The Monkees – Live 1967 (1983/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 37:28 minutes | 1,49 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks.com | @ Rhino

Live 1967 features performances from The Monkees’ exhilarating U.S. tour. The group performed hits including “I Wanna Be Free” and “(I’m Not Your) Steppin’ Stone,” featured on this twelve-track collection. The recording captures the band at its rawest.

This title — which appeared on vinyl and cassette sans the four “solo” non-Monkees’ performances — was the first of its kind. It contained live recordings by the Monkees — a fake pop band made up of four actors. Because their pre-teen audience so bought into the phenomenon, that quartet of actors — Mickey Dolenz (drums/vocals), Michael Nesmith (guitar/vocals/percussion), Davy Jones (vocals/percussion/drums), and Peter Tork (bass/keyboards/banjo/vocals) — toured around North America during the summer of 1967 performing to packed audiences and, yes, playing their own instruments. Although technology was not exactly on their sides, Monkees’ TV show producers Bob Rafelson and Bert Schneider made a valiant attempt to document the mania created at these live “happenings”. After an initial dry run on a monophonic tape machine manned by crew member/photographer Winton Teel, the outcome was deemed favorable to try and record on professional four-track equipment that would be attended/recorded by Monkees’ concurrent studio producer Hank Cicalo. He recorded the final three gigs on their transcontinental sojourn August 25-27 in Seattle, Portland, and Spokane, respectively. Unfortunately, upon completion, the tapes were pronounced unacceptable and ultimately shelved. Fast-forward nearly two decades later when MTV’s Monkees’ marathon (broadcast on February 23, 1986) sparked a fresh generation of fans. The new CD medium was perfect for resurrecting not only their old recordings, but the arrival of archival projects such as this. Immediately evident is the sheer din of screaming one might expect at such an event. However, considering that the four individuals had no way of hearing themselves — on-stage monitor systems were still several years away — they actually don’t sound too bad. Each night contained more or less the same routine and song list, so what is presented on Live 1967 is a composite of a typical show taken from the three nights denoted above. Those familiar with the hit (studio) versions might be surprised at the garage band primitiveness that is more often than not a result of un-tuned instruments and off-key harmonies. The CD features each of the guys in a spotlight performance. Although Tork’s take on the traditional folk tune “Cripple Creek” has no other musicians on it, the other three are supported by a then (and still) relatively unknown five-piece pop combo called the Sundowners. They are heard behind Nesmith’s update of Willie Dixon’s “You Can’t Judge a Book (By Looking at the Cover),” while Dolenz takes on Ray Charles via the Godfather of Soul with his reading of “I’ve Got a Woman,” and Jones reverts back to the Great White Way for a charming take of “I’m Gonna Build a Mountain”.” The conclusion contains what is arguably the best of the lot as the self-contained quartet returns to rip and tear through “I’m a Believer,” “Randy Scouse Git,” and “(I’m Not Your) Steppin’ Stone”.” Despite the lack of anything resembling fidelity, the out of control sonic surroundings suit the considerable transfer of energy between audience and performers. Parties wishing to hear these concerts in their entirety are strongly encouraged to locate a copy of the four-disc Summer 1967: The Complete U.S. Concert Recordings (2001).

Tracklist:
01 – Last Train To Clarksville
02 – You Just May Be The One
03 – The Girl I Knew Somewhere
04 – I Wanna Be Free
05 – Sunny Girlfriend
06 – Your Auntie Grizelda
07 – Forget That Girl
08 – Sweet Young Thing
09 – Mary, Mary
10 – I’m A Believer
11 – Randy Scouse Git
12 – (I’m Not Your) Steppin’ Stone

Personnel:
The Monkees
Michael Nesmith – guitar
Micky Dolenz – drums, vocals
Peter Tork – bass guitar
Davy Jones – guitar

Additional Personnel
Dominick DeMieri – guitar
Eddie Placidi – guitar, rhythm guitar
Bobby Dick – bass
Kim Copli – drums, keyboards
Eddie Brick – percussion

Production:
Producers: Bert Schneider and Bob Rafelson
Recording engineer: Hank Cicalo
Remixing engineers: Dan Matovina and John Strother

Download:

mqs.link_TheMnkeesLive196719872013HDTracks24192.part1.rar
mqs.link_TheMnkeesLive196719872013HDTracks24192.part2.rar

The Monkees – Greatest Hits (1995/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 32:36 minutes | 691 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks.com | @ Rhino

This collection of The Monkees’ Greatest Hits includes all of the group’s Top 10 singles, their ’80s comeback singles and a few rare gems.

Assembled in Los Angeles in 1966 by Robert “Bob” Rafelson and Bert Schneider for the American television series The Monkees, which aired from 1966 to 1968, the musical acting quartet was composed of Americans Micky Dolenz, Michael Nesmith and Peter Tork, and Englishman Davy Jones.

The Monkees had many international hits which are still heard on pop and oldies stations. These include “I’m a Believer”, “(I’m Not Your) Steppin’ Stone”, “Daydream Believer”, “Last Train to Clarksville”, and “Pleasant Valley Sunday”.

Tracklist:
1 (Theme From) The Monkees 00:02:20
2 Last Train To Clarksville 00:02:47
3 I Wanna Be Free 00:02:26
4 I’m A Believer 00:02:44
5 (I’m Not Your) Steppin’ Stone 00:02:27
6 A Little Bit Me, A Little Bit You 00:02:51
7 Pleasant Valley Sunday 00:03:16
8 Words 00:02:57
9 Daydream Believer 00:03:07
10 Valleri 00:02:22
11 Porpoise Song (Theme from “Head”) 00:03:07
12 For Pete’s Sake (Closing Theme) 00:02:12

Personnel:
Micky Dolenz – vocals, drums, moog synthesizer, guitar
Peter Tork – vocals, keyboards, piano, guitar, bass, banjo
Davy Jones – vocals, tambourine, maracas, bass, guitar, drums
Michael Nesmith – guitar, vocals, keyboards

Download:

mqs.link_TheMnkeesGreatestHits19952014HDTracks2496.rar

Todd Rundgren – The 70’s Collection (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 447:33 minutes | 9,39 GB | Genre:Rock
Studio Master, Official Digital Download – Source:highresaudio.com | @ Warner Music

Todd Rundgren 70’s Collection offers 117 tracks digitally remastered in 96 kHz, 24bit. Todd Rundgren may be known as an overindulgent pop singer and producer – but he’s also got a fantastic talent for a good little pop song, and his 70s.
Contains the albums: Runt (1970), Runt: The Ballad Of Todd Rundgren (1971), Something/Anything? (1972), A Wizard, A True Star (1973), Todd (1974), Initiation (1975), Faithful (1976), Hermit Of Mink Hollow (1978).

Todd Rundgren
An eclectically accomplished musician and studio virtuoso, Todd Rundgren has been recording for more than three decades. His musical career has gone from simple pop that never brought the success some critics felt he deserved (only one gold LP, Something/Anything?) to the more complex progressive rock of Utopia, which did gain Rundgren a devoted cult following. Through it all, this multi-instrumentalist has maintained a prolific sideline career as a producer; he must also be regarded as a pioneer of rock video, interactive CD, and Web-based music.
Rundgren began playing in a high-school band, Money, then went on to play with Woody’s Truckstop in the mid-’60s (a tape recording of the latter makes a brief appearance on Something/Anything?). In 1967 he formed the Nazz [see entry], which, contrary to then-prevailing West Coast psychedelic trends, tried to replicate the look of Swinging London in its clothes, Mod haircuts, and Beatles-ish pop sound. In some ways the Nazz was ahead of its time, especially in terms of Rundgren’s studio facility and the band’s musical sophistication. But the quartet remained a local Philadelphia phenomenon, with one minor hit single, the original version of “Hello It’s Me.” The Nazz broke up in 1969, at which point Rundgren formed the studio band Runt and hit the Top 20 in 1971 with the single “We Gotta Get You a Woman.”
By this time Rundgren had become associated with manager Albert Grossman, who let him produce for his new Bearsville label. By 1972 Rundgren had taken over production of Badfinger’s Straight Up LP from George Harrison (who was involved with his Bangla Desh concerts) and had engineered the Band’s Stage Fright and Jesse Winchester’s self-titled 1971 LP, as well as produced records by the Hello People, bluesman James Cotton, the Paul Butterfield Blues Band, and Halfnelson (who later became Sparks). In 1973 he would produce the New York Dolls’ debut LP, Grand Funk Railroad’s We’re an American Band, and Fanny’s Mother’s Pride.
For many, Something/Anything? (Number 29, 1972) is the high-water mark of Rundgren’s solo career. On it he played nearly all the instruments, overdubbed scores of vocals, and managed to cover pop bases from Motown to Hendrix, from the Beach Boys to the Beatles. The album yielded hit singles in “I Saw the Light” (Number 16, 1972) and “Hello It’s Me” (Number 5, 1973).
A Wizard/A True Star (Number 86, 1973), while in much the same vein, was more of a critical than commercial success. However, Rundgren’s cult following was growing. In Wizard’s liner notes he asked fans to send their names to him for inclusion in a poster to be contained in his next LP. As promised, 1974’s Todd included that poster —with some 10,000 names printed on it in tiny type.
That same year Rundgren unveiled his cosmic/symphonic progressive-rock band Utopia, which gradually expanded his following to mammoth proportions. Utopia was a more democratic band, in which Rundgren shared songwriting and lead vocals with other members (from 1977 on: Roger Powell, Kasim Sulton, and Willie Wilcox). In the mid-’70s Utopia played bombastic suites with “cosmic” lyrics and used pyramids as a backdrop, but in the 1980s it returned to Beatles/new wave–style pop (Faithful [Number 54, 1976]). Despite some excellent music, the quartet never placed a single in the Top 40 or saw any of its 11 albums go gold. One of their songs, “Love Is the Answer,” was a 1979 Top 10 hit for England Dan and John Ford Coley.
In 1975 Rundgren produced Gong guitarist Steve Hillage’s L, on which Utopia played backup. A trip to the Middle East in 1978 led Rundgren to a brief flirtation with Sufism; that same year Hermit of Mink Hollow (Number 36, 1978) produced his first hit single in several years in “Can We Still Be Friends?” (a minor hit for Robert Palmer a year later). Rundgren also produced Meat Loaf’s monstrously successful Bat Out of Hell. In 1979 alone he produced Tom Robinson’s TRB Two, the Tubes’ Remote Control, and Patti Smith’s Wave; in 1980 he produced Shaun Cassidy’s Wasp.
By that time Rundgren had taken a strong interest in the emerging field of rock video. By 1981 he had built his own computer-video studio in Woodstock, New York, and was making technically advanced surrealistic videotapes. In 1982 Rundgren embarked on a one-man tour, playing sets that were solo-acoustic as well as those in which he was backed by taped band arrangements, with his computer-graphic videos being shown also. He still concentrated on production (with the Psychedelic Furs, among others) and video art. Utopia took an indefinite sabbatical in 1985. Sulton, in addition to recording on his own, has played with Joan Jett, Hall and Oates, Patty Smyth, and Cheap Trick. Powell, designer of a shoulder-strap keyboard called the Powell Probe, now engineers software for a computer-graphics firm, while Wilcox writes and produces. In 1992 the four reunited for a tour of Japan, captured on Utopia Redux ’92.
The following year Rundgren went back out on the road as a high-tech one-man band to perform his unique new album No World Order. The world’s first interactive music-only CD (available on Philips), it allowed listeners to reshape the 10 songs into an infinite number of versions. To hear the same version of a song twice, Rundgren claimed, users would have to play the disc 24 hours a day, seven days a week “well into the next millennium.” Continuing in a similar vein, he then released The Individualist, an enhanced CD which paired each song with its lyrics, graphics, and video. At about that time he came up with the monicker TR-i (Todd Rundgren–interactive), to be used for his multimedia work. In typical fashion, though, his next move was to rerecord several of his old songs in bossa-nova arrangements on 1997’s With a Twist…(which also featured Utopia bassist Sulton). That same year he was one of the few Westerners invited to play the Shanghai Festival.
Consistently fascinated with new technological developments, Rundgren created PatroNet, a Web-based service in which subscribers could purchase new songs after paying a yearly fee, in 1998. The 2000 release One Long Year collected some of the songs sold through PatroNet. That year he embarked on a tour in which he performed material from his entire catalogue in a power-trio formation that also included Sulton and drummer Trey Sabatelli. Rundgren toured solo and with Ringo Starr’s All-Starr Band in the late-90s as well as produced Bad Religion’s The New America and Splender’s Halfway Down the Sky in 2000. An ongoing compilation, Todd Archive Series, included 11 different sets: The King Biscuit Flower Hour Presents in Concert, numerous full concerts, demos, and outtakes while Rundgren was alone, with Nazz, and Utopia, and a collection of Japanese-only rarities. In 2001 Rundgren played in the Beatles tribute tour, A Walk Down Abbey Road. In 2004, Rundgren released the political Liars on Sanctuary, making it his first rock album in thirteen years. In 2006, he assumed Rick Ocasek’s duties in the Cars, henceforth named the New Cars. In September of 2008 Rundgren released Arena, which, with a surfeit of guitar-based rock and bombast, was something of a return to form. (Source: www.keysandchords.com)

Todd Rundgren – Runt (1970/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 40:36 minutes | 881 MB
Studio Master, Official Digital Download | Artwork: Front cover

Reluctant to start a full-fledged solo career after leaving the Nazz, Todd Rundgren formed Runt, a band that was a front for what was in effect a solo project. Such isolationism lends Runt its unique atmosphere – it is the insular work of a fiercely talented artist finally given the opportunity to pursue his off-kilter musical vision. From the moment the slow, bluesy psychedelic grind of “Broke Down and Busted” starts the album, it’s apparent that Rundgren could never have made Runt with the Nazz – and that’s before the introspective ballads or the willfully strange stuff kicks in. Throughout the record, Rundgren reveals himself as a gifted synthesist, blending all manners of musical styles and quirks into a distinctive signature sound. He’s as interested in sound as he is in song and while he would later pursue these tendencies to extremes, Runt finds him learning how to create an effective sound with the studio, which may be the reason why the album runs the gamut from hard rockers like “Who’s That Man?” to ballads like “Once Burned.” Although these songs are instantly appealing, the album really gets interesting when he reaches between those two extremes, whether it’s in the classic pop medley “Baby Let’s Swing,” the bizarrely tongue-in-cheek “I’m in the Clique,” or the equally impish “We Gotta Get You a Woman,” which gave Rundgren his first hit. All the details buried within these songs – not only in the deceptively direct productions, but within the writing itself – confirm Rundgren’s exceptional skill at songcraft. He occasionally slips on Runt, delivering tracks that rely on production instead of a blend of studiocraft and songcraft, but it remains a thoroughly impressive debut and one of his finest pop records.

Tracklist:
01 – Broke Down And Busted
02 – Believe In Me
03 – We Gotta Get You A Woman
04 – Who’s That Man
05 – Once Burned
06 – Devil’s Bite
07 – I’m In The Clique
08 – There Are No Words
09 – Baby Let’s Swing / The Last Thing You Said / Don’t Tie My Hands
10 – Birthday Carol

Todd Rundgren – Runt: The Ballad Of Todd Rundgren (1971/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 41:38 minutes | 969 MB
Studio Master, Official Digital Download | Artwork: Front cover

Upon its release, Rolling Stone called The Ballad of Todd Rundgren “the best album Paul McCartney” never made, and even if the album doesn’t sound particularly McCartney-esque, it does share the homespun, melodic charm of the best of his early albums. Arguably, it’s better than Paul’s solo work, since it is focused and subtle, never drawing attention to Rundgren’s considerable skills as a writer and producer. He tones down the hard rock and his impish wit, lending the album a sense of direction missing on Runt. That’s not to say he abandoned his sense of humor – as if the cover shot of Rundgren sitting at a piano with a noose around his neck left any doubt. This time around, it takes some careful listening to hear the jokes, such as the opening Floyd Cramer piano lick on “Range War.” On such clever in-jokes as “Chain Letter,” as well as ballads like “Hope I’m Around,” the artist reveals himself as an exceptional craftsman and songsmith. In fact, Ballad is considerably more song-oriented than its predecessor, with very little of the jams and instrumental sections that occasionally bogged down Runt. Here, even propulsive pop tunes such as “Bleeding” and “Long Flowing Robe,” along with the hard rocker “Parole,” are as much about the song as the performance, which is probably appropriate for an album called The Ballad of Todd Rundgren. Another thing about that title – it may be a joke, but the album inarguably offers a glimpse into Rundgren’s inner world through a combination of introspective ballads, off-hand jokes, musical virtuosity, outright weirdness, and unabashed showmanship. And that’s the charm of The Ballad – it’s the slyly sardonic masterwork of a loner who may be sensitive, but is certainly not shy.

Tracklist:
01 – Long Flowing Robe
02 – The Ballad (Denny And Jean)
03 – Bleeding
04 – Wailing Wall
05 – The Range War
06 – Chain Letter
07 – A Long Time, A Long Way To Go
08 – Boat On The Charles
09 – Be Nice To Me
10 – Hope I’m Around
11 – Parole
12 – Remember Me

Todd Rundgren – Something/Anything? (1972/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 89:25 minutes | 1,98 GB
Studio Master, Official Digital Download | Artwork: Front cover

After two albums, Todd Rundgren had one hit and a burgeoning cult following, plus growing respect as a hitmaking record producer. There’s no question he was busy, but as it turns out, all this work only scratched the surface of his ambition. He had decided to abandon the Runt pretense and recorded a full double album by himself (save for one side). Others had recorded one-man albums before, most notably Stevie Wonder and Paul McCartney, but Rundgren – without borrowing musically from either artist – captured the homemade ambience of McCartney with the visionary feel of Music of My Mind, adding an encyclopedic knowledge of pop music from Gilbert & Sullivan through Jimi Hendrix, plus the crazed zeal of a pioneer. Listening to Something/Anything? is a mind-altering trip in itself, no matter how many instantly memorable, shamelessly accessible pop songs are scattered throughout the album. Each side of the double album is a concept onto itself. The first side is “a bouquet of ear-catching melodies”; side two is “the cerebral side”; on side three “the kid gets heavy”; side four is his mock pop operetta, recorded with a full band including the Sales brothers. It gallops through everything – Carole King tributes (“I Saw the Light”), classic ballads (“Hello It’s Me,” “It Wouldn’t Have Made Any Difference”), Motown (“Wolfman Jack”), blinding power pop (“Couldn’t I Just Tell You”), psychedelic hard rock (“Black Maria”), pure weirdness (“I Went to the Mirror”), blue-eyed soul (“Dust in the Wind”), and scores of brilliant songs that don’t fall into any particular style (“Cold Morning Light,” “It Takes Two to Tango”). It’s an amazing journey that’s remarkably unpretentious. He may have contributed self-penned liner notes, but Rundgren peppers his writing with self-aware, self-deprecating asides, and he also indulges his bizarre sense of humor with gross-outs (“Piss Aaron”) and sheer quirkiness, such as an aural tour of the studio at the beginning of side two. Something/Anything? has a ton of loose ends throughout: plenty of studio tricks, slight songs (but no filler), snippets of dialogue, and purposely botched beginnings, but all these throwaways simply add context – they’re what makes the album into a kaleidoscopic odyssey through the mind of an insanely gifted pop music obsessive. Rundgren occasionally touched on the sheer brilliance of Something/Anything? in his later work, but this extraordinary double album is the one time where his classicist songcraft and messy genius converged to create an utterly unique, glorious record.

Tracklist:
01 – I Saw The Light
02 – It Wouldn’t Have Made Any Difference
03 – Wolfman Jack
04 – Cold Morning Light
05 – It Takes Two To Tango (This Is For The Girls)
06 – Sweeter Memories
07 – Intro
08 – Breathless
09 – The Night The Carousel Burned Down
10 – Saving Grace
11 – Marlene
12 – Song Of The Viking
13 – I Went To The Mirror
14 – Black Maria
15 – One More Day (One Word)
16 – Couldn’t I Just Tell You
17 – Torch Song
18 – Little Red Lights
19 – Overture – My Roots: Money (That’s What I Want) / Messin’ With The Kid
20 – Dust In The Wind
21 – Piss Aaron
22 – Hello It’s Me
23 – Some Folks Is Even Whiter Than Me
24 – You Left Me Sore
25 – Slut

Todd Rundgren – A Wizard, A True Star (1973/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 56:01 minutes | 1,25 GB
Studio Master, Official Digital Download | Artwork: Front cover

Something/Anything? proved that Todd Rundgren could write a pop classic as gracefully as any of his peers, but buried beneath the surface were signs that he would never be satisfied as merely a pop singer/songwriter. A close listen to the album reveals the eccentricities and restless spirit that surges to the forefront on its follow-up, A Wizard, A True Star. Anyone expecting the third record of Something/Anything?, filled with variations on “I Saw the Light” and “Hello It’s Me,” will be shocked by A Wizard. As much a mind-f*ck as an album, A Wizard, A True Star rarely breaks down to full-fledged songs, especially on the first side, where songs and melodies float in and out of a hazy post-psychedelic mist. Stylistically, there may not be much new – he touched on so many different bases on Something/Anything? that it’s hard to expand to new territory – but it’s all synthesized and assembled in fresh, strange ways. Often, it’s a jarring, disturbing listen, especially since Rundgren’s humor has turned bizarre and insular. It truly takes a concerted effort on the part of the listener to unravel the record, since Rundgren makes no concessions – not only does the soul medley jerk in unpredictable ways, but the anthemic closer, “Just One Victory,” is layered with so many overdubs that it’s hard to hear its moving melody unless you pay attention. And that’s the key to understanding A Wizard, A True Star – it’s one of those rare rock albums that demands full attention and, depending on your own vantage, it may even reward such close listening.

Tracklist:
01 – International Feel
02 – Never Never Land
03 – Tic Tic Tic It Wears Off
04 – You Need Your Head
05 – Rock And Roll Pussy
06 – Dogfight Giggle
07 – You Don’t Have To Camp Around
08 – Flamingo
09 – Zen Archer
10 – Just Another Onionhead / DaDa Dali
11 – When The Shit Hits The Fan / Sunset Blvd
12 – Le Feel Internacionale
13 – Sometimes I Don’t Know What To Feel
14 – Does Anybody Love You?
15 – Medley: I’m So Proud / Ooh Baby Baby / La La Means I Love You / Cool Jerk
16 – Hungry For Love
17 – I Don’t Want To Tie You Down
18 – Is It My Name?
19 – Just One Victory

Todd Rundgren – Todd (1974/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 66:51 minutes | 1,45 GB
Studio Master, Official Digital Download | Artwork: Front cover

1974’s TODD was a departure for Todd Rundgren. After a series of one-man-band albums highlighted by the classic SOMETHING/ANYTHING?, he’d allowed a few other musicians onto this effort’s immediate predecessor, A WIZARD A TRUE STAR. TODD goes one step further here by incorporating a full band, and the difference between this and Rundgren’s streamlined, early records is startling. The songs are lushly orchestrated, with a full Philly-soul-styled horn section led by the legendary Brecker brothers on several tracks. The double-album length gave Rundgren the license he needed to stretch out compositionally and instrumentally.

Tracklist:
01 – How About A Little Fanfare?
02 – I Think You Know
03 – The Spark Of Life
04 – An Elpee’s Worth Of Toons
05 – A Dream Goes On Forever
06 – Lord Chancellor’s Nightmare Song
07 – Drunken Blue Rooster
08 – The Last Ride
09 – Everybody’s Going To Heaven / King Kong Reggae
10 – No. 1 Lowest Common Denominator
11 – Useless Begging
12 – Sidewalk Cafe
13 – Izzat Love?
14 – Heavy Metal Kids
15 – In And Out The Chakras We Go (Formerly: Shaft Goes To Outer Space)
16 – Don’t You Ever Learn?
17 – Sons Of 1984

Todd Rundgren – Initiation (1975/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 67:22 minutes | 1,47 GB
Studio Master, Official Digital Download | Artwork: Front cover

Returning to solo recording almost immediately after forming Utopia, Todd Rundgren continued with the synth-heavy prog rock he pioneered with Todd Rundgren’s Utopia on Initiation. The differences immediately resonate with “Real Man,” a terrific song that encapsulates not only his newfound fondness for electronics, but also his burgeoning spirituality and his knack for pop craft. “Real Man” is so good, it’s tempting to believe that the remainder of Initiation will follow in the same direction, resulting in an inspired, truly progressive fusion of classic Rundgren and synthesizers. As soon as the second track, an a cappella vocoder opus called “Born to Synthesize,” it’s clear that Rundgren has no intention of following that path, choosing to push the limits of synth technology and recorded music instead of constructing an album. Initiation suffers accordingly. At times, particularly on the first, song-oriented side, it is pretty intriguing, but too often, the results are simply frustrating because it doesn’t go anywhere. That’s particularly true with “A Treatise on Cosmic Fire,” a half-hour “suite” that comprises all of side two and doesn’t really go anywhere, despite hitting many stops along the way. It’s enough to erase the memory of “Real Man,” “Eastern Intrigue” and “Initiation,” the moments where it all comes together on the first half of the record, but another spin of the first side reveals that Rundgren could have made Initiation something special if he had the discipline.

Tracklist:
01 – Real Man
02 – Born To Synthesize
03 – The Death Of Rock And Roll
04 – Eastern Intrigue
05 – Initiation
06 – Fair Warning
07 – A Treatise On Cosmic Fire Part 1
08 – A Treatise On Cosmic Fire Part 2
09 – A Treatise On Cosmic Fire Part 3
10 – A Treatise On Cosmic Fire Part 4

Todd Rundgren – Faithful (1976/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 50:18 minutes | 1,11 GB
Studio Master, Official Digital Download | Artwork: Front cover

Todd Rundgren considered 1966 the beginning of his professional musical career, largely because the Nazz formed around that time. As a celebration, he recorded Faithful. Presumably, Faithful celebrates the past and the future by juxtaposing a side of original pop material with a side of covers. Actually, “covers” isn’t accurate – the six oldies that comprise the entirety of side one are re-creations, with Rundgren “faithfully” replicating the sound and feel of the Yardbirds (“Happenings Ten Years Time Ago”), Bob Dylan (“Most Likely You Go Your Way and I’ll Go Mine”), Jimi Hendrix (“If Six Was Nine”), the Beach Boys (“Good Vibrations”) and the Beatles “(“Rain,” “Strawberry Fields Forever”). All of this is entertaining, to a certain extent, especially since it’s remarkable how close Rundgren comes to duplicating the very feel of the originals. Still, it’s hard to see it as much more than a flamboyant throwaway, especially when compared with the glorious second side. For the first time since Something/Anything?, Rundgren allows himself to write and – more importantly – record straight-ahead pop songs. Certainly, A Wizard, A True Star, Todd and Initiation had their share of great songs, but they weren’t delivered as pop songs; they were telegraphed as art. Here, Rundgren delivers pop and rock songs with ease, letting the melodies glide to the forefront. There are embellishments, of course, but the end result is a lushness that’s apparent even on the hard rockers. If Rundgren had made all of Faithful originals, it would have been a pure pop masterpiece. As it stands, it’s essential for the faithful – not only for hardcore Toddheads, but for devoted pop fans as well.

Tracklist:
01 – Happenings Ten Years Time Ago
02 – Good Vibrations
03 – Rain
04 – Most Likely You Go Your Way (And I’ll Go Mine)
05 – If Six Was Nine
06 – Strawberry Fields Forever
07 – Black And White
08 – Love Of The Common Man
09 – When I Pray
10 – Cliché
11 – The Verb “To Love”
12 – Boogies (Hamburger Hell)

Todd Rundgren – Hermit Of Mink Hollow (1978/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 35:21 minutes | 794 MB
Studio Master, Official Digital Download | Artwork: Front cover

Over the course of 1977, Todd Rundgren moved Utopia toward a more pop-oriented direction, winding up with the slick mainstream arena rock of Oops! Wrong Planet. With that in mind, it makes sense that The Hermit of Mink Hollow – his first full-fledged solo album since Initiation, if you discount the half-cover/half-original Faithful – finds Rundgren in his pop craftsman persona. The difference is, he’s heartbroken. His relationship with Bebe Buell collapsed during 1977 and it’s clear that the separation has pained him, since pain and melancholy underpin the album, whether it’s on ballads (“Can We Still Be Friends”) or on apparently joyous revelries, like “All the Children Sing.” That said, this is a Rundgren solo album and he has not abandoned his trademarks, which means that the lush ballads are paired with novelties (“Onomatopoeia,” which sounds exactly how you hope it does), ersatz soul (“You Cried Wolf”), and pure pop (“Hurting for You”). Hermit is also the first record Rundgren recorded completely alone since Something/Anything? Where that record sounded like the inner workings of a madman, with each song providing no indication what the next would sound like, Hermit is more cohesive. It also feels less brilliant, even if it is, in many ways, nearly as excellent as Rundgren’s masterwork, mainly because it doesn’t have such a wide scope. Still, the reason The Hermit of Mink Hollow is such a milestone in Rundgren’s career is because it’s a small album, filled with details, and easily the most emotional record he made.

Tracklist:
01 – All The Children Sing
02 – Can We Still Be Friends?
03 – Hurting For You
04 – Too Far Gone
05 – Onomatopoeia
06 – Determination
07 – Bread
08 – Bag Lady
09 – You Cried Wolf
10 – Lucky Guy
11 – Out Of Control
12 – Fade Away

Download:

mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part01.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part02.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part03.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part04.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part05.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part06.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part07.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part08.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part09.rar
mqs.link_TddRundgrenThe70sCllectin2015HRA2496.part10.rar

David Friedman – Weaving Through Motion (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 00:57:33 minutes | 488 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | @ Traumton Records

An absorbing solo vibraphone session from jazz vet David Friedman, who went twenty years since his last solo outing.  His newest, Weaving Through Motion, is likely to lead to some regret that he doesn’t do the solo thing a bit more often.  Along with a bunch of Friedman originals, there are four covers, including Monk’s “‘Round Midnight” and Michael Legrand’s “The Windmills of Your Mind.”  Just a real intimate, patient set of tunes that gives the listener the sense that they are there in the room as Friedman works through his ideas.

Some notable tracks:  “Turn Left” has the dreamy, uneasy stillness of the darkness just before sunrise.  At the other end of the spectrum, “Ona” is all bright eyes and optimism, cheerily rattling of sunny statements.  In like fashion, he takes “Almost Blue” for a spin with a pop music enthusiasm and hammers home the song’s catchy melody with an infectious exuberance.  And though he references a classic-turned-prog-rock band on “No (Changes) – With Compliments to the Band ‘Yes’,” the mesmerizing rhythmic attack is more akin to the Krautrock school of ambient music, ala Cluster.

Tracklist:
1. Turn Left 06:36
2. Two Minds, One Thought 04:48
3. ‘Round Midnight 04:52
4. Confession 03:20
5. Ona 04:21
6. Almost Blue 04:14
7. No (Changes) – With compliments to the band ‘Yes’ 02:31
8. Álom 05:16
9. Batuna 05:59
10. The Guilded Cage 03:50
11. The Windmills Of Your Mind 07:22
12. Waltz For Hannah 04:50

Personnel:
David Friedman: Vibraphon, Marimba

Download:

mqs.link_DavidFriedmanWeavingThrughMtin201444.124.rar

David Garrett – Explosive (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 49:54 minutes | 834 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | @ Decca Records

Combining his virtuosic playing with electronic beats, David transforms hit songs by Ed Sheeran, Eminem, David Guetta and Metallica into powerful new instrumental tracks, full of excitement and vitality. For the first time, this album is dominated by David’s own original compositions, plus popular classical tunes. Many of the tracks are infused with high-spirited, upbeat rhythms – “I think that is what the album is all about”, says David, “a fun, positive, high-energy record.”

Dear friends, After two classical albums I am so excited to finally release my new crossover record, Explosive. I have had a lot of time to think about what direction I wanted to take; I’ve had the luxury to create something without any guidelines, but of course that also brings a responsibility to deliver something exciting. For me, it was very important to introduce my fans more and more to my own compositions. Eleven original pieces are on this album and I have to say it feels great to finally show that side of me. Having artists like Nicole Scherzinger and Xavier Naidoo sing my songs is a dream come true – I still can’t believe it! Of course I am a bit anxious to see what you guys will think. Hopefully you will enjoy this album as much as I had fun writing, producing and recording it. –Sincerely, David

Tracklist:
1. Dangerous 03:54
2. Explosive 03:33
3. Serenity (feat. Nicole Scherzinger) 03:43
4. Lose Yourself 03:06
5. Adventure Island 02:45
6. Midnight Waltz 03:08
7. How Many Times (feat. Xavier Naidoo) 03:22
8. Unlimited Symphony 03:13
9. They Don’t Care About Us (feat. Valentina Babor) 03:41
10. Thinking Out Loud 03:43
11. Innovation 02:57
12. Ritmo Español 02:56
13. Baboushka 03:18
14. Baroque Fantasy 03:13
15. Furious 03:22
16. Wrecking Ball 03:45
17. Fuel 03:49
18. Melancholia 03:10
19. O Fortuna (feat. Cantus Domus) 03:57
20. Serenity (Instrumental) 03:43
21. Explosive (Backing track) 03:34

Personnel:
David Garrett, violin
Royal Philharmonic Orchestra
Franck Van der Heijden, conductor

Download:

mqs.link_DavidGarrettExplsive2015HDTracks24441.rar

David Helbock Trio – Aural Colors (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 00:49:51 minutes | 522 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | @ Traumton Records

“…The David Helbock Trio is full of tricks…But this isn´t really a gimmicky show. In fact, when Helbock shifts from frantic virtuosity to lyrical expansiveness the true mettle of his technique and musicality can be seen…”

David Washington – InDaily Australia

The set-up here is letter perfect for what’s being done: just piano, bass (and occasional ukelele…!), and drums, allowing tons of space for the trinity to get their groove on while sitting vividly in wide open spaces (Marton Offik engineered the gig like a Kurosawa movie, simultaneously open to the skies while so compressed so that not a note is a micron out of focus). Yellow Meets Red opens the date and is a constantly moving signature, piano dominant but with a upwelling bass going almost solo athwart ceaseless drumwork…and, man, that ending! Then comes the Schoenberg Meets Kandinsky Suite (though the CD cover actually more indicates Mondrian in a color wheel, as does the angularity of the music) in three movements, a good deal more fragmentary yet always mindful of the melody, as abstract as even that is.

Op. 19, No. 3 contains marvelous, even daring, negative spaces within a cerebrally loungey ambience you’d never have heard from Schoenberg’s pen, yet Helbock knows just what he’s doing, a prolific and depth-oriented composer (he published a 600-page book of music and in 2009 wrote a song a day), and so he carries things over to the next movement, albeit a bit more meatily and with sass. The main voice throughout of course is Helbock’s, and the guy’s inventive as hell, but Raphael Preuschl (bass) and Herbert Pirker (drums) were well appointed, their work more like two painters constantly limning in the dimensions surrounding the main man.

Aural Colors is jazz, avant-garde, neoclassical, serial caprriccio, and maybe even an unidentifiable mode or two, all in one, Virus Ukelelen Song a spirited example, Preuschl sounding like Percy Jones as Helbock meanders all over the place, Pirker keeping everything centered in a home environment they always return to. AM – Anonymous Monkaholics is just as delirious’ as it should be, given the hilarious title, but with a broad humor to it. I suspect the ensemble had the most fun with this one, they couldn’t help but!, as it blends carny sideshow with midway promenade and speakeasy antics, even flashes of Guaraldi. There’s a lot to hear here, so I suggest you dig a trench, hunker down, and let everything wash over you. It’s not like you have a choice, these guys are in control.

Tracklist:
1. Yellow meets Red 6:36
2. Sechs kleine Klavierstücke op.19, Nr. IV 3:25
3. Sechs kleine Klavierstücke op. 19, Nr. III 4:06
4. Sechs kleine Klavierstücke op. 19, Nr. II 4:53
5. Öpfili, bist so kugelrund 5:48
6. Intro to the Myths 2:44
7. Horus and Jesus 6:45
8. AM – Anonymous Monkaholics 4:02
9. Virus Ukulelen Song 3:06
10. Healing Colors 4:20
11. Para Hermeto 4:49

Personnel:
David Helbock: piano
Raphael Preuschl: bass, ukulele
Herbert Pirker: drums

Download:

mqs.link_DavidHelbckTriAuralClrs201544.124.rar

Dominique Pifarély – Time Before And Time After (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:03:08 minutes | 1,08 GB | Genre:Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital booklet | @ ECM

French violinist Dominique Pifarély – last heard on ECM a decade ago on Stefano Battaglia’s Re: Pasolini – returns to the label with an outstanding solo violin recital, drawn from performances at the Auditorium Saint-Germain in Poitiers and Cave Dimière in Argenteuil. The music is totally improvised – apart from a free interpretation of the jazz standard “My Foolish Heart” by Victor Young – and it roves through a range of moods and atmospheres, textures and tone colours, dynamically and unpredictably.

Tracklist:
01 – Sur terre (Live At Cave Dimière, Argenteuil/2013)
02 – Meu Ser Elástico (Live At Auditorium Saint-Germain, Poitiers/2012)
03 – L’air soudain (Live At Auditorium Saint-Germain, Poitiers/2012)
04 – D’une main distraite (Live At Cave Dimière, Argenteuil/2013)
05 – Avant le regard (Live At Cave Dimière, Argenteuil/2013)
06 – Gegenlicht (Live At Auditorium Saint-Germain, Poitiers/2012)
07 – Violín Y Otras Cuestiones (Live At Auditorium Saint-Germain, Poitiers/2012)
08 – L’oubli (Live At Auditorium Saint-Germain, Poitiers/2012)
09 – My Foolish Heart (Live At Cave Dimière, Argenteuil/2013)

Download:

mqs.link_DminiquePifarelyTimeBefreAndTimeAfter2015Qbuz24882.part1.rar
mqs.link_DminiquePifarelyTimeBefreAndTimeAfter2015Qbuz24882.part2.rar

Douglas Knehans – Concertos – Bohuslav Martinu Philharmonic Orchestra, Christopher Lyndon Gee, Brno Philharmonic Orchestra, Mikel Toms (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:02:07 minutes | 581 MB  | Genre: Classical
Studio Master, Official Digital Download  | Source: ProStudioMasters | @ Ablaze Records

Concertos is a disc that I and all of the artists featured on it have been working on for years. Initial recording took place in 2011 in Zlin, Czech Republic with the Bohuslav Martinu Philharmonic. Some years separted these recordings and the more recent ones from Brno with the superb Brno Philharmonic orchestra and Mikel Toms.
The works on this disc span a period of about eight years of my creative life and move between dramatic and assertive music to music marked by fragility, tenderness and emotion. The performances are uniformly excellent and the audio quality is something about which we are proud!
For your consideration—please do think of this terrific disc when nominating season comes around!!

Tracklist:
Douglas Knehans (b.1957)
1 Cello Concerto No. 1 “Soar” 14:12
2 Drift 10:36
3 …Mist, Memory, Shadow… 10:16
4 Cascade: I. Drift Echo 9:56
5 Cascade: II. Wave 9:51
6 Cascade: III. Torrent 7:16

Personnel:
Bohuslav Martinů Philharmonic Orchestra
Dora Bratchkova, Violin
Jiří Hošek, Cello
Christopher Lyndon Gee, Conductor
Brno Philharmonic Orchestra
Vladislav Borovka, Oboe
Mikel Toms, Conductor

Download:

mqs.link_DuglasKnehansCncertsBhuslavMartinPhilrchBrnPhilrch201544.124.rar

Antonin Dvorak – Piano Concerto – Sviatoslav Richter, Bayerisches Staatsorchester, Carlos Kleiber (1976/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 38:26 minutes | 646 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | @ Warner Classics/Erato
Recorded: 06/1976, Bürgerbräukeller, Munich, Germany

Legendary pianist Sviatoslav Richter delivers a compelling and lyrically-beautiful performance of Dvorak’s Piano Concerto. Richter’s playing is filled with passion and empathy. His triumphant effort is supported by Carlos Kleiber leading the Bayerisches Staatsorchester. The enchanting album is one of the finest displays of virtuosity.

Tracklist:
Antonín Dvořák (1841–1904)
Piano Concerto in G Minor, Op.33
1 I. Allegro agitato 18:29
2 II. Andante sostenuto 8:52
3 III. Allegro con fuoco 11:05

Personnel:
Sviatoslav Richter, piano
Bayerisches Staatsorchester
Carlos Kleiber, conductor

About the Mastering
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI’s archive in London and comparing different sources and any previous CD reissues. We consult each recording’s job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.
In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.
Simon Gibson, January 2012

Download:

mqs.link_DvkPianCncertSviatslavRichterBayerischesStaatsrchesterCarlsKleiber19769624.rar

Anton Dvorak – String Quartets No.10 & 11 – Quatuor Talich (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:09:49 minutes | 636 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | @ La Dolce Volta

In 1975 Paris discovered the four Czech musicians of the Talich Quartet and was dumbfounded by the depth of their harmony and the reach of their melody. The first recording followed a year later. The subject was Antonín Dvorák, the object the ‘American’ Quartet. An interpretation that has become legendary … Since then, the Talich Quartet has been characterised, both in record and in concert and through all its changes in personnel, by a specific tone, a particular sonority that has always riveted the attention. Now, with its poetic playing, its subtle, tender lyricism, the group returns at last to Dvorák with the Quartets nos.10 and 11. In their time, these two works enjoyed genuine popular success. They were played all over Europe, and gained Dvorák a reputation as one of the most important chamber music composers of his day. The Talich Quartet offers us here a chance to discover and appreciate these two masterpieces that have been unfairly overshadowed by the fame of the ‘American’ Quartet.

There are numerous fine renderings of the complete Beethoven Quartets in the catalogue, ranging from the treasured old Budapest Quartet recordings still awaiting reissue from Sony (if that company ever recovers from its delusion that we’re all waiting for more crossover dreck), the sleek Alban Berg on EMI, the dramatic Emersons on Deutsche Grammophon, the warm probings of the Italiano on Philips, and the ripely humane Vegh on Valois. Is there room for another? You bet, if it’s as profound and as well-played and recorded as this one from the Talich Quartet. That goes double if, as Calliope has done, those top-drawer performances are issued at the bargain price of seven CDs for the price of three.
The Talich traversal of the Beethovens originally came out in the dying days of analogue. I loved them then and I love them even more in their CD incarnation, which adds transparency and bite to sound that always was clear and impactful. The Talich’s virtues are many: they’re as technically adept as any of their rivals; they subordinate flashy virtuosity to the music’s meaning; they have a beautifully blended tone, with sonorities built up from the bottom; inner lines are always carefully delineated so the balances are never tilted toward the first violin; rhythms are flowing; and attacks are firm without being aggressive. Their concentration is outstanding too, so even at a slow pace the middle section of the Grosse Fugue never lapses into torpor, while the intensity of Op. 59 No. 1 never flags. The ensemble’s use of color for expressive effect heightens the eloquence of the late quartets, which are the highlights of the set thanks to the Talich’s searching interpretations and stylistic integrity.
If there’s a weakness here it’s in the slightly laid-back approach that misses the wit of the Op. 18 quartets and occasionally–only occasionally–induces a feeling that a bit more muscle would be welcome. But such flaws, if that’s what they are, are inconsequential given the Talich’s overall achievement. –Dan Davis, ClassicsToday

Tracklist:
Antonín Dvořák (1841-1904)
String Quartet no.10 in E flat major, op.51
1. I. Allegro, ma non troppo 14:33
2. II. Dumka. Andante con moto 07:20
3. III. Romanza 08:07
4. IV. Finale. Allegro assai 08:05
String Quartet no.11 in C major, op.61
5. I. Allegro 10:55
6. II. Poco adagio e molto cantabile 07:05
7. III. Scherzo. Allegro vivo 06:56
8. IV. Finale. Vivace 06:48

Talich Quartet:
Jan Talich, violin
Roman Patocka, violin
Vladimír Bukac, viola
Petr Prause, cello

Download:

mqs.link_DvkStringQuartetsN.1011QuaturTalich201544.124.rar

Dvorak & Lalo – Cello Concertos – Johannes Moser, PKF-Prague Philharmonia, Jakub Hrusa (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:19 minutes | 1,1 GB | Genre: Classical
Studio Master, Official Digital Download – Source: highresaudio.com | @ Pentatone Music B.V.
Recorded: Forum Karlín in Prague, Czech Republic in January 2015

German-Canadian international soloist Johannes Moser recently signed an exclusive recording contract with PENTATONE. He regularly performs with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Chicago Symphony, London Symphony, Royal Concertgebouw, NHK Symphony, Philadelphia and Cleveland Orchestras as well as the leading conductors of our time including Mariss Jansons, Valery Gergiev, Zubin Mehta and Gustavo Dudamel. He has received many accolades for his recordings including two ECHO Klassik awards as well as the Preis der Deutschen Schallplattenkritik.
For his debut album with PENTATONE Johannes chose to record the pinnacle of the repertoire for cello and orchestra, the concerto by Antonín Dvořák. In this monumental work Dvořák explores the entire spectrum of human emotion, very much inspired by his own experiences, ranging from exhilarating bursts of life in New York City to the devastating tragedy of his unfulfilled love.
In preparation for the recording, made with the PKF – Prague Philharmonia, Johannes Moser and conductor Jakub Hrůša had Dvořák’s own manuscript at hand in order to come closer to the composer’s intention rather than relying on unquestioned traditions and acquired habits, while paying tribute to the concerto’s nickname, “Dvořák’s 10th Symphony”.
Moser completes his debut album with the Cello Concerto by Édouard Lalo. It is a work of great verve which fully embodies Spanish flair combined with romantic spirit.
Besides being staples of the Romantic cello repertoire the two works have a lot in common. Johannes Moser says about the two concerti: “The unifying motif between these two Cello Concertos is a sense of yearning: From America, Dvořák yearned for his homeland and an unfulfilled love, whereas Lalo yearned for the typically Spanish flair and the Mediterranean temperament”.

Tracklist:
Antonín Dvořák (1841-1904)
Cello Concerto in B minor, Op. 104
1. I. Allegro 14:50
2. II. Adagio ma non troppo 11:26
3. III. Finale: Allegro moderato 12:28
Édouard Lalo (1823-1892)
Cello Concerto in D minor
4. I. Prelude: Lento – Allegro maestoso 13:04
5. II. Intermezzo: Andantino con moto 05:54
6. III. Introduction: Andante – Allegro vivace 07:37

Personnel:
Johannes Moser, cello
PKF-Prague Philharmonia
Jakub Hrůša, conductor

Download:

mqs.link_DvkLalCellCncertsJhannesMserPKFPraguePhilharmniaJakubHra20159624.part1.rar
mqs.link_DvkLalCellCncertsJhannesMserPKFPraguePhilharmniaJakubHra20159624.part2.rar

Released at: 2016-08-17
Label :Astro Voice
Catalog: AZCS-2054

http://ototoy.jp/_/default/p/65167

シンガー・ソングライターの“タカオユキ”とイラストレーターの“ちゃもーい”からなる目と耳から刺激する新世代視聴覚ユニット、みみめめMIMIの2016年7月放送のTVアニメ『甘々と稲妻』オープニング・テーマを収録したシングル。当たり前の幸せに気づいていく冒険をテーマにしたポップソング。前作「チャチャチャ」に続きSEKAI NO OWARI、ゆずのプロデューサーであるCHRYSANTHEMUM BRIDGEがアレンジおよびサウンドプロデュースを担当。

収録曲

1. 晴レ晴レファンファーレ 03:38
2. 1メートル 03:45
3. CANDY MAGIC〜Piano Live Version〜 05:57
4. 晴レ晴レファンファーレ (instrumental) 03:38
4. 1メートル (instrumental) 03:45

WAV

mqs.link_MIMIWAV24bit48kHz.rar

FLAC

mqs.link_MIMIFLAC24bit48kHz.rar

レーベル FlyingDog
配信開始日 2014.08.06
収録曲数 全15曲
販売データ ハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000005/VTCL-60213_F/

1999年12月16日にCDリリースされたシングルコレクションアルバムの1作目。菅野よう子プロデュース。デビュー曲「約束はいらない」から大ヒット曲「奇跡の海」、 「プラチナ」、ライブの定番曲「ポケットを空にして」等、ファンならずとも楽しめる 名曲、ヒット曲のオンパレード。

本作品は16bit/44.1kHzのマスター音源をビクタースタジオ FLAIRが有するオリジナル技術『K2HDプロセッシング』を用いハイレゾ化した作品となります。

収録曲

1 – 約束はいらない 03:35
2 – ともだち 03:41
3 – ボクらの歴史 04:21
4 – Gift 05:48
5 – 君に会いにいこう 05:14
6 – 光の中へ 04:40
7 – Light of love 07:54
8 – 奇跡の海 04:09
9 – Active Heart 04:15
10 – パイロット 03:55
11 – プラチナ 04:11
12 – 24 ｛24＝twenty-four｝ 04:49
13 – 恋人について 04:22
14 – ポケットを空にして 04:08
15 – CALL YOUR NAME 04:17

Download:

mqs.link_SingleCllectinHtchptch.part1.rar
mqs.link_SingleCllectinHtchptch.part2.rar
mqs.link_SingleCllectinHtchptch.part3.rar

レーベル avex trax
配信開始日 2016.02.03
収録曲数 全13曲
販売データ ハイレゾ｜FLAC｜48.0kHz/24bit

http://mora.jp/package/43000002/ANTCD-17177_F/

大塚 愛のシングルヒット曲を多数収録したベストアルバム「愛 am BEST」が遂にハイレゾ配信開始！
「さくらんぼ」「プラネタリウム」「SMILY」といった大塚 愛の代表曲ばかりが並ぶ2007年リリースのベストアルバム第1弾。
今回はハイレゾ配信にあたり、オリジナルマスターを使用して大塚 愛本人が全曲リマスタリングを監修。作り手として”今、聴かせたい音”にこだわった、新しい作品に仕上がっています！
更にハイレゾ配信限定で、もう一つのベストアルバム「LOVE is BEST」とのセット販売も実施！
生まれ変わった2大ベストアルバムを高音質でお楽しみください！

マスタリングスタジオ：form THE MASTER
マスタリングエンジニア：小柳令奈
ハイレゾスペック：48kHz/24bit

収録曲

1 – 桃ノ花ビラ 04:52
2 – さくらんぼ 03:53
3 – 甘えんぼ 04:12
4 – Happy Days 03:43
5 – 金魚花火 04:32
6 – 大好きだよ。 04:42
7 – 黒毛和牛上塩タン焼680円 03:51
8 – Cherish 04:47
9 – SMILY 03:30
10 – ビー玉 04:02
11 – ネコに風船 05:10
12 – プラネタリウム 05:07
13 – LOVE MUSiC 04:29

Download:

mqs.link_amBEST.rar

レーベル Sony Music Labels Inc.
配信開始日 2016.09.07
収録曲数 全5曲
販売データ ハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000001/4547366271621/

2013年アルバム『実』、2014年ミニ・アルバム『色』に続いて久々に放たれる作品は初のシングル！

収録曲

1 – 宝物 04:52
2 – 炎 05:09
3 – とうめいなうた（Live at Shibuya WWW） 05:28
4 – 宝物（Live at Shibuya WWW） 04:58
5 – スタートライン（Live at Shibuya WWW） 05:40

Download:

mqs.link_CmpleteEditin.rar

2015年10月にアルバム 『4 Walls』 で韓国にて華麗なカムバックを果たしたクリスタル(Krystal)、ビクトリア(Victoria)、ルナ(Luna)、エンバ(Amber) の多国籍メンバー4人で構成されたf(x)。

2016年2月20日より開催される、f(x)としては初のJAPAN TOUR『f(x) the 1st concert DIMENSION 4 – Docking Station in JAPAN』 が早くも映像作品化決定!!’

曲目リスト

ディスク：1
1. Intro
2. Electric Shock
3. Red Light
4. Dangerous
5. Dracula
6. Gangsta Boy
7. Toy
8. LA chA TA
9. Me+U
10. Pinocchio
11. Beautiful Goodbye
12. Sorry
13. Shadow
14. Sweet Witches
15. Milk
16. Ice Cream
17. NU ABO
18. Traveler
19. Zig Zag
20. Airplane
21. Jet
22. Beautiful Stranger
23. Rainbow
24. Pretty Girl
25. Diamond
26. Rum Pum Pum Pum
27. Step(+SHAKE THAT BRASS)
28. 4 Walls
29. Papi
30. Deja Vu
31. Rude Love
32. Cash Me Out

ディスク：2
1. So into U -ENCORE-
2. Hot Summer -ENCORE-
3. Ending Page -ENCORE-
4. f(x) the 1st concert DIMENSION 4 – Docking Station Making Movie

f(x) The 1st Concert Dimension 4 Docking Station in Japan 2016 BluRay 1080p DD2.0 x264-HDH
RELEASE DATE....: 11/02/2016
THEATRE DATE....: 2016
iMDB URL........: N/A
iMDB RATiNG.....: N/A
GENRE...........: Music
SOURCE .........: f(x) the 1st concert DIMENSION 4 - Docking Station in JAPAN 2016 Bluray 1080P AVC LPCM 2.0 (thanks!)
ViDEO BiTRATE...: x264 L4.1 High CRF @ 11.4 Mbps
FRAME RATE......: 24.000 fps
AUDiO 1.........: Japanese DD 2.0 @ 448 Kbps
RUNTiME.........: 2:44:10 (h:m:s)
ASPECT RATiO....: 16 : 9
RESOLUTiON......: 1920 X 1080
SUBTiTLES.......: N/A
FilE SiZE.......: 13.8 GiB
ENCODER.........: HDH

Download:

fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part01.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part02.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part03.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part04.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part05.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part06.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part07.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part08.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part09.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part10.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part11.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part12.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part13.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part14.rar
fx.The.1st.Concert.Dimension.4.Docking.Station.in.Japan.2016.BluRay.1080p.DD5.1.x264-HDH.part15.rar

B.B. King – Live At The Regal (1965) [Japanese Limited SHM-SACD 2011 # UIGY-9062]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 34:52 minutes | Scans included | 1,41 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 724 MB

Features the 2011 DSD mastering based on the Japanese master. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players). DSD Transferred by Manabu Matsumura.

B.B. King is not only a timeless singer and guitarist, he’s also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader’s cues with almost telepathic accuracy. King’s voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of “How Blue Can You Get,” where the Chicago venue threatens to explode at King’s prompting. Of course, the master’s guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King’s lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues.

Tracklist:
01 – Every Day I Have The Blues
02 – Sweet Little Angel
03 – It’s My Own Fault
04 – How Blue Can You Get?
05 – Please Love Me
06 – You Upset Me Baby
07 – Worry, Worry
08 – Woke Up This Mornin’
09 – You Done Lost Your Good Thing Now
10 – Help The Poor

DSD Transferred from analogue master tapes by Manabu Matsumura (Universal Studio Mastering).

SACD ISO

mqs.link_B.B.KingLiveAtTheRegal1965Japan2011SHMSACDIS.part1.rar
mqs.link_B.B.KingLiveAtTheRegal1965Japan2011SHMSACDIS.part2.rar

FLAC 24bit/88,2kHz

mqs.link_B.B.KingLiveAtTheRegal1965Japan2011FLAC2488.2.rar

B.B. King – Live At The Regal (1965/2015)
FLAC (tracks) 24 bit/192kHz | Time – 35:06 minutes | 1,56 GB | Genre: Blues
Official Digital Download – Source: HDTracks | © Geffen Records

Live at the Regal is a live recording of legendary blues guitarist and vocalist B.B. King. The album was recorded November 21, 1964 and is considered one of the greatest blues albums ever recorded; reaching #141 on Rolling Stone Magazine’s list of 500 Greatest Albums of All Time. Live at the Regal was selected by the Library of Congress in 2005 for permanent preservation in the National Recording Registry.

B.B. King is not only a timeless singer and guitarist, he’s also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader’s cues with almost telepathic accuracy. King’s voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of “How Blue Can You Get,” where the Chicago venue threatens to explode at King’s prompting. Of course, the master’s guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King’s lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues.

Tracklist:
01 – Everyday I Have The Blues
02 – Sweet Little Angel
03 – It’s My Own Fault
04 – How Blue Can You Get?
05 – Please Love Me
06 – You Upset Me Baby
07 – Worry, Worry
08 – Woke Up This Mornin’
09 – You Done Lost Your Good Thing Now
10 – Help The Poor

Produced by Johnny Pate.
Mastering Engineer: Kevin Reeves @ 4th Floor Studios.

Musicians:
B.B. King – guitar, vocals
Leo Lauchie – bass
Duke Jethro – piano
Bobby Forte, Johnny Board – tenor saxophone
Sonny Freeman – drums

Download:

mqs.link_B.B.KingLiveAtTheRegal19652015HDTracks24192.part1.rar
mqs.link_B.B.KingLiveAtTheRegal19652015HDTracks24192.part2.rar

B.B. King – Blues Is King (1967/2015)
FLAC (tracks) 24 bit/96kHz | Time – 40:36 minutes | 430 MB | Genre: Blues
Official Digital Download – Source: HDTracks | © Geffen Records
Recorded Live At The International Club, Chicago 1966

By 1967, King had refined his singing and guitar style (which were always intertwined) to a fine point. What was just beginning to emerge during this period was King the showman, the singer with a story to tell his audience; sometimes a sad story, sometimes an angry one, occasionally even a downright mean one. Nowhere was this more apparent than in live performance. Here he’s captured in concert in Chicago, home of the blues and the ideal place to testify to the congregation. From “Tired of Your Jive” to “I Know What You’re Puttin’ Down” to the unequivocal “Baby Get Lost,” B.B. lets his audience in on the ups and downs of romance in no uncertain terms, both through his impassioned vocals and characteristically stinging guitar. The effect is both cathartic and awe-inspiring.

Tracklist:
1 Introduction 0:19
2 Waitin’ On You 2:29
3 Introduction 0:49
4 Gamblers’ Blues 5:12
5 Tired Of Your Jive 3:32
6 Night Life 4:48
7 Buzz Me 4:13
8 Don’t Answer The Door 4:10
9 Blind Love 3:33
10 I Know What You’re Puttin’ Down 3:36
11 Baby Get Lost 4:00
12 Gonna Keep On Loving You 3:46

Personnel:
Bass – Louis Satterfield
Drums – Sonny Freeman
Guitar, Vocals – B.B. King
Organ – Duke Jethro
Saxophone [Tenor] – Bobby Forte
Trumpet – Kenneth Sands

Download:

mqs.link_B.B.KingBluesIsKing19672015HDTracks2496.rar

B.B. King – Live In Cook County Jail (1971/2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 38:49 minutes | 975 MB | Genre: Blues
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Geffen Records
Recorded: September 10, 1970, Cook County Jail, Chicago, Illinois

One of the best live blues albums of all time from the spokesman of the Blues. The record spent three weeks at the top of the Souls Albums chart and is listed in Rolling Stone’s 500 Greatest Albums of All Time.

B.B. King has cut a lot of albums since the success of Live at the Regal. And, like the live shows they document, none of them are any less than solid and professional, hallmarks of King’s work aesthetic. But every so often B.B. truly catches fire; his playing and singing comes up an extra notch or two, and the result is a live album with some real sparks to it. Live in Cook County Jail is one of those great concerts that the record company was smart enough to be there to capture, documenting B.B. firing on all cylinders in front of an audience that’s just damn happy for him to be there. Possibly the best live version of “The Thrill Is Gone” of all its many incarnations, and rock solid renditions of classics like “Everyday I Have the Blues,” “How Blue Can You Get?,” “Sweet Sixteen” and a great medley of “3 O’Clock Blues” and “Darlin’ You Know I Love You.” Live at the Regal is still the champ of King’s live output, but many say this runs a close second, and they just may be right. –AllMusic Review by Cub Koda

Tracklist:
1 Introductions 1:51
2 Every Day I Have The Blues 1:42
3 How Blue Can You Get? 5:12
4 Worry, Worry 9:55
5 Medley: 3 O’Clock Blues / Darlin’ You Know I Love You 6:18
6 Sweet Sixteen 4:21
7 The Thrill Is Gone 6:19
8 Please Accept My Love 3:08

Personnel:
B.B. King – guitar, vocals
Wilbert Freeman – bass
Sonny Freeman – drums
John Browning – trumpet
Louis Hubert – tenor saxophone
Booker Walker – alto saxophone
Ron Levy – piano

Production:
Producer: Bill Szymczyk

Download:

mqs.link_B.B.KingLiveInCkCuntyJail19712015HDTracks2496.rar