SACD-R – 24bit.me

Björk – Medúlla (2004) [Japanese Edition] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 47:53 minutes | Scans included | 3,43 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,05 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Bonus track

Medúlla is the sixth studio album by Icelandic singer, songwriter, and musician Björk. The title derives from the Latin word for “marrow”. The album is almost entirely a cappella and constructed with human vocals. Medúlla received two Grammy Award nominations and reached number one in several record charts.

It’s hard to accuse Björk of making music influenced by commercial or critical expectations at any point in her career, but her post-Homogenic work is even more focused on following her bliss, whether that means acting and singing in Lars Von Trier’s grim musical Dancer in the Dark; crafting tiptoeing laptop lullabies on Vespertine; or, in the case of Medúlla, sculpting an album out of almost nothing but singing and vocal samples. The album’s title and concept refer to the purest essence of something, and Medúlla explores both the ritual power of the human voice and some of the most essential themes of Björk’s music in a way that’s both primal and elaborate. It took a large cast of characters to make the album’s seemingly organic sound, including vocalists ranging from Icelandic and British choirs to Inuit singers to Mike Patton and Robert Wyatt; programmers like Matmos, Mark Bell, and Mark “Spike” Stent; and beatboxers such as Rahzel and the onomatopoeically named Japanese artist Dokaka. Several songs are sung in Icelandic, which works especially well, not only because it ties in with Medúlla’s concept, but also because of the language’s sonic qualities: the rolling Rs, guttural stops, and elongated vowels reflect the alternately chopped and soaring arrangements behind them. Neopaganism and unfettered sensuality also wind through the album, particularly on “Mouth’s Cradle,” along with meditative, Vespertine-like pieces such as “Desired Constellation.” Medúlla is unusually intimate: Björk’s voice is miked very closely, and with the dense layers of vocals surrounding her, it often sounds as if you’re listening to the album from inside her larynx. Some of the heavy breathing, grunts, and ululating woven into the album come close to provoking physical reactions: the eerie sighs and throat singing on the feral “Ancestors” make the chest ache and suggest a particularly melodic pack of wolves. Meanwhile, there’s something simian about Dokaka’s gleeful babbling and beats on “Triumph of a Heart.” Despite its gentler moments, Medúlla’s raw rhythms and rarefied choral washes make it the most challenging work of Björk’s career. “Where Is the Line” is one of her tough, no-nonsense songs, and Rahzel’s hard-hitting beats make it starker than anything on Homogenic. Even relatively accessible songs, like the gone-native loveliness of “Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)” and “Oceania,” which Björk wrote for the 2004 Athens Olympics, have an alien quality that is all the stranger considering that nearly all of their source material is human (except for the odd keyboard or two). Actually, fans of world, contemporary classical, or avant-garde music might find more to appreciate in Medúlla than anyone looking for a “Human Behaviour” or “It’s Oh So Quiet.” It’s not an immediate album, but it is a fascinating one, especially for anyone interested in the world’s oldest instrument being used in unexpected ways.

Tracklist:
01. Pleasure Is All Mine
02. Show Me Forgiveness
03. Where Is The Line
04. Vökuró
05. Öll Birtan
06. Who Is It (Carry My Joy On The Left, Carry My Pain On The Right)
07. Submarine
08. Desired Constellation
09. Oceania
10. Sonnets / Unrealities XI
11. Ancestors
12. Mouth’s Cradle
13. Miðvikudags
14. Triumph Of A Heart
15. Komið [Bonus Track for Japan]

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTBOREEF9/BjorkM3dulla2004Japan3s33ditionFLAC2488.2.part1.rar
http://www.datafile.com/d/TVRVek5qUTBOREUF9/BjorkM3dulla2004Japan3s33ditionFLAC2488.2.part2.rar
or
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http://rapidgator.net/file/cdf11ecc6c94ab7d2d21812e761f3fcf/BjorkM3dulla2004Japan3s33ditionFLAC2488.2.part2.rar.html

Björk – Vespertine (2001) [SACD Reissue 2004] {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 55:42 minutes | Scans included | 3,33 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,05 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

Vespertine is the fifth studio album by the Icelandic recording artist Björk. On this album, Björk creates a quiet, introverted world of microbeats and personal lyrics. On the cover she can be seen wearing the swan dress (designed by Marjan Pejoski) that caused a stir at the 2001 Academy Awards.

After cathartic statements like Homogenic, the role of Selma in Dancer in the Dark, and the film’s somber companion piece, Selmasongs, it’s not surprising that Björk’s first album in four years is less emotionally wrenching. But Vespertine isn’t so much a departure from her previous work as a culmination of the musical distance she’s traveled; within songs like the subtly sensual “Hidden Place” and “Undo” are traces of Debut and Post’s gentle loveliness, as well as Homogenic and Selmasongs’ reflective, searching moments. Described by Björk as “about being on your own in your house with your laptop and whispering for a year and just writing a very peaceful song that tiptoes,” Vespertine’s vocals seldom rise above a whisper, the rhythms mimic heartbeats and breathing, and a pristine, music-box delicacy unites the album into a deceptively fragile, hypnotic whole. Even relatively immediate, accessible songs such as “It’s Not Up to You,” “Pagan Poetry,” and “Unison” share a spacious serenity with the album’s quietest moments. Indeed, the most intimate songs are among the most varied, from the seductively alien “Cocoon” to the dark, obsessive “An Echo, A Stain” to the fairy tale-like instrumental “Frosti.” The beauty of Vespertine’s subtlety may be lost on Björk fans demanding another leap like the one she made between Post and Homogenic, but like the rest of the album, its innovations are intimate and intricate. Collaborators like Matmos — who, along with their own A Chance to Cut Is a Chance to Cure, appear on two of 2001’s best works — contribute appropriately restrained beats crafted from shuffled cards, cracking ice, and the snap-crackle-pop of Rice Krispies; harpist Zeena Parkins’ melodic and rhythmic playing adds to the postmodernly angelic air. An album singing the praises of peace and quiet, Vespertine isn’t merely lovely; it proves that in Björk’s hands, intimacy can be just as compelling as louder emotions.

Tracklist:
01. Hidden Place
02. Cocoon
03. It’s Not Up To You
04. Undo
05. Pagan Poetry
06. Frosti (Interlude)
07. Aurora
08. An Echo, A Stain
09. Sun In My Mouth
10. Heirloom
11. Harm Of Will
12. Unison

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTBOVEkF9/BjorkV3sp3rtin32001R3issu32004FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRVek5qUTBOVEEF9/BjorkV3sp3rtin32001R3issu32004FLAC2488.2.part2.rar
or
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http://rapidgator.net/file/068bee5d628d4036273bf1f4ceb76797/BjorkV3sp3rtin32001R3issu32004FLAC2488.2.part2.rar.html

Camille Saint-Saëns – Piano Concertos Nos. 3 & 5
Anna Malikova, Piano / WDR-Sinfonieorchester Köln / Thomas Sanderling
SACD ISO (2.0/MCH): 2,75 GB | 24B/88,2kHz Stereo FLAC: 941 MB | Full Artwork
Label/Cat#: Audite # aud 10.012 | Country/Year: Germany 2007 | Genre: Classical | Style: Romantic

The five piano concertos of St.-Saens are not frequently heard and that is a shame in view of the endless repeats of the Tchaikovsky, Grieg and Schumann warhorses. They are all well-composed examples of the best of French instrumental music of the later 19th century and full of lovely melodies that would appeal greatly to concert audiences. I hadn’t enjoyed any of them for some time and it was a pleasure to have these two concertos in enveloping hi-res surround. I don’t know how we missed out on Vol. I but plan to check into that.
Brian Bloom talks in his Denon receiver review this issue about the people who often prefer the stereo mix on SACDs to the multichannel. I admit I seldom check either the CD or stereo options anymore because I always hear about the same thing in comparison. I really can’t imagine why anyone with five properly matched and located speakers would prefer the stereo mix to the multichannel mix! On these concertos the two-channel option is excellent and there is little one would miss. However, when switching to the multichannel option the soundstage takes on a depth and breadth it didn’t have, and the piano is better separated from the sound of the orchestra. There’s much more “air” around everything. The piano still sounds too wide but that’s a given.
The first movement of the Third Concerto is so bombastic one might almost think the composer was humorously depicting a lion or elephant from his Carnival of the Animals. It’s slow movement is rather brooding, but the finale is a colorful showpiece for the soloist. The Fifth Concerto is sometimes subtitled “Egyptian Concerto” because that is where it was composed. St.-Saens frequently spent time in North Africa, which had started when he was a child with a medical problems. He indicated the middle movement was a sort of tour of the Orient. One theme in it is a Nubian love song which the composer had heard boatmen on the Nile sing. The opening and closing movements are however thoroughly French. Orchestration is very colorful, with solos originating in the winds and strings. 4/5 ~audiophile-audition

SACD Info:
Camille Saint-Saëns – Piano Concertos Nos. 3 & 5
Anna Malikova, Piano / WDR-Sinfonieorchester Köln / Thomas Sanderling
Label: Audite
Co-Prod.: WDR
Catalog#: aud 10.012
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2007
Genre: Classical
Style: Romantic
Info: Free Give-Away with Audite Catalogue 2007, originally issued in 2004 as audite 92.510, “C. Saint-Saëns: Piano Concertos Vol. II”

Tracklist:
1 Klavierkonzert Nr. 3 Es-dur op. 29 – Moderato assai – Più mosso (Allegro maes… 14:06
2 Klavierkonzert Nr. 3 Es-dur op. 29 – Andante 7:50
3 Klavierkonzert Nr. 3 Es-dur op. 29 – Allegro non troppo 8:23
4 Klavierkonzert Nr. 5 F-dur op. 103 – Allegro animato 12:24
5 Klavierkonzert Nr. 5 F-dur op. 103 – Andante – Allegretto tranquillo quasi an… 12:02
6 Klavierkonzert Nr. 5 F-dur op. 103 – Molto allegro 6:10

The basic issues concerning the recording of classical music remained unchanged for several decades. The first problem to be considered and solved was the inadequate quality of sound reproduction, but soon those involved ceased to be hampered by the limitations of recording techniques and were fully able to realize their own conceptions of how they wanted the music to sound.
The leap from CD stereo to SACD Surround Sound represented another significant step forward. These newly emerging media will, however, be unable to effect any further relevant improvements. Their advantages are only seen to the full in the context of video productions. Those of us who prefer not to be distracted by pictures do not profit from these technical progress.
So don’t let yourself to be confused by the daily advertisements for new formats! The basic issues concerning the presentation and recording of music are no longer determined by the medium, but only by the way performers and producers want the music to sound.
audite does not intend to join the race for new formats; it will continue to work with SACD. Ludger Böckenhoff

SACD-R

FLAC 24-88.2

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http://www.datafile.com/d/TVRVek5qUTBOamMF9/Camill3SaintSansPianoConc3rtosNos.35FLAC.part2.rar
or
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Info+art

http://www.datafile.com/d/TVRVek5qUTBOalkF9/Camill3SaintSansPianoConc3rtosNos.35InfoArt.rar
or
http://rapidgator.net/file/eb3a415293151a577dedbd9ee2abdcd7/Camill3SaintSansPianoConc3rtosNos.35InfoArt.rar.html

What’s better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It’s a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley’s playing on “Waltz for Debby” is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called “Know What I Mean?” Other treats include the sprightly “Toy” and two takes of the Gershwin classic “Who Cares?” The focus here is, of course, on Adderley’s excellent post-bop stylings, but it’s also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It’s hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording.

Tracklist:
01. Waltz For Debby
02. Goodbye
03. Who Cares? (take 5)
04. Venice
05. Toy
06. Elsa
07. Nancy (With The Laughing Face)
08. Know What I Mean? (take 7)
09. Who Cares? (take 4)
10. Know What I Mean? (take 12)

Personnel:
Cannonball Adderley – alto saxophone
Bill Evans – piano
Percy Heath – bass
Connie Kay – drums

SACD-R

FLAC24-88.2

http://www.datafile.com/d/TVRVek5qUTNOelEF9/CannonballAdd3rlyKnowWhatIM3an1961APOR3mast3r2002FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRVek5qUTNOekUF9/CannonballAdd3rlyKnowWhatIM3an1961APOR3mast3r2002FLAC2488.2.part2.rar
or
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Sessions in any genre of music are all too often described as “sublime,” but seldom has that description been better deserved than with this relaxed hard bop classic. One looks to other catchalls such as “effortless” and “loose,” but even those slight this amazing date by implying a lack of intensity — and intensity comes in all forms. For all intents and purposes, this is the first recorded meeting of what would become the famous Benny Golson/Art Farmer Jazztet (albeit without Farmer), a group most commonly associated with its 1960 Chess session, Meet the Jazztet. Curtis Fuller’s next date, The Curtis Fuller Jazztet, and his appearance on the Chess date, only compound this point. Like perhaps Jimmy Smith’s flagship, The Sermon, Blues-ette’s brilliance manifests itself not only within the individual solos but also in the way the group functions as a collective. One gets the impression that these tunes could have continued for hours in the studio without the slightest lack of interest on anyone’s part. This might be because many of the themes presented here are so basic and seemingly obvious that they don’t seem like anything to write home about upon first listen. A day or so later, when you’re walking down the street to the tempo of the title track, you may begin to think otherwise. These are some exceptionally catchy heads and many have since become standards. As far as individual performances are concerned, you’re not likely to find better solos by any of the members of this quintet than you will here, though they all have extensive and very high-quality catalogs themselves. Picking highlights is a moot point. Blues-ette is best experienced as an entire LP. It would have surely made a greater impact upon its initial release had it been on a more high-profile label, such as Columbia or Blue Note, but there’s no sense worrying about that now. Any serious jazz collection is incomplete without this record.

Tracklist:
01. Five Spot After Dark
02. Undecided
03. Blues-Ette
04. Minor Vamp
05. Love Your Spell Is Everywhere
06. Twelve-Inch

Personnel
Curtis Fuller – Trombone
Benny Golson – Tenor Sax
Tommy Flannagan – Piano
Jimmy Garrison – Bass
Al Harewood – Drums

SACD-R

http://www.datafile.com/d/TVRVek5qUTRNakEF9/CurtisFull3rBlu3s3tt31959Japan2012SHMSACDISO.part1.rar
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http://www.datafile.com/d/TVRVek5qUTRNakkF9/CurtisFull3rBlu3s3tt31959Japan2012SHMSACDISO.part3.rar
or
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http://rapidgator.net/file/652ceb2bae14e7a1490fa25b64309bb1/CurtisFull3rBlu3s3tt31959Japan2012SHMSACDISO.part3.rar.html

FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTRNVEUF9/CurtisFull3rBlu3s3tt31959Japan2012FLAC2488.2.rar
or
http://rapidgator.net/file/83e7dba45fc03a78affac09526746490/CurtisFull3rBlu3s3tt31959Japan2012FLAC2488.2.rar.html

Heathen marks a new beginning for David Bowie in some ways — it’s his first record since leaving Virgin, his first for Columbia Records, his first for his new label, ISO — yet it’s hardly a new musical direction. Like Hours, this finds Bowie sifting through the sounds of his past, completely at ease with his legacy, crafting a colorful, satisfying album that feels like a classic Bowie album. That’s not to say that Heathen recalls any particular album or any era in specific, yet there’s a deliberate attempt to recapture the atmosphere, the tone of his ’70s work — there’s a reason that Bowie decided to reteam with Tony Visconti, the co-producer of some of his best records, for this album — even if direct comparisons are hard to come by. Which is exactly what’s so impressive about this album. Bowie and Visconti never shy away from electronic instrumentations or modern production — if anything, they embrace it — but it’s woven into Bowie’s sound subtly, never drawing attention to the drum loops, guitar synths, and washes of electronica. For that matter, guest spots by Dave Grohl and Pete Townshend (both on guitar) don’t stand out either; they’re merely added texture to this an album that’s intricately layered, but always plays smoothly and alluringly. And, make no mistake, this is an alluring, welcoming, friendly album — there are some moody moments, but Bowie takes Neil Young’s eerie “I’ve Been Waiting for You” and Pixies’ elusively brutal, creepy “Cactus” and turns them sweet, which isn’t necessarily a bad thing, either. In the end, that’s the key to Heathen — the undercurrent of happiness, not in the lyrics, but in the making of music, a realization by Bowie and Visconti alike that they are perfect collaborators. Unlike their previous albums together, this doesn’t boldly break new ground, but that’s because, 22 years after their last collaboration, Scary Monsters, both Bowie and Visconti don’t need to try as hard, so they just focus on the craft. The result is an understated, utterly satisfying record, his best since Scary Monsters, simply because he’d never sounded as assured and consistent since.

Tracklist:
01 – Sunday
02 – Cactus
03 – Slip Away
04 – Slow Burn
05 – Afraid
06 – I’ve Been Waiting For You
07 – I Would Be Your Slave
08 – I Took A Trip On A Gemini Spaceship
09 – 5:15 The Angels Have Gone
10 – Everyone Says ‘Hi’
11 – A Better Future
12 – Heathen (The Rays)
13 – When The Boys Come Marching Home
14 – Wood Jackson
15 – Conversation Piece
16 – Safe

Mixed for 5.1 Surround Sound by Tony Visconti & Hector Castillo at Looking Glass Studios, NY.
Mastered for SACD by Vlado Meller at Sony Music Studios, New York, NY.

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTRNelUF9/DavidBowi3H3ath3n2002FLAC2488.2St3r3o.part1.rar
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http://www.datafile.com/d/TVRVek5qUTROREEF9/DavidBowi3H3ath3n2002FLAC2488.2St3r3o.part3.rar
or
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After summing up his maverick tendencies on Scary Monsters, David Bowie aimed for the mainstream with Let’s Dance. Hiring Chic guitarist Nile Rodgers as a co-producer, Bowie created a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically heavily inspired by Bowie himself. Let’s Dance comes tearing out of the gate, propulsed by the skittering “Modern Love,” the seductively menacing “China Girl,” and the brittle funk of the title track. All three songs became international hits, and for good reason — they’re catchy, accessible pop songs that have just enough of an alien edge to make them distinctive. However, that careful balance is quickly thrown off by a succession of pleasant but unremarkable plastic soul workouts. “Cat People” and a cover of Metro’s “Criminal World” are relatively strong songs, but the remainder of the album indicates that Bowie was entering a songwriting slump. However, the three hits were enough to make the album a massive hit, and their power hasn’t diminished over the years, even if the rest of the record sounds like an artifact.

Tracklist:
01 – Modern Love
02 – China Girl
03 – Let’s Dance
04 – Without You
05 – Ricochet
06 – Criminal World
07 – Cat People (Putting Out Fire)
08 – Shake It

Digital Remaster 2003. Remastered by Peter Mew at Abbey Road Studios, London.

SACD-R

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FLAC 24-88.2

http://www.datafile.com/d/TVRVek5qUTVNRFUF9/DavidBowi3L3tsDanc31983SACD2003FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRVek5qUTRPVE0F9/DavidBowi3L3tsDanc31983SACD2003FLAC2488.2.part2.rar
or
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David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his ’70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn’t have the vision of his other classic records, it wasn’t designed to break new ground — it was created as the culmination of Bowie’s experimental genre-shifting of the ’70s. As a result, Scary Monsters is Bowie’s last great album. While the music isn’t far removed from the post-punk of the early ’80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the ’80s.

Tracklist:
01 – It’s No Game (Part 1)
02 – Up The Hill Backwards
03 – Scary Monsters (And Super Creeps)
04 – Ashes To Ashes
05 – Fashion
06 – Teenage Wildlife
07 – Scream Like A Baby
08 – Kingdom Come
09 – Because You’re Young
10 – It’s No Game (Part 2)

Digital Remaster 2003. Remastered by Peter Mew at Abbey Road Studios, London.

SACD-R

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FLAC 24-88.2

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Instead of being a one-off comeback, 2002′s Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003′s Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-’70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair — and if those two ingredients were key to the feeling and effect of that album, it’s a credit to Bowie that he’s found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting. Since part of the appeal of Monsters is the creeping sense of unease and its icy detachment, it would seem that a warmer, mature variation on that would not be successful, but Bowie and Visconti are sharp record-makers, retaining what works — layers of voices and guitars, sleek keyboards, coolly propulsive rhythms — and tying them to another strong set of songs. Like Heathen, the songs deliberately recall classic Bowie by being both tuneful and adventurous, both hallmarks of his ’70s work. If this isn’t as indelible as anything he cut during that decade, that’s merely the fate of mature work by veteran rockers. So, Reality doesn’t have the shock of the new, but it does offer some surprises, chief among them the inventive, assured production and memorable songs. It’s a little artier than Heathen, but similar in its feel and just as satisfying. Both records are testaments to the fact that veteran rockers can make satisfyingly classicist records without resulting in nostalgia or getting too comfortable. With any luck, Bowie will retain this level of quality for a long time to come.

Tracklist:
01 – New Killer Star
02 – Pablo Picasso
03 – Never Get Old
04 – The Loneliest Guy
05 – Looking For Water
06 – She’ll Drive The Big Car
07 – Days
08 – Fall Dog Bombs The Moon
09 – Try Some, Buy Some
10 – Reality
11 – Bring Me The Disco King

SACD 5.1 Multichannel version & 2 channel Stereo version Produced by David Bowie & Tony Visconti.
Engineered by Tony Visconti. Mixed by Tony Visconti & Hector Castillo at Looking Glass Studios, NY.
Mastered for SACD by Vlado Meller at Sony Music Studios, New York, NY.

SACD-R

FLAC 24-88.2

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Borrowing heavily from Marc Bolan’s glam rock and the future shock of A Clockwork Orange, David Bowie reached back to the heavy rock of The Man Who Sold the World for The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Constructed as a loose concept album about an androgynous alien rock star named Ziggy Stardust, the story falls apart quickly, yet Bowie’s fractured, paranoid lyrics are evocative of a decadent, decaying future, and the music echoes an apocalyptic, nuclear dread. Fleshing out the off-kilter metallic mix with fatter guitars, genuine pop songs, string sections, keyboards, and a cinematic flourish, Ziggy Stardust is a glitzy array of riffs, hooks, melodrama, and style and the logical culmination of glam. Mick Ronson plays with a maverick flair that invigorates rockers like “Suffragette City,” “Moonage Daydream,” and “Hang Onto Yourself,” while “Lady Stardust,” “Five Years,” and “Rock ‘n’ Roll Suicide” have a grand sense of staged drama previously unheard of in rock & roll. And that self-conscious sense of theater is part of the reason why Ziggy Stardust sounds so foreign. Bowie succeeds not in spite of his pretensions but because of them, and Ziggy Stardust — familiar in structure, but alien in performance — is the first time his vision and execution met in such a grand, sweeping fashion.

Tracklist:
01 – Five Years
02 – Soul Love
03 – Moonage Daydream
04 – Starman
05 – It Aint’t Easy
06 – Lady Stardust
07 – Star
08 – Hang On To Yourself
09 – Ziggy Stardust
10 – Suffragette City
11 – Rock’n’ Roll Suicide

Digital remaster 2002.
Re-Mixed for 5.1 Surround Sound by Ken Scott & Paul Hicks at Abbey Road Studios, London, January 2003.

SACD-R

FLAC 24-88.2

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Simple Minds – New Gold Dream (81-82-83-84) [1982] {2003 Remaster}
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 46:00 minutes | Scans included | 1,85 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 924 MB

One of Scotland’s finest imports, Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band’s musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the ’80s. They were still honing their artistic rowdiness, and Kerr’s pursuing vocals were still hiding. But Simple Minds’ skill of tapping into internal emotion is profound on songs such as “Someone, Somewhere in Summertime” and the album’s title track. But the dance-oriented tracks like “Promised You a Miracle” and “Glittering Prize” are lushly layered in deep electronic beats — it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s.

Tracklist:
01. Someone Somewhere In Summertime
02. Colours Fly And Catherine Wheel
03. Promised You A Miracle
04. Big Sleep
05. Somebody Up There Likes You
06. New Gold Dream (81-82-83-84)
07. Glittering Prize
08. Hunter And The Hunted
09. King Is White And In The Crowd

Digitally Remastered in 2003.

Mastered at Super Audio Mastering by Simon Heyworth.

SACD-R

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Riding the coat tails of the John Hughes flick The Breakfast Club, Simple Minds finally broke America with their theme song “Don’t You Forget About Me,” and their 1985 release Once Upon a Time captured the heart-wrenching excitement found in bands such as U2. They were now one of the biggest names in music and Jim Kerr’s thirsting vocals became the band’s signature. Once Upon a Time, featuring producer Jimmy Iovine (U2, Stevie Nicks, Bruce Springsteen), showcased more of a guitar-driven sound. The band’s heavy synth-pop beats had relaxed a bit and Charlie Burchill’s charming playing style was most noticeable. Also enlisting the choir-like beauty of Robin Clark, Simple Minds’ popularity was expounded on songs such as Alive & Kicking” and “Sanctify Yourself.” This album was one of their best, most likely leading the pack in the band’s album roster, because it exuded raw energy and solid composition not entirely captured on previous albums.

Tracklist:
01. Once Upon A Time
02. All The Things She Said
03. Ghost Dancing
04. Alive And Kicking
05. Oh Jungleland
06. I Wish You Were Here
07. Sanctify Yourself
08. Come A Long Way

Digitally Remastered in 2003.
Mastered at Super Audio Mastering by Simon Heyworth.

SACD-R

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No new ground is broken on Cry. In fact, Simple Minds’ reliance on glistening synthesizer textures, the band’s most distinguishing characteristic when it broke in the mid-’80s, becomes the only notable detail on the disc. With unmemorable material and the vocals of Jim Kerr showing little interpretive or technical advancement, each track hangs heavily on the keyboards, which become so dominant that some guitar parts merely imitate electronic effects; the tremolo strings on “Sleeping Girl” may as well come from a sample loop. To its credit, Simple Minds has a unique sound; no matter who among the many credited keyboardists is actually playing a given part, it can’t be mistaken for the product of any other band (with the exception of the last track, Vince Clarke’s “The Floating World,” whose galloping rhythm nods obviously toward Erasure). But when sheen takes precedence over substance, and particularly when that sheen has gleamed for nearly 30 years, that says something about what’s been missing from the hearts of Simple Minds.

Tracklist:
01. Cry
02. Spaceface
03. New Sunshine Morning
04. One Step Closer
05. Face In The Sun
06. Disconnected
07. Lazy Lately
08. Sugar
09. Sleeping Girl
10. Cry Again
11. Slave Nation
12. The Floating World

SACD-R

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FLAC 24-88.2

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2 CDs featuring 5 top 40 singles and a total of 32 songs covering the band’s A&M and Virgin Records careers. Also includes the bonus track ‘The Real Life’ (Remix by Raven Maize, sampling Queen’s Bohemian Rhapsody).

Simple Minds, the Scottish group led by Jim Kerr and Charlie Burchill, has had a very different career in the U.S. from the one it’s enjoyed in its native U.K., and that leads to different estimations of this compilation. As far as Britain is concerned, it is a much-needed, comprehensive collection of the band’s hit singles, no less than 26 of which placed in the charts between 1979 and 1998, including eight that hit the Top Ten. But Simple Minds’ stateside success was much more modest. The group is recalled as a phenomenon of the synth pop style of the mid-’80s, when it went to number one with “Don’t You (Forget About Me)” from the movie The Breakfast Club, then broke three Top 40 hits from its gold-selling 1985 album Once Upon a Time. Subsequent efforts were not nearly as popular, and by 1998 its most recent album, Néapolis, wasn’t even given an American release. On U.S. terms, therefore, the two CDs and nearly two and a half hours of The Best of Simple Minds are much more than fans really need. If they give it a chance, however, they will hear a band that had much more to offer than its American chart-topper. The album is not in strict chronological order, but the first disc covers material from 1979 to 1986, much of it heavily produced music in which every possible hole is filled by keyboard sounds, big drums, and Kerr’s echoey vocals declaiming portentously. The second disc, covering the years 1989 to 1998, leaves more space in the arrangements to make room for even more serious lyrical sentiments. Virgin probably counted on the ’80s revival during the early ’00s to justify this American release, and U.S. fans who know only Simple Minds’ few stateside hits will find much else to admire here.

Tracklist:
disc 1:
01. Don’t You (Forget About Me)
02. Promised You A Miracle
03. Waterfront
04. Alive & Kicking
05. Glittering Prize
06. All The Things She Said
07. Sanctify yourself
08. Someone Somewhere (In Summertime)
09. Ghostdancing
10. Up On The Catwalk
11. Speed Your Love To Me
12. Theme For Great Cities
13. Love Song
14. American
15. Sweat In Bullet
16. Life In A Day
17. I Travel

disc 2:
01. Let There Be Love
02. This Is Your Land
03. Kick It In
04. Let It All Come Down
05. See The Lights
06. Stand By Love
07. Real Life
08. She’s A River
09. Hypnotised
10. Glitterball (Edit)
11. War Babies (Bascombe remix)
12. Mandela Day
13. Biko
14. Belfast Child
15. Real Life/Raven Maize (Radio edit)

Digitally remastered by Simon Heyworth at Sanctuary Studios August/September 2001

SACD-R

FLAC 24-88.2

John Williams, classical guitar virtuoso, is known for his wide-ranging approach to repertory, which includes appearances playing electric rock guitar and international music…

With his crystalline articulation and extraordinary rhythmic prowess, John Williams ranks among the greatest solo voices the acoustic guitar has ever known. Now, with the joyous evocations of the African guitar tradition, Williams has hit upon his most emotionally satisfying crossover recital to date. Though both chief soloist and arranger, Williams nevertheless avoids shining the spotlight on his virtuosic skills–even his solo showcase, “Masagna,” places greater emphasis on the tune’s folkish incantations. He allows plenty of melodic space for the likes of steel-string player John Ethridge, while guiding listeners through the idiomatic flora and fauna of the pan-African experience: from the hornpipelike airs of Madagascar (“Mitopa”) and kora-styled arpeggios of Mali (“Malinke Guitars”) through to intimations of South African vocal traditions with a lovely children’s chorus on the anthem of the African National Congress, “Nikosi Sikelel’I Africa.” Simply expressive and deeply felt, Magic Box exudes a universal vibe that transcends borders and nationalities.

Tracklist:
01. O Bia
02. Township Kwela
03. Maki
04. Engome
05. Malinke Guitars
06. Masanga
07. Musha Musiki
08. Mitopa
09. Triangular Situations
10. Guitar Makossa
11. The Magic Box
12. Omby
13. Nikosi Sikelel’i Afrika
14. Djandjon
15. Sangara

SACD-R

FLAC 24-88.2

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Uses the 2011 DSD master based on UK original analog tape. 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 Richard Whittaker.

Mike Oldfield’s groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous sounding tubular bells, a truly powerful and dominating instrument. The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music. Tubular Bells is a divine excursion into the realm of new age music.

Tracklist:
01 – Tubular Bells (Part One)
02 – Tubular Bells (Part Two)

DSD Transferred from analogue master tapes by Richard Whittaker at the FX Copyroom (2011).

SACD-R

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Stan Getz & Bill Evans is an album by jazz saxophonist Stan Getz & pianist Bill Evans recorded in 1964 for the Verve label but only 1st released 1973.

Includes liner notes by James Isaacs. Digitally remastered by Dennis Drake (Polygram Studios).The only studio meeting between Stan Getz & Bill Evans took place over 2 days in 1964, with the aggressive drummer Elvin Jones & either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz & Evans hadn’t had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of “My Heart Stood Still,” the elegant interpretation of “Grandfather’s Waltz,” & the lush setting of the show tune “Melinda” all came from the 1st day’s session, with Davis on bass. (Evidently he was unavailable the following day, so Carter replaced him.) Evans’ driving, challenging “Funkallero” is the obvious highlight from day 2, though the gorgeous “But Beautiful” & the breezy setting of “Night & Day” are also enjoyable. Only the brief version of “Carpetbagger’s Theme,” which seems badly out of place & suggestive of the label’s interference with the session, is a bit of a disappointment. (It’s not included on this SHM version) Obviously neither Getz nor Evans liked the tune, as they go through the motions in a very brief performance. [Some reissues add 3 unissued alternate takes, though additional material from the sessions was included in the box set The Complete Bill Evans on Verve.]~ Ken Dryden

Tracklist:

01． Night And Day
02． But Beautiful
03． Funkallero
04． My Heart Stood Still
05． Melinda
06． Grandfather’s Waltz

Recorded at Rudy Van Gelder’s studio in Englewood Cliffs, N.J. on May 5, 1964 (tracks 4-6, 9 & 10) & May 6, 1964 (tracks 1-3, 7, 8 & 11).

Personnel:
Stan Getz – tenor saxophone
Bill Evans – piano
Richard Davis – bass (tracks 4-6, 9 & 10)
Ron Carter – bass (tracks 1-3, 7, 8 & 11)
Elvin Jones – drums

SACD-R

http://www.datafile.com/d/TVRZMU16VTRORE0F9/StanG3tzBill3vansStanG3tzBill3vansiso.part1.rar
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FLAC 24-88.2

http://www.datafile.com/d/TVRZMU16VTROREUF9/StanG3tzBill3vansStanG3tzBill3vans2ch.rar
or
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The Return of the Songwriter-Hero: No need for a clock or a calendar; Steve Strauss ticks in much more expansive dimensions. Roughly 10 years after his success with “Just Like Love” the singer & composer now presents his new album: “Sea of Dreams”. Why did it take so long?

Because Steve Strauss lives in two worlds. Parallel to his passion for guitar and writing music this man from New York State is a social worker in his home town, or to put it in his words: „I am a man upon a road, It doesn’t have a name, In my pockets only dust, But in my heart a flame…“. This flame brought him back – with 14 new songs and arrangements – to the Stockfisch Records studio. In this new material you might discover traces of the Steve Strauss of “Just Like Love”, but the striking thing is a new more courageous style. The noble Duesenberg guitar dominates in many of the songs, and there is a new playfulness. The title of the album betrays his new consciousness: he dives into a sea of personal dreams – “Monster(s)” inhabit a “Freaky World” devastated by “Acts of War”.

Sounds like global criticism – which it is, but which is never hard or bitter. Lightness and humour are seminal elements in “Sea of Dreams”, carried by the drive, strong melodies and the Stockfisch-Studio-team mix. The resulting sonic effect is highly complex but most importantly it supports Steve Strauss’s ideas. Accordion- and saxophone solos encounter unusual accompanying instruments like e.g. the tuba. Super-Audio-CD Hybrid: SACD Stereo + CD-Layer SFR 357.4084.2 • total time 59:38 This album displays perhaps the biggest and most diverse sound spectrum of Günter Pauler’s recent productions, from the expansive panorama-mix in “Monster” to the consciously sparse ballad “The Memory of Stones”, which is purely a piano accompaniment and a flute-solo in the distance. A pastoral. In these quiet moments the poetic strength of his lyrics becomes particularly evident. Steve Strauss is a master of his craft – telling a mini-story in each individual line. His voice has also matured: a more dark, powerful and emotional timbre. It is very moving to hear his tribute cover-versions of songs by two so completely different American songwriter heroes: “For The Turnstiles” by Neil Young and “With Open Arms” by Burt Bacharach. With the latter song he bids farewell to the listeners of his new album – an easy-listening experience, almost. It is much more a melancholy review of the whole album, but with an indefinable lightness, whistling a tune on the way..

Tracklist:
01. Sea of Dreams
02. Freaky World
03. Off The Wire
04. Forever And A Day
05. Acts of War
06. Radio Man
07. For The Turnstiles
08. Naked
09. Last Day Out
10. Monster
11. Oh, I
12. On The Moon
13. The Memory of Stones
14. With Open Arms

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRZMU16VTNOemMF9/St3v3StraussS3aOfDr3ams2015FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRZMU16VTNOelkF9/St3v3StraussS3aOfDr3ams2015FLAC2488.2.part2.rar
or
http://rapidgator.net/file/4e25be603998991a1b35af1be283b1dd/St3v3StraussS3aOfDr3ams2015FLAC2488.2.part1.rar.html
http://rapidgator.net/file/e1d5d5a86fab1d76978f17fe33b5c806/St3v3StraussS3aOfDr3ams2015FLAC2488.2.part2.rar.html

Sting – Brand New Day (1999) [Reissue 2004] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 48:32 minutes | Scans included | 2,89 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 48:49 mins | Scans | 969 MB
Features 2.0 Stereo and 5.1 multichannel surround sound

By the late ’90s, Sting had reached a point where he didn’t have to prove his worth every time out; he had so ingrained himself in pop culture, he really had the freedom to do whatever he wanted. He had that attitude on Mercury Falling, but it was too somber and serious, everything that its successor, Brand New Day, is not. Light, even effervescent, Brand New Day feels like little else in Sting’s catalog. Not that it represents a new beginning, contrary to what the title may promise. The album is not only firmly within his tradition, it sounds out of time — it’s odd how close Brand New Day comes to feeling like a sequel to Nothing Like the Sun. Musically, that is. The sparkling, meticulous production and the very tone of the music — ranging from light funk to mellow ballads to the Lyle Lovett tribute “Fill Her Up” — are of a piece with Sting’s late-’80s work. That’s the main thing separating it from Ten Summoner’s Tales, his other straight pop album — well, that, and the levity. There are no overarching themes, no political messages on Brand New Day — only love songs, story songs, and, for lack of a better term, inspirational exhortations. This is all a good thing, since by keeping things light he’s managed to craft an appealing, engaging record. It may not ask as much from its audience as Sting’s other ’90s efforts, but it’s immediately enjoyable, which isn’t the case for its cousins. Brand New Day doesn’t boast any new classics, and it does sound a little dated, but it’s well-crafted, melodic, and has a good sense of humor — exactly the kind of record Sting should be making as he embarks on the third decade of his career.

Tracklist:
01. A Thousand Years
02. Desert Rose
03. Big Lie Small World
04. After The Rain Has Fallen
05. Perfect Love…Gone Wrong
06. Tomorrow We’ll See
07. Prelude To The End Of The Game
08. Fill Her Up
09. Ghost Story
10. Brand New Day

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRZMU16VTROVEkF9/StingBrandN3wDay1999R3issu32004FLAC2488.2.part1.rar
http://www.datafile.com/d/TVRZMU16VTRORGsF9/StingBrandN3wDay1999R3issu32004FLAC2488.2.part2.rar
or
http://rapidgator.net/file/52e1199240eb73393e0b7a030b9fa450/StingBrandN3wDay1999R3issu32004FLAC2488.2.part1.rar.html
http://rapidgator.net/file/02bda7f204c1bd457954a56b83358e92/StingBrandN3wDay1999R3issu32004FLAC2488.2.part2.rar.html

Sting – Sacred Love (2003) [Limited Edition] {2.0 & 5.1}
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 60:37 minutes | Scans included | 3,91 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 57:49 mins | Scans | 1,19 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

Sting scored a moderate comeback success greater than most had imagined possible with 1999’s Brand New Day, reestablishing himself as a viable commercial artist instead of merely settling for “living legend” status. Part of this success was due to “Desert Rose,” featuring vocalist Farhat Bouallagui’s careening cadences that garnered attention, particularly when they were showcased in a car commercial that kicked the album into high commercial gear. Sting picks up on this, adding three guest vocalists to the ten-track Sacred Love album (the 11th track is a remix of the lead single, “Send Your Love” — which happens to be better, since it eliminates the rather annoying Indian-styled hook) — Vicente Amigo and Anoushka Shankar are paired with Mary J. Blige, who in this context is presented as a world music artist. None of the guests makes much of an impression here, but neither does Sting, since this is an album that puts sound over song or performance. Sacred Love is to Brand New Day what Mercury Falling was to Ten Summoner’s Tales — a fussy, overworked stab at maturity, one that has impeccable craft but is obscured by its own meticulousness. It is professional to a fault, using its maturity and preciseness to obscure the fact that the songs don’t really work. Sting isn’t always hemmed-in, even ending “Inside” with a hysterical rant that makes him seem like a madman, but it has the effect of making the rest of the album seeming too deliberate and far from adventurous. It’s far from a bad listen, nor is it embarrassing, but it’s entirely too predictable, coming across as nothing more than well-tailored, expensive mood music, which is certainly far less than what Sacred Love could have been.

Tracklist:
01. Inside
02. Send Your Love
03. Whenever I Say Your Name
04. Dead Man’s Rope
05. Never Coming Home
06. Stolen Car
07. Forget About The Future
08. This War
09. The Book Of My Life
10. Sacred Love
11. Send Your Love (Dave Aude Remix Edit Version)
12. Shape Of My Heart (from “…All This Time”)

SACD-R

FLAC 24-88.2

http://www.datafile.com/d/TVRZMU16VTRPRFEF9/StingSacr3dLov32003Limit3d3ditionFLAC2488.2.part1.rar
http://www.datafile.com/d/TVRZMU16VTRPREkF9/StingSacr3dLov32003Limit3d3ditionFLAC2488.2.part2.rar
or
http://rapidgator.net/file/b0cf55f5e79e0f5877509d85f6f11f07/StingSacr3dLov32003Limit3d3ditionFLAC2488.2.part1.rar.html
http://rapidgator.net/file/fa7c1dfa648b70865a44ca38fccbcf53/StingSacr3dLov32003Limit3d3ditionFLAC2488.2.part2.rar.html

Bjork – Medulla (2004) [Japanese Edition] {SACD-R + FLAC 24-88.2}

Bjork – Vespertine (2001) [SACD Reissue 2004] {SACD-R + FLAC 24-88.2}

Camille Saint-Saëns – Malikova / WDR-SO Köln / Sanderling – Piano Concertos Nos. 3 & 5 (2007) {SACD-R + FLAC 24-88.2}

Cannonball Adderly with Bill Evans – Know What I Mean (1961) [Analogue Productions 2002] {SACD-R + FLAC 24-88.2}

Curtis Fuller – Blues-Ette (1959) [Japanese Limited SHM-SACD 2012] {SACD-R + FLAC 24-88.2}

David Bowie – Heathen (2002) {SACD-R + FLAC 24-88.2}

David Bowie – Let’s Dance (1983) [SACD 2003] {SACD-R + FLAC 24-88.2}

David Bowie – Scary Monsters (1980) [SACD 2003] {SACD-R + FLAC 24-88.2}

David Bowie – Reality (2003) {SACD-R + FLAC 24-88.2}

David Bowie – The Rise and Fall of Ziggy Stardust and the Spiders from Mars 2003 (1972) [SACD 2003] {SACD-R + FLAC 24-88.2}

Simple Minds – New Gold Dream (81-82-83-84) [1982] {2003 Remaster} SACD-R

Simple Minds – Once Upon A Time (1985) [2003 Remaster] SACD-R

Simple Minds – Cry (2002) {SACD-R + FLAC 24-88.2}

Simple Minds – The Best Of Simple Minds (2x SACD – 2001) {SACD-R + FLAC 24-88.2}

John Williams – The Magic Box (2001) {SACD-R + FLAC 24-88.2}

Mike Oldfield – Tubular Bells (1973) [Japanese Limited SHM-SACD 2011 # UIGY-9080] {SACD-R + FLAC 24-88.2}

Stan Getz & Bill Evans – Stan Getz & Bill Evans (1973) [Japanese Limited SHM-SACD 2011 # UCGU-9029] {SACD-R + FLAC 24-88.2}

Steve Strauss – Sea Of Dreams (2015) {SACD-R + FLAC 24-88.2}

Sting – Brand New Day (1999) [Reissue 2004] {SACD-R + FLAC 24-88.2}

Sting – Sacred Love (2003) [Limited Edition] {SACD-R + FLAC 24-88.2}