelings
08. Confide in Me
09. Slow
10. Locomotion
11. Can’t Get You Out of My Head
12. Where the Wild Roses Grow
13. Flower
14. I Should Be So Lucky
15. Love At First Sight
16. Never Too Late

Download:

mqs.link_KylieMingueTheAbbeyRadSessins20182444.1.rar

Formerly part of the ‘70s soul & funk groups Love Craft and High Voltage, Lalomie was backup singer to legends of the likes of Ray Charles, Ike & Tina Turner and Chaka Khan, and songwriter for Buddy Miles, The Brothers Johnson and Aretha Franklin. Lalomie Washburn signed to Parachute Records in 1977 and enjoyed a solo recording career stretching up to the mid-‘90s, when she released a further album and a string of well received dance 12 inch singles.

This release combines Lalomie’s first solo album “My Music Is Hot” (1977) with all of her singles and b-sides from the ‘70s Parachute recording era.

Includes the singles ‘My Love Is Hot (Caliente Un Amour), ‘Man Power (Can You Do It)’, ‘Double Funkin’ and ‘Two Sides’, plus all b-sides and alternative mixes from each of her early releases on Parachute.

“Although Lalomie Washburn has provided background vocals for many R&B artists and has written songs for greats like Chaka Khan and Buddy Miles, she never got very far as a solo artist. And that isn’t because of weak material although 1977’s little known My Music Is Hot falls short of being a gem, it’s a decent soul-funk outing. The title is accurate; Washburn is definitely a hot-blooded vocalist, and sweaty numbers like “Double Funkin’,” “Freaky Strangeness,” and the Latin-flavored “My Love Is Hot (Caliente)” make it clear that she is very much a belter. With the right exposure, My Music Is Hot might have done well. But the LP, which came out on the Casablanca-distributed Parachute label, received very little attention and it wasn’t long before you could find unopened copies selling for as little as 50 cents in small mom-and-pop stores. Out of print since 1979 or 1980, My Love Is Hot hasn’t been reissued on CD and probably never will be.

Tracklist:
01. Give Me Love With The Music
02. Double Funkin’
03. My Love Is Hot (Caliente)
04. Man Power (Can You Do It)
05. Shades Of Blue
06. Freaky Strangeness
07. What’s Love

Download:

mqs.link_LalmieWashburnMyMusicIsHtRemastered1977201824192.part1.rar
mqs.link_LalmieWashburnMyMusicIsHtRemastered1977201824192.part2.rar

It is hard to know, upon again experiencing a sweet and long lost pleasure of youth, how much of our delight is caught in the lure of nostalgia, and what is genuinely spectacular about the artist that caused one to keep the flames of affectionate memory burning protectively throughout these so many years. With Lana, I have no doubts that it is the latter. She was always an extraordinary chanteuse, with exquisite taste in choosing the finest lyrics, arrangements, and high thoughts. Even minor musical works, once blessed and anointed by the talents of Ms. Cantrell, got the magic, and became bigger than life gems in the expansive universe of her heavenly repertoire, and fast favorites with her fanatical following.

Lana had IT the rare ability to reach out beyond the stage, the 60’s mostly black and white television screens, and the vinyl grooves of her albums, and individually touch her fans. Everyone who followed Lana felt they had a personal relationship with her, that they knew her, cared about her, and hung on her every appearance. With Lana, it was a long distance love affair with a stranger, but you wouldn’t have missed it for anything else in the world.

What a truly special person and performer. If you were a Cantrell fanatic, you remember her sweeping finishes, arms outstretched, the slight upsweep of the head flipping back her mod haircut, the little girl who could move between glamorous, sexy vamp, and upbeat child of the 60’s, in the interval of a couple of songs.

If you can listen to “Two for the Road” on this amazing collection of ballads without feeling an impossible mixture of inspiration and sadness, I’m sorry, you just don’t get it. If it doesn’t make you stop whatever you are doing and just SIT and LISTEN, surrendering completely and attentively to the powerful seduction of the Lana persona, you’ve truly missed something rare, precious, and beautiful.

The fact that this room in the pantheon of show business had to close is a sad comment on what we as a culture have lost. At least, though, we have these immortalized recordings, a tantalizing taste of what once was, in a much, much better place in music and time.

Lana, wherever you be today, love, thank you, thank you, thank you. For sharing your gifts and inspirational talent with the world, for making it all so much more worthwhile, and for the wonderful, incredible memories.

Tracklist:
01. The Sound of Silence
02. How Can I Be Sure
03. Baby, Now That I’ve Found You
04. Honey
05. The Fool On the Hill
06. Can’t Take My Eyes Off of You
07. Gentle On My Mind
08. For Me
09. Workin’ On a Groovy Thing
10. Mine (Is a Quiet Love)
11. The Music Played (Was Ich Dir sagen will)

Download:

mqs.link_LanaCantrellLana1968201824192.part1.rar
mqs.link_LanaCantrellLana1968201824192.part2.rar

An album for girls who are not afraid, who have broken their balls to be judged, advised, forced, guided and ammonite. Without filters, ironic and full of meanings at the same time. For those who can not take more than gender labels and simply want to be free to do what they like. The Hen are a trio of Bolognese girls, with so much courage, so much sweetness and a great desire to do what they want, without having too many labels on them. The name that they have chosen is long: Hen, who is none other than the new Swedish pronoun without genre, because the only genre they want to belong to is the musical one. Hen, however, also means hen in English and bizarre in Japanese: a guarantee of transformation, unpredictability and a good alibi behind which to hide if necessary.

In this new double EP, in fact, it is precisely Alibi that speaks. Each piece hides something less obvious and the album itself is born with two sides: side A and side B, one in Italian and one in English, because Le Hen sing as they like and belong to both worlds. Through this duality the record actually changes. Of the Italian side, the texts that, although sometimes bizarre, bring to light the boldness of the great truths with boldness, which would be more often sung at the top of the list, are undoubtedly better appreciated. The English side, on the other hand, appreciates the artistic quality of the sound, the choice of musical influences from across the Channel to be inspired and a less raw execution, which makes it possible to appreciate a different musical sensitivity of the girls.

Alibi brings with him word games, dualisms and subtexts, which according to the song may prefer irony, boldness or the courage of words and positions that count. From the excuses of a cold of “Abore Bio”, to the beautiful anthem of “Non Credo” and to the bold and ironic “Taffetà”, and this only for the Italian side. Alongside the winks on the Anglo-Japanese side of the meaning of Hen, we unravel the courage to shout in the face texts that denounce the regulations and moral obligations that women have to suffer in their lives. An example of “Cursed Fa”: “Be good, do good, make children, make mother, remember birthdays, cook eggplant, always make me respect without being hated […] Cursed” Fa “, I can not / no longer want to “tune” ». Because it’s OK to be without gender, but if you are three women from an Italian city and you are free people, these are some of the problems you are facing; and it is a gesture by people (not women, people) brave and free to sing it. And in Italian, because the game of alibi is fine, but at least that the message has more chances to be understood.

On the musical level there are different influences: from post punk to indie-rock, from rock art to grunge, to more electronic inspirations. In some points (read “I do not believe”) it is probable that the Capovilla of the Teatro degli Orrori would smile satisfied, in others we remember the greener Verdena and some things of the Teatro degli Orrori, all combined with the sound frankness of the punk of the origins.

And this only with respect to Side A, because there is no Alibi without unexpected, and then how to deny the curious listener the surprise of a beautiful side B in pure English style?

Independent of the soul to the label, these three girls will not be perfect (and hardly want to be), but will take you on an adventure without prejudices and boundaries, made of a lot of heart, a lot of irony, a lot of effort and a lot of perspiration. Ready to face these three riot grrls?

Tracklist:
01. Non Credo
02. Abore
03. Maledetto FA
04. Taffetà
05. Crime 1001
06. Side Effect
07. Self Sybilla
08. Finally
09. Ghost Track

Download:

mqs.link_LeHenAlibi20182444.1.rar

Lee Konitz & Dan Tepfer – Snapshots of an unusual duo: Legendary alto saxophonist Lee Konitz and young pianist Dan Tepfer have been forming a musical team for around ten years…. After playing now for 60+ years, it’s still very challenging for me to play a simple melody and have it clean and touch the reed at the proper time in the proper way. … I could stop and say, well that was a D minor, G seven, but I really don’t want to know that. I just want to know that there’s a combination of notes that makes a sound.

As Dan Tepfer recalls in the sleeve notes of this album, he met Lee Konitz in 2006 through Martial Solal. Two years later, the “young” 26-year-old pianist and the “old” 81-year-old saxophonist crossed swords on their gorgeous album Duos With Lee. Here is a decade − Decade is the title of this album to be released in the summer of 2018 – of complicity, both on stage and in studio, cast in stone in a poignant duo. A great moment of complete improvisation, in which only one classic, Body & Soul, makes an appearance to close out the album. Of course, the biggest shock of this recording comes from the exquisite beauty of this unique sound, the classy melodies and intelligence of the musical phrases, played on both the alto and the soprano by the Chicago saxophonist. Konitz has always worshipped duos, especially with pianists such as Gil Evans, Martial Solal, Dick Katz or Michel Petrucciani. But Decade is a real duo, and not just the draft of a great master followed carefully by some student. Tepfer’s piano is a constant creation. And on the 9/11 Suite, a strong three-part composition based on the title’s theme, the reciprocal listening is in fact astounding, as Dan Tepfer and Lee Konitz venture in unison onto steep pathways. A bold and magnificent album. – Marc Zisman

Tracklist:
01. Thrill
02. 9/11 Suite – Pt. I
03. 9/11 Suite – Pt. II
04. 9/11 Suite – Pt. III
05. Pulsing Green
06. Alter Ego
07. Through The Tunnel
08. Egos Alter
09. Rebounds
10. A Place We Know
11. Pulsing Orange
12. Whirlpool
13. Ceaseless
14. Eager Altos
15. Body & Soul

Personnel:
Lee Konitz – alto and soprano, voice
Dan Tepfer – piano

Download:

mqs.link_LeeKnitzDanTepferDecade20182496.rar

Michaels keyboard-based sound does not change from his earlier albums although he does try using a synth here, and has replaced booming organ with piano. What is different is the writing. Michaels has given up 1960s heaviness for condensed, streamlined songs. Nothing wrong with this given that this was the early 1970s, tightening your keyboard sound is miles above sailing smackface into ELP goop. And there is an easy going, bluesy feeling which Michaels polishes to his advantage, sometimes even getting suddenly funky.

Tracklist:
01. Your Breath Is Bleeding
02. Same Old Song
03. So Hard
04. High Wind
05. Olson Arrives At Two Fifty-Five
06. The Other Day (The Other Way)
07. Rock & Roll Communitiy
08. Bell
09. Went Saw Mama
10. Nothing Matters (But It Doesn’t Matter)

Download:

mqs.link_LeeMichaelsNiceDayFrSmething1973201824192.part1.rar
mqs.link_LeeMichaelsNiceDayFrSmething1973201824192.part2.rar

One of the most interesting second-division California psychedelic musicians, keyboardist Lee Michaels was one of the most soulful white vocalists of the late ’60s and early ’70s. Between 1968 and 1972, he released half a dozen accomplished albums on A&M that encompassed Baroque psychedelic pop and gritty white, sometimes gospel-ish R&B with equal facility. A capable songwriter, Michaels was blessed with an astonishing upper range, occasionally letting loose some thrilling funky wails. In 1971, he landed a surprise Top Ten single with “Do You Know What I Mean,” one of the best and funkiest AM hits of the early ’70s.

But Michaels was really much more of an album-oriented artist, from the time he began recording in the late ’60s. Michaels started playing music in Southern California, where he was in a band with future members of Moby Grape, the Turtles, and Canned Heat. By the time he signed to A&M, however, he’d moved to San Francisco, joining the management stable of Matthew Katz (which also included, at various times, Jefferson Airplane, Moby Grape, and It’s a Beautiful Day). Michaels was unusual for a San Francisco act in that he relied mostly on an organ-based sound, especially after the first pair of albums, when for a time he played, live and in the studio, with the mammoth drummer “Frosty” as his only accompanist. In the 80’s, Michaels moved to Hawaii for an extended retirement from the music business; aside from a self-released album in the early ’80s, little’s been heard from him since.

Tracklist:
01. Met A Toucan
02. Politician
03. Slow Dancin’ Rotunda
04. Roochie Toochie Loochie
05. Drink The Water
06. Lovely Lisa
07. Garbage Gourmet

Download:

mqs.link_LeeMichaelsTailface1974201824192.part1.rar
mqs.link_LeeMichaelsTailface1974201824192.part2.rar

In 1966 Little Richard signed to OKeh Records who teamed him up with Larry Williams in an attempt to reposition Little Richard as a mainstream soul proposition. The first single, Poor Dog, featuring Johnny ‘Guitar’ Watson, and its follow up, The Commandments Of Love, lived up to their hopes, updating his musical sound and putting him back in the R&B Top 50. A third US single, I Don’t Want To Discuss It, later covered by Delaney And Bonnie and Rod Stewart, was less successful as Little Richard was touring in the UK when it came out.

The Explosive Little Richard was Little Richard’s first album for OKeh and was released in 1967. As well as original material it featured a number of popular contemporary soul standards such as Wilson Pickett’s revival of Land Of A Thousand Dances and the Motown hits Function At The Junction and Money (That’s What I Want), as well as oldies Well (Sam Cooke) and Don’t Deceive Me (Chuck Willis). The results are uniformly atmospheric and commanding, showing that Little Richard had the potential to be a major player in the sixties and seventies.

While touring in the UK he also recorded the fine Get Down With It at Abbey Road, released as a single here on Columbia. It is added here as a bonus track, but despite the implied claim of the generally helpful liner notes, it is sadly not the original studio recording but an extended live version.

A lack of sales and general unhappiness with the new direction led Little Richard to resort once again to live re-recordings of past hits, with predictable long term results, making this possibly in his case a final glimpse of an artist with the prospect of future glories ahead.

Tracklist:
01. I Don’t Want to Discuss It
02. Land of a Thousand Dances
03. The Commandments of Love
04. Money (That’s What I Want)
05. Poor Dog (Who Can’t Wag His Own Tail)
06. I Need Love
07. Never Gonna Let You Go
08. Don’t Deceive Me (Please Don’t Go)
09. Function at the Junction
10. Well

Download:

mqs.link_LittleRichardTheExplsiveLittleRichard1967201824192.part1.rar
mqs.link_LittleRichardTheExplsiveLittleRichard1967201824192.part2.rar

Collective name given to musicians for a series of budget-price guitar-sound cover-versions of classic songs and hits by RCA Camden

Tracklist:
01. Guitar Man (2:18)
02. Caravan (2:36)
03. Love Is Blue (2:07)
04. To Each His Own (2:42)
06. Guitar Woman (2:12)
07. Just As Much As Ever (2:14)
08. I’m Coming Home (2:36)
09. Am I That Easy To Forget (2:32)
10. Walk Away (2:08)

Download:

mqs.link_LivingGuitarsGuitarMan201824192.rar

The second coming of heavy rockers Lucifer! After being formed back in 2014 and releasing the much-acclaimed “Lucifer I” via Rise Above in 2015, vocalist Johanna Sadonis has teamed up with Nicke Andersson (Entombed, The Hellacopters, Imperial State Electric) to reshape Lucifer. With the addition of Robin Tidebrink (guitar), Alexandr Mayr (bass) and Dead Lord’s Martin Nordin (guitar), Lucifer successfully transformed into a whole new beast. While they are still citing Black Sabbath, Deep Purple, Blue Oyster Cult, Steppenwolf, 70’s Heart and Fleetwood Mac as influences, the songwriting, sound and diversity of “Lucifer II” mark a giant leap compared to the debut. The result are addictive tracks ranging from instant sing-alongs (‘California Son’) to moody ballads (‘Dreamer’) and Sabbath-ian doom (‘Faux Pharaoh’). Recorded in the summer of 2017 at Nicke’s studio The Honk Palace, in Stockholm, and mixed by Swedish producer Ola Ersfjord (Tribulation, Primordial) at Cuervo Recording Services in Madrid, “Lucifer II” turns out to be a prime example how to properly transfer the undying spirit of 70’s hard rock into this day and age.

Tracklist:
01. California Son
02. Dreamer
03. Phoenix
04. Dancing with Mr. D
05. Reaper on Your Heels
06. Eyes in the Sky
07. Before the Sun
08. Aton
09. Faux Pharaoh

Download:

mqs.link_LuciferLuciferII20182488.2.rar

‘We spray our hair into submission, upright to attention. Marching to no orders, imagination has no borders. Well lucky that.’ “Me and Jasper,” from Luluc’s third album Sculptor, is a confident challenge to small-town insularity, lilting yet vigilant, and championed by a defiant guitar solo from the band’s friend J Mascis. It’s a reflection on a common pitfall of adolescence; limitless possibility battling constant obstruction. “My own experiences as a teen were often fraught” says songwriter and vocalist Zoe Randell. “The small town I grew up in provided a great study in gossip, scandal, character assignation and the willingness of people to go along with it.” It’s a song about fighting for agency on an album that is in many ways about volition and potential; how people can navigate difficulties and opportunities to create different paths.

Sculptor can be consumed loud; because while Luluc’s music is at times masterful in it’s minimalism, it is anything but quiet in impact. There’s a before you hear Luluc’s music, and an after a turning point that affects people with rare force. Janet Weiss of Sleater-Kinney says “it’s music that once you hear it, you can’t live without it”. The National’s Matt Berninger said that for months, Passerby was “the only album I wanted to listen to”. “What first hits is that voice,” writes Peter Blackstock (No Depression),“a peaceful serenity that reaches deep into the heart.” When NPR’s Bob Boilen named 2014’s Passerby his album of the year, he wrote: “I’ve listened to this record by Australia’s Luluc more than any other this year. These songs feel like they’ve always been.” Legendary producer Joe Boyd, who discovered Nick Drake, told BBC radio he exclaimed “Who the hell is this?!” when he first heard Luluc’s debut, Dear Hamlyn.

That gripping, imperative quality pulses through Sculptor, perhaps to an even greater extent than on Passerby or Dear Hamlyn (2008). Randell writes with more experimentation and possibility. From the contemplative scene of “Cambridge”, to the churning disaster chronicled in the title track, the songs on Sculptor are there for the taking. “Broadly speaking, with these new songs I was interested in the difficulties that life can throw at us – what we can do with them, how they can shape us, and what say we have,” Randell explains. “That potential that is there for everyone, the different lives that are open to us. That’s what I love in Ise’s poem ‘Spring Days and Blossom’ – which form the lyrics to “Spring” – the brimming sense of spring and it’s cycle, the enormity of what’s possible and the beauty.”

Sonically, the band have broadened their tonal palette following on from the successful collaboration on Passerby, co-produced with The National’s Aaron Dessner. Multi-instrumentalist, singer and producer Steve Hassett mastered a wider spectrum of instruments to fully realize the album’s expansive and daring vision. Randell and Hassett do nearly all of the writing, recording, and producing themselves, but their vision is far from insular. In addition to Mascis, Sculptor features contributions from several friends including Dessner (shreds on “Kids” and programmed drums on “Heist”) and Jim White of Dirty Three (drums on “Genius”) as well as musicians Matt Eccles on drums and Dave Nelson on horns. Recording took place in Luluc’s new Brooklyn studio, which they built themselves. The new studio is volition and potential in action and even incorporates reclaimed cedar from Dessner’s iconic former Ditmas Park studio, where The National and Luluc had both lived and recorded.

That everyone has control of their own story is at the core of Sculptor. For Hassett, it’s illuminated by the last line of the title track, which is the last line of the record itself: ”‘The most beautiful, serene sculpture my hands could make, could trace, could break’. All of the songs are playing with those ideas,” he says. “Life is something you get, and you can get sidetracked for years and even destroy it, or you can remember that you’ve got some control over your life.” But listeners of Sculptor may yield some of that control, even if for a short time, to the mastery of the music itself.

Tracklist:
01. Spring
02. Heist
03. Kids
04. Controversy
05. Cambridge
06. Me and Jasper
07. Genius
08. Moon Girl
09. Needn’t Be
10. Sculptor

Download:

mqs.link_LulucSculptr20182496.rar

產品名稱: 鄧麗君君之頌讚二島國之情歌 SACD Collection Box Set (8 SACD) (限量編號版)
歌手名稱: 鄧麗君 (歌手)
推出日期: 2018-05-25
語言: 國語
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)

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《君之頌讚》Vol.2收錄了一代歌后鄧麗君從1975年至1984年間由寶麗金發行「島國之情歌」系列第一至八`集的《再見我的愛人、情人的關懷》、《今夜想起你／淚的小雨》、《絲絲小雨、你在我心中》、《香港之戀、月亮代表我的心、香港之夜》、《使愛情更美麗、又見炊煙》、《小城故事》、《假如我是真的》、《愛的使者》首度SACD化的八張原版經典專輯。每張CD設有獨立編號，連同產品証明書和全新設計海報，日本壓片，限量發行1,000套。

內容簡介／曲目
鄧麗君君之頌讚二
SACD COLLECTION BOX SET 2 島國之情歌
(LIMITED EDITION) 獨立編號證書

萬民頌讚鄧麗君
島國之情歌

8張極暢銷寶麗金原版專輯「首度SACD化」
原母帶製作
日本壓制SACD
終極高質
專紙印刷 hand made貴冑「重厚」外盒
內裝8張獨立包裝SACD
(外盒及8張SACD 每張均設有獨立編號)

全球限量印製獨立編號
套裝1000盒

島國之情歌第一集再見！我的愛人
1. 情人的關懷 (原名: 空港) 2. 請你別再找我 3. 不論今宵或明天
4. 相聚更甜蜜 5. 雨下的花朵 6. 冬之戀情 (原名: 雪化粧)
7. 再見，我的愛人 8. 誰來愛我 9. 再來一杯 10. 夜霧下的姑娘
11. 逃避行 12. 愛的理想

島國之情歌第二集今夜想起你/淚的小雨

1. 今夜想起你 2. 夜霧 3. 黃昏裡 4. 情人的關懷 5. 祈望 6. 襟裳岬
7. 淚的小雨 8. 旅愁 9. 眼淚中的愛 10. 永遠愛我 11. 甜蜜的小雨
12. 冬之戀情

島國之情歌第三集絲絲小雨
1. 絲絲小雨 2. 多情的玫瑰 3. 是否 4. 問自己 5. 凝望 6. 良夜
7. 你在我心中 8. 偶然的相遇 9. 總有一天 10. 雲深情也深
11. 愛慕 12. 秋光 13. 昨天、今天

島國之情歌第四集香港之戀
1. 小村之戀 2. 雨不停心不定 3. 月亮代表我的心 4. 你我相伴左右
5. 謝謝你常記得我 6. 讓花兒為你開 7. 香港之夜 8. 我瞭解你
9. 又見雪花 10. 那句諾言 11. 夕陽問你在那裡 12. 前生有緣

島國之情歌第五集愛情更美麗
1. 你裝做不知道 2. 相見在明天 3. 我不再迷惘 4. 多少黎明多少黃昏裏
5. 願你來看我 6. 儂情萬縷 7. 又見炊煙 8. 使愛情更美麗 9. 我心深處
10. 青色的回憶 11. 情飄飄 12. 夜的投影

島國之情歌第六集小城故事
1. 你在我心裡 [電影「小城故事」插曲] 2. 心事 3. 詩意 4. 一片落葉
5. 九月的故事 6. 春風滿小城 [電影「小城故事」插曲]
7. 小城故事 [電影「小城故事」主題曲] 8. 小路 [電影「小城故事」插曲]
9. 我和你 10. 逍遙自在 11. 初戀的地方 12. 想起你

島國之情歌第七集假如我是真的
1. 假如夢兒是真的 [電影「假如我是真的」插曲] 2. 情湖 3. 輕風
4. 你為何不說 5. 山茶花 6. 我與秋風
7. 假如我是真的 [電影「假如我是真的」主題曲] 8. 別離
9. 要去遙遠的地方 10. 愛雨 11. 彩霞回來吧 12. 夢

島國之情歌第八集愛的使者
1. 你照亮我的心 2. 晨光下的戀情 3. 來電是有緣 4. 珍惜
5. 是你打來的電話 6. 往事如昨 7. 愛的開始 8. 我問我自己
9. 愛的使者 10. 海戀 11. 愛的箴言

SACD ISO

mqs.link_TeresaTengSACDBox2_DISC01.part1.rar
mqs.link_TeresaTengSACDBox2_DISC01.part2.rar
mqs.link_TeresaTengSACDBox2_DISC01.part3.rar

mqs.link_TeresaTengSACDBox2_DISC02.part1.rar
mqs.link_TeresaTengSACDBox2_DISC02.part2.rar

mqs.link_TeresaTengSACDBox2_DISC03.part1.rar
mqs.link_TeresaTengSACDBox2_DISC03.part2.rar
mqs.link_TeresaTengSACDBox2_DISC03.part3.rar

mqs.link_TeresaTengSACDBox2_DISC04.part1.rar
mqs.link_TeresaTengSACDBox2_DISC04.part2.rar

mqs.link_TeresaTengSACDBox2_DISC05.part1.rar
mqs.link_TeresaTengSACDBox2_DISC05.part2.rar

mqs.link_TeresaTengSACDBox2_DISC06.part1.rar
mqs.link_TeresaTengSACDBox2_DISC06.part2.rar

mqs.link_TeresaTengSACDBox2_DISC07.part1.rar
mqs.link_TeresaTengSACDBox2_DISC07.part2.rar

mqs.link_TeresaTengSACDBox2_DISC08.part1.rar
mqs.link_TeresaTengSACDBox2_DISC08.part2.rar

鄧麗君 (Teresa Teng) – 君之頌讚 SACD COLLECTION BOX SET (2017) 8xSACD ISO

Liza Ferschtman, Mario Venzago, Netherlands Philharmonic Orchestra – Dvorak: Violin Concerto; Gershwin: An American in Paris (2011)
DSF Stereo DSD128/5.64 MHz | Time – 01:44:28 minutes | 4,09 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

When Antonn Dvork first submitted a number of compositions in 1874 to qualify for a state stipendium, Eduard Hanslick, an influential music critic, but also a member of the assessment committee, was pleasantly surprised. Dvorak was awarded the grant and could spend all his time on composing. In the next years he again applied for the grant, and it was again awarded. When he appliedin 1877, he even received a personal letter from Hanslick, advising the young composer to get in touch with Johannes Brahms, who had been a member of the committee for several years. Brahms held Dvor?k’s work in high regard and wanted to meet him.
They indeed met shortly afterwards and soon became good friends. Brahms brought Dvork in contact with other composers, publishers and famous musicians. One of them was the renowned violinist Joseph Joachim, a good friend of Brahms for many years. Dvork was invited to the Joachim home in Berlin, where he was cordially received. The violinist even organised a home concert for the first performance of Dvork’s String Sextet and the Tenth String Quartet. The two men talked at great length, and Dvork spoke of the violin concerto which he had recently started to compose. Joachim, who had not long before played the premiere of Brahms’s Violin Concerto, responded with enthusiasm. Dvork spent the next few months labouring over the concerto and sent it to Joachim in the autumn of 1879.

Tracklist:

01 – Violin Concerto in A Minor, Op. 53- I. Allegro ma non troppo-Quasi moderato
02 – Violin Concerto in A Minor, Op. 53- II. Adagio ma non troppo
03 – Violin Concerto in A Minor, Op. 53- III. Finale. Allegro giocoso, ma non troppo
04 – An American in Paris

Download:

mqs.link_CC72530DvrakVilinCncertGershwinAnAmericaninParisLizaFerschtmanMariVenzag2011DSD128.part1.ra.rar
mqs.link_CC72530DvrakVilinCncertGershwinAnAmericaninParisLizaFerschtmanMariVenzag2011DSD128.part2.ra.rar
mqs.link_CC72530DvrakVilinCncertGershwinAnAmericaninParisLizaFerschtmanMariVenzag2011DSD128.part3.ra.rar
mqs.link_CC72530DvrakVilinCncertGershwinAnAmericaninParisLizaFerschtmanMariVenzag2011DSD128.part4.ra.rar
mqs.link_CC72530DvrakVilinCncertGershwinAnAmericaninParisLizaFerschtmanMariVenzag2011DSD128.part5.ra.rar

Liza Ferschtman, Dmitry Ferschtman – Kodaly, Ravel, Schulhoff – Duos for Violin & Violincello (2012)
DSF Stereo DSD128/5.64 MHz | Time – 02:05:04 minutes | 4,93 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

The name of Zoltn Kodly will always be irrevocably bound up with that of fellow countryman and friend Bla Bartk, with whom he collected and investigated the sources of original Hungarian folk music. After studying German and Hungarian, he even devoted a thesis to the Hungarian folksong in 1906. Despite political troubles and despite being thwarted by the Hungarian regime with its Nazi sympathies, as a member of the opposition Kodly metamorphosed into the fundament of Hungarian cultural life. And in contrast to Bartk, he even managed to get works performed abroad, works such as Psalmus Hungaricus and parts of Hary Jans. Kodly had made it his object to create a tradition of true Hungarian artistic music on the basis of Hungarian folklore and tradition, as can be heard in his own works. He remained in Hungary even when his good friend Bartk was given political asylum in the United States. He received many honours and afterthe war he was an internationally famed composer and instructor. Kodly died in Budapest in 1967.

Tracklist:

01 – Duo for Violin & Cello Op. 7- I. Allegro serioso, non troppo
02 – Duo for Violin & Cello Op. 7- II. Adagio
03 – Duo for Violin & Cello Op. 7- III. Maestoso e largamente, ma non troppo lento – Presto
04 – Sonate pour Violon et Violoncelle- I. Allegro
05 – Sonate pour Violon et Violoncelle- II. Tres vif
06 – Sonate pour Violon et Violoncelle- III. Lent
07 – Sonate pour Violon et Violoncelle- IV. Vif avec entrain
08 – Duo for Violin & Cello- I. Moderato
09 – Duo for Violin & Cello- II. Zingaresca Allegro giocoso
10 – Duo for Violin & Cello- III. Andantino
11 – Duo for Violin & Cello- IV. Moderato

Download:

mqs.link_CC72542KdalyRavelSchulhffDusfrVilinCellLizaDmitryFerschtman2012DSD128.part1.rar
mqs.link_CC72542KdalyRavelSchulhffDusfrVilinCellLizaDmitryFerschtman2012DSD128.part2.rar
mqs.link_CC72542KdalyRavelSchulhffDusfrVilinCellLizaDmitryFerschtman2012DSD128.part3.rar
mqs.link_CC72542KdalyRavelSchulhffDusfrVilinCellLizaDmitryFerschtman2012DSD128.part4.rar
mqs.link_CC72542KdalyRavelSchulhffDusfrVilinCellLizaDmitryFerschtman2012DSD128.part5.rar
mqs.link_CC72542KdalyRavelSchulhffDusfrVilinCellLizaDmitryFerschtman2012DSD128.part6.rar

The Netherlands Symphony Orchestra, Jan Willem de Vriend – Mendelssohn: Symphony No. 2 “Lobgesang” (2013)
DSF Stereo DSD128/5.64 MHz | Time – 01:02:32 minutes | 5,19 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

It is June 1840, you are in the Thomaskirche in Leipzig, the church where the famous composer Johann Sebastian Bach was once kapellmeister. You are there to attend the premiere of a piece of music on the occasion of the 400th anniversary of the invention of the printing press by Johannes Gutenberg. The successful composer Felix Mendelssohn will conduct his own music. Mild excitement takes hold of you; you feel that it is going to be a magnificent concert, with orchestra, choir, soloists. Finally, it starts. The trombones begin with a regal theme that resounds through the church. The orchestra takes over the theme. You are immediately swept up by, immersed in the music — an overwhelming experience.

That must certainly have been the experience of the audience at this first performance of Mendelssohn’s symphony-cantata, as he liked to describe it. That the beginning of the piece is so overawing, by the nature of the theme and scoring of wind instruments, is not something you immediately expect from a composer such as Mendelssohn. He is known more for refinement, a cultivated melancholy that is fascinating, but does not threaten to make off with you. And of course, there is the virtuosity, which never stoops to affectation and always remains functional.1 As impressive as the regal trombone theme is, other passages of Lobgesang have probably moved audiences more deeply.

Tracklist:

01 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- I. Sinfonia- Maestoso con moto Allegro
02 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- I. Sinfonia- Allegretto un poco agitato
03 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- I. Sinfonia- Adagio religioso
04 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- II. Chor-Sopran solo- Allegro moderato maestoso Animato
05 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- II. Chor-Sopran solo- Allegro di molto
06 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- II. Chor-Sopran solo- Molto pi moderato ma con fuoco
07 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- III. Tenor solo- Recitativo
08 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- III. Tenor solo- Allegro moderato
09 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- IV. Chor- A tempo moderato
10 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- V. Sopran I und II solo-Chor- Andante
11 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Tenor solo- Allegro un poco agitato
12 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Tenor solo- Allegro assai agitato
13 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Tenor solo- Tempo I, moderato
14 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Sopran- Die Nacht ist vergangen!
15 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VII. Chor- Allegro maestoso e molto vivace
16 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VIII. Choral- Andante con moto
17 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VIII. Choral- Andante con moto
18 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VIII. Choral- Un poco piu animato
19 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- IX. Sopran solo, Tenor solo- Andante sostenuto assai
20 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- X. Schlusschor- Allegro non troppo
21 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- X. Schlusschor- Pi vivace
22 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- X. Schlusschor- Maestoso como!

Download:

mqs.link_CC72543MendelsshnSymphnyN.2NetherlandsSJanWillemdeVriend2013DSD128.part1.rar
mqs.link_CC72543MendelsshnSymphnyN.2NetherlandsSJanWillemdeVriend2013DSD128.part2.rar
mqs.link_CC72543MendelsshnSymphnyN.2NetherlandsSJanWillemdeVriend2013DSD128.part3.rar
mqs.link_CC72543MendelsshnSymphnyN.2NetherlandsSJanWillemdeVriend2013DSD128.part4.rar
mqs.link_CC72543MendelsshnSymphnyN.2NetherlandsSJanWillemdeVriend2013DSD128.part5.rar
mqs.link_CC72543MendelsshnSymphnyN.2NetherlandsSJanWillemdeVriend2013DSD128.part6.rar

Al Ayre Espanol, Eduardo Lopez Banzo – Handel’s Memories – A selection from Grand Concertos op. 6 (2012)
DSF Stereo DSD128/5.64 MHz | Time – 01:34:02 minutes | 7,45 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

George Frideric Handel arrived in England towards the end of 1710, encouraged by a group of music lovers excited by the extraordinary success he had achieved with his opera Agrippina in Venice. At the beginning of the 18th century, London was a very prosperous city in need of talent to modernize and revitalize its theatrical performances, and the German musician, who was then at the service of the Elector of Hanover (who would soon be crowned King of Great Britain), was the ideal candidate.

For many years, Handel was the most acclaimed composer of Italian opera in London, premiering at a rate of one show a year, and managing all aspects related to production, from the orchestra, which became one of the best in Europe, to the singers, with whom he did not always have optimal relationships. In 1733, he had a notorious clash with one of the most famous castrati of the time, Senesino, who founded, with the support of a good portion of the aristocracy, the Opera of the Nobility, determined to rival the German composer. Two Italian opera companies were too much for a city where this genre had seriously declined during the previous decade, hence the considerable losses they both accumulated during consecutive seasons. In 1737, Senesino’s opera closed permanently. Handel, exhausted by excessive work and the constant upsets, became seriously ill.

Tracklist:

1-01 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- I. A tempo giusto
1-02 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- II. Allegro
1-03 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- III. Adagio
1-04 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- IV. Allegro
1-05 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- I. Allemande
1-06 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- II. Grave – Andante allegro
1-07 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- III. Adagio
1-08 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- IV. Siciliane
1-09 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- V. Allegro
1-10 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- I. Larghetto e affettuoso
1-11 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- II. Allegro ma non troppo
1-12 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- III. Musette- Larghetto
1-13 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- IV. Allegro
1-14 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- V. Allegro
2-01 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- I. Ouverture
2-02 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- II. Air
2-03 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- III. Allegro
2-04 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- IV. Allegro
2-05 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- V. Allegro moderato
2-06 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- I. [Ouverture]
2-07 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- II. Presto
2-08 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- III. Largo
2-09 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- IV. Allegro
2-10 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- V. Menuet- Un poco larghetto
2-11 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- I. Andante larghetto, e staccato
2-12 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- II. Allegro
2-13 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- III. Largo e staccato
2-14 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- IV. Andante
2-15 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- V. Allegro

Download:

Netherlands Radio Philharmonic Orchestra,Jaap van Zweden – Anton Bruckner: Symphony No. 8 (2012)
DSF Stereo DSD128/5.64 MHz | Time – 01:19:24 minutes | 6,26 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

Despite the big differences between them, there is a certain kinship between Bruckner’s ‘official’ nine symphonies (the ones he decided to call ‘valid’): the broadly expansive themes with their lengthy build-up of tension and the expectant tremolo of the strings (first introduced by Beethoven in his Ninth Symphony) at the beginning, from which the main theme wells up. Bruckner often gives the singsong, sometimes distinctly lyrical second theme a contrapuntal second voice. The third theme, on the other hand, is often monolithic, full of clenched energy, that bursts out in unison and goes on to develop a huge rhythmic force. Then there are the long drawn-out Adagios with their heavenly cantilenas and the starkly contrasting, waggish Scherzos, almost smelling of earth. They are all just as characteristic of Bruckner’s compositions as the broadness of the codas in the outer movements, introduced by a soft roll of the timpanis. But despite the similarities, all his symphonies are fundamentally and completely different and are certainly not interchangeable. This can be said of each of the movements separately and of the entire work.

Tracklist:

01 – Symphony No. 8 in C minor, WAB 108- I. Allegro moderato
02 – Symphony No. 8 in C minor, WAB 108- II. Scherzo- Allegro moderato
03 – Symphony No. 8 in C minor, WAB 108- III. Adagio- Feierlich langsam, doch nicht schleppend
04 – Symphony No. 8 in C minor, WAB 108- IV. Finale- Feierlich, nicht schnell

Download:

mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part1.rar
mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part2.rar
mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part3.rar
mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part4.rar
mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part5.rar
mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part6.rar
mqs.link_CC72549BrucknerSymphnyN.8RFJaapvanZweden2012DSD128.part7.rar

John Gary – Sings/Swings (1968/2018) [FLAC 24bit/192kHz]

John Williams – Raiders Of The Lost Ark (Original Motion Picture Soundtrack) (1981/2017) [FLAC 24bit/44,1kHz]

Koryn Hawthorne – Unstoppable (2018) [FLAC 24bit/44,1kHz]

Kylie Minogue – The Abbey Road Sessions (2012/2018) [FLAC 24bit/44,1kHz]

Lalomie Washburn – My Music Is Hot (1977/2018) [FLAC 24bit/192kHz]

Lana Cantrell – Lana! (1968/2018) [FLAC 24bit/192kHz]

Le Hen – Alibi (2018) [FLAC 24bit/44,1kHz]

Lee Konitz & Dan Tepfer – Decade (2018) [FLAC 24bit/96kHz]

Lee Michaels – Nice Day For Something (1973/2018) [FLAC 24bit/192kHz]

Lee Michaels – Tailface (1974/2018) [FLAC 24bit/192kHz]

Little Richard – The Explosive Little Richard (1967/2018) [FLAC 24bit/192kHz]

Living Guitars – Guitar Man (2018) [FLAC 24bit/192kHz]

Lucifer – Lucifer II (2018) [FLAC 24bit/88,2kHz]

Luluc – Sculptor (2018) [FLAC 24bit/96kHz]

鄧麗君 (Teresa Teng) –君之頌讚二島國之情歌 SACD Collection Box Set (2018) 8xSACD ISO

Liza Ferschtman, Mario Venzago, Netherlands Philharmonic Orchestra – Dvorak: Violin Concerto; Gershwin: An American in Paris (2011) [nativeDSDmusic DSF DSD128/5.64MHz]

Liza Ferschtman, Dmitry Ferschtman – Kodaly, Ravel, Schulhoff: Duos for Violin & Violincello (2012) [nativeDSDmusic DSF DSD128/5.64MHz]

The Netherlands Symphony Orchestra, Jan Willem de Vriend – Mendelssohn: Symphony No. 2 “Lobgesang” (2013) [nativeDSDmusic DSF DSD128/5.64MHz]

Al Ayre Espanol, Eduardo Lopez Banzo – Handel’s Memories – A selection from Grand Concertos op. 6 (2012) [nativeDSDmusic DSF DSD128/5.64MHz]

Netherlands Radio Philharmonic Orchestra,Jaap van Zweden – Anton Bruckner: Symphony No. 8 (2012) [nativeDSDmusic DSF DSD128/5.64MHz]