Bloc Party – Hymns (2016) [Deluxe Edition]
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:05:08 minutes | 714 MB | Genre: Rock
Studio Master, Official Digital Download  – Source: HDTracks | @ Vagrant Records

Popular English rock/electronica band Bloc Party’s fifth studio album. “Hymns” is a rebirth for Bloc Party. After 16 years as a band, countless world tours and awards and four studio albums, Kele Okereke and Russell Lissack are taking it back to where it all began…

For most of their career, it seemed like Bloc Party could incorporate just about any sound into their music and still sound like themselves: On Weekend in the City and Intimacy, they added electronic elements to their razor-sharp dance-punk with anthemic results, and flirted with grunge and metal when they returned to jackknifing riffs and rhythms on Four. However, the biggest risk they take on Hymns might be continuing under the Bloc Party name. Between Four and this album, drummer Matt Tong and bassist Gordon Moakes left the group and were replaced by Louise Bartle and former Menomena member Justin Harris. While the new members don’t sound like hired hands, the way Moakes and Tong’s taut, astringent playing balanced Kele Okereke’s earnestness is missed on Hymns. Indeed, Okereke’s fondness for soaring choruses and meditations on sex, drugs, and faith – and how they often blur together – provide the main connection to the band’s previous work. However, from the album’s title to its lyrics, Hymns’ expressions of searching and salvation are more overt than ever. Backed by slide guitars and a stomping beat, Okereke sings “I used to find my answers in the Gospels of St. John/Now I find them in the bottom of a shot glass” on “The Good News,” and the results are both heavy-handed and not hard-hitting enough. Hymns’ ballads are some of its strongest moments, and, not coincidentally, the most reminiscent of Bloc Party 1.0 and Okereke’s solo career. “My True Name” and “Fortress” serve as reminders that their plaintive melodies and soul-baring are still potent, while “Different Drugs’” chemically enhanced portrait of being alone together recalls Bloc Party’s highest emotional peaks. When the band attempts to branch out, the results are mixed: “So Real” and “Into the Earth” are intimate, guitar-driven sketches that make the most of Hymns’ more straightforward sounds and emotions, but the bubbling “The Love Within” feels simplistic instead of euphoric. Ultimately, Hymns finds Bloc Party stuck between a fresh start and continuing their legacy, leaving their identity – which once seemed so distinctive – compromised.

Tracklist:
01 – The Love Within
02 – Only He Can Heal Me
03 – So Real
04 – The Good News
05 – Fortress
06 – Different Drugs
07 – Into The Earth
08 – My True Name
09 – Virtue
10 – Exes
11 – Living Lux
12 – Eden
13 – New Blood
14 – Paraíso
15 – Evening Song

Download:

mqs.link_BlcPartyHymnsDeluxeEditin2016HDTracks24441.rar

Brad Mehldau – 10 Years Solo Live (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 05:05:22 minutes | 2,77 GB | Genre: Jazz
Studio Master, Official Digital Download  – Source: Q0buz | @ Nonesuch

Exquisite 32-track live collection from the US jazz pianist, recorded over a decade! Includes original compositions, as well as material from John Coltrane, Pink Floyd, Radiohead, Sufjan Stevens, Thelonious Monk, The Beach Boys, The Beatles, Nirvana & more.

One of the most lauded jazz pianists of his generation, Brad Mehldau is a supremely gifted musician, known for his atmospheric and spare solo performances. 10 Years Solo Live presents an extensive collection of recordings handpicked by Mehldau and culled from at least 19 live concerts. These are solo shows Mehldau performed while on tour in Europe from 2004 to 2014. Clocking in at around 300 minutes and spread over four discs, these tracks are presented out of chronological order and with the intention of telling a story – or at least taking the listener on a journey. Thankfully, whether you choose to engage this music by skipping around or listening straight through, there is much to enjoy. A true postmodernist, Mehldau’s song choices run the gamut from well-worn standards (“My Favorite Things”) to reworked alt-rock covers (Stone Temple Pilots’ “Interstate Love Song”), classical (Brahms’ “Intermezzo B flat major, Op. 76 No. 4”), and his own expansive original compositions. Also included are such Mehldau concert staples as his landmark ruminative reworking of Nirvana’s “Smells Like Teen Spirit” and his similarly inspired mash-up of the Verve’s “Bittersweet Symphony” and the Kinks’ “Waterloo Sunset.” Elsewhere, we get languid, drawn-out jazz standards, such as his endlessly yearning, farsighted take on “On the Street Where You Live” and his delicately sweet, childlike interpretation of “I’m Old Fashioned.” Adding to the sheer amount of music here are Mehldau’s detailed liner notes in which he discusses his song choices, how he interprets a tune, and how he thinks of this material in retrospect. Mehldau is a philosopher and poet at his core, and this set finds him delving into some of his deeper inspirations, including reflections on God and musings about the contrast between light and dark, loud and soft, new and old. It’s just the kind of intricate, deeply thoughtful writing one would expect from the man behind such intensely focused and beautifully crafted improvisations.

Tracklist:
CD1 #01 – Dream Brother
CD1 #02 – Blackbird
CD1 #03 – Jigsaw Falling Into Place
CD1 #04 – Meditation I – Lord Watch Over Me
CD1 #05 – And I Love Her
CD1 #06 – My Favorite Things
CD1 #07 – This Here

CD2 #01 – Smells Like Teen Spirit
CD2 #02 – Waltz for J. B.
CD2 #03 – Get Happy
CD2 #04 – I’m Old Fashioned
CD2 #05 – Teardrop
CD2 #06 – Holland
CD2 #07 – Meditation II – Love Meditation
CD2 #08 – Knives Out (Version 1)

CD3 #01 – Lost Chords
CD3 #02 – Countdown
CD3 #03 – On the Street Where You Live
CD3 #04 – Think of One
CD3 #05 – Medley: Zingaro / Paris
CD3 #06 – John Boy
CD3 #07 – Intermezzo in B-flat major, Op. 76: No. 4
CD3 #08 – Junk
CD3 #09 – Los Angeles II
CD3 #10 – Monk’s Mood
CD3 #11 – Knives Out (Version 2)

CD4 #01 – Le Memoire et la Mer
CD4 #02 – Bittersweet Symphony / Waterloo Sunset
CD4 #03 – Intermezzo in E minor, Op. 119: No. 2
CD4 #04 – Interstate Love Song
CD4 #05 – Hey You
CD4 #06 – God Only Knows

Download:

mqs.link_BradMehldau10YearsSlLive2015Qbuz24441.part1.rar
mqs.link_BradMehldau10YearsSlLive2015Qbuz24441.part2.rar
mqs.link_BradMehldau10YearsSlLive2015Qbuz24441.part3.rar

Charles Llloyd & The Marvels – I Long To See You (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 67:35 minutes | 1,4 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | @ Blue Note Records

Blue Note releases I Long To See You, the profound new album from Charles Lloyd & The Marvels. The album finds the iconic saxophonist and recent NEA Jazz Master in the company of a new band featuring guitarist Bill Frisell and pedal steel guitarist Greg Leisz, along with his longtime quartet members bassist Reuben Rogers and drummer Eric Harland. The album also includes two remarkable guest vocal appearances by Willie Nelson and Norah Jones. All together they have created a sumptuous collection of 10 songs that range from traditional hymns to anti-war folk protests to re-envisioned Lloyd originals from his earlier recordings.

Saxophonist Charles Lloyd has been working with guitarists periodically since the 1950s: Calvin Newborn, Gabor Szabo, John Abercrombie, and others have played in his bands. On I Long to See You, he (with his stellar rhythm section – bassist Reuben Rogers and drummer Eric Harland) renews that relationship with two gifted players: Bill Frisell and Greg Leisz (the latter on lap and pedal steel). This program yields folk and spiritual songs, re-recordings of Lloyd’s own tunes, a pop nugget, and a new original. In what feels like the input from the label, there are two guest vocal appearances to boot: Willie Nelson beautifully delivers Ed McCurdy’s antiwar classic “Last Night I Had the Strangest Dream,” and Norah Jones offers a slow, dreamy reading of “You Are So Beautiful.” I Long to See You feels more like a collaboration between Lloyd and Frisell than a leader date, which is sometimes problematic: these men can be overly deferential to one another. The album starts promisingly with a brooding read of Bob Dylan’s “Masters of War” that threatens to explode at any moment. Frisell and Leisz (who have worked together a lot) take it through deep winding blues, building tension before Lloyd enters and carries it toward the outside before returning to blues, while Harland’s circular drumming becomes somberly hypnotic. Lloyd plays flute on “Of Course, of Course” (originally recorded for an album of the same name for Columbia in 1964). Like its predecessor, it’s tough, swinging post-bop with colorful slide guitar work and rim-shot syncopations. “La Llorona,” from Lloyd’s ECM years, is a standout: it captures his open, mournful, Spanish-tinged wail, fleshed out by elegant, timbral guitars, a sad bassline, and Harland’s magical timekeeping. “Shenandoah” (which Frisell has recorded before), “All My Trials,” and “Abide with Me” are all melodically attractive, but they lack the undercurrent of passion Lloyd has imbued traditional material with in the past. He and Frisell appear so seduced by their melodies, they treat them as fragile objects, not songs whose meanings need to be further explored. Frisell’s speculative solo intro on “Sombrero Sam” is overly long; Lloyd’s rhythmic sweeping flute doesn’t enter until five minutes in, and slips out too quickly. The lone new tune, “Barche Lamsel,” more than compensates. Over 16 minutes in length, it’s easily the most exploratory thing here. It commences slowly but starts cooking five minutes in. Lloyd and the rhythm section are at their modal improvisational best, moving through folk, funk, blues, Eastern modes, and post-bop. Frisell and Leisz lend fine solos as well as layered textural and atmospheric support. The tune is a journey that ends in a question mark. I Long to See You is well worth investigating even if, at times, it is overly tentative.

Tracklist:
01 – Masters Of War
02 – Of Course, Of Course
03 – La Llorona
04 – Shenandoah
05 – Sombrero Sam
06 – All My Trials
07 – Last Night I Had The Strangest Dream
08 – Abide With Me
09 – You Are So Beautiful
10 – Barche Lamsel

Download:

mqs.link_CharlesLllydTheMarvelsILngTSeeYu2016HDTracks2496.part1.rar
mqs.link_CharlesLllydTheMarvelsILngTSeeYu2016HDTracks2496.part2.rar

Charlie Puth – Nine Track Mind (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 45:00 minutes | 514 MB | Genre: Pop
Studio Master, Official Digital Download – Source: 7Digital  | © Artist Partners

Nine Track Mind is the debut studio album by American Pop and R&B singer Charlie Puth. The album’s lead single, “Marvin Gaye”, featuring Meghan Trainor, peaked at number 21 on the Billboard Hot 100 and topped the charts in Europe, Ireland, New Zealand, and the UK.

The title suggests our singer/songwriter can’t be confined to any one lane – that his mind moves so fast, it doesn’t run on one track but nine. For all this bluster, Charlie Puth essentially has two modes on his 2016 debut: balladeer and song-and-dance man. If the latter doesn’t surface as often as the former, it nevertheless rules the roost on Nine Track Mind because in the bottom of his heart, Puth is a music theater kid chomping at the bit to put on a snazzy show. He keeps things a little subdued – his schtick is that he’s sensitive, feeling everything a little bit too deeply, even the death of Paul Walker, as he did on the Fast and Furious hit “See You Again,” where he tackled the weepier elements Wiz Khalifa dared not touch. That’s the single that put Puth on the charts and he followed it by pairing with Meghan Trainor on “Marvin Gaye,” a song that suggested neither singer ever heard Gaye nor Motown but were inordinately fond of Glee. A common thread in these singles? Puth was the second banana, happily ceding the spotlight to another act who bowls him over with charisma, a situation that happens yet again on “We Don’t Talk Anymore,” where the pretty plainness of Selena Gomez seems as brassy as Ariana Grande when compared to Puth’s manicured sincerity. Vulnerability is often an asset to singers, particularly in matters concerning love, but Puth’s problem is that he feels stage-managed; you can sense him hitting his marks. This isn’t merely a problem in the performance. Such fussiness extends to his compositions, which seem to mimic the idea of genuine emotions instead of delivering them, something that would be infuriating if Puth didn’t just disappear into his immaculate surroundings, a fading ghost on his own album.

Tracklist:
01 – One Call Away
02 – Dangerously
03 – Marvin Gaye (feat. Meghan Trainor)
04 – Losing My Mind
05 – We Don’t Talk Anymore (feat. Selena Gomez)
06 – My Gospel
07 – Up All Night
08 – Left Right Left
09 – Then There’s You
10 – Suffer
11 – As You Are (feat. Shy Carter)
12 – Some Type Of Love
13 – See You Again (feat. Charlie Puth) [Bonus Track, from “Furious 7”]

Download:

mqs.link_CharliePuthNineTrackMind20167Digital24441.rar

Coasts – Coasts (2016) [Deluxe Edition]
FLAC (tracks) 24-bit/44,1 kHz | Time – 59:14 minutes | 760 MB | Genre: Pop, Rock, Alternative
Studio Master, Official Digital Download  – Source: HDTracks | @ Capitol Records

Boasting an incredibly rapid growth since the band’s inception in 2011, Coasts recently signed to Capitol Records in the US and is releasing their first album from a major label. The self-titled album features several singles that picked up major momentum on social media, as well as a slew of new tracks. This deluxe edition comes with 6 bonus tracks.

On Coasts’ self-titled debut, the Bristol, England quintet delivers a consistent and focused album of epic, danceable indie rock in the vein of Two Door Cinema Club, Bastille, and Imagine Dragons. Much like that latter band, the drums on Coasts are gigantic, pounding sonic booms. The choruses are equally huge, aiming straight for the rafters, along a wave of singalong chants and passionate declarations. Opening track “Oceans” kicks things off immediately with a wall of voices and robust beat blasts (later, on sibling track “Tonight,” the band completes the idea and brings the motifs on “Oceans” full circle). Album standout “Modern Love” arrives midway between them and contains the album’s catchiest chorus buoyed atop a driving, urgent beat that explodes with energy and life. Other rousing highlights include the rollicking pop-punk of “You” and the tropical jam “Your Soul.” There are some slower moments reminiscent of Postal Service that are dropped in to cool things off, but the band is most effective on those giant stadium-hungry anthems. On their debut, Coasts produce a competent collection of catchy arena-ready tunes that could eventually carry them there.

Tracklist:
01 – Oceans
02 – Wolves
03 – You
04 – Modern Love
05 – Lions
06 – Stay
07 – A Rush Of Blood
08 – Your Soul
09 – Wash Away
10 – Tonight
11 – Wallow
12 – Let Go
13 – Golden City
14 – As Long As I Need You
15 – See How
16 – Stone

Download:

mqs.link_CastsCastsDeluxeEditin2016HDTracks24441.rar

Rachmaninoff: Symphonic Dances; Vocalise – Dallas SO, Donald Johanos (1967)
FLAC (tracks) 24-bit/96 kHz | Time – 41:25 minutes | 858 MB | Genre: Classical
Studio Master, Official Digital Download  – Source: HDTracks | Artwork: Digital booklet | @ Vox Records

On this pristine audiophile recording, conductor Donald Johanos leads the Dallas Symphony Orchestra through Rachmaninoff’s Symphonic Dances for Orchestra–a suite that stands among the composer’s most inventive and virtuosic works.

Tracklist:
01 – Sergei Rachmaninoff: Symphonic Dances for Orchestra, Op. 45: I. Non allegro
02 – Sergei Rachmaninoff: Symphonic Dances for Orchestra, Op. 45: II. Andate con moto: Tempo di valse
03 – Sergei Rachmaninoff: Symphonic Dances for Orchestra, Op. 45: III. Lento assai; Allegro vivace
04 – Sergei Rachmaninoff: Vocalise for Orchestra, Op. 34, No. 14

Download:

mqs.link_DallasSDnaldJhansRachmaninff.SymphnicDancesVcalise1967HDTracks2496.rar

David Gilmour – Rattle That Lock (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 51:24 minutes | 1,04 GB | Genre: Rock
Official Digital Download – Source: HDTracks.com | @ Columbia

Rattle That Lock contains 10 tracks composed by David Gilmour, including five with lyrics by author Polly Samson, two by David himself and three instrumentals. It was produced by David, with long-time collaborator Phil Manzanera. It is a follow-up record to his 2006 #1 UK album, On An Island.

“I dont want to overplay it but I think this is the best thing I have done. Probably ever.” – David Gilmour

Tracklist:
01. 5 A.M.
02. Rattle That Lock
03. Faces Of Stone
04. A Boat Lies Waiting
05. Dancing Right In Front Of Me
06. In Any Tongue
07. Beauty
08. The Girl In The Yellow Dress
09. Today
10. And Then…

Personnel:
David Gilmour – guitars
Richard Wright – keyboards
Guy Pratt – bass guitar
Steve DiStanislao – drums

Download:

mqs.link_DavidGilmurRattleThatLck2015HDTracks2496.part1.rar
mqs.link_DavidGilmurRattleThatLck2015HDTracks2496.part2.rar

Derek & The Dominos In Concert (1973/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 01:29:55 | 3.77 GB | Genre: Blues-Rock, Rock & Roll, British Blues
Official Digital Download – Source: Qobuz | Digital Booklet , Front Cover | © © RSO Records / Universal International
Recorded Live 23 & 24 October 1970, at the Fillmore East by arrangement with The Robert Stigwood Organisation.

Derek & The Dominos In Concert is a live album by Derek and the Dominos, recorded in October 1970 at the Fillmore East in New York City. It features performances of such hits as “Why Does Love Got to Be So Sad” and “Have You Ever Loved a Woman?”

The original nine-song double-LP In Concert was the first “new” Eric Clapton release in well over a year, and the first to show up in the wake of The History of Eric Clapton compilation (which, in turn, had helped transform the earlier Dominos album Layla & Other Assorted Love Songs into a belated hit). It was also, other than Eric Clapton’s Rainbow Concert — which actually took place in the same month that this set was issued, and was issued eight months later — the only new Clapton material that anyone would see for over a year, as the guitarist struggled through personal turmoil that included heroin addiction. No one who wasn’t personally close to him knew that at the time — this and the Rainbow Concert album were issued to keep his name before the public. And at the time, a lot of fans and critics were disappointed by this set — the Layla album had already started to take on iconic status, with lots of listeners wearing out that album’s grooves and reveling in its complexity, intensity, and seeming studio-generated perfection (plus the presence of Duane Allman).
Comprised of live performances, In Concert never seemed as compelling: for starters, Allman hadn’t been present for either of the shows that was recorded (and, in fact, only appeared at a tiny handful of Dominos performances), which made this a somewhat different band. And what we did get was a much more relaxed and often more soulful, involving body of music, starting with the opening track, “Why Does Love Got to Be So Sad” and continuing with “Got to Get Better in a Little While”; there was also some disappointment in the sound quality, however, and with the song selection. Despite the fact that they were touring to support the album that carried its name, the group seldom ever performed their most recognizable song, “Layla”; and their repertory was filled out with material from past Clapton projects rather than more material off the Layla album; in effect, the Dominos had become the first Eric Clapton Band, which made this a little less than a live account of this band’s work. Thus, it was the hardcore fans who fully embraced this record, mostly for its transcendent moments and the beautiful interplay of the musicians, especially on their own repertory. –Bruce Eder

Tracklist:
1. Why Does Love Got To Be So Sad 09:36
2. Got To Get Better In A Little While 13:51
3. Let It Rain 17:48
4. Presence Of The Lord 06:11
5. Tell The Truth 11:22
6. Bottle Of Red Wine 05:39
7. Roll It Over 06:47
8. Blues Power 10:31
9. Have You Ever Loved A Woman 08:12

Personnel:
Eric Clapton, lead vocals, electric guitar
Carl Radle, bass guitar
Bobby Whitlock, piano, Hammond organ, backing vocals
Jim Gordon, drums, percussion

Download:

mqs.link_DerekTheDminsInCncert19732014HDTracks24192.part1.rar
mqs.link_DerekTheDminsInCncert19732014HDTracks24192.part2.rar
mqs.link_DerekTheDminsInCncert19732014HDTracks24192.part3.rar
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mqs.link_DerekTheDminsInCncert19732014HDTracks24192.part5.rar

Derek and The Dominos – Layla and Other Assorted Love Songs (1970/2011)
– 40th Anniversary Deluxe DCD Edition
FLAC (tracks) 24 bit/96 kHz | Time – 2:14:57 minutes | 3,22 GB | Genre: Rock
Official Digital Download – Source: HDTracks.com | Digital Booklet | @ Polydor Records

The 40th Anniversary hi-res release of one of the most celebrated albums in rock history features over two hours of music, including live performances, unreleased recordings, and new mixes.

This album was inducted into the Grammy Hall of Fame in 2000.

Read a review by Gilbert Hetherwick

FEATURES:
*The first-ever release of the fully-produced studio version “Got To Get Better In A Little While.”

*The previously unreleased jam for “Got To Get Better In A Little While.”

*Four performances from the band’s 1970 appearance on The Johnny Cash Show, including a take of “Matchbox Blues” with Cash and Carl Perkins.

*The Layla session out-take “Mean Old World”: the legendary acoustic duet performed by Eric Clapton and Duane Allman.

*Two bonus tracks produced by Phil Spector: “Tell the Truth” and “Roll It Over.”
Reviews
…a rare thing in supergroups, a marquee combo with true superpowers: modern-blues virtuosity charged with the exultant lust and anguish of Southern R&B. -David Fricke, Rolling Stone, March 2011

Derek & the Dominos was a group formed by guitarist/singer Eric Clapton (born Eric Patrick Clapp, March 30, 1945, Ripley, Surrey, England) with other former members of Delaney & Bonnie & Friends, in the spring of 1970. The rest of the lineup was Bobby Whitlock (b. 1948, Memphis, TN) (keyboards, vocals), Carl Radle (b. 1942, Oklahoma City, OK — d. May 30, 1980) (bass), and Jim Gordon (b. 1945, Los Angeles) (drums). The group debuted at the Lyceum Ballroom in London on June 14 and undertook a summer tour of England. From late August to early October, they recorded the celebrated double album Layla and Other Assorted Love Songs (November 1970) with guitarist Duane Allman sitting in. They then returned to touring in England and the U.S., playing their final date on December 6.
The Layla album was successful in the U.S., where “Bell Bottom Blues” and the title song charted as singles in abbreviated versions, but it did not chart in the U.K. The Dominos reconvened to record a second album in May 1971, but split up without completing it. Clapton then retired from the music business, nursing a heroin addiction.

Wishing to escape the superstar expectations that sank Blind Faith before it was launched, Eric Clapton retreated with several sidemen from Delaney & Bonnie to record the material that would form Layla and Other Assorted Love Songs. From these meager beginnings grew his greatest album. Duane Allman joined the band shortly after recording began, and his spectacular slide guitar pushed Clapton to new heights. Then again, Clapton may have gotten there without him, considering the emotional turmoil he was in during the recording. He was in hopeless, unrequited love with Patti Boyd, the wife of his best friend, George Harrison, and that pain surges throughout Layla, especially on its epic title track. But what really makes Layla such a powerful record is that Clapton, ignoring the traditions that occasionally painted him into a corner, simply tears through these songs with burning, intense emotion. He makes standards like “Have You Ever Loved a Woman” and “Nobody Knows You (When You’re Down and Out)” into his own, while his collaborations with Bobby Whitlock — including “Any Day” and “Why Does Love Got to Be So Sad?” — teem with passion. And, considering what a personal album Layla is, it’s somewhat ironic that the lovely coda “Thorn Tree in the Garden” is a solo performance by Whitlock, and that the song sums up the entire album as well as “Layla” itself.

Tracklist:
CD1 #01 – I Looked Away
CD1 #02 – Bell Bottom Blues
CD1 #03 – Keep On Growing
CD1 #04 – Nobody Knows You When You’re Down And Out
CD1 #05 – I Am Yours
CD1 #06 – Anyday
CD1 #07 – Key To The Highway
CD1 #08 – Tell The Truth
CD1 #09 – Why Does Love Got To Be So Sad?
CD1 #10 – Have You Ever Loved A Woman?
CD1 #11 – Little Wing
CD1 #12 – It’s Too Late
CD1 #13 – Layla
CD1 #14 – Thorn Tree In The Garden

CD2 #01 – Mean Old World
CD2 #02 – Roll It Over
CD2 #03 – Tell The Truth
CD2 #04 – It’s Too Late
CD2 #05 – Got To Get Better In A Little While
CD2 #06 – Matchbox
CD2 #07 – Blues Power
CD2 #08 – Snake Lake Blues
CD2 #09 – Evil
CD2 #10 – Mean Old Frisco
CD2 #11 – One More Chance
CD2 #12 – Got To Get Better In A Little While (jam)
CD2 #13 – Got To Get Better In A Little While

Download:

mqs.link_DerekandtheDminsLaylaandtherAssrtedLveSngs24962.02011.part1.rar
mqs.link_DerekandtheDminsLaylaandtherAssrtedLveSngs24962.02011.part2.rar
mqs.link_DerekandtheDminsLaylaandtherAssrtedLveSngs24962.02011.part3.rar
mqs.link_DerekandtheDminsLaylaandtherAssrtedLveSngs24962.02011.part4.rar

Dr. Lonnie Smith – Evolution (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 63:18 minutes | 1,49 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: PonoMusic | @ Blue Note Records

Dr. Lonnie Smith, legendary Hammond B-3 organ master, is set to release his first Blue Note album in 45 years. Special guests incl. Robert Glasper & Joe Lovano. Smith first made a name for himself in the late 1960s as a sideman with saxophonist Lou Donaldson on albums including “Alligator Bogaloo” & soon after as a leader with his own soul-jazz classics including “Think!” & “Turning Point”.

Since Hammond B-3 specialist Lonnie Smith left Blue Note in the ’70s, the largely self-taught musician has added the “Dr.” to his name, adopted a traditional Sikh turban as a distinctive, if enigmatic style choice (it’s unclear if he follows the religion), and continued to release a steady stream of highly regarded soulful well before the 21st century came around. With 2016’s Evolution, Smith returns to Blue Note, his first studio album for the label since 1970’s Drives. Produced by Don Was, Evolution is one of the most robust albums of his career. Where his previous few albums found him working in a trio format, on Evolution, Was surrounds Smith with various small group configurations featuring a bevy of post-bop, funk, and soul-ready musicians including drummers Jonathan Blake and Joe Dyson, guitarist Jonathan Kreisberg, trumpeters Keyon Harrold and Maurice Brown, and others. Also joining Smith here are several jazz luminaries including genre-bending pianist Robert Glasper, whose glassy piano tone rubs nicely against Smith’s burnished Hammond warmth on “Play It Back.” Similarly, saxophonist Joe Lovano, who first made his debut on Smith’s 1975 effort Afrodesia, joins in on several cuts, including a reworking of “Afrodesia” and the slow-jam ballad “For Heaven’s Sake.” While Smith is the star of Evolution, the expanding group sound works well with his expansive approach to funk-jazz and the cuts with Harrold and Brown bring to mind the energetic hip-hop-inflected jazz of the Roots. Ultimately, it’s Smith’s juicy, nuanced, Hammond B-3 sound, deepened by over 50 years of experience, that makes Evolution such a career pinnacle.

Tracklist:
01 – Play It Back
02 – Afrodesia
03 – For Heaven’s Sake
04 – Straight No Chaser
05 – Talk About This
06 – My Favorite Things
07 – African Suite

Musicians:
Dr. Lonnie Smith – Hammond B3 organ, keyboards, vocals
Jonathan Kreisberg – guitar
Jonathan Blake – drums
Joe Dyson – drums
John Ellis – tenor sax (1, 2, 5), bass clarinet (3), flute (7)
Maurice Brown – trumpet (2, 3, 5)
Joe Lovano – tenor sax (3), mezzo soprano sax (2)
Robert Glasper – piano (1)
Keyon Harrold – trumpet (1)

Download:

mqs.link_Dr.LnnieSmithEvlutin2016Pn2496.part1.rar
mqs.link_Dr.LnnieSmithEvlutin2016Pn2496.part2.rar

Edouard Ferlet – Think Bach (2012)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:04:42 minutes | 978 MB | Genre: Jazz
Jazz, Piano solo | Official Digital Download – Source: Qobuz | Digital Booklet | @ MELISSE

How could one deconstruct Bach’s music when this opus has had such a structuring effect? How could one subvert a tribute to the organist of Leipzig and not bow before the “old wig”, as Busoni liked to call him endearingly? In short, how today variate Bach without turning the master into a kitsch cantor? In much the same way is there a significant nuance between laughing at and laughing with, Edouard Ferlet offers to play with Bach rather than merely play Bach; and because to play is to do hence we stand at the core of a poetical process. A process by which the pianist “recomposes” both substracting and enhancing: a few notes are extracted here and there from a prelude’s voices whereas elsewhere some are luckily added without ever being reduced to simple ornaments. By no doubt the German composer would have approved a piano thus enhanced with such delicate sounds – as we know he had a preference for the clavicord’s softness.

So by digging between the folds of the score – preserving its visionary archeology – the pianist deciphers the cryptic soundscapes hidden behind the sheet music much alike a Middle-Age copyist scraping off an ancient parchment with the palimpsest technique and layering fresh material over it. A lot has already been said about Bach’s art of fractal combination with its infinite serpentine structures reminding the Möbius ribons in Escher’s virtuoso paintings – but maybe Bach’s polyphonic exquisite cadaver becomes fathomable only when meeting improvisation again. Though we have variations within variations reflecting the idea of infinity – the pianist has made use of the same mirror method devised by Bach – the difference within the repetition springs out of improvised music itself hence recovering a sense of desequilibrium so specific to the Baroque period.

Edouard Ferlet’s poetic stand finds its place within the constant tension between replication and invention by which Bach’s opus would somehow be the promise as well as the trick and whereby the pianist delivers what in sleight of hand one calls the prestige.

Tracklist:

01 – Analecta (Prélude en ré majeur du clavier bien tempéré BWV850)
02 – Dictame (Prélude en la mineur du clavier bien tempéré BWV889)
03 – A la suite de Jean (Prélude le suite pour violoncelle BWV1007)
04 – Verso (Prélude en do mineur du clavier bien tempéré BWV847)
05 – Lisière (Prélude en do mineur pour luth BWV999)
06 – Souffle magnétique (Suite française n°4 en mi bémol majeur pour clavier BWV815)
07 – Que ma tristesse demeure (choral de la cantate Jésus que ma joie demeure BWV147)
08 – Lapsus (Prélude en ré mineur du clavier bien tempéré BWV851)
09 – Diagonale (Variation de Goldberg n°25 BWV988)
10 – Réplique (Prélude en ré bémol majeur du clavier bien tempéré BWV848)
11 – Agnus Dei (Bonus)
12 – Air on the G String (Bonus)
13 – Erbarme dich, mein Gott (Bonus)

Download:

mqs.link_EduardFerletThinkBach2012Qbuz24882.rar

Elina Duni Quartet – Dallendyshe (2015)
FLAC (tracks) 24 bit/88.2 kHz  | Time – 00:55:14 minutes | 999 MB | Genre: Jazz
Official Digital Download – Source: highresaudio.com | © ECM Records
Recorded: July 2014 at Studios La Buissonne in Pernes-les-Fontaines in the South of France

On Dallёndyshe (“The Swallow”), her second ECM album, Elina Duni sings songs of love and exile. The troubled history of the Balkan regions has inspired many such songs and the pieces here, primarily from Albanian traditional sources, are interpreted with intensity and insight by Elina and her band. The Tirana-born and Swiss-raised singer has become an exceptional musical storyteller embodying the songs’ narratives, in a way that transcends genre definitions and language limitations. “If we can tell a story with the music and the listeners travel with us, then the goal is reached.” A story, she points out, can be transmitted in many ways, not only through lyrics, but also through the evocation of a melody, through the feeling conveyed in the performance of a song, and through the solos of the band members.
Finding the songs and adapting them for the quartet is a new challenge each time: “From song to song we work differently.
When it’s the four of us together, each person brings something in. We might begin with patterning of bass and drums from Patrice and Norbert, and then Colin adding something and me putting a line on top by finding another way to sing or phrase a melody. On this particular album Colin also brought in a couple of complete arrangements, which was very helpful. I’m lucky to be working with these subtle musicians who help me to bring out the poetry and avoid any sentimental tendencies. With the folk ballads there can be a danger of over-emphasizing the pathos.” Alert to this, the players underline the spirit of a song without being merely illustrative.

“This time there is a sense of lightness to the feeling and energy of the album,” says Duni. “Even though we are dealing with tragic themes of exile it is not as dark as Matanё Malit.
One of the fascinating things about music of the Balkans, in a lot of the folk music, is the idea that the pain has to be sung. And in singing you go beyond it. That’s what the blues is about, of course, and you find a similar sensibility in these Albanian songs about exile and lost love. In some Balkan music, you dance away the pain – and songs that seem at first to be joyful, from the rhythms and the melody, turn out to be not at all joyful when you listen more closely. This is a characteristic quality in music of the region.”
In its sense of drive, Dallёndyshe opens up “a different groove, a different momentum. It’s become more rhythmic. Sometimes it’s almost a trance-like propulsion.” A good instance of the new energy is beautifully expressed in “Sytë”, written by Isak Muçolli and made famous by Albanian diva Nexhmije Pagarusha.
Elina performed for Pagarusha in Paris on the occasion of the legendary singer’s 80th birthday and was subsequently very encouraged by her enthusiastic response to the Duni Quartet’s mining of the repertoire. “I was very pleased to do this piece associated with her, and I like our treatment of it. It’s got the desert in there somehow, and this rhythm that Colin sets up, it lifts you into another world.”
The programme of Dallёndyshe also looks to the Albanian diaspora. The last two songs on the album, “Ti ri ti ti klarinatё” and the title track are, respectively, from the Arvanitas and Arbёresh communities of Greece and Italy. “The Arbёresh are Arvanites who went from the North of Greece, the Peloponnese, to Italy in the 15th century, crossing the sea to escape the Ottoman Empire. In Greece they’ve been assimilated into the Greek population in the last hundred years but in Italy they’re still a strong community, speaking a very old Albanian.
And the musical differences are very interesting. The Arvanitas music has a pronounced Byzantine influence and the Arbёresh music does not, but you find pieces that are close to the Italian tarantella, for instance. You can see what happened to the music after the split.”
Duni’s journey to the emotional centre of Albanian song began a decade ago, when she and Colin Vallon were students at Berne’s Hochschule der Künste. Looking at Albanian folk music rather than jazz standards as an improvisational resource led them to a whole range of discoveries. Elina found her own voice in the old songs, and in reclaiming them could also free them: the quartet’s experimental yet pure acoustic versions have been received with gratitude in Albania where folk themes were once harnessed for propaganda purposes.
In the wider world Elina still finds herself asked frequently to define her music. It has clearly become more than a hybrid of ‘jazz’ and ‘folk’. Indeed, touring in the wake of Matanё Malit the group felt they had outgrown the jazz clubs. This story-telling music, with chamber music colours and forms and strong and supple rhythms as well as an improvised component, now calls for a different kind of performance space as well as a differentiated response from its listeners.

Tracklist:
1. Fëllënza 06:04
2. Sytë 05:09
3. Ylberin 05:05
4. Unë në kodër, ti në kodër 06:13
5. Kur të pashë 04:49
6. Delja rude 05:20
7. Unë do të vete 04:59
8. Taksirat 03:28
9. Nënë moj 04:14
10. Bukuroshe 04:16
11. Ti ri ti ti klarinatë 02:50
12. Dallëndyshe 02:47

Personnel:
Elina Duni, vocals
Colin Vallon, piano
Patrice Moret, double bass
Norbert Pfammatter, drums

Download:

mqs.link_ElinaDuniQuartetDallendyshe2015HRA24882.part1.rar
mqs.link_ElinaDuniQuartetDallendyshe2015HRA24882.part2.rar

Elina Duni Quartet – Matanë Malit (2012)
FLAC (tracks) 24-bit/88,2 kHz | Time – 53:43 minutes | 723 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks  | Artwork: Digital booklet | @ ECM

Matanë Malit (Beyond the mountain) marks the exquisite ECM debut by the Elina Duni Quartet. The recording pays homage to Albania and finds a singer looking at her roots from a contemporary vantage point as a musician engaged in improvisational processes. Duni explores the region’s troubled history, uncovering songs filled with beauty and power. These traditional masterpieces arranged by Duni, tell the stories of lovers, heroes, workers, shepherds and exiles. Each track focuses on the shape of the sound and the composition’s structure. Absolutely riveting!

“Not since the June 2011 release of Amina Alaoui’s Arco Iris has ECM released such an exquisite vocal performance as they have with the Elina Duni Quartet’s Matane Malit…A pristine voice, quiet and unassuming yet with the ability to play catch and release on a note and set the words free as an atmospheric and deceptively subtle organic chamber sound fills the void with deep rich colors.” – Critical Jazz

Tracklist:
01 – Ka një mot
02 – Kjani trima
03 – Kur të kujtosh
04 – Vajzë e valeve
05 – Unë ty moj
06 – Erë pranverore
07 – Çelo Mezani
08 – Ra kambana
09 – Çobankat
10 – Kristal
11 – U rrit vasha
12 – Mine Peza

Produced by Manfred Eicher. Engineers: Gerard de Haro, Nicolas Baillard.
Recorded February 2012 at Studios La Buissonne, Pernes-les-Fontaines.

Musicians:
Elina Duni – voice
Colin Vallon – piano
Patrice Moret – double bass
Norbert Pfammatter – drums

Download:

mqs.link_ElinaDuniQuartetMataneMalit2012HDTracks24882.rar

Elle King – Love Stuff (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:42:19 minutes | 486 MB | Genre: Alternative, Indie
Studio Master, Official Digital Download  – Source: Q0buz | @ RCA Records Label

Love Stuff is the debut studio album by American singer and songwriter Elle King. The album was recorded at various studios throughout the United States, and was mixed at Jimi Hendrix’s Electric Lady Studios in Greenwich Village. Mastered by Stephen Marcussen at Marcussen Mastering.

Existing at the intersection of the two major retro-roots movements of the new millennium – the beehived, swinging ’60s soul of Amy Winehouse and the bluesy roar of the White Stripes – Elle King’s debut, Love Stuff, feels like a record that should’ve happened prior to 2015. Surprisingly, King is the only musician to mine this territory but she’s not quite stuck in the past, whether that means the 20th century source or the canny revivals of Winehouse and Jack White. She knows enough to thread in some echoes of the big-footed folk stomp of Mumford & Sons (not to mention a banjo she proudly brandishes in all her publicity material), a sound that comes to a crest on “America’s Sweetheart.” There, King claims she’s not America’s Sweetheart and she spends a good chunk of Love Stuff putting on those aggressive airs, swanning about like a spunky spitfire, a mean girl who goes where the devil don’t go. A little of this rough-and-tumble schtick goes a long way, as do King’s occasionally overheated vocals – she works hard to prove she’s tough and her eager swagger proves exhausting over the long haul. That said, what works on Love Stuff has considerable charm. When King walks a fine line between rock crunch and soul testifying, there’s some fire: the swinging fuzz of “Ex’s & Oh’s,” the spooky slow-grind of “Under the Influence,” the blues stumble of “Last Damn Night” and “Jackson,” where she ties all these sounds together. Such highlights suggests that when Elle King doesn’t have to try so hard to prove her bona fides, she might wind up with a record that’s hard to deny. For now, she merely has a promising debut on her hands.

Tracklist:
01 – Where The Devil Don’t Go
02 – Ex’s & Oh’s
03 – Under The Influence
04 – Last Damn Night
05 – Kocaine Karolina
06 – Song Of Sorrow
07 – America’s Sweetheart
08 – I Told You I Was Mean
09 – Ain’t Gonna Drown
10 – Jackson
11 – Make You Smile
12 – See You Again

Download:

mqs.link_ElleKingLveStuff2015Qbuz24441.rar

Enya – Dark Sky Island (2015) [Deluxe Edition]
FLAC (tracks) 24 bit/96 kHz | Time – 54:35 minutes | 1,11 GB | Genre: New Age, Pop
Studio Master, Official Digital Download  – Source: HDTracks | @ Warner Bros. Records

The Enya creative triumvirate – Enya, producer and sound engineer Nicky Ryan, and lyricist Roma Ryan – started work on the album in the spring of 2012. Inspired by Roma’s work on a series of poetry books themed around islands and specifically the island of Sark’s decision to be designated as a dark sky island, the album’s title track was the first song to be written for the collection.

The album’s buoyantly optimistic first single “Echoes in Rain” possesses an irresistible surge of globe-trotting euphoria which made it an obvious choice as the album’s lead track. While it shares the adventurous themes of Enya’s breakthrough hit “Orinoco Flow,” its rhythmic march instead celebrates the anticipation of a journey’s end.

Since the late ’80s, Irish singer/composer Enya has become the most unlikely of international stars, delivering lush, Celtic-driven pseudo-classical odes in her signature Wall of Sound vocal style, rarely granting interviews, never touring, and generally taking as much time as she wishes between albums. Bucking odds and industry trends, her popularity has remained steadfast, allowing her to become the best-selling Irish solo artist of all time. Following 2008’s snowbound And Winter Came, her silence stretched to eight years – the longest of her career – before the mists once again parted to reveal her eighth album, the evocatively titled Dark Sky Island. Named for Sark, the smallest of Britain’s Channel Islands and first in the world receive the Dark Sky designation for its lack of light pollution, it has all the thematic and sonic hallmarks typical of an Enya release but with significantly more highlights than on her two prior works. Since the release of her 1986 debut, changes in her overall approach have been subtle and critics have often derided her for her unwavering dedication to dated, late-’80s synth patches and her reliance on formulaic methods, but Enya’s consistency is actually one of her greatest assets. Her low public profile – especially in the age of social media – demands that her music remains the sole focus, and even if she and collaborators Roma and Nicky Ryan choose to keep working within their unique, self-designed milieu, it’s one that they own completely and have nurtured over the years. Opening track “The Humming,” with its eerie staccato swing and mystical musings on the cycles of the universe, is one of the strongest tracks she’s produced in decades and resembles a dark cousin to 1991’s masterwork “Caribbean Blue.” Inspired lead single “Echoes of Rain” also harkens back to her Shepherd Moons heyday and features some fine, cascading piano work amid the pulsing strings and exalted vocal layers. Dark Sky Island also marks the return of Loxian, a language lyricist Roma Ryan first created for Enya on 2005’s Amarantine and which is used here on the lavish march “The Forge of Angels” and the powerful “The Loxian Gate,” which again echoes early Watermark-era standouts like “Storms in Africa” and “The Longships.” While it would be unfair to call Dark Sky Island a throwback, it does manage to harness some of the power and creativity of Enya’s early days and pairs it with both the confidence and shadows of age.

Tracklist:
01 – The Humming…
02 – So I Could Find My Way
03 – Even In The Shadows
04 – The Forge Of The Angels
05 – Echoes In Rain
06 – I Could Never Say Goodbye
07 – Dark Sky Island
08 – Sancta Maria
09 – Astra Et Luna
10 – The Loxian Gate
11 – Diamonds On The Water
12 – Solace
13 – Pale Grass Blue
14 – Remember Your Smile

Download:

mqs.link_EnyaDarkSkyIslandDeluxeEditin2015HDTracks2496.part1.rar
mqs.link_EnyaDarkSkyIslandDeluxeEditin2015HDTracks2496.part2.rar

Eric Clapton – Back Home (2005/2011)
FLAC (tracks) 24 bit/48 kHz | Time – 1:00:13 minutes | 778 MB | Genre: Rock
Studio Masters, Official Digital Download – Source:HDTracks  | @ Reprise

With Back Home, three-time Rock and Roll Hall of Famer and 16-time Grammy winner Clapton finds his way home with another modern classic. The record is comprised mostly of Clapton originals and features contributions by Steve Winwood, Billy Preston, Steve Gadd, John Mayer, and others. Back Home also features a couple of stellar covers, including George Harrison’s “Love Comes to Everyone” and “I’m Going Left,” by Stevie Wonder and Syreeta Wright.

Winner of 2006 Grammy® Award for Best Engineered Album, Non-Classical

Eric Clapton claimed in the press release for Back Home, his 14th album of original material, that “One of the earliest statements I made about myself was back in the late ’80s, with Journeyman. This album completes that cycle in terms of talking about my whole journey as an itinerant musician and where I find myself now, starting a new family. That’s why I chose the title. It’s about coming home and staying home.” With that in mind, it becomes clearer that the studio albums Clapton released during the ’90s did indeed follow some sort of thematic logic. 1989’s Journeyman did find Clapton regrouping after a muddled ’80s, returning to the bluesy arena rock and smooth pop that had been his signature sound as a solo artist. He followed that with 1994’s From the Cradle, where he explicitly returned to the roots of his music by recording an album of blues standards. Four years later, he released Pilgrim, a slick album that had Clapton strengthening his collaboration with producer/co-writer Simon Climie (who first worked with EC on his electronica side project T.D.F.). If Pilgrim touched on father issues, 2001’s Reptile loosely returned Clapton to his childhood (complete with a smiling boyhood shot of him on the cover) and found the guitarist struggling with a seemingly diverse selection of material, ranking from ’50s R&B to James Taylor. After a brief blues detour on 2004’s Me and Mr. Johnson, Clapton returns to the sound and feel of Reptile for Back Home, but he doesn’t seem to be as tentative or forced as he did there. Instead, he eases comfortably into the domesticity that isn’t just the concept for the album, it’s reason for being.

Tracklist:
01 – So Tired
02 – Say What You Will
03 – I’m Going Left
04 – Love Don’t Love Nobody
05 – Revolution
06 – Love Comes To Everyone
07 – Lost And Found
08 – Piece Of My Heart
09 – One Day
10 – One Track Mind
11 – Run Home To Me
12 – Back Home

Download:

mqs.link_EricClaptnBackHme20052011HDTracks2448.rar

Gary Numan – The Pleasure Principle (1979/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 41:06 minutes | 864 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: Q0buz | @ Beggars Banquet

The legendary proto-new wave / electronic hit from Gary Numan that went on to influence an entire generation of synth-heads and knob twiddlers. The Pleasure Principle went to number 1 in the United Kingdom.

The Pleasure Principle was an important point of departure for Gary Numan, and a significant breakthrough moment in the context of his long and storied career. Released about six months after Replicas, it was an instant commercial success, quickly reaching the dizzy heights of number one in the UK Charts. On this record, his third solo effort (and first under his own name), Numan abandoned guitars completely, instead embracing a more synthetic style of production. The album heralded the purely electronic, distinctly robotic sound that this modern icon has become most famous for today. Numan employed a variety of Moog synthesizers to realise The Pleasure Principle, achieving his trademark sound largely by use of the distinctive ‘Vox Humana’ setting. Throw in a healthy dose of production trickery; including flanging, phasing, layers of reverb, and some solo violin, and you are the rest of the way there! Numan was influenced by the greatest pioneers of electronica – Kraftwerk’s epochal Autobahn ghosts the track ‘Cars’ (the very same synths were used!) – and, subsequently, he influenced a generation of new artists. Numan blazed a trail for Nine Inch Nails’s industrial rock, Afrika Bambaataa’s hip-hop explosion, and even early-2000s club bangers like Basement Jaxx’s immortal ‘Where’s Your Head At?’ A pleasure indeed.

Tracklist:
01 – Airlane
02 – Metal
03 – Complex
04 – Films
05 – M.E.
06 – Tracks
07 – Observer
08 – Conversation
09 – Cars
10 – Engineers

Download:

mqs.link_GaryNumanThePleasurePrinciple19792015Qbuz2496.rar

Gary Numan & Tubeway Army – Replicas (1979/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 00:42:12 minutes | 761 MB | Genre: Rock, New Wave
Studio Master, Official Digital Download – Source: Q0buz | @ Beggars Banquet

Replicas is the second and final album by British band Tubeway Army, released in 1979. After this, Tubeway Army frontman Gary Numan would continue to release records under his own name, though the musicians in Tubeway Army would continue to work with him for some time. Replicas was the first album of what Numan later termed the “machine” phase of his career, preceding The Pleasure Principle and Telekon, a collection linked by common themes of a dystopian science fiction future and transmutation of man/machine, coupled with an androgynous image and a synthetic rock sound.

By the release of their second album, Replicas, Gary Numan was the undisputed focal point and leader of icy electro-punkers Tubeway Army. And the move proved to be massively successful back home in the U.K., where both the album and the single “Are ‘Friends’ Electric?” topped the charts. The band had made a conscious effort to streamline the sound heard on its 1978 self-titled debut – the distorted guitar riffs were played on Moog synthesizers instead, and Numan had perfected his faux-space-age persona. And the paranoia that is very evident in the lyrics and vocals on Numan’s next release, The Pleasure Principle, can be detected on Replicas. Another near-perfect album by the band, highlights are many – “Me! I Disconnect from You,” “The Machman,” “You Are in My Vision,” and one of the most underrated new wave/synth-driven compositions of the whole era, the chilling ballad “Down in the Park”.

Tracklist:
01 – Me, I Disconnect From You
02 – Are ‘Friends’ Electric?
03 – The Machman
04 – Praying To The Aliens
05 – Down In The Park
06 – You Are In My Vision
07 – Replicas
08 – It Must Have Been Years
09 – When The Machines Rock
10 – I Nearly Married A Human

Download:

mqs.link_GaryNumanTubewayArmyReplicas19792015Qbuz2496.rar

Gary Numan – Telekon (1980/1998/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 1:20:28 minutes | 1,56 GB | Genre: Electronic, Rock, Alternative
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Beggars Banquet Records

Telekon is the fourth studio album (and second album under his own name) by the British musician Gary Numan. It debuted at the top of the UK Albums Chart in September 1980, making it his third consecutive (and to date, final) No. 1 album. Telekon was also the third and final studio release of what Numan retrospectively termed the “machine” section of his career, following 1979’s Replicas and The Pleasure Principle.

Gary Numan’s follow-up to the flawless The Pleasure Principle was 1980’s Telekon. Although it was another mega-hit back home in England (his third consecutive number one album), Numan could not follow up his massive new wave hit “Cars” in the United States, where he was unjustly slapped with the one-hit-wonder tag. Telekon would also turn out to be the last true classic Numan album, as monetary problems and an unfocused attempt to try different musical forms (as well as a short-lived retirement) would steer him away from his original vision. Although Telekon was indeed a strong album, it could have been even stronger if it included the U.K. Top Ten singles “I Die: You Die” and “We Are Glass” (both were recorded during the Telekon sessions). Numan experimented with funk for the first time in his career (“Remind Me to Smile”), but there were still plenty of chilling synth excursions to keep the Numan faithful satisfied – “This Wreckage,” “The Aircrash Bureau,” “I’m an Agent,” and “I Dream of Wires” are all choice cuts. The 1998 Beggars Banquet re-release eventually did include both the U.K. singles, as well as several other rarities, including a bare “piano version” of “Down in the Park”.

Tracklist:
01 – This Wreckage
02 – The Aircrash Bureau
03 – Telekon
04 – Remind Me to Smile [UK Mix]05 – Sleep By Windows
06 – I’m an Agent
07 – I Dream of Wires
08 – Remember I Was Vapour
09 – Please Push No More
10 – The Joy Circuit
11 – We Are Glass
12 – Trois Gymnopedies (1st Movement) [Demo]13 – I Die: You Die
14 – Down in the Park [Piano Version]15 – A Game Called Echo
16 – Photograph
17 – Remind Me to Smile [USA Mix]18 – I Die: You Die [Alternate Video Version]

Download:

mqs.link_GaryNumanTelekn19802015HDTracks2496.part1.rar
mqs.link_GaryNumanTelekn19802015HDTracks2496.part2.rar

Gilad Hekselman – Homes (2015)
FLAC (tracks) 24-bit/88,2 kHz | Time – 58:57 minutes | 1,01 GB | Genre: Jazz
Studio Master, Official Digital Download | Artwork: CD Artwork | @ Jazz Village

Gilad Hekselman has a vision of modern jazz thats harmonically fluent but not averse to simple melody or gentle, approachable effect. His fine working trio, with Joe Martin on bass and Marcus Gilmore on drums, draws from a rewarding new album, Homes.

Gilad Hekselman’s new album Homes is a wonderful exploration of his ports of call. It captures their distinct musical and human personalities. Accompanied by his loyal sidemen who have been with him for almost a decade, as well as prestigious special guests including Bud Powell and Pat Metheny, the guitarist reveals the secrets behind his influences as he welcomes us into the innermost parts of his many musical homes.

Tracklist:
01 – Homes
02 – Verona
03 – KeeDee
04 – Home E-minor
05 – Space
06 – Cosmic Patience
07 – Eyes to See
08 – Parisian Thoroughfare
09 – Samba Em Prelùdio
10 – Last Train Home
11 – Dove Song
12 – Place Like No Home

Download:

mqs.link_GiladHekselmanHmes2015Qbuz24882.part1.rar
mqs.link_GiladHekselmanHmes2015Qbuz24882.part2.rar