MQS Albums Download

第2期fripSide 10周年イヤーに、6th ALBUMがリリース!
TVアニメ『寄宿学校のジュリエット』オープニングテーマ「Love with You」、
「Lighting of My Heart」(中国ゲーム《封印者M》主題歌)、
「perpetual wishes」(中国ゲーム「ラグナロクオンライン」新エピソードEP3.5「櫻之花嫁」テーマソング)を含む全13曲収録予定。

【収録曲】
1. when chance strikes
2. Love with You(TVアニメ『寄宿学校のジュリエット』オープニングテーマ)
3. perpetual wishes(中国ゲーム「ラグナロクオンライン」新エピソードEP3.5「櫻之花嫁」テーマソング)
4. rain of blossoms
5. lighting of my heart(中国ゲーム《封印者M》主題歌)
6. as before
7. light at the end
8. frosty breeze
9. change your core self
10. brand new world
11. endless entropy
12. glorious wind
13. believe in your future

＜初回限定盤 Blu-ray収録内容＞
・when chance strikes MV
・when chance strikes MV making
・SPOT
・Live映像　fripSide Concert Tour 2018-2019 -infinite synthesis 4-（2019/03/08（金）パシフィコ横浜国立大ホール）

WEB FLAC 24bit/96kHz

jpop.xyz_HiResfripSideinfinitesynthesis5FLAC96KHz24Bit.part1.rar
jpop.xyz_HiResfripSideinfinitesynthesis5FLAC96KHz24Bit.part2.rar

WEB MP3 320

jpop.xyz_fripSideinfinitesynthesis5320K.rar

Blu-ray ISO

Winrar Recovery Volumes
20191030fripside.part01.rev
20191030fripside.part02.rev
20191030fripside.part03.rev

產品名稱: 鄧麗君君之頌讚三島國之情歌 SACD Collection Box Set (8 SACD) (限量編號版)
歌手名稱: 鄧麗君 (歌手)
推出日期: 2019-06-14
語言: 國語
製作來源地: 中國香港
光碟格式: Super Audio CD
出品商: 環球唱片(香港)

Yesasia
https://ushop.umwebzine.com/7744824.html

《君之頌讚》Vol.3收錄了一代歌后鄧麗君從1976年至1992年間由寶麗金發行「島國之情歌」系列的《愛之世界》、《福建名曲專輯》、《淡淡幽情》、《鄧麗君15週年》、《償還》、《Teresa Teng Last Concert》、《我只在乎你》、《難忘的Teresa Teng》首度SACD化的八張原版經典專輯。每張CD設有獨立編號，連同產品証明書和全新設計海報，日本壓片，限量發行1,000套。

內容簡介／曲目
SACD Teresa Teng Box Collection 3
萬民頌讚鄧麗君．君之頌讚
8張極暢銷寶麗金原版專輯「SACD化」
原母帶製作．日本壓制SACD．終極高質
專紙印刷 hand made貴冑「重厚」外盒．
內裝8張獨立包裝SACD．
(外盒及8張SACD 每張均設有獨立編號) (Made in Japan)
全球限量印製獨立編號套裝1000盒
(LIMITED EDITION) 獨立編號證書

鄧麗君．君之頌讚三閃耀之傳記

(1) SACD 愛之世界 – 鄧麗君 7744825
1.Was Ich Dir Sagen Will 2.Jambalaya 3.The Way We Were 4.Una Sera Di Tokyo 5.My Way 6.Love Story
7.Tie A Yellow Ribbon Round The Old Oak Tree 8.You Don’t Have To Say You Love Me 9.Shuchaku Eki
10.Tombe La Neige 11.Killing Me Softly With His Song 12.Kokoro Moyou

(2) SACD 福建名曲專輯 – 鄧麗君 7744826
1.賣肉粽 2.望春風 3.三聲無奈 4.祖母的話 5.舊情綿綿 6.六月茉莉 7.安平追想曲 8.心酸酸
9.難忘的愛人 10.碎心戀 11.難忘初戀情人 12.雨夜花

(3) SACD 淡淡幽情 – 鄧麗君 7744828
1.獨上西樓【詞牌: 哀思】(南唐) 2.但願人長久【詞牌: 水調歌頭】(宋) 3.幾多愁【詞牌: 虞美人】(南唐) 4.芳草無情【詞牌: 蘇幕遮】(宋) 5.清夜悠悠【詞牌: 桃園憶故人】(宋)
6.有誰知我此時情【詞牌: 鷓鴣天】(宋) 7.臙脂淚【詞牌: 相見歡】(南唐)
8.萬葉千聲【詞牌: 玉樓春】(宋) 9.人約黃昏後【詞牌: 生查子】(宋)
10.相看淚眼【詞牌: 雨霖鈴】(宋) 11.欲說還休【詞牌: 醜奴兒】(宋) 12.思君【詞牌: 卜算子】(宋)

(4) SACD 鄧麗君15週年 (2CDs) 8897418
Disc 1 1.你可知道我愛誰 2.忘記他 3.在水一方 4.你怎麼說 5.月亮代表我的心
6.小城故事 [電影「小城故事」主題曲] 7.襟裳岬(日) 8.海韻 9.留不住你的心 10.一水隔天涯 11.小村之戀 12.千言萬語 13.夜來香 14.空港(日)
Disc 2 1.愛的你呀何處尋 2.何日君再來 3.漫步人生路 4.我和你 5.甜蜜蜜
6.水上人 [電影「馬騮過海」主題曲] 7.再見！我的愛人 8.心中喜歡就說愛 9.幾多愁 10.原鄉人 [電影「原鄉人」主題曲] 11.又見炊煙 12.淚的小雨 13.奈何 14.難忘的初戀情人 (福建版)

(5) SACD 償還 – 鄧麗君 8888919
1.償還 2.天外天上天無涯 3.失去的春天 4.冬之戀情 5.相愛如往昔
6.月夜訴情 7. 愛人 8.雪地上的回憶 9.不著痕跡 10.娘心 11.情人的關懷 12.如果沒有你

(6) SACD Teresa Teng Last Concert (2CDs) 7744835
Disc 1 1.オープニング～空港 2.メドレー~アカシアの夢～ 3.ふるさとはどこですか～ 4.女の生きがい～ 5.雪化粧～ 6.夜のフェリーボート 7.船歌 8.海韻 9.何日君再來 10.釜山港へ帰れ
11.浪花節だよ人生は 12.北国の春 13.夜來香
Disc 2 1.A Good Heart 2.Careless Whisper 3.The Power Of Love 4.I Just Called To Say I Love You 5.つぐない 6.乱されて 7.ミッドナイト・レクイエム 8.愛人 9.ノスタルジア 10.今でも…
11.アンコール～ジェルソミーナの歩いた道 12.リクエスト・コーナー~ a)梅花 b)漫步人生路(ひとり上手) c)東山飄雨西山晴 d)你怎麼說 13.愛人

(7) SACD 我只在乎你 – 鄧麗君 7744838
1.酒醉的探戈 2.像故事般溫柔 3.命運之川 4.愛人 5.午夜微風 6.夏日聖誕 7.非龍非彲
8.不著痕跡 9.心路過黃昏 10.我只在乎你

(8) SACD 難忘的Teresa Teng – 鄧麗君 7744839
1.莫忘今宵 2.人面桃花 3.海韻 4.甜蜜蜜 5.獨上西樓【詞牌: 哀思】(南唐) 6.愛人 7.何日君再來 8.小城故事 [電影「小城故事」主題曲] 9.償還 10.我只在乎你 11.月亮代表我的心 12.情人的關懷 13.冬之戀情 14.有誰知我此時情【詞牌: 鷓鴣天】(宋) 15.但願人長久【詞牌: 水調歌頭】(宋)

Download:

(1) SACD 愛之世界 – 鄧麗君 7744825

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC01SACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC01SACDIS.part2.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC01DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC01DSF.part2.rar

(2) SACD 福建名曲專輯 – 鄧麗君 7744826

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC02SACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC02SACDIS.part2.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC02DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC02DSF.part2.rar

(3) SACD 淡淡幽情 – 鄧麗君 7744828

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC03SACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC03SACDIS.part2.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC03DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC03DSF.part2.rar

(4) SACD 鄧麗君15週年 (2CDs) 8897418

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC040515SACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC040515SACDIS.part2.rar
mqs.link_TeresaTeng_SACD3_DISC040515SACDIS.part3.rar
mqs.link_TeresaTeng_SACD3_DISC040515SACDIS.part4.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC0415Disc1DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC0415Disc1DSF.part2.rar
mqs.link_TeresaTeng_SACD3_DISC0415Disc1DSF.part3.rar
mqs.link_TeresaTeng_SACD3_DISC0515Disc2DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC0515Disc2DSF.part2.rar

(5) SACD 償還 – 鄧麗君 8888919

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC06SACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC06SACDIS.part2.rar
mqs.link_TeresaTeng_SACD3_DISC06SACDIS.part3.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC06DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC06DSF.part2.rar
mqs.link_TeresaTeng_SACD3_DISC06DSF.part3.rar

(6) SACD Teresa Teng Last Concert (2CDs) 7744835

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC0708TeresaTengLastCncertSACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC0708TeresaTengLastCncertSACDIS.part2.rar
mqs.link_TeresaTeng_SACD3_DISC0708TeresaTengLastCncertSACDIS.part3.rar
mqs.link_TeresaTeng_SACD3_DISC0708TeresaTengLastCncertSACDIS.part4.rar
mqs.link_TeresaTeng_SACD3_DISC0708TeresaTengLastCncertSACDIS.part5.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC07TeresaTengLastCncertDisc1DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC07TeresaTengLastCncertDisc1DSF.part2.rar
mqs.link_TeresaTeng_SACD3_DISC08TeresaTengLastCncertDisc2DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC08TeresaTengLastCncertDisc2DSF.part2.rar
mqs.link_TeresaTeng_SACD3_DISC08TeresaTengLastCncertDisc2DSF.part3.rar

(7) SACD 我只在乎你 – 鄧麗君 7744838

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC09SACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC09SACDIS.part2.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC09DSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC09DSF.part2.rar

(8) SACD 難忘的Teresa Teng – 鄧麗君 7744839

SACD ISO

mqs.link_TeresaTeng_SACD3_DISC10TeresaTengSACDIS.part1.rar
mqs.link_TeresaTeng_SACD3_DISC10TeresaTengSACDIS.part2.rar
mqs.link_TeresaTeng_SACD3_DISC10TeresaTengSACDIS.part3.rar

SACD DSF

mqs.link_TeresaTeng_SACD3_DISC10TeresaTengDSF.part1.rar
mqs.link_TeresaTeng_SACD3_DISC10TeresaTengDSF.part2.rar
mqs.link_TeresaTeng_SACD3_DISC10TeresaTengDSF.part3.rar

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

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

Desperate times call for dazzling records. Released on Ruf in September 2016, Devon Allman’s Ride Or Die acknowledges that life on Planet Earth is no picnic. On the flipside, this third solo album from one of America’s best modern writers reminds us there’s always hope. “The world is getting crazier by the minute,” says Allman. “These songs are about pain, addiction, storms, lust, death, and feeling sometimes that you’re utterly lost. But conversely, it’s about finding your place in the universe, rebirth, strength, redemption, vindication…”

Allman has walked many roads to earn his place at the head of the Southern rock scene. Followers of the US bandleader’s thrilling two-decade career have come to expect the unexpected, from his post-millennial breakout with Honeytribe, through chart-topping hook-ups with Jack Bruce and Javier Vargas, to acclaimed solo albums like 2013’s Turquoise and 2014’s Ragged & Dirty (praised by the UK’s Blues Magazine as “reminding you why the blues can be, quite simply, the best thing in the world”).

When the vocalist/guitarist parted ways with Royal Southern Brotherhood in 2014 – having played a pivotal role in the supergroup’s all-conquering early material – there was an audible gasp around the world. Thankfully, one spin of Ride Or Die vindicates Allman’s bold step into the unknown. “I needed to have my own canvas,” he explains, “to stretch out and paint on with no rules, only my visions. Freedom in artistry is essential. Who stands behind a painter and says, ‘Hmmm, no, maybe you should use blue there, not purple’? That’s not anyone I wanna have coffee with!”

Recorded at Nashville’s Sound Stage Studios and Switchyard Studios in May, Ride Or Die found Allman in good company, with the bandleader guiding the core lineup of Tom Hambridge (drums/co-production), Tyler Stokes (guitars) and Steve Duerst (bass) – and enlisting fairydust from Ron Holloway (saxophone), Bobby Yang (strings) and Kevin McKendree (keys). With the chemistry fizzing, it’s a mix that lives, breathes and grooves, the antithesis of the cut-and-paste jobs that hold sway in the Pro Tools era.

Writing all but two of the songs – either alone or in partnership with his compadres – Allman showcases his ability to catch what it means to be human, while following his muse wherever it leads him. On songs like the thumping opening gambit “Say Your Prayers” or the brittle jab of “Galaxies”, he invests blues-rock traditions with modern attitude and smarts. “Blues was born down South,” he says, “and it’s a massive part of the culture. But blues is a very open entity in my mind.”

Beyond the blues, this is a showcase for an artist with every colour in his palette. As you’d expect from a man with a famously sprawling vinyl collection – and a tattoo of Curtis Mayfield inked on his left bicep – there are nods here to every genre and era. “This album is really about mixing all of my influences,” says Allman of the varied mood. “Soul, rock, blues, alternative and more. It’s about making an artistic statement, not about fitting into any category. I produced this album to be an eargasm of emotion.” On a tracklisting that runs the gamut, you’ll find the upbeat, horn-bolstered soul of Find Ourselves, alongside the rueful lyric and poignant lilt of Vancouver (“If I had a time machine, if I could get back somehow, I’d change so many things, and she’d be with me now”). “Live From The Heart” is a twelve-string acoustic stunner with one eye on the apocalyptic newspaper headlines, while “Butterfly Girl” is a smitten ballad warning of a woman who’ll “seduce and hypnotise you when she enters your world”.

Sonically, too, Ride Or Die is a record that pushes the envelope, whether that’s the pumping synth line that opens the cover of The Cure’s “A Night Like This”, or the Talkbox guitar solo on Lost that supports a lyric about fading dreams. “I haven’t produced my own record since 2010’s Space Age Blues,” says Allman. “We had a blast making this record, using the Talkbox for Lost and laying down the Hendrix-inspired section on Find Ourselves.”

Some musicians are content to simply spin their wheels, rehash the hits and pick up the pay-cheque. With Ride Or Die, Devon Allman announces once again that he’s an artist on the move – and invites you to ride shotgun as he takes this career-best new album out on the road through 2016. “You can expect pleasure, pain, and energy to soothe your troubled soul,” he says. “Come take the ride…”

Tracklist:
01. Say Your Prayers
02. Find Ourselves
03. Galaxies
04. Lost
05. Shattered Times
06. Watch What You Say
07. Vancouver
08. Pleasure & Pain
09. Hold Me
10. Live from the Heart
11. Butterfly Girl
12. A Night Like This

Personnel:
Devon Allman, guitars, vocals, bass
Tom Hambridge, drums, percussions
Tyler Stokes, guitars, bass
Steve Duerst, bass
Ron Holloway, saxophone
Bobby Yang, violin, string section
Kevin McKendree, keyboards

Download:

mqs.link_DevnAllmanRiderDie20162444.1.rar

he album is a body of work which sees Dexys putting their heart and soul into every track that Kevin Rowland has wanted to do since the mid-1980s. Drawing on Rowland and co-producer/core band member Sean Read’s Irish roots, the album is a combination of their interpretations of Irish songs and other select compositions. Each song has been given at least the same level of attention and care as any of their own songs would be. This record is not a stop gap, or a fill in album. It is not a covers album.

“We had the idea to do this album in 1984 or 1985,” says Rowland. “It was to be called Irish and was to feature songs like ‘Carrickfergus’, ‘Curragh of Kildare’ and ‘Women Of Ireland’ – all of which are featured here. Dexys broke up not too long afterwards, so it didn’t happen.”

“Over the years, I would often think about it,” he continues. “The idea of it never went away. I can recall 10 or 12 years ago thinking, for example, ‘If I do ‘Carrickfergus’, I can try this or that.’ Or maybe we can do ‘You Wear it Well’, as the brief had expanded from solely consisting of Irish songs, to songs I’ve always loved and wanted to record. The album was always at the back of my mind. Then just as we were getting ready to record ‘One Day I’m Going To Soar’, I had an inspirational bolt from the blue, a strong clear feeling that this album should be our next project.’

“The album is called Dexys DO Irish & Country Soul: DO it, not BECOME it,” he emphasises. “We’re not trying to be Irish, and we haven’t used too many Celtic instruments on there. It’s our sound. We’re bringing our style to these songs. I’m just a guy who follows my intuition, my inspiration. This really felt like the right thing to do. We have put probably more care and attention into these songs than we might have done with our own songs, because the odds were high. It was important to get them right, and make sure every one of them felt relevant to us.”

Tracklist:
01. Women Of Ireland
02. To Love Somebody
03. Smoke Gets In Your Eyes
04. Curragh Of Kildare
05. I’ll Take You Home Again, Kathleen
06. You Wear It Well
07. 40 Shades Of Green
08. How Do I Live
09. Grazing In The Grass
10. The Town I Loved So Well
11. Both Sides Now
12. Carrickfergus
13. To Love Somebody (Solo Vocal)
14. Smoke Gets in Your Eyes (Solo Vocal)
15. Curragh of Kildare (Solo Vocal)
16. I’ll Take You Home Again, Kathleen (Solo Vocal)
17. How Do I Live (Solo Vocal)
18. Grazing in the Grass (Solo Vocal)
19. The Town I Loved So Well (Solo Vocal)
20. Carrickfergus (Solo Vocal)
21. How Do I Live (Instrumental)
22. Grazing in the Grass (Instrumental)
23. Both Sides Now (Instrumental)

Download:

mqs.link_DexysLetTheRecrdShwDexysDIrishandCuntrySulDeluxeEditin20162448.part1.rar
mqs.link_DexysLetTheRecrdShwDexysDIrishandCuntrySulDeluxeEditin20162448.part2.rar

Diana Damrau, Jonas Kaufmann, Helmut Deutsch – Wolf: Italienisches Liederbuch (Live) (2019)
FLAC (tracks) 24-bit/96 kHz | Time – 01:16:10 minutes | 1,18 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Warner Classics

Diana Damrau and Jonas Kaufmann, reigning stars of opera, are also consummate interpreters of song. In early 2018, with master pianist Helmut Deutsch, they performed Hugo Wolf’s multi-faceted Italienisches Liederbuch in 12 cities around Europe. “One couldn’t ask for more,” wrote the Telegraph after their London concert, which took place two days before this live recording was made in the German city of Essen.

By turns ecstatic and deeply depressed, as is the way with bipolar disorders, Hugo Wolf gave the world great and precious masterpieces in the genre of the lied with his great cycles, in particular Italienisches Liederbuch, for two voices, which represents the soul of the art. 46 lieder speak of love, focusing on the tangled feelings of man and woman across lovers’ dialogues in ironic, gallant and impassioned tones. Written around words by Paul Heyse based on anonymous Tuscan poems, this collection is full of ballads, and in particular rispetti (compliments), folksy poems made up of two quatrains. The German translation seriously disfigures the light touch of the Italian original, especially as Hugo Wolf makes no attempt to “do Italian” in his compositions. “I assure you: a warm heart beats in the little chests of my youngest southern children, who, despite everything, cannot hide their German origins. Yes, their hearts beat in German, even though the sun shines in Italian”, he told a friend. This Italian collection is made up of, as Stéphanie Goldet writes, “little love stories, moments of impatience or frustration, wishes and warnings, complaints and recriminations, demands and unconditional surrenders”.

Recorded in concert at the Hesse Philharmonic on 18 February 2018, this new recording ranks alongside other legendary records such as those by Schwarzkopf and Fischer-Dieskau; it will surely become a new reference point version. While it was reasonable to worry about Jonas Kaufmann’s voice, we can hear that it has recovered all its strength and its thousand and one miraculous nuances. His partner, Diana Damrau, is radiant, with a song that brings together the many different emotions of a worried and sometimes mischievous young girl. But this dialogue would be nothing without the subtle and refined piano-playing of Helmut Deutsch, who has given these miniatures such an irresistible accompaniment. – François Hudry

Tracklist:
1. No. 1, “Auch kleine Dinge können uns entzücken” (Live) 02:09
2. No. 4, “Gesegnet sei, durch den die Welt entsund” (Live) 01:23
3. No. 39, “Gesegnet sei das Grün” (Live) 01:18
4. No. 3, “Ihr seid die Allerschönste” (Live) 01:38
5. No. 21, “Man sagt mir, deine Mutter woll es nicht” (Live) 01:01
6. No. 41, “Heut Nacht erhob ich mich um Mitternacht” (Live) 01:39
7. No. 40, “O wär dein Haus durchsichtig wie ein Glas” (Live) 01:29
8. No. 27, “Schon streckt’ ich aus im Bett die müden Glieder” (Live) 01:43
9. No. 18, “Heb’ auf dein blondes Haupt” (Live) 01:52
10. No. 20, “Mein Liebster singt am Haus” (Live) 01:27
11. No. 22, “Ein Ständchen Euch zu bringen” (Live) 01:19
12. No. 42, “Nicht länger kann ich singen” (Live) 01:08
13. No. 43, “Schweig einmal still” (Live) 00:58
14. No. 44, “O wüsstest du, wie viel ich deinetwegen” (Live) 01:31
15. No. 6, “Wer rief dich denn?” (Live) 01:07
16. No. 31, “Wie soll ich fröhlich sein” (Live) 01:34
17. No. 10, “Du denkst mit einem Fädchen mich zu fangen” (Live) 01:14
18. No. 14, “Geselle, woll’n wir uns in Kutten hüllen” (Live) 02:35
19. No. 45, “Verschling’ der Abgrund meines Liebsten Hütte” (Live) 01:17
20. No. 8, “Nun lass uns Frieden schliessen” (Live) 01:58
21. No. 29, “Wohl kenn’ ich Euren Stand” (Live) 01:44
22. No. 38, “Wenn du mich mit den Augen streifst” (Live) 01:41
23. No. 36, “Wenn du, mein Liebster, steigst zum Himmel auf” (Live) 01:32
24. No. 23, “Was für ein Lied soll dir gesungen werden” (Live) 01:50
25. No. 19, “Wir haben Beide lange Zeit geschwiegen” (Live) 01:59
26. No. 34, “Und steht Ihr früh am Morgen auf” (Live) 03:01
27. No. 16, “Ihr jungen Leute” (Live) 01:11
28. No. 9, “Dass doch gemalt all deine Reize wären” (Live) 01:52
29. No. 2, “Mir ward gesagt” (Live) 01:43
30. No. 17, “Und willst du deinen Liebsten sterben sehen” (Live) 02:11
31. No. 33, “Sterb’ ich, so hüllt in Blumen meine Glieder” (Live) 02:45
32. No. 15, “Mein Liebster ist so klein” (Live) 01:43
33. No. 35, “Benedeit die sel’ge Mutter” (Live) 03:22
34. No. 24, “Ich esse nun mein Brot nicht trocken mehr” (Live) 01:47
35. No. 7, “Der Mond hat eine schwere Klag’ erhoben” (Live) 01:45
36. No. 25, “Mein Liebster hat zu Tische mich geladen” (Live) 00:55
37. No. 26, “Ich liess mir sagen und mir ward erzählt” (Live) 01:48
38. No. 11, “Wie lange schon war immer mein Verlangen” (Live) 02:42
39. No. 37, “Wie viele Zeit verlor ich, dich zu lieben!” (Live) 01:35
40. No. 32, “Was soll der Zorn, mein Schatz” (Live) 01:41
41. No. 5, “Selig ihr Blinden” (Live) 01:39
42. No. 12, “Nein, junger Herr” (Live) 00:46
43. No. 13, “Hoffärtig seid Ihr, schönes Kind” (Live) 43
44. No. 28, “Du sagst mir, dass ich keine Fürstin sei” (Live) 01:19
45. No. 30, “Lass sie nur gehn” (Live) 01:33
46. No. 46, “Ich hab in Penna einen Liebsten wohnen” (Live) 01:03

Personnel:
Diana Damrau, soprano
Jonas Kaufmann, tenor
Helmut Deutsch, piano

Download:

mqs.link_DianaDamrauWlfItalienischesLiederbuchLive20192496.part1.rar
mqs.link_DianaDamrauWlfItalienischesLiederbuchLive20192496.part2.rar

“Each delightful track is an exquisitely manicured musical facet, set firmly in the Brazilian idiom and seamlessly sung in French and English by Panton. Her diaphanous vocal sound never insists and her high speed vibrato is like the beat of a hummingbird’s heart – natural, untainted and pure.” – The Whole Note

Hearing Diana’s voice is like catching the sound of a thrush in the middle of a long Canadian winter, warm, sweet and pure. Her subtle near-whisper voice is a perfect fit for bossa-nova as she draws you elegantly and naturally into this sensual world. Each delightful track in this JUNO nominated tribute to the samba and bossa nova traditions of Brazil incites the carefree aura of youth and freedom and is an exquisitely manicured music artifact, set firmly in the Brazilian idiom.

Nominated also for the Canadian and an American Independent Music Award, the simple and pure quality of her music, blended together with a sweet and wistful voice is a very enticing combination. This is a perfect jewel of an album

Tracklist:
01. Samba Saravah
02. This Happy Madness
03. The Telephone Song
04. Manha De Carnaval
05. So Nice
06. Is It Really You?
07. The Night Has A Thousand Eyes
08. Dans Mon Ile
09. Felicidade
10. Tu Sais Je Vais T’aimer
11. Dreamer
12. And I Love Him
13. Fais Comme L’oiseau
14. Que Reste-t-il De Nos Amoure?

Personnel:
Diana Panton, vocals
Maninho Costa, vocals, drums, percussion
Bill McBirnie, flute
Kiki Misumi, cello
Reg Schwager, guitar
Silas Silva, drums, percussion
Don Thompson, bass, piano, vibraphone

Digitally remastered

Download:

mqs.link_DianaPantnTBrazilwithLve2011Remastered20192496.part1.rar
mqs.link_DianaPantnTBrazilwithLve2011Remastered20192496.part2.rar

Die Deutsche Kammerphilharmonie Bremen & Matthias Höfs – Telemann Trompetenkonzerte (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 59:20 minutes | 997 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Berlin Classics

As a Hamburg-based musician Matthias Höfs has a special relationship with Georg Philipp Telemann, who was a very successful composer of operas at the city’s opera house on the Gänsemarkt. As director of music for the five parish churches of Hamburg, Telemann made a decisive contribution to the sacred music performed at those institutions. And it has not taken the 250th anniversary of his death, on June 25, 2017, for Telemann to be acknowledged as one of the most efficacious Baroque composers alongside J.S. Bach and G.F. Handel.

Matthias Höfs played solo trumpet in opera for 16 years with the Philharmonic State Orchestra of Hamburg and now gives concerts all over the world, enjoying an acclaimed reputation. On his new album the star trumpeter presents works by Telemann together with the estimable Deutsche Kammerphilharmonie Bremen. Matthias Höfs is well aware of Telemann’s versatility. The fact that this Jack-of-all-trades made a significant contribution to the trumpet literature and composed three trumpet concertos is not widely known. “We are all familiar with the brilliant trumpet parts in the works of Bach, Handel and Vivaldi, such as the Christmas Oratorio, the B minor Mass and Messiah. Telemann occupies a special place in the ranks of the Baroque composers when it comes to us trumpet players, because neither Bach nor Handel dedicated a single solo concerto to the instrument. Telemann composed no fewer than three fantastic trumpet concertos and a sonata, which are for me among the loveliest of their genre,” the musician writes in the album booklet. As well as performing Telemann’s original trumpet concertos, Matthias Höfs presents delicate chamber music works for a small ensemble on his new album; all works which cannot be played in this way on a historic Baroque trumpet. In this way, he illustrates the instrument’s development over the past 300 years. Colourful music-making is equally possible on modern trumpets, while today’s musicians benefit from the technical refinements of present-day instruments.

In the Deutsche Kammerphilharmonie of Bremen the trumpeter has found his ideal musical partners for this project. The ensemble has enthused international audiences with energetic music-making and its extraordinary sound. “It was a sheer delight for me to re-discover Telemann’s music with the musicians of the Deutsche Kammerphilharmonie,” admits Matthias Höfs.

Matthias Höfs has developed a truly musical pioneering spirit to continually explore the scope of his instrument – whether through close collaboration with contemporary composers who have been inspired by his inimitable virtuosity and his eagerness to experiment, whether as an “ambassador of the trumpet” in his home state of Schleswig-Holstein in northern Germany or through his long-term cooperation with the instrument makers Max and Heinrich Thein. Since the mid-1980s Matthias Höfs has been a member of the German Brass ensemble, with which he has toured the world to great acclaim. Since their first concert in 1985 he has been writing tailor-made arrangements for the ensemble: versions that are innovative, sustainable and which transcend genres to inspire the world of brass music.

Tracklist:
01. Concerto No. 1 in D Major, TWV 51:D7: I. Adagio
02. Concerto No. 1 in D Major, TWV 51:D7: II. Allegro
03. Concerto No. 1 in D Major, TWV 51:D7: III. Grave
04. Concerto No. 1 in D Major, TWV 51:D7: IV. Allegro
05. Methodical Sonata, TWV 41:H3: I. Siciliana (Arr. For Trumpet and Basso Continuo)
06. Methodical Sonata, TWV 41:H3: II. Allegro (Arr. For Trumpet and Basso Continuo)
07. Methodical Sonata, TWV 41:H3: III. Dolce, mà non adagio (Arr. For Trumpet and Basso Continuo)
08. Methodical Sonata, TWV 41:H3: IV. Grave (Arr. For Trumpet and Basso Continuo)
09. Methodical Sonata, TWV 41:H3: V. Vivace (Arr. For Trumpet and Basso Continuo)
10. Methodical Sonata, TWV 41:H3: VI. Presto (Arr. For Trumpet and Basso Continuo)
11. Concerto No. 2 in D Major, TWV 43:D7: I. Adagio
12. Concerto No. 2 in D Major, TWV 43:D7: II. Allegro
13. Concerto No. 2 in D Major, TWV 43:D7: III. Siciliano
14. Concerto No. 2 in D Major, TWV 43:D7: IV. Allegro
15. Oboe Sonata, TWV 41:G6: I. Largo (Arr. For Trumpet and Basso Continuo)
16. Oboe Sonata, TWV 41:G6: II. Presto (Arr. For Trumpet and Basso Continuo)
17. Oboe Sonata, TWV 41:G6: III. Tempo giusto (Arr. For Trumpet and Basso Continuo)
18. Oboe Sonata, TWV 41:G6: IV. Andante (Arr. For Trumpet and Basso Continuo)
19. Oboe Sonata, TWV 41:G6: V. Allegro (Arr. For Trumpet and Basso Continuo)
20. Concerto No. 3 in D Major, TWV 53:D2: I. Allegro
21. Concerto No. 3 in D Major, TWV 53:D2: II. Adagio
22. Concerto No. 3 in D Major, TWV 53:D2: III. Aria
23. Concerto No. 3 in D Major, TWV 53:D2: IV. Adagio
24. Concerto No. 3 in D Major, TWV 53:D2: V. Allegro
25. Sonata in D Major, TWV 44:1: I. Spirituoso
26. Sonata (Sinfonia) in D Major, TWV 41:1: II. Largo
27. Sonata (Sinfonia) in D Major, TWV 41:1: III. Vivace

Personnel:
Matthias Höfs, trumpet, direction
Deutsche Kammerphilharmonie Bremen

Download:

mqs.link_DieDeutscheKammerphilharmnieBremenMatthiasHfsTelemannTrmpetenknzerte20172496.part1.rar
mqs.link_DieDeutscheKammerphilharmnieBremenMatthiasHfsTelemannTrmpetenknzerte20172496.part2.rar

FLY won the 2000 Grammy Award for Best Country Album. ‘Ready To Run’ won the 2000 Grammy Award for Best Country Performance By A Duo Or Group With Vocal. FLY was nominated for the 2000 Grammy Award for Album Of The Year. ‘Ready To Run’ was nominated for the 2000 Grammy Award for Best Country Song.

The Dixie Chicks won the 2000 CMA Awards for Entertainer Of The Year and Vocal Group Of The Year. FLY won the 2000 CMA Award for Album Of The Year.

‘Goodbye Earl’ won the 2000 CMA Award for Best Video Of The Year.

Forget the platform sneakers and safety pins–under all that glitz and glitter, the Dixie Chicks are one heckuva country group. The group sings, plays, and writes beautifully on their sophomore release, FLY. Thankfully, crossover success hasn’t taken the country out of the Chicks–Martie Seidel’s fiddle and mandolin and Emily Robison’s banjo and dobro are still front-and-center in all the arrangements. Natalie Maines’ powerful voice wrings every drop of emotion out of a ballad like ‘Let Him Fly,’ and then turns on a dime to blast through the ‘Hole in My Head.’

„Wide Open Spaces unveiled the new incarnation of the Dixie Chicks, revealing an eclectic, assured group that was simultaneously rootsy and utterly modern, but if that 1998 de facto debut captured the band just leaving the ground, Fly – perhaps appropriately, given the title – finds the group in full flight, in full possession of their talents. This time around, the different sounds they draw upon are more fully integrated, which only makes them more distinctive as a group. Even if the whole of the album feels more of a piece, they still take the time to deliver a slice of pure honky tonk on ‘Hello Mr. Heartache’ and a piece of breakneck bluegrass on the rip-roaring, wickedly clever ‘Sin Wagon,’ which is also one of the group originals here, a collaboration between Natalie Maines and Emily Robison and outside writer Stephony Smith. It – along with the Maines-cowritten ‘Without You,’ the Maines/Robison ‘Don’t Waste Your Heart’ and Martie Seidel’s co-written ‘Ready to Run’ and ‘Cowboy Take Me Away’ – showcase the trio’s increasing craft as writers, which is one of the reasons this album sounds unified. But even the outside-written material feels like the group, whether it’s the twangy boogie ‘Some Days You Gotta Dance,’ Patty Griffin’s ‘Let Him Fly,’ the melancholy ‘Cold Day in July’ and, especially ‘Goodbye Earl’ where a wife gets revenge on her abusive husband. Like before, the group moves gracefully between these different styles, with Maines providing a powerful, compelling focus with Robison and Seidel offering sensitive support, and this blend makes Fly a rich, nuanced album that just gets better with repeated listens.“ (Stephen Thomas Erlewine, AMG)

Tracklist:
01. Ready To Run
02. If I Fall You’re Going Down With Me
03. Cowboy Take Me Away
04. Cold Day In July
05. Goodbye Earl
06. Hello Mr. Heartache
07. Don’t Waste Your Heart
08. Sin Wagon
09. Without You
10. Some Days You Gotta Dance
11. Hole In My Head
12. Heartbreak Town
13. Let Him Fly

Personnel:
Natalie Maines, lead vocals, background vocals, handclapping
Emily Erwin, acoustic guitar, banjo, Dobro, vocals, handclapping
Martie Seidel, fiddle, viola, background vocals
Additional musicians:
Pat Buchanan, electric guitar
Steve Conn, accordion
Marcus Hummon, acoustic guitar on ‘Ready to Run’
Mike Henderson, electric guitar on ‘Hole in My Head’
Dennis Linde, acoustic guitar on ‘Goodbye Earl’
Lloyd Maines, steel guitar
George Marinelli, electric guitar on ‘Cold Day in July’ and ‘Hello Mr. Heartache’
Bob Mason, cello
Terry McMillan, percussion
John Mock, concertina, bodhrán, tin whistle
Steve Nathan, Hammond B-3 organ, keyboard
Matt Rollings, Hammond B-3 organ, keyboards
Randy Scruggs, acoustic guitar
Adam Steinberg, acoustic guitar on ‘Let Him Fly’ and ‘Without You’
Bryan Sutton, acoustic guitar on ‘Sin Wagon’
Greg Morrow, drums
Michael Rhodes, bass
Tom Roady, percussion

Recorded March–June 1999 at Westwood Sound Studio, Nashville, Tennessee
Engineered by Clarke Schleicher, Christopher Rowe, Mark Martin, Tony Castle, Billy Sherrill
Produced by Blake Chancey, Paul Worley

Digitally remastered

Download:

mqs.link_DixieChicksFly1999201624192.part1.rar
mqs.link_DixieChicksFly1999201624192.part2.rar

The 90 preludes composed by Alexander Scriabin (1872–1915) span the entirety of the three periods into which his musical career is usually divided. His fastidious habit of indicating the date and location of compositions allows us to trace groups of roughly contemporary pieces. Consequently, it can be seen that around half of the preludes fall into the ‘first period’ (1888–1900), in which the composer’s music was heavily influenced by Frédéric Chopin’s work.

Scriabin’s music evolved over the course of his life, and in 1900, he completed the 2 Preludes Op.27. These compositions exorcised the spirit of Chopin which had hovered over their predecessors, therefore marking the end of the so-called ‘first period’. Whilst more harmonically adventurous, his ‘middle period’ works still mostly adhere to traditional functional tonality.

In the third period (1910–14) Scriabin composed his final works, the Preludes Op.74. Stable tonality and key signature disappear completely. However, Scriabin’s interest in symmetrical patterning is highly evident. They raise the tantalising question of where Scriabin might have taken 20th-century music had he not tragically died the following year.

Dmitri Alexeev is one of the foremost Russian pianists of today. He played with all important orchestras and conductors, and extensively recorded for EMI. His previous Scriabin recording for Brilliant Classics include the Complete Sonatas and the Complete Études, both were hailed enthusiastically by the international press: “He emphasizes the music’s lyrical beauty without sacrificing energy or forward mobility…few recordings are so intrinsically beautiful as Alexeev’s.” Jed Distler on Classicstoday.

“Scriabin fans today have a much wider selection of complete recordings of the piano sonatas than in years past, and the growing number of sets not only shows how these works have been accepted as standard repertoire, but also that more pianists have mastered their difficulties. While the first three sonatas have ready familiarity with listeners, cast as they are in the Romantic mold of Chopin and Liszt, the remaining seven have had a checkered career, not only because they display Scriabin’s increasing complexity of textures, rhythms, and dissonances, but also because they are among the most technically demanding to play. Dmitri Alexeev’s 2012 twofer on Brilliant Classics offers proof that all the sonatas are now mainstream, because his interpretations diverge very little from the norms established by such brilliant pianists as Vladimir Ashkenazy, Roberto Szidon, Robert Taub, Maria Lettberg, and Marc-André Hamelin, and the facility with which he performs them reflects the supreme virtuosity that has become expected of major pianists. When collections of the sonatas are placed side by side, it can be excruciating to select just one, but knowing that this one is a worthy competitor makes it a reasonable choice, especially for beginners just learning the mysteries of Scriabin’s music. Brilliant’s reproduction is quite good, but be aware that it sometimes picks up the pianist’s breathing.” (Blair Sanderson, AMG)

Tracklist:
1. 3 Morceaux No. 2, Op. 2: II. Prelude in B Major (00:48)
2. Prelude and Nocturne for the Left Hand, Op. 9: I. Prelude in C-Sharp Minor (02:41)
3. 24 Preludes, Op. 11: I. Vivace in C Major (00:59)
4. 24 Preludes, Op. 11: II. Allegretto in A Minor (01:59)
5. 24 Preludes, Op. 11: III. Vivo in G Major (01:01)
6. 24 Preludes, Op. 11: IV. Lento in E Minor (01:41)
7. 24 Preludes, Op. 11: V. Andante cantabile in D Major (01:25)
8. 24 Preludes, Op. 11: VI. Allegro in B Minor (00:49)
9. 24 Preludes, Op. 11: VII. Allegro assai in A Major (00:52)
10. 24 Preludes, Op. 11: VIII. Allegro agitato in F-Sharp Minor (01:41)
11. 24 Preludes, Op. 11: IX. Andantino in E Major (01:12)
12. 24 Preludes, Op. 11: X. Andante in C-Sharp Minor (01:03)
13. 24 Preludes, Op. 11: XI. Allegro assai in B Major (01:24)
14. 24 Preludes, Op. 11: XII. Andante in G-Sharp Minor (01:28)
15. 24 Preludes, Op. 11: XIII. Lento in G-Flat Major (01:40)
16. 24 Preludes, Op. 11: XIV. Presto in E-Flat Minor (01:11)
17. 24 Preludes, Op. 11: XV. Lento in D-Flat Major (01:59)
18. 24 Preludes, Op. 11: XVI. Misterioso in B-Flat Minor (02:29)
19. 24 Preludes, Op. 11: XVII. Allegretto in A-Flat Major (00:35)
20. 24 Preludes, Op. 11: XVIII. Allegro agitato in F Minor (01:00)
21. 24 Preludes, Op. 11: XIX. Affettuoso in E-Flat Major (01:13)
22. 24 Preludes, Op. 11: XX. Appassionato in C Minor (01:03)
23. 24 Preludes, Op. 11: XXI. Andante in B-Flat Major (01:42)
24. 24 Preludes, Op. 11: XXII. Lento in G Minor (01:01)
25. 24 Preludes, Op. 11: XXIII. Vivo in F Major (00:48)
26. 24 Preludes, Op. 11: XXIV. Presto in D Minor (01:01)
27. 6 Preludes, Op. 13: I. Prelude in C Major (02:20)
28. 6 Preludes, Op. 13: II. Prelude in A Minor (00:42)
29. 6 Preludes, Op. 13: III. Prelude in G Major (00:56)
30. 6 Preludes, Op. 13: IV. Prelude in E Minor (01:23)
31. 6 Preludes, Op. 13: V. Prelude in D Major (01:05)
32. 6 Preludes, Op. 13: VI. Prelude in B Minor (01:37)
33. 5 Preludes, Op. 15: I. Prelude in A Major (01:39)
34. 5 Preludes, Op. 15: II. Prelude in F-Sharp Minor (01:03)
35. 5 Preludes, Op. 15: III. Prelude in E Major (01:03)
36. 5 Preludes, Op. 15: IV. Prelude in E Major (01:23)
37. 5 Preludes, Op. 15: V. Prelude in C-Sharp Minor (01:07)
38. 5 Preludes, Op. 16: I. Prelude in B Major (01:58)
39. 5 Preludes, Op. 16: II. Prelude in G-Sharp Minor (01:20)
40. 5 Preludes, Op. 16: III. Prelude in G-Flat Major (02:01)
41. 5 Preludes, Op. 16: IV. Prelude in E-Flat Minor (01:10)
42. 5 Preludes, Op. 16: V. Prelude in F-Sharp Major (00:53)
43. 7 Preludes, Op. 17: I. Prelude in D Minor (01:40)
44. 7 Preludes, Op. 17: II. Prelude in E-Flat Major (00:52)
45. 7 Preludes, Op. 17: III. Prelude in D-Flat Major (01:49)
46. 7 Preludes, Op. 17: IV. Prelude in B-Flat Minor (01:04)
47. 7 Preludes, Op. 17: V. Prelude in F Minor (01:16)
48. 7 Preludes, Op. 17: VI. Prelude in B-Flat Major (01:16)
49. 7 Preludes, Op. 17: VII. Prelude in G Minor (01:37)
50. 4 Preludes, Op. 22: I. Prelude in G-Sharp Minor (01:21)
51. 4 Preludes, Op. 22: II. Prelude in C-Sharp Minor (00:53)
52. 4 Preludes, Op. 22: III. Prelude in B Major (01:06)
53. 4 Preludes, Op. 22: IV. Prelude in B Minor (01:15)
54. 2 Preludes, Op. 27: I. Prelude in G Minor (02:03)
55. 2 Preludes, Op. 27: II. Prelude in B Major (01:03)
56. 4 Preludes, Op. 31: I. Prelude in D-Flat Major (02:19)
57. 4 Preludes, Op. 31: II. Prelude in F-Sharp Minor (00:51)
58. 4 Preludes, Op. 31: III. Prelude in E-Flat Minor (00:40)
59. 4 Preludes, Op. 31: IV. Prelude in C Major (01:06)
60. 4 Preludes, Op. 33: I. Prelude in E Major (01:09)
61. 4 Preludes, Op. 33: II. Prelude in F-Sharp Major (00:58)
62. 4 Preludes, Op. 33: III. Prelude in C Major (00:30)
63. 4 Preludes, Op. 33: IV. Prelude in A-Flat Major (01:10)
64. 3 Preludes, Op. 35: I. Prelude in D-Flat Major (01:03)
65. 3 Preludes, Op. 35: II. Prelude in B-Flat Major (02:28)
66. 3 Preludes, Op. 35: III. Prelude in C Major (01:12)
67. 4 Preludes, Op. 37: I. Prelude in B-Flat Minor (01:43)
68. 4 Preludes, Op. 37: II. Prelude in F-Sharp Major (01:01)
69. 4 Preludes, Op. 37: III. Prelude in B Major (01:46)
70. 4 Preludes, Op. 37: IV. Prelude in G Minor (01:06)
71. 4 Preludes, Op. 39: I. Prelude in F-Sharp Major (00:54)
72. 4 Preludes, Op. 39: II. Prelude in D Major (01:12)
73. 4 Preludes, Op. 39: III. Prelude in G Major (01:16)
74. 4 Preludes, Op. 39: IV. Prelude in A-Flat Major (00:51)
75. 3 Morceaux, Op. 45: III. Prelude in E-Flat Major (01:15)
76. 4 Preludes, Op. 48: I. Prelude in F-Sharp Major (00:41)
77. 4 Preludes, Op. 48: II. Prelude in C Major (01:18)
78. 4 Preludes, Op. 48: III. Prelude in D-Flat Major (00:55)
79. 4 Preludes, Op. 48: IV. Prelude in C Major (01:02)
80. 3 Morceaux, Op. 49: II. Prelude in F Major (00:55)
81. 4 Morceaux, Op. 51: II. Prelude in A Minor (02:02)
82. 4 Morceaux, Op. 56: I. Prelude in E-Flat Major (01:08)
83. 2 Morceaux, Op. 59: II. Prelude (01:45)
84. 2 Preludes, Op. 67: I. Prelude (01:22)
85. 2 Preludes, Op. 67: II. Prelude (00:57)
86. 5 Preludes, Op. 74: I. Douloureux, déchirant (01:15)
87. 5 Preludes, Op. 74: II. Très lent, contemplative (04:56)
88. 5 Preludes, Op. 74: III. Allegro drammatico (00:55)
89. 5 Preludes, Op. 74: IV. Lent, vague, indécis (01:19)
90. 5 Preludes, Op. 74: V. Fier, belliqueux (01:02)

Personnel:
Dmitri Alexeev, piano

Download:

mqs.link_DmitriAlexeevScriabinCmpletePreludes20182444.1.rar

Known for his work as a founding member of the Grammy-winning Carolina Chocolate Drops, Dom Flemons continues to perform as an accomplished solo musician, pulling from traditions of old-time folk music and Americana to create a sound that feels both classic and fresh for a new generation of listeners.

Phoenix native Flemons picked up the guitar and harmonica as a teenager, eventually becoming a regular performer on the Arizona folk music scene. He spent his early adult years listening to records and discovering his love for blues, jazz, jug bands, country and ‘50s rock ‘n’ roll, taking particular interest in singer-songwriters like Phil Ochs, Pete Seeger, Mississippi John Hurt, and Hank Williams. These influences are heard in his music today.

A multi-instrumentalist, Flemons plays his trademark banjo, guitar, harmonica, fife, bones, drums and quills in addition to singing. His work with the Carolina Chocolate Drops earned the group a Grammy Award for its 2011 album Genuine Negro Jig. They were again nominated for the follow-up record Leaving Eden in 2012. Flemons’ recent solo album, Prospect Hill, explores ragtime, Piedmont blues, spirituals, southern folk music and jug band tunes. The album has received praise from National Public Radio’s “Fresh Air,” The Boston Globe, Paste Magazine and more.

Where the Chocolate Drops focused on one style of music, Flemons takes a broader approach on Prospect Hill, an album that encompasses folk tunes, ragtime, early jazz and rock and roll and fife-and-drum music…
… Flemons’ songs may draw heavily from old styles, but Prospect Hill is never locked in the past. ‘I’ve worked a lot of years, trying to balance that,’ he says. ‘I tried to make sure when I presented songs, I made them as good as the old songs I might try to interpret.’

Prospect Hill is a well-traveled album, with songs set in locales ranging from Arizona to Georgia, from San Francisco to Nashville. ‘These are all places that meant something to me,’ says Flemons, who lives near Chapel Hill, N.C. (USA Today)

Tracklist:
01. Til the seas run dry
02. Polly put the kettle on
03. But they got it fixed right on
04. Have I stayed away too long?
05. Georgia drumbeat
06. I can’t do it anymore
07. Sonoran church two-step
08. Too long (I’ve been gone)
09. Marching up to Prospect Hill
10. It’s a good thing
11. Grotto beat
12. Hot chicken
13. San Francisco baby
14. My money never runs out

Personnel:
Dom Flemons, Vocals, Guitar, Harmonica, Background Vocals
Brian Horton, Clarinet
Keith Ganz, Mike Seeger’s 6-String Banjo
Kobie Watkins, Drums, Woodblocks solo
Ron Brendle, Bass
Guy Davis, Guitar
Ben Hunter, Fiddle, Background Vocals
Joe Seamons, Background Vocals
Pura Fé, Background Vocal
Brian Horton, Soprano Saxophone, Tenor Saxophone

Download:

mqs.link_DmFlemnsPrspectHill20152444.1.rar

His talent is huge but it never brought him to mainstream success. Yet, Dominic Miller is one of the most brilliant guitarists of his generation. Guitar aficionados certainly know him from his work with Sting, among other collaborations. Born in Argentina in 1960 of an American father and an Irish mother, Dominic Miller grew up in the US and lived in the UK as a student. Throughout his career, he has collaborated with many stars, including Paul Simon, the Chieftains, Rod Stewart, Bryan Adams, Phil Collins, Sheryl Crow, Peter Gabriel and Plácido Domingo. His debut album Silent Light, was released in 2017 on the ECM label. For this evocative and refined record Miller was solo on the guitar with the only support of Miles Bould’s elegant percussion.

Two years later, with Absinthe, he teamed up with Santiago Arias on the bandoneon, Mike Lindup on keys, Nicolas Fiszman on bass and Manu Katché on drums. “The first thing that came to me, even before any songs on the record, was the album title. I live in the South of France and I am fascinated with impressionism. I enjoy the grazing and enchanting lights that the wind creates and I understand how their combination with high alcohol led many of impressionism’s representatives to madness. Hence its green skies, its blue faces and its distorted perspectives”.

Along with his quintet, Dominic Miller never tries to recreate with music and sound the paintings of Renoir, Cézanne, Monet or Manet. Rather, what he does is to develop an intense yet soft lyricism. His nylon and steel strings guitars intertwined with Arias’ bandoneon reach a transcendent space. This alluring album is both original and captivating. – Clotilde Maréchal

Tracklist:
1. Absinthe
2. Mixed Blessing
3. Verveine
4. La Petite Reine
5. Christiania
6. Étude
7. Bicycle
8. Ombu
9. Ténèbres
10. Saint Vincent

Personnel:
Dominic Miller (guitar)
Santiago Arias (bandoneon)
Mike Lindup (keyboards)
Nicolas Fiszman (bass)
Manu Katché (drums)

Download:

mqs.link_DminicMillerAbsinthe20192488.2.rar

Stay Tuned!, is Dominique Fils-Aimé’s sophomore album, the follow-up to her debut full length Nameless, part of her trilogy that brings to center stage the resiliency of mankind in the face of adversity and oppression and pays homage to Afro-American history and culture.

In this second recording, containing 14 original songs, Dominique delves into the civil rights movement of the 60s and explores several significant socio-political events which deeply affected the course of black history (Lincoln Hills Country Club, Little Nine Rock, Emmett Till). She honours unsung heroes of the civil liberties movement as well as historical figures of the time such as Rosa Parks, Joséphine Baker, Lena Horne, Malcolm X and Martin Luther King.

The album combines elements of soul, jazz, gospel and blends vocal harmonies, double bass, piano and trumpet over stirring and permuting grooves. Stay Tuned!’s lush vocal arrangements bring out Dominique’s voice as a stand-alone instrument, giving prominence to the words and the message she carries. Part rebellious and fiery, part sentimental and intimate, Dominique embodies afro-american music from then and now, all the while highlighting its defying power in a violent and divisive society. Breaking away from the standards of traditional compositions, the singer and songwriter presents a body of work focused on liberated musical forms hinting at the spirit of jazz.

Moving on from the blues-tinged Nameless—which boldly confronted historical silences and sorrows—Stay Tuned! is both a call for and reminder of revolution expressed with the fury of red-hot jazz.

Tracklist:
1. Good Feeling
2. Constructive Interference
3. Where there is Smoke
4. There is probably Fire
5. Gun Burial
6. Big Man Do Cry
7. Sun Rise
8. Some Body 04:05
9. 9LRR
10. Revolution Serenade
11. Free Dom
12. Magic Whistle
13. Joy River
14. Stay Tuned!

Personnel:
Dominique Fils-Aime, vocals
Jacques Roy, bass
Salin Cheewapansri, drums
Elli Miller Maboungou, percussion
Nathan Vanheuverzwijn, keyboards
Etienne Miousse, guitar
Jean-Michel Frederic, piano
Hichem Khalfa, trumpet
Kevin Annocque, didgeridoo

Produced and engineered by Jacques Roy

Download:

mqs.link_DminiqueFilsAimeStayTuned20192488.2.rar

The Grateful Dead’s long and happy relationship with the city of Atlanta began on July 7th, 1969 with a free concert in Piedmont Park – a little gift given to the city by the promoters of an event at which the Dead had not performed: the first Atlanta International Pop Festival, which was up to that point the largest gathering of its kind (it was a short reign, though, as its attendance was dwarfed a bit over a month letter by a certain shindig on a farm in upstate New York). Atlanta went on to become a frequent destination on Dead tours throughout the ensuing quarter century, with 24 of the band’s 36 total performances in the city taking place at the Omni, the dominant sports and entertainment arena in the area from 1972 to 1997. The venue holds an especially notable place in Grateful Dead history for having been the location of the last live “Dark Star” the Dead ever played, on March 30th, 1994.

The GD/ATL love was shown to be fully intact when Dead & Company came to town on November 29, 2017 to play at Philips Arena, a facility that stands just across the street from the site of the long-since-imploded Omni. A couple of stops into the southern and final leg of their Fall ’17 trek, the band had built up a solid head of steam, and the Atlanta show was singled out by many who were there, or who enjoyed it via live video streaming and/or later audio acquisition, as one of the best of the tour. “Truckin’” kicks things off in fine form, and the ensuing jam morphs into some deep blues with Howlin’ Wolf’s immortal “Smokestack Lightning.” Other first-set high points include a beautifully moody “Loser” and exquisitely rendered and improv-rich versions of “Cassidy” and “Bird Song” before a hard-rocking “Deal” signals halftime. Set two achieves liftoff quickly with a more-than-25-minute version of the “Help On The Way>Slipknot!>Franklin’s Tower” medley, with the latter tune ending not with it’s usual flourish but a delicate fade to near silence, into which steps Oteil Burbridge with a gorgeous vocal on “Comes A Time.” Things ignite again with the venerable electrified jug band classic “Viola Lee Blues,” which gives way to Drums and Space segments that are as adventurous as any on the tour. After a poignant “Wharf Rat,” the set ends on an energetic note with “Throwing Stones” and “U.S. Blues,” followed by a sweet sendoff in the form of a “Brokedown Palace” encore.

Tracklist:
01. Truckin’ (Live at Phillips Arena, Atlanta, GA 11/29/17) 12:34
02. Smokestack Lightning (Live at Phillips Arena, Atlanta, GA 11/29/17) 03:54
03. Feel Like a Stranger (Live at Phillips Arena, Atlanta, GA 11/29/17) 13:05
04. Dire Wolf (Live at Phillips Arena, Atlanta, GA 11/29/17) 06:03
05. Loser (Live at Phillips Arena, Atlanta, GA 11/29/17) 10:39
06. Cassidy (Live at Phillips Arena, Atlanta, GA 11/29/17) 11:29
07. Bird Song (Live at Phillips Arena, Atlanta, GA 11/29/17) 12:52
08. Deal (Live at Phillips Arena, Atlanta, GA 11/29/17) 11:38
09. Help on the Way (Live at Phillips Arena, Atlanta, GA 11/29/17) 06:18
10. Slipknot! (Live at Phillips Arena, Atlanta, GA 11/29/17) 07:58
11. Franklin’s Tower (Live at Phillips Arena, Atlanta, GA 11/29/17) 11:11
12. Comes a Time (Live at Phillips Arena, Atlanta, GA 11/29/17) 09:35
13. Viola Lee Blues (Live at Phillips Arena, Atlanta, GA 11/29/17) 09:54
14. Drums (Live at Phillips Arena, Atlanta, GA 11/29/17) 10:02
15. Space (Live at Phillips Arena, Atlanta, GA 11/29/17) 04:12
16. Wharf Rat (Live at Phillips Arena, Atlanta, GA 11/29/17) 10:26
17. Throwing Stones (Live at Phillips Arena, Atlanta, GA 11/29/17) 10:45
18. U.S. Blues (Live at Phillips Arena, Atlanta, GA 11/29/17) 08:47
19. Brokedown Palace (Live at Phillips Arena, Atlanta, GA 11/29/17) 05:57

Download:

mqs.link_DeadCmpanyPhillipsArenaAtlantaGA112917Live20192448.part1.rar
mqs.link_DeadCmpanyPhillipsArenaAtlantaGA112917Live20192448.part2.rar
mqs.link_DeadCmpanyPhillipsArenaAtlantaGA112917Live20192448.part3.rar

“…and we hightailed it down to Mexico…”

There’s nothing to relieve the chill of mid-winter like a little getaway to a tropical paradise. So, when Dead & Company announced a run of shows on the shores of the Yucatan Peninsula scheduled for February of 2018, several thousand happy Dead Heads quickly grabbed up every available ticket and hotel reservation and headed south of the border, to the Barcelo resort at Riviera Maya, Mexico. The excursion, appropriately named “Playing In The Sand” – quite literally, as the stage was set up right on the beach overlooking the Caribbean – provided both a sweet coda to the hugely successful fall tour of 2017 and a harbinger of more great things to come in the new year.

As this recording makes clear, the band wasted no time diving deep into the waters of collective musical adventure, kicking off the event’s opening set with a long and exploratory “Playing In The Band,” which the tone for an jam-intensive evening including such other ideal launching pads for group improvisation as “Cassidy” (one of several homages to Bob Weir’s longtime friend and songwriting partner, John Perry Barlow, who had passed away just days earlier), “Scarlet Begonias>Fire On The Mountain,” “Estimated Prophet” (with quotes from Bob Marley and John Coltrane thrown in for good measure) and “Eyes Of The World.” Other highlights included fine renditions of Grateful Dead originals like “Brown-Eyed Women” and “Althea” and well-chosen covers including “The Weight” and “Good Lovin’” (with the band infusing the latter with some regional flavor by going into bit of the classic “La Bamba,” the traditional tune that became a giant hit for rock ‘n’ roll’s first Mexican-American superstar, Ritchie Valens).

Tracklist:
1. Playin’ in the Band 18:51
2. Me & My Uncle 05:27
3. He’s Gone 12:35
4. Cassidy 12:47
5. Brown-Eyed Women 09:54
6. Bertha 10:17
7. Good Lovin’ 08:42
8. Scarlet Begonias 12:30
9. Fire on the Mountain 11:28
10. Althea 11:53
11. Estimated Prophet 13:34
12. Eyes of the World 19:33
13. Drums 11:16
14. Space 06:19
15. Looks Like Rain 09:31
16. I Need a Miracle 08:19
17. Casey Jones 10:39
18. The Weight 08:38

Download:

mqs.link_DeadCmpanyPlayingInTheSandRivieraMaya21518Live20192448.part1.rar
mqs.link_DeadCmpanyPlayingInTheSandRivieraMaya21518Live20192448.part2.rar
mqs.link_DeadCmpanyPlayingInTheSandRivieraMaya21518Live20192448.part3.rar

After leaving the stage to guest performers on the Friday of this four-day weekend, Dead & Company returned on Saturday for another muy caliente show. Although there may have been some cognitive dissonance involved in hearing a song about a dark and sketchy urban thoroughfare played on a gorgeous sunny beach, that didn’t stop the show-opening “Shakedown Street” from getting those dancing feet busy kickin’ up some sand, and the infectiously funky groove inspired John Mayer to lead his bandmates on a brief and enjoyable detour into Billy Preston’s 1970s hit “Will It Go Round In Circles.” John also gets time to shine both vocally and on guitar on several other first-set songs, including that long-enduring mainstay of the repertoire, “Cold Rain & Snow,” the old Pigpen feature “Easy Wind” and a soulful take on the Garcia-Hunter standby “Sugaree.”

The second set offers plenty of terrific ensemble playing and singing, kicking things off with “Viola Lee Blues” followed by the venerable “China Cat Sunflower>I Know You Rider” combo (the latter part featuring a spirited guest appearance by Michael Franti, whose band Spearhead had headlined the Friday night show). One of the real pleasures of Dead & Company’s evolution as a band has been the emergence of Oteil Burbridge as a lead vocalist, and his beautiful interpretation of the ballad “Comes A Time” makes it clear why Oteil’s increasingly frequent appearances in that role have been so popular with audiences. After quintessentially out-there Drums and Space sequences, the always poignant “Standing On The Moon” and an incandescent take on “The Wheel,” the band brings it home in rocking style with “Sugar Magnolia” and a “One More Saturday Night” encore.

Tracklist:
1. Samson and Delilah 07:53
2. Mississippi Half-Step Uptown Toodeloo 11:01
3. They Love Each Other 12:40
4. Greatest Story Ever Told 07:37
5. If I Had the World to Give 07:49
6. Ramble on Rose 08:44
7. Bird Song 19:15
8. St. Stephen 14:41
9. Franklin’s Tower 12:32
10. U.S. Blues 06:02
11. Terrapin Station 14:19
12. Drums 09:33
13. Space 06:37
14. The Other One 07:25
15. Morning Dew 12:08
16. Not Fade Away 08:39
17. Brokedown Palace 06:00
18. Playin’ in the Band 03:38

Download:

mqs.link_DeadCmpanyPlayingInTheSandRivieraMayaMX21718Live20192448.part1.rar
mqs.link_DeadCmpanyPlayingInTheSandRivieraMayaMX21718Live20192448.part2.rar
mqs.link_DeadCmpanyPlayingInTheSandRivieraMayaMX21718Live20192448.part3.rar

The end of a brief but blissful escape from the everyday can be bittersweet, but Dead & Company made sure that the emphasis remained on the “sweet” end of the spectrum for the finale of Playing In The Sand. In keeping with the custom of giving the congregation a little of that old-time religion on a Sunday, Bob Weir starts things off with his take on “Samson & Delilah” the gospel chestnut he learned from the guitarist-singer Rev. Gary Davis. From there the band is off and running with a show featuring some of the most-loved tunes in the Grateful Dead songbook. First-set highlights include “They Love Each Other” (which has emerged as an ideal showcase for John Mayer on both vocal and guitar, and in this version also features some great work by Jeff Chimenti on the Hammond B-3), another lovely Oteil Burbridge vocal on a true GD rarity (played live only three times, all in 1978), “If I Had The World To Give” and a particularly gorgeous “Bird Song.”

The band has a surprise up its sleeve right at the top of the second set, with an entirely unexpected segue from the dependably crowd-pleasing “St. Stephen” into “Franklin’s Tower,” plucked from its customary spot following “Help On The Way” and “Slipknot.” “U.S. Blues” also turns up in an unusual mid-set placement, then sets up another hairpin turn into the monumental “Terrapin Station.” Out of the deep unreal of Drums and Space we’re catapulted into Bobby’s timeless psychedelic travelogue “The Other One,” followed by a majestic “Morning Dew” and to close out the set, Buddy Holly’s immortal rock ‘n’ roll anthem “Not Fade Away.” For the encore, the always welcome and deeply moving “Brokedown Palace” seems to provide an idea capper to the weekend, but wait… the band brings things full circle with a callback to where the party started.

After Playing In The Sand ended, John Mayer sent this message to his social-media followers: “If anybody ever asks you if you’d like to play some of the greatest music ever composed with @deadandcompany on a beach in Mexico, with a cool breeze blowing and people dancing in the water, don’t overthink it. Just say ‘yes.’ What a blast that was. A perfectly planned event.” Evidently, everyone else involved felt much the same, because toward the end of the year, Dead & Company announced a return to Riviera Maya for a second go-round in January of 2019 – and it’s unlikely that anyone would complain if this were to become an annual tradition for a good many more years to come.

Download:

mqs.link_DeadCmpanyPlayingInTheSandRivieraMayaMX21818Live20192448.part1.rar
mqs.link_DeadCmpanyPlayingInTheSandRivieraMayaMX21818Live20192448.part2.rar

A funny thing happened on the way to Dead & Company’s last three scheduled tour dates of 2017. Well, not so funny from the standpoint of John Mayer, whose appendicitis attack and subsequent emergency surgery on December 5th necessitated postponement until the following February of the show scheduled for that night in New Orleans and the remaining two dates in Florida. But hey… if you’re gonna strand several thousand music-hungry fans anywhere, you could hardly pick a better place than New Orleans, birthplace of so much of our shared cultural heritage and a town where music and good times (and great food!) are continuously and abundantly available. Needless to say, the Dead Heads found plenty of ways to make their own fun during the unexpected time off from tour. As a longtime friend of the Dead put it, “John Mayer has the best bad timing ever!”

Needless to say, when the rescheduled New Orleans date rolled around a few months later, both band and audience were ready to go. And John Mayer, minus appendix, was fully recovered and then some, as he’d already demonstrated at the Playing In The Sand shows in Mexico earlier in February. The band rewarded the patience of all who’d waited that extra time with a terrific show, enhanced by a visit by local musical royalty. Things start grooving quickly with a pairing of “Feel Like A Stranger” and “The Music Never Stopped” – the latter especially well chosen in the Crescent City, where the truth in that title has held true for centuries. After that fine table-setter, and then visits to folk roots with “Cold Rain And Snow,” “Peggy-O” and “Friend Of The Devil,” the party really heats up when one of the paragons of the city’s musical community joins the band onstage to a richly deserved hero’s welcome: bassist and singer George Porter, Jr., co-founder of one of the greatest bands of all time, the Meters and the foundation of countless iconic recordings produced in the studios of New Orleans over a period of more than five decades. With one of Porter’s most avid fans and disciples, Oteil Burbridge, happily ceding his spot and watching with joy from the side, George shares lead vocals with Bob Weir on “Smokestack Lightning,” provides a funky bottom to “Bertha” and then blows the roof off the place with soulful lead vocal on “Sugaree” to close out the first set. A hard act to follow, but Dead & Co. somehow pull it off in Part 2 with a sizzling “Scarlet Begonias>Fire On The Mountain” opener to a variety-packed set highlighted by John and Oteil’s shared vocals on “Ship Of Fools,” a deeply emotional “Stella Blues” and a celebratory set-ending “One More Saturday Night,” with just a tinge of New Orleans R&B to it. The encore is a crowd-pleasing and rare – the only one played on this tour – take on Warren Zevon’s “Werewolves Of London.”

Tracklist:
01. Feel Like a Stranger (Live at Smoothie King Center, New Orleans, LA 2/24/18) 11:26
02. The Music Never Stopped (Live at Smoothie King Center, New Orleans, LA 2/24/18) 11:14
03. Cold Rain and Snow (Live at Smoothie King Center, New Orleans, LA 2/24/18) 08:48
04. Peggy-O (Live at Smoothie King Center, New Orleans, LA 2/24/18) 08:07
05. Friend of the Devil (Live at Smoothie King Center, New Orleans, LA 2/24/18) 07:37
06. Smokestack Lightning (Live at Smoothie King Center, New Orleans, LA 2/24/18) 07:01
07. Bertha (Live at Smoothie King Center, New Orleans, LA 2/24/18) 08:49
08. Sugaree (Live at Smoothie King Center, New Orleans, LA 2/24/18) 10:12
09. Scarlet Begonias (Live at Smoothie King Center, New Orleans, LA 2/24/18) 11:22
10. Fire on the Mountain (Live at Smoothie King Center, New Orleans, LA 2/24/18) 10:23
11. Truckin’ (Live at Smoothie King Center, New Orleans, LA 2/24/18) 14:04
12. Ship of Fools (Live at Smoothie King Center, New Orleans, LA 2/24/18) 09:10
13. Uncle John’s Band (Live at Smoothie King Center, New Orleans, LA 2/24/18) 16:17
14. Drums (Live at Smoothie King Center, New Orleans, LA 2/24/18) 08:15
15. Space (Live at Smoothie King Center, New Orleans, LA 2/24/18) 07:52
16. Stella Blue (Live at Smoothie King Center, New Orleans, LA 2/24/18) 08:53
17. One More Saturday Night (Live at Smoothie King Center, New Orleans, LA 2/24/18) 07:02
18. Werewolves of London (Live at Smoothie King Center, New Orleans, LA 2/24/18) 06:28

Download:

mqs.link_DeadCmpanySmthieKingCenterNewrleansLA22418Live20192448.part1.rar
mqs.link_DeadCmpanySmthieKingCenterNewrleansLA22418Live20192448.part2.rar

After conquering the Midwest, Dead & Company headed below the Mason-Dixon line to begin the final leg of the Fall ’17 tour, the first stop being the lovely and diverse city of Charlotte, NC. Southern Dead Heads have sometimes lamented that their region was not as frequent a touring destination as other parts of the country for the Grateful Dead and its various spinoffs and successors, but Dead and Co. seem to be looking to change that: this was the third visit in their short history to North Carolina, and second to Charlotte, and the fans’ patience and loyalty was richly rewarded with this sweet gem of a show.

The band wastes no time heating things up with Bob Weir and John Barlow’s tongue-in-cheek take on rock ‘n’ roll decadence, “Hell In A Bucket,” and keeping up the fast pace with “Bertha,” before taking a more gentle turn with performances of “Peggy-O” – a song that was in the repertoire of many folkies in the early 60s, including Bob Dylan – followed by Dylan’s own “When I Paint My Masterpiece.” Other notable first-set peaks include a particularly high-energy “Greatest Story Ever Told,” the shared lead vocals by John Mayer and Oteil Burbridge on “Ship Of Fools,” and a “Let It Grow” featuring some fine ensemble interplay.

The second half starts gets off to a rootsy start with “The Weight,” Robbie Robertson’s classic from The Band’s “Music From Big Pink.” From there it’s straight into the wild frontier of collective improvisation, with “Playing In The Band,” “Uncle John’s Band” and “Terrapin Station” providing plenty of room to stretch out. The post-Drums-and-Space segment is by turns tender (“Standing On The Moon”) and rocking (“I Need A Miracle” into “Goin’ Down The Road Feelin’ Bad,” with a lovely encore of “Black Muddy River” (tagged with a brief return to “Playing In The Band”) to bring it all home.

Tracklist:
1. Hell In A Bucket
2. Bertha
3. Peggy-O
4. When I Paint My Masterpiece
5. Greatest Story Ever Told
6. Ship Of Fools
7. Mississippi Half-Step Uptown Toodeloo
8. Let It Grow
9. The Weight
10. Playin’ In The Band
11. Uncle John’s Band
12. Terrapin Station
13. Drums
14. Space
15. Standing On The Moon
16. I Need A Miracle
17. Goin’ Down The Road Feelin’ Bad
18. Black Muddy River
19. Playin’ In The Band

Download:

mqs.link_DeadCmpanySpectrumCenterCharltteNC112817Live20192448.part1.rar
mqs.link_DeadCmpanySpectrumCenterCharltteNC112817Live20192448.part2.rar
mqs.link_DeadCmpanySpectrumCenterCharltteNC112817Live20192448.part3.rar

The city of Boston has been known by various nicknames over time, not all of them related to beans: “the Cradle of Liberty” or “Birthplace of the American Revolution” come to mind. And then there’s “The Hub.” This was a shortened version of “Hub of the Solar System,” a phrase used to characterize Boston’s central position in the early social, cultural and political life of the United States, first applied by the 19th century writer and poet Oliver Wendell Holmes Sr. While that role may have diminished as the nation expanded westward, Boston has certainly remained “The Hub” in at least one way: as the epicenter of activity for New England’s large and avid contingent of Dead Heads for more than a half-century, beginning with the Grateful Dead’s first shows in the city, at a short-lived venue known as the Psychedelic Supermarket, in December of 1967. Boston has a singular distinction in Dead history as the only city outside of the San Francisco Bay Area in which the band played a show on New Year’s Eve (12/31/69). As the Dead’s popularity grew dramatically from that point, their most frequent destination in the area, playing host to 24 shows between 1973 and 1994, was Boston Garden, a decaying but magnificent old heap of a sports arena, famous as home to the Celtics and Bruins during their greatest years, as well as some of world’s rowdiest fans, who liked to express their displeasure with opposing teams or questionable referee’s calls by throwing light bulbs on the court or ice. In the rock ‘n’ roll era firecrackers became the more common weapon of choice, and at least one recording of a 70s Grateful Dead show at the Garden features a request from band to audience to kindly refrain from blowing things up.

Fortunately, there were no unauthorized explosive devices evident in the house when Dead & Company returned to Boston in November of 2017 to play the more modern facility that had replaced the original Garden, right next door to where the old place had been, but the two performances featured plenty of fireworks of a purely musical variety. Night one gets off to a fine start with the always-dependable show opener “Jack Straw,” closely followed by “New Speedway Boogie,” the feel of which is right in John Mayer’s blues guitar wheelhouse. John shines on voice as well as strings on “Althea,” after which Bobby takes the lead again on “Mississippi Half-Step Uptown Toodeloo” and “Big River.” A characteristically soulful “Sugaree” and a high-spirited “The Music Never Stopped” ring down the curtain on the first set in style. No time is wasted in getting things soaring after intermission, as the crowd’s happy roar at the first chords of “Scarlet Begonias” makes clear. “Scarlet’s” constant companion, “Fire On The Mountain,” an ideal vehicle for Oteil Burbridge on lead vocal, turns things up another notch before the band shifts gears into “He’s Gone,” featuring some playfully jazzy vocal trading on the coda, interrupted by a sharp left turn into the turbo-charged jug-band funk of “Viola Lee Blues.” Out of the ashes of that song’s fiery finish rises a beautifully meditative sequence featuring the Rhythm Devils, then a Space segment that soon morphs into a swinging rendition of the Miles Davis classic “Milestones.” “Wharf Rat,” “The Wheel” and “Sugar Magnolia” combine for a powerful close to the set, with “Ripple” providing a gentle encore.

Tracklist:
01. Jack Straw (Live at TD Garden, Boston, MA 11/17/17) 11:09
02. New Speedway Boogie (Live at TD Garden, Boston, MA 11/17/17) 10:48
03. Althea (Live at TD Garden, Boston, MA 11/17/17) 10:21
04. Mississippi Half-Step Uptown Toodeloo (Live at TD Garden, Boston, MA 11/17/17) 12:35
05. Big River (Live at TD Garden, Boston, MA 11/17/17) 07:03
06. Sugaree (Live at TD Garden, Boston, MA 11/17/17) 13:58
07. The Music Never Stopped (Live at TD Garden, Boston, MA 11/17/17) 10:11
08. Scarlet Begonias (Live at TD Garden, Boston, MA 11/17/17) 11:00
09. Fire On The Mountain (Live at TD Garden, Boston, MA 11/17/17) 09:11
10. He’s Gone (Live at TD Garden, Boston, MA 11/17/17) 12:53
11. Viola Lee Blues (Live at TD Garden, Boston, MA 11/17/17) 08:07
12. Drums (Live at TD Garden, Boston, MA 11/17/17) 10:54
13. Space (Live at TD Garden, Boston, MA 11/17/17) 02:56
14. Milestones (Live at TD Garden, Boston, MA 11/17/17) 06:44
15. Wharf Rat (Live at TD Garden, Boston, MA 11/17/17) 10:12
16. The Wheel (Live at TD Garden, Boston, MA 11/17/17) 10:46
17. Sugar Magnolia (Live at TD Garden, Boston, MA 11/17/17) 11:32
18. Ripple (Live at TD Garden, Boston, MA 11/17/17) 05:01

Download:

mqs.link_DeadCmpanyTDGardenBstnMA111717Live20192448.part1.rar
mqs.link_DeadCmpanyTDGardenBstnMA111717Live20192448.part2.rar
mqs.link_DeadCmpanyTDGardenBstnMA111717Live20192448.part3.rar

After a night off that didn’t slow their momentum one little bit, Dead & Company wrapped up their Fall 2017 Boston visit with this jewel of a show, full of unpredictable moments and inventive playing. The Sunday evening gets off to a properly sanctified start with “Samson & Delilah,” then proceeds though a series of shifting styles and moods, reflected in such standbys as “Dire Wolf,” “Cold Rain and Snow,” and “Loser,” and then a relative rarity: Dead & Company’s debut performance (and one of only three to the present date) of “Corrina,” one of those Bob Weir songs that appeared in the Grateful Dead repertoire in the early 90s, but would flourish more fully in the hands of some of the post-GD ensembles. Up next is “Here Comes Sunshine,” a perfect platform for jamming that received one of its peak early performances by the Grateful Dead in its Boston premiere at the old Garden in April of 1973. “Greatest Story Ever Told” is an atypical but excellent choice of first set closer. The “China Cat Sunflower > I Know You Rider” duo is a virtual certainty to raise the roof to kick off a second set, as the version delivered here demonstrates. Oteil’s vocal on “Comes A Time” provides a beautiful prelude to an open-ended “Playing In The Band,” that quickly ascends into otherworldly regions of the sonic spectrum – that zone in which the Rhythm Devils, aka Bill Kreutzmann and Mickey Hart, are right as home, as you’ll easily discern. The rest of the ensemble puts in its time exploring the cosmos as well, before returning us to earth with the stately chord that signals the opening of “Morning Dew.” The majestic rendition of Bonnie Dobson’s song would have sufficed as a show closer, but it turns Dead & Co. still had some rockin’ in their bones, and they deliver the goods with a one-two punch of “I Need A Miracle” and “Casey Jones” to close out the set. “Brokedown Palace” proves the much-beloved encore it has long been, but the band has one more gift to add: a reprise of that “Playing In The Band” they’d started more than an hour earlier.

Download:

mqs.link_DeadCmpanyTDGardenBstnMA111917Live20192448.part1.rar
mqs.link_DeadCmpanyTDGardenBstnMA111917Live20192448.part2.rar

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