Tag Archives: HDTracks

Miguel – Wildheart (2015) (Deluxe Version) [HDTracks 24-44.1]

Miguel – Wildheart (2015) (Deluxe Version)
FLAC (tracks) 24 bit/44.1kHz | Time – 58:36 minutes | 669 MB | Genre: R&B
Official Digital Download – Source: HDTracks | @ RCA Recods / Sony Music Entertainment
Recorded: 2014–15

This Deluxe Edition features four bonus tracks.

Grammy Award winning recording artist Miguel has confirmed his highly anticipated new studio album, WILDHEART, to be released this summer on ByStorm Entertainment/RCA Records. WILDHEART is the long awaited follow up to Miguel’s 2012 critically acclaimed sophomore release, KALEIDOSCOPE DREAM, which spent 20 weeks on the Billboard 200 Album Chart.

A complete anthology of Miguel’s featured appearances released — or disseminated, as the freaky wordplay lover might call it — between Kaleidoscope Dream and this would be assorted, to say the least. It would include appearances on a crop of major R&B and rap songs, a cover of Elton John’s “Bennie and the Jets,” and a highlight turn on Hudson Mohawke’s Lantern. A few of the extracurricular moves pointed toward his next solo step, but the clues remained clearest in the darker corners of Kaleidoscope Dream. Rather than attempt to rewrite “Adorn,” a number one R&B hit awarded a Grammy for Best R&B Song, Miguel evidently saw more of a creative future in the seamier, hazier, reverb-laden Kaleidoscope Dream album cuts like “Use Me” and “The Thrill.” Grinding guitars and mechanical beats, played and programmed at sludgy tempos that fuse new wave-era rock and contemporary R&B, dominate a program that curtails Miguel’s melodicism in favor of grunts, moans, and a couplet that ends in (groan) “masturbate” and “master, babe.” He was inspired by his Los Angeles environment to such an extent that it can be felt in this album almost as much as it can in the Miracles’ conceptual City of Angels. Like that 1975 album, this revels in L.A.’s allure, the fantasies it fuels, the dreams it breaks. If there is a “Love Machine” here, it’s the porn industry-referencing third track, though it’s a dragging slow jam, half-whispered and half-wailed, that is much more graphic. “Pour your sins on me baby, let us pray” is one of that song’s relatively clean lines, one of the album’s many instances where spirituality and sexuality are mixed. When Miguel sings of salvation and damnation, of being a pastor and pimp, he could be singing for the city as much as a thrill-seeking protagonist. When he pleads devotion to a “you” in the album’s standard-edition finale — which appropriately includes some flame-throwing guitar from L.A. child Lenny Kravitz — he could be addressing the city rather than a lover. While the reduction in lucid hooks and the uptick in wince-inducing lyrics diminish the album’s appeal, the charms are hard to repel. –AllMusic Review by Andy Kellman

Continue reading Miguel – Wildheart (2015) (Deluxe Version) [HDTracks 24-44.1]

Meav – The Calling (2013) [HDTracks 24-48]

Meav – The Calling (2013)
FLAC (tracks) 24 bit/48kHz  | Time – 43:42 minutes | 513 MB | Genre: Folk, Celtic, Classical Crossover
Official Digital Download – Source: HDTracks | © Warner Classics
Recorded: October – November, 2012

Multi-million selling world music artist Méav teams up with Grammy award-winning producer Craig Leon (Blondie, Talking Heads, Ramones, Pavarotti) to record folk-pop album The Calling.

Méav returns to her musical origins with The Calling, 12 tracks of newly written songs, folk ballads and fresh interpretations of timeless classics. Produced and co-written by the Grammy award-winning producer Craig Leon, responsible for iconic records by Blondie, Talking Heads, Ramones and Pavarotti amongst others, The Calling showcases Méav’s crystal clear voice, fusing her classical training with her folk roots.

From an early age Méav displayed an exceptional musical talent, immersed in Irish traditional music at her family home in Dublin. She went on to study classical voice, harp and piano while simultaneously studying Law at Trinity College. Her professional career was established with the Riverdance Choir, before going on to star in Lord of the Dance and embarking in three US tours with the Irish National Concert Orchestra.

This brought her to the attention of Celtic Collections who released three Méav solo albums including Celtic Journey with EMI, which debuted in the Billboard World Music top 10. In 2004, Méav was invited to be one of the five founding members of female supergroup Celtic Woman, who have sold six million records in the US and worldwide. It is remarkable that every album Méav recorded with Celtic Woman reached number 1 in the Billboard World Music Charts.

Méav left Celtic Woman in 2008 to start a family and resumed her solo career in 2010, performing to a sell-out crowd at New York’s Carnegie Hall. In 2012, Méav met legendary producer Craig Leon in Abbey Road Studios, London while working together on the score of a space film in collaboration with NASA. Despite their different musical backgrounds in pop and world music, they quickly realized that they shared a love of song-writing and ethnic music. This resulted in The Calling, a contemporary pop treatment of new songs and folk classics from Ireland, England, Scotland, Brittany, Galicia and America.

“Her presentation was coolly elegant, and her voice remarkably pure. She sang with a subtle, underlying passion”
LA Times

“Adds delicious wriggles to her renditions of traditional tunes”
New York Times

Continue reading Meav – The Calling (2013) [HDTracks 24-48]

San Francisco Symphony, Michael Tilson Thomas – Masterpieces in Miniature (2014) [HDTracks 24-192]

San Francisco Symphony, Michael Tilson Thomas – Masterpieces in Miniature (2014)
FLAC (tracks) 24 bit/192kHz  | Time – 01:18:08 minutes | 2,9 GB | Genre: Classical
Official Digital Download – Source: HDTracks | © SFS Media
Recorded live at Davies Symphony Hall — a venue of the San Francisco War Memorial and Performing Arts Center, City and County of San Francisco. Ives/Brant The Alcotts from A Concord Symphony recorded in 96 kHz/24-bit audio (February 2–6, 2010), all others in PCM 192 kHz/24-bit audio (September 26–28, 2013, and May 22–25, 2014).

In honor of their twentieth season together, Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) release Masterpieces in Miniature, a collection of short orchestral works, on their in-house label SFS Media. Masterpieces in Miniature includes Henry Litolff’s Scherzo fromConcerto symphonique No. 4 featuring pianist Yuja Wang, Gustav Mahler’sBlumine, Charles Ives / Henry Brant’s “The Alcotts” from A Concord Symphony, Gabriel Fauré’sPavane, Claude Debussy’s La Plus que lente, Franz Schubert’s Entracte No. 3 from Rosamunde, Sergei Rachmaninoff’s Vocalise, Antonín Dvořák’s Legendfor Orchestra, Jean Sibelius’s Valse triste, Frederick Delius’s On Hearing the First Cuckoo in Spring, Edvard Grieg’s The Last Spring, Léo Delibes’s Cortège de Bacchus from Sylvia, all recorded live in performance at Davies Symphony Hall. With this collection MTT shares some of his most treasured musical memories.

About the recording MTT says, “The short pieces in this album exist in various versions. Many began as piano pieces but were, except for the Ives, orchestrated by their composers. They were often played as encores by musicians who took special delight finding the most personal way of presenting them. This recording pays homage to the tradition of these pieces. It marks the beginning of my twentieth season as Music Director of the San Francisco Symphony and my seventieth birthday. On these occasions, I wanted to give a present to our whole San Francisco family and to our listeners everywhere. What better way than to fashion a garland of these charming pieces? Playing them is now nearly a lost art. The musicians and I have taken a wonderful voyage in creating these performances, which are a mixture of my musical memories and the imagination and virtuosity of my colleagues.”

As acclaimed interpreters of the music of Mahler, MTT and the Orchestra have included their performance of the composer’s Blumine as part of this special collection. Their self-produced Mahler recording project, launched in 2001 and concluded in 2010, encompassed all of Mahler’s symphonies and works for voice, chorus and orchestra. The Orchestra’s Mahler cycle on SFS Media has been recognized with seven Grammy Awards and MTT was named Gramophone Artist of the Year in recognition of his work on the recording cycle. For the 2011 Mahler centennial, the SFS performed his music in a four-concert engagement at the famed Vienna Konzerthaus in May, an honor rarely extended to American orchestras and a keystone of the city’s commemoration of the Mahler anniversary. MTT and the SFS’s Keeping Score: Mahler PBS Television documentary and concert is available on DVD and Blu-ray.

MTT and the SFS’s recording of “The Alcotts” movement from A Concord Symphony, an orchestration of Charles Ives’s “Concord” Sonata arranged by Henry Brant, was originally released in a 2011 recording of the full work. In his San Francisco Chronicle review, Joshua Kosman wrote, “To listen to ‘A Concord Symphony’…is to feel an exhilarating sense of discovery and dramatic vigor, an explosive dynamism that emanates from all the participants…Thomas and the orchestra…convey every bit of the score’s boisterous vitality in a performance of magnificent virtuosity – it’s a landmark achievement.”

Continue reading San Francisco Symphony, Michael Tilson Thomas – Masterpieces in Miniature (2014) [HDTracks 24-192]

Lionel Richie – Can’t Slow Down (1983/2012) [HDTracks 24-192]

Lionel Richie – Can’t Slow Down (1983/2012)
FLAC (tracks) 24 bit/192kHz  | Time – 00:40:53 minutes | 1,54 GB | Genre: Soul, Funk, R&B
Official Digital Download – Source: HDTracks | © Motown Records
Recorded: March–September 1983, Oceanway Recording Studios; Except vocals on track 6 recorded at Sunset Sound Recording Studios.

Pop-soul legend Lionel Richie’s 1983 landmark release, Can’t Slow Down, showcased the musician’s smooth vocals, eloquent songwriting and funky grooves. The album comprised of up-tempo songs and stunning ballads, sold millions of copies worldwide and became one ofMotown’s bestselling albums. The recording peaked at #1 on Billboard’s album charts and spent 160 weeks within Billboard’s Top 200. Included were the chart-topping smash hits, “All Night Long,” “Penny Lover,” “Stuck On You,” “Running With The Night,” and Lionel’s iconic masterpiece, “Hello.” This timeless classic and one of Lionel’s most celebrated works is available now as a pristine hi-res download!

Reviews

“…it is one of the smoothest, most closely produced albums of the 80s.” – Daryl Easlea,BBC

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Leon Bridges – Coming Home (2015) [HDTracks 24-96]

Leon Bridges – Coming Home (2015)
FLAC (tracks) 24 bit/96kHz | Time – 34:13 minutes | 723 MB | Genre: R&B, Gospel
Official Digital Download – Source: HDTracks | @ Columbia Records
Recorded: 2015, Niles City Sound

Leon Bridges’ debut studio album.

There’s a certain power in classic soul music–a blend of gospel, blues and folk that can heal the soul in a very real way. That’s exactly what’s at work in “River,” the spacious love song from Texas songwriter Leon Bridges. Built of acoustic guitar, tambourine and (most importantly) Bridges incredible vocals, “River” sings of redemption in the waters of love. It might be a baptism, it might be a first kiss, or it might be the moment when the world heals its wounds–whatever Bridges might be seeking on “River,” it’s a heaven that all of us hope for.

Bridges has been rising in stature for some time now, thanks in no small part to his incredible voice and knack for arrangements that transport us to a bygone era. The 25 year-old singer is often compared to Sam Cooke–and it’s a fair point: his work holds that same soothing quality that’s kept “A Change is Gonna Come” playing strong after all this time. “River” will appear on Bridges’s upcoming debut album, „Coming Home“.

At a time when music’s healing qualities feel more necessary than ever, “River” is a piece of perfect timing from an artist who seems destined for greatness. Listen to it below and give yourself up to sound.

 

It’s difficult to imagine a 1963 Columbia release from an artist whose look and sound echo 1911. In 2015, however, the thought of a young artist seemingly transported from a bygone era — 52 years prior, to be exact — requires no imagination whatsoever. Here’s Leon Bridges. He was born in 1989. The singer, songwriter, and guitarist takes it back to the early ’60s, slightly earlier than the majority of soul-rooted artists, including labelmates Raphael Saadiq, who have favored a vintage approach over a contemporary one. For those who hold younger artists to an impossible standard of authenticity, Bridges is unlikely to receive a passing grade. As a youngster, he was naturally drawn to libidinous, then-current pop-R&B acts like Usher and Ginuwine, and he didn’t even have to get his hands dirty to absorb later inspiration from the likes of Sam Cooke and pre-“Grapevine” Marvin Gaye, not when all he needed was an Internet connection. Helped by White Denim’s Josh Block and Austin Jenkins, Bridges touches all the retro-soul bases. Each element of his ten-song, half-hour debut evokes early- to mid-’60s R&B: the song structures, the application of reverb, the dust-coated church organ, the doo wop background vocals, the horn charts that accent rather than dominate. Bridges sings of seeking salvation and taking trains, and he offers proposals as modest as “I won’t weigh you down.” If he were a shouter, Bridges would likely come across as a caricature, but he works the deeply heartfelt but understated angle — most of the songs are ballads, and only a couple work up a sweat — without any sense of affectation. While each line is believable, “Lisa Sawyer” is all the way real, a sweet and languid biographical sketch of Bridges’ mother. It’s all a pleasing time warp without turbulence, one with songs built more to evoke the past than to last in one’s memory. –AllMusic Review by Andy Kellman

Continue reading Leon Bridges – Coming Home (2015) [HDTracks 24-96]

Leonard Cohen – Can’t Forget: A Souvenir of the Grand Tour (2015) [HDTracks 24-44.1]

Leonard Cohen – Can’t Forget: A Souvenir of the Grand Tour (2015) 
FLAC (tracks) 24 bit/44.1kHz  | Time – 00:48:32 minutes | 517 MB | Genre: Folk, Rock
Official Digital Download – Source: HDTracks | © Columbia Records
Recorded: 2012-13

Leonard Cohen releases Can’t Forget: A Souvenir of the Grand Tour on May 12, 2015. The ten songs of this hypnotic album are Cohen rarities recorded on his recent, celebrated “Old Ideas World Tour.” Remarkably, this is Cohen’s third album release since last September’s Platinum selling Popular Problems which garnered four 2015 JUNO AWARD nominations and won for the coveted ‘Album of the Year’.

The songs on Can’t Forget have the immediacy, spontaneity, and thrilling intimacy of the best studio recordings made in the white heat of live performance and Cohen’s legendary soundchecks, in which he brings the colors of his virtuoso band to full bloom in harmony with his voice, never more seductive. Here is a full range of Leonard Cohen’s work: new songs including, from the realm of blues, the wickedly funny “Got a Little Secret” and “Never Gave Nobody Trouble”; luxurious performances of such Cohen masterpieces as “I Can’t Forget,” “Light As the Breeze,” “Night Comes On,” and a sublime “Joan of Arc”. Cohen also treats us to a gripping version of the Quebecois love song “La Manic,” performed before a captivated audience in Quebec City, and a moving tribute cover of the late country master George Jones’s “Choices.” These are songs and performances of the first order that you can’t forget.

Cohen’s live concert tours were met with extraordinary and unanimous accolades as he performed around the world from 2008 through 2013. His mesmerizing performances totaled 470 shows in 31 countries, attended by four million fans. Can’t Forget gives listeners an extremely special glimpse into Cohen’s intimate rehearsal process, widely known to be in-depth ‘concerts before the concert!,’ heard by fans for the first time with this new record. Cohen continues to work with vocalists, musicians, producers and engineers who are the best in the business.

Can’t Forget was produced by Mark Vreeken and Ed Sanders, mastered by Bob Ludwig. Cover art by Michael Petit.

Continue reading Leonard Cohen – Can’t Forget: A Souvenir of the Grand Tour (2015) [HDTracks 24-44.1]

Kiss – Kiss (1974/2014) [HDTracks 24-192]

Kiss – Kiss (1974/2014)
FLAC (tracks) 24 bit/96kHz  | Time – 00:35:14 minutes | 766 MB | Genre: Rock, Hard Rock, Heavy Metal
Official Digital Download – Source: HDTracks | © Casablanca Records / The Island Def Jam Music Group
Recorded: October–November 1973; April 1974 (‘Kissin’ Time’) at Bell Sound Studios, New York City

Kiss is the debut album by the legendary hard rock band KISS. Most of the material on the album was written by Gene Simmons and Paul Stanley, and it was produced by Kenny Kerner and Richie Wise. The album was recorded at Bell Sound Studios in New York City. While it sold few copies at first, Kiss eventually would go on to sell over 500,000 copies and be certified Gold by the RIAA.

 

Kiss’ 1974 self-titled debut is one of hard rock’s all-time classic studio recordings. Kiss is chock full of their best and most renowned compositions, containing elements of Rolling Stones/New York Dolls party-hearty rock & roll, Beatles tunefulness, and Sabbath/Zep heavy metal, and wisely recorded primal and raw by producers Richie Wise and Kenny Kerner (of Gladys Knight fame). Main songwriters Stanley and Simmons each had a knack for coming up with killer melodies and riffs, as evidenced by “Nothin’ to Lose” and “Deuce” (by Simmons), “Firehouse” and “Black Diamond” (by Stanley), as well as “Strutter” and “100,000 Years” (collaborations by the two). Also included is the Ace Frehley alcohol anthem “Cold Gin,” “Let Me Know” (a song that Stanley played for Simmons upon their very first meeting, then titled “Sunday Driver”), and one of Kiss’ few instrumentals: the groovy “Love Theme from Kiss” (penned by the entire band). The only weak track is a tacky cover of the 1959 Bobby Rydell hit “Kissin’ Time,” which was added to subsequent pressings of the album to tie in with a “Kissing Contest” promotion the band was involved in at the time. Along with 1976’s Destroyer, Kiss’ self-titled debut is their finest studio album, and has only improved over the years. –AllMusic Review by Greg Prato

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Kiss – Alive! (1975/2014) [HDTracks 24-192]

Kiss – Alive! (1975/2014)
FLAC (tracks) 24 bit/192kHz | Time – 01:18:16 minutes | 3,2 GB | Genre: Rock, Metal
Official Digital Download – Source: HDTracks | @ Casablanca Records / The Island Def Jam Music Group
Recorded: May 16, 1975; June 21, 1975; July 20, 1975; July 23, 1975

Alive! is Kiss’ first live album, one of four total produced by the hard rock band. The result of the record was considered to be a major breaking point for the group, setting high standards for all live records. Alive! featured live tracks from their first three studios albums: Kiss, Hotter Than Hell, and Dressed to Kill. The record reached number 9 on the U.S. album chart and remained on the chart for 110 weeks. In 2003 it was listed as number 159 of Rolling Stone‘s list of 500 greatest albums of all time and peaked at number 26 on Guitar World magazine’s  list of 100 Greatest Guitar Albums of All Time.

 

Alive! was the album that catapulted Kiss from cult attraction to mega-superstars. It was their first Top Ten album, remaining on the charts for 110 weeks. Culled from shows in Detroit, New Jersey, Iowa, and Cleveland on the Dressed to Kill tour, the record features producer Eddie Kramer doing a masterful job of capturing the band’s live performance on record. The band’s youthful energy is contagious, and with positively electric versions of their best early material, it’s no mystery why Alive! is widely regarded as one of the greatest live hard rock recordings of all time. “Rock and Roll All Nite” became a Top 20 smash and was the main reason for the album’s success, but there are many other tracks that are just as strong — “Deuce,” “Strutter,” “Firehouse,” “Parasite,” “She,” “100,000 Years,” “Black Diamond,” and “Cold Gin” all shine in a live setting. Although there’s been some speculation of extensive overdubbing to correct mistakes, Alive! remains Kiss’ greatest album ever. An essential addition to any rock collection. –AllMusic Review by Greg Prato

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Jutta Hipp Quintet – New Faces-New Sounds From Germany (1954/2015) [HDTracks 24-192]

Jutta Hipp Quintet – New Faces-New Sounds From Germany (1954/2015)
FLAC (tracks) 24 bit/192kHz  | Time – 00:27:17 minutes | 844 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Blue Note Records
Recorded: Frankfurt Am Main, West Germany, April 24, 1954

Incredible postwar bop recordings by one of the hippest groups in Germany! During the 50s, pianist Jutta Hipp cut a number of straighter sides for Blue Note that were recorded in the US – but this album features earlier German recordings, some later issued by Blue Note – all done with a killer quintet that features a young Joki Freund on tenor sax and Emil Mangelsdorff on alto!

Jutta’s core trio features Hans Kresse on bass and Karl Sanner on drums – but the real charm of the records is the horn players – working with amazing interplay that really makes the record shine – working in unison on many of the intros to the songs, cutting back and forth like a double-edged sword, then breaking out into wonderfully compact solos that easily rival the best of the west coast at the time!

 

“This date, rather brief at under 28 minutes, originally appeared as a 10″ LP in the U.S., although it was recorded in Frankfurt-am-Main, Germany. It features Jutta Hipp leading an all-German quintet through a session consisting mostly of American standards, including ‘Variations,’ an enjoyable group improvisation based on the chord changes to ‘Tea for Two.’ Alto saxophonist Emil Mangelsdorff has a soft, dry tone comparable to Paul Desmond, most noticeable in ‘Ghost of a Chance.’ Tenor saxophonist Jaki Freund’s ‘Cleopatra’s’ sound could easily be mistaken for West Coast jazz. Hipp is joined by the rhythm section only for the intriguing fugue-like treatment of ‘What’s New’ and a brisk run through ‘Don’t Worry ‘Bout Me.’ She also wrote ‘Mon Petit,’ which has superb interplay between the two saxophonists. This reissue is labeled as part of the RVG series, though legendary recording engineer Rudy Van Gelder’s name is never specifically listed in English anywhere in the packaging, he evidently did the remastering. Long out of print on LP and an unlikely reissue candidate for Blue Note due to its brevity and obscurity, this session was briefly available as a CD reissue through the Japanese label Toshiba-EMI, but was soon deleted.” —Ken Dryden, AllMusic

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Joy Division – Substance (1988/2015) [HDTracks 24-96]

Joy Division – Substance (1988/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 1:08:25 minutes | 1,45 GB | Genre: Rock
Official Digital Download – Source: HDTracks | @ Rhino

Substance is a compilation album featuring singles by the 1970’s English rock band Joy Division. The compilation was originally released in 1988, it peaked at number 7 on the UK charts and made it to theBillboard 200 chart at number 146. The singles are taken from four EPs: An Ideal for Living, A Factory Sample,Earcom 2: Contradiction and Licht und Blindheit. The record also includes a few singles that were previously unreleased on albums by the group.

After New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band’s singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7″ or 12″ release. Though the earliest tracks like “Warsaw” and “Leaders of Men” were a strange sort of art punk, there was already something distinct about the group, and by the time of “Digital” and “Autosuggestion,” it was perfectly apparent. The former centered around Curtis’ circular declarations of repetition and angst, while “Autosuggestion” builds up slowly, carefully, before an invigorating final rush. After that, “Transmission,” a cold blue laser light of power, sneaking on an echo of synth and Hook’s commanding bass before Morris, recorded brilliantly by Hannett, simply takes control. And from there, up and up, the whole band reaching a peak with Curtis’ anguished scream “And we could dance!” As gripping as that is, by the time of its final singles, Joy Division outstripped even that — “Atmosphere” and “Dead Souls” arguably make some of the best singles ever, the former a haunting, minimal call, the latter an ever more wired and explosive portrait of demand on a soul, from some inescapable outside force. Then, of course, “Love Will Tear Us Apart,” Joy Division’s eternal calling card, the inadvertent final bow, the blueprint for endless cover versions, a portrait of love and connection endlessly turning in on itself to destruction, set to a beautiful melody and one of the band’s warmest performances ever. All this and, on one disc, a slew of the B-sides as well — the best adjunct to the two albums anyone could want.

Continue reading Joy Division – Substance (1988/2015) [HDTracks 24-96]