Carrie Underwood – VH1 Unplugged 2012-10-02 HDTV 1080i

Duration: 00:20:47 File Size: 2.10 GiB
Video info: MPEG-2 | 1920x1080i | ~14.5 Mbps | 29.970 fps | 16:9
Audio info: AC-3 Audio | 384 Kbps | 6 channels | 48.0 KHz

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Alexandra Stan – Mr. Saxobeat – Summer Sonic – 2012 (WOWOWLive 2012-08-18) HDTV 1080i

Duration: 00:03:50 File Size: 564 MiB
Video info: MPEG-2 | 1920x1080i | ~20.5 Mbps | 29.970 fps | 16:9
Audio info: AAC Audio | 192 Kbps | 2 channels | 48.0 KHz

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David Guetta – Live at iTunes Festival 2012-09-15 HD 1080p

Duration: 01:32:39 File Size: 5.66 GiB
Video info: AVC/H.264 | 1920x1080p | ~8 737 Kbps | 25.000 fps | 16:9
Audio info: AAC Audio | 256 Kbps | 2 channels | 48.0 KHz
Download : David Guetta – Live at iTunes Festival 2012-09-15 HD 1080p

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Woodstock: 3 Days of Peace & Music Ultimate Collector’s Edition (Director’s Cut) (2007) [Blu-ray 1080p]

Title: Woodstock – 3 Days of Peace & Music – Director Cut
Nation: USA
Year: 1970
Genre: Concert
Format: 1920×1080
Duration: 224 min
Size: 36.7GB+26.8GB

An intimate look at the Woodstock Music & Art Festival held in Bethel, NY in 1969, from preparation through cleanup, with historic access to insiders, blistering concert footage, and portraits of the concertgoers; negative and positive aspects are shown, from drug use by performers to naked fans sliding in the mud, from the collapse of the fences by the unexpected hordes to the surreal arrival of National Guard helicopters with food and medical assistance for the impromptu city of 500,000.

Starring: Joan Baez, Joe Cocker, The Who, Crosby, Stills & Nash
Director: Michael Wadleigh

http://www.blu-ray.com/movies/Woodstock-3-Days-of-Peace-and-Music-Blu-ray/11704/

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Ottorino Respighi – Pini di Roma / Trittico / Tre Corali (2011) [Hybrid-SACD] {PS3 ISO}

Ottorino Respighi – Pini di Roma, Trittico, Tre Corali
Beethoven Orchester Bonn / Stefan Blunier
PS3 SACD ISO: 2,90 GB | Stereo + Multichannel DSD | Full Artwork | 5% Recovery Info
Label/Cat#: MDG # 937 1677-6 | Country/Year: Germany 2011 | Genre: Classical

The latest in MDG’s fine series of live recordings by Stefan Blunier and the Beethoven Orchestra of Bonn is an intelligently chosen programme of three of Respighi’s orchestral works that illustrate the many and varied aspects of this master orchestrator’s compositions as well as his homage to music of the past. It is also pleasing to see two of the works making their first appearance on SACD.
The delicate ‘Trittico Botticelliano’ of 1927 was conceived while the composer and his wife were touring the United States and is representative of his interest in, and study of, the Renaissance and Baroque music of his native country. Respighi chose to depict both the atmosphere and spirit of three of the most celebrated of Botticelli’s paintings, ‘Spring (La Primavera)’, ‘The Adoration of the Magi’ and ‘The Birth of Venus’ using small orchestral forces. Each of these three tiny tone poems is exquisitely scored, and thanks to Blunier’s relaxed tempi, the players of his cultivated Bonn orchestra have time to relish each of the individual solo opportunities provided. The sound is both diaphanous and crystal clear.
Like many 20th century composers Respighi made arrangements of the music of earlier masters, and the ‘Tre Corali’ is one such example. His arrangement for orchestra of three of Bach’s most well-known organ chorales may be anachronistic, but few could fail to marvel at Respighi’s imaginative scoring and respectful treatment of them. The three chorales are ‘Nun komm der Heiden Heiland’, ‘Meine Seele erhebt den Herren’ and ‘Wachet auf, ruft uns die Stimme’. The manner in which the luxurious and glowing string sound has been captured on this recording is particularly arresting.
The final work on this SACD is the much-recorded ‘Pini di Roma’, the second part of the so-called ‘Roman Trilogy’ and a piece beloved of many audiophiles. Blunier is not a conductor who rushes his fences and his tempi in all but the first section of the work are slightly more measured than is often the case, but are nevertheless quite convincing. The first part of ‘The Pines near a Catacomb’ is wonderfully atmospheric as is the balancing of the distant trumpet and nightingale song in the section that follows. Unfortunately the total absence of deep organ pedal notes at any point comes as a major disappointment. Blunier’s steady pace does pay dividends as the army of the Consul traverses the Appian Way accompanied, on this recording, by exceptionally thunderous drums. It is, however, a pity that the use of the surround channels for the extra brass is a mite cautious and consequently the work’s final bars fail to make the impact found on the recent thrilling Neschling recording Respighi: Roman Trilogy – Neschling. An enjoyable performance then, but not a first choice for this work in an increasingly crowded field.
MDG’s 5.1 recording is of high quality, possessing a wide dynamic range, an excellent sense of depth and tonal veracity, but it is important to stress that this disc does need to be played at a high volume setting or the sound can seem somewhat lacking in presence. Though these are live recordings, extraneous noise is minimal and there is no applause.
Not withstanding the reservations outlined above, this is a most enjoyable SACD. SA-CD.net

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Martin Stadtfeld – Der junge Beethoven (2009) [Hybrid-SACD] {PS3 ISO}

Martin Stadtfeld – Der junge Beethoven
PS3 SACD ISO: 3,2 GB | Full Artwork | 5% Recovery Info
Label/Cat#: Sony Classical # 88697599792 | Country/Year: Germany 2009
Genre: Classical | Style: First Viennese School

This might be a single disc, but it is really two different recordings, in two different halls, at two different times, of two distinct musical forms.
In the above, WoO numbers refer to the German acronym WoO (Werk ohne Opuszahl) meaning a ‘work without an opus number’ as given in the Kinsky-Halm catalogue. Hess numbers refer to additional works listed in the catalogue by Willy Hess that are not in the Kinsky-Halm catalogue.
The Sony SACD piano sound has a lovely zingy bass, and yet a softer ‘distant’ quality. Stadtfeld has a light delicate touch where appropriate, and equally some uber sturm und drang when needed, as in the absolutely magnificent Prelude in F minor WoO 51. There is, however, some slight unevenness in Stadtfeld’s ornamentation in the Rondo, which suggests that slower tempi might be appropriate. Indeed, I think his Rondo No.1 is too rushed by any measure, to the extent that musical virtue is lost. In this regard, I distinctly prefer the version with the American pianist Russell Sherman on Redbook CD (6min10sec vs 4min53sec for Stadtfeld). The Allegretto, the fabulous Prelude and the Adagio are all splendid. On balance, the solo repertoire is a very fine recording of unusual early Beethoven repertoire, and comes highly recommended.
… My inclination: enjoy the disc the way it should have been correctly conceived … as an excellent solo album by a very talented pianist … and just ignore the rest.

sa-cd.net

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George Frideric Handel – Alexander’s Feast & Ode For St- Cecilia’s Day [2x Hybrid-SACDs] {PS3 ISO}

George Frideric Handel – Alexander’s Feast & Ode For St- Cecilia’s Day
Kölner Kammerchor / Collegium Cartusianum / Peter Neumann
PS3 SACD ISO: 3,18 GB & 4,42 GB| Stereo + Multichannel DSD | Full Artwork | 5% Recovery Info
Label/Cat#: Carus # 83.424 | Country/Year: Germany 2009
Genre: Classical | Style: Baroque, Oratorio

Alexander’s Feast (HWV 75) is an ode with music by George Frideric Handel set to a libretto by Newburgh Hamilton. Hamilton adapted his libretto from John Dryden’s ode Alexander’s Feast, or the Power of Music (1697) which had been written to celebrate Saint Cecilia’s Day. Jeremiah Clarke (whose score is now lost) set the original ode to music.
Handel composed the music in January 1736, and the work received its premiere at the Covent Garden Theatre, London, on 19 February 1736. In its original form it contained three concertos: a concerto in B flat major in 3 movements for “Harp, Lute, Lyrichord and other Instruments” HWV 294 for performance after the recitative Timotheus, plac’d on high in Part I; a concerto grosso in C major in 4 movements for oboes, bassoon and strings, now known as the “Concerto in Alexander’s Feast” HWV 318, performed between Parts I and II; and an organ concerto HWV 289 in G minor and major in 4 movements for chamber organ, oboes, bassoon and strings performed after the chorus Let old Timotheus yield the prize in Part II. The organ concerto and harp concerto were published in 1738 by John Walsh as the first and last of the Handel organ concertos Op.4. Handel revised the music for performances in 1739, 1742 and 1751. Donald Burrows has discussed Handel’s revisions to the score.
The work describes a banquet held by Alexander the Great and his mistress Thaïs in the captured Persian city of Persepolis, during which the musician Timotheus sings and plays his lyre, arousing various moods in Alexander until he is finally incited to burn the city down in revenge for his dead Greek soldiers.
The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. The soloists at the premiere were the sopranos Anna Maria Strada and Cecilia Young, the tenor John Beard, and a bass called Erard (first name unknown).
Ode for St. Cecilia’s Day (HWV 76) is a cantata composed by George Frideric Handel in 1739, his second setting of the poem by the English poet John Dryden. The title of the oratorio refers to Saint Cecilia, the patron saint of musicians. The main theme of the text is the Pythagorean theory of harmonia mundi, that music was a central force in the Earth’s creation. The premiere was on 22 November 1739 at the Theatre in Lincoln’s Inn Fields, London.
Ebenezer Prout commented on various facets of Handel’s instrumentation in the work. Edmund Bowles has written on Handel’s use of timpani in the work. wikipedia

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Emerson, Lake & Palmer – Emerson, Lake & Palmer (1970) (2012 Deluxe Edition DVD-A)

Emerson, Lake & Palmer – Emerson, Lake & Palmer (1970) (2012 Deluxe Edition DVD-A)
ISO | MLP 24bit-48kHz 5.1; LPCM 24bit-48kHz 2.0; DD 5.1; DTS 5.1 | 3.46 GB
Söny | 2012 deluxe edition DVD-A only | HQ covers

In May 2012, Steven Wilson of Porcupine Tree remixed the album for a 3-CD reissue containing the original mix, the Wilson remix, and a DVD-Audio with 5.1 surround sound mix.
The remixed versions have different track listings from the original album, omitting the first two sections of “The Three Fates” (“Clotho” and “Lachesis”) and “Tank” because the multitrack tapes for those pieces were unavailable, and adding unreleased material. “Knife Edge” has an extended ending; due to the difficulty of reproducing the song’s original tape slowdown ending, Wilson chose instead to include the end of the original album session at its original speed. The 5.1 remix replaces “Tank” with an unreleased instrumental called “Rave-Up”, which bears some similarity to the instrumental section of “Mass” on Tarkus.
The remixed stereo versions include all of the above while adding more unreleased material. A vocal version of “Promenade” (the first live version of which appears on Pictures at an Exhibition) replaces the missing sections of “The Three Fates”; a new otherwise untitled “Drum Solo” by Carl Palmer (similar but not identical to a section of “Tank”) is added between “Rave Up” and “Lucky Man”; “Lucky Man” is followed by an unfinished alternate take of “Take a Pebble”, complete with some studio banter; then an unreleased take of “Knife Edge”, lacking vocals and final section; and finally two versions of “Lucky Man”, the first being Greg Lake’s original demo, the second an unreleased complete band version.

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Emerson, Lake & Palmer – Tarkus (1971) (2012 Deluxe Edition DVD-A)

Emerson, Lake & Palmer – Tarkus (1971) (2012 deluxe edition DVD-A)
ISO | MLP 24bit-48kHz 5.1; LPCM 24bit-48kHz 2.0; DD 5.1; DTS 5.1 | 3.61 GB
Sony | 2012 deluxe edition DVD-A only | HQ covers

In May 2012, Steven Wilson announced that he had recently remixed two classic albums by ELP, their first (eponymous) album from 1970 and second album Tarkus from 1971. Both albums were subsequently released by Sony 27 August 2012 as 3 disc sets. In each case disc one is a CD of the original mix, disc two is a CD of the stereo remix in the form of an alternate version of the album, adding a lot of bonus material and previously undiscovered tracks recorded during the sessions. Disc 3 is a DVD-Audio containing lossless 5.1 surround sound mixes and high resolution versions of the 2012 stereo mixes.
Both the stereo and 5.1 mixes of Tarkus add an unreleased song, “Oh, My Father”, described by Wilson in the sleeve notes as “a wonderful Greg Lake song that seems to be a deeply personal piece about the death of his father, which could well be why it wasn’t used at the time”.
The stereo mixes also include another unreleased song, with vocals by Emerson, titled “Unknown Ballad” for this release; and an unreleased mix of “Mass” without vocals.

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Muse – Live at iTunes Festival 2012-09-30 HD 1080p

Duration: 01:28:29 File Size: 5.41 GiB
Video info: AVC/H.264 | 1920x1080p | ~8 750 Kbps | 25.000 fps | 16:9
Audio info: AAC Audio | 256 Kbps | 2 channels | 48.0 KHz

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The Doors – The Doors (1967/2012) [Official Digital Download 24bit/96kHz]

The Doors – The Doors (1967/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 44:10 minutes | 989 MB
Official Digital Download – Source: HDTracks.com | Front cover

A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band’s fusion of rock, blues, classical, jazz, and poetry with a knock-out punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison’s captivating vocals and probing prose. “Light My Fire” was the cut that topped the charts and established the group as stars, but most of the rest of the album is just as impressive, including some of their best songs: the propulsive “Break on Through” (their first single), the beguiling Oriental mystery of “The Crystal Ship,” the mysterious “End of the Night,” “Take It as It Comes” (one of several tunes besides “Light My Fire” that also had hit potential), and the stomping rock of “Soul Kitchen” and “Twentieth Century Fox.” The 11-minute Oedipal drama “The End” was the group at its most daring and, some would contend, overambitious. It was nonetheless a haunting cap to an album whose nonstop melodicism and dynamic tension would never be equaled by the group again, let alone bettered.

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Jethro Tull – Aqualung (1971) (UK Repress 1973) (24Bit/96Khz) (Vinyl Rip)

Jethro Tull – Aqualung (1971) (UK, Repress, 1973)

Vinyl rip in 24 Bit/96 kHz | WV | cue & Tech Log | Artwork HR | 880 Mb |Chrysalis – CHR 1044 (1973) UK RePress | Rock

“Aqualung is the fourth studio album by the rock band Jethro Tull. Released in 1971, Aqualung, despite the band’s disapproval, is regarded as a concept album, featuring a central theme of “the distinction between religion and God”…

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Sonny Clark – Sonny’s Crib (1957) (2011 Music Matters 45RPM Vinyl) (24Bit/96Khz) (Vinyl Rip)

Sonny Clark – Sonny’s Crib (1957) (2011 Music Matters 45RPM Vinyl)

Vinyl rip @ 24/96 | FLAC | Artwork | 963 MB
Genre: jazz, hard bop | RAR 5% Rec. | Label: Music Matters | CAT #MMBST-1576

Recorded in 1957, Sonny’s Crib features a front line of Curtis Fuller, Donald Byrd, and John Coltrane with Sonny Clark on piano, Art Taylor on drums, and Paul Chambers on bass. Truly still a bebop recording, done a full year before the landmark Cool Struttin’ session, nonetheless the set produced some awesome readings of classic tunes, like the opener, “With a Song in My Heart,” with one of the knottiest Byrd solos ever. As Chambers and Taylor up the rhythmic ante and Clark comps with enormous chords in the background, the entire line solos, but it is Byrd’s that is stunning in its complexity — though Coltrane could play bebop as well as anybody. The most notable tracks on the session are the classic readings of Kurt Weill’s “Speak Low” and “News for Lulu,” the latter of which has been adopted by John Zorn as his theme. On the former, Clark’s rearrangement, with Coltrane leading the front line, is truly revelatory. Using a Latin rhythm in cut time, Clark sets up a long, 22-note melody line that moves right into Trane’s solo. He moves the key around and harmonically shifts gears as Clark follows and stays in the pocket for him while Trane uses the middle register for legato pyrotechnics. Fuller’s next and covers over the blues inherent in the tune with pure swing, before Byrd brings it back into the fold with a gorgeous counterpoint of the melody. Clark taps his way into extended harmonics on the sixths and sharpens the accents as he trounces the original key and plays double trills to get back. The latter is a smokin’ Latin take on the hard bop blues, with a staggered melodic line and a large tonal palette that gives the horn players room to explore the timbral possibilities of Clark’s colors — which are revealed in the loosest, skittering skein of bluesy phrasing this side of Horace Silver in his solo. In all, Sonny’s Crib is a phenomenal recording, one that opened the door to hard bop becoming the norm in the late ’50s, and one that drew deft, imaginative performances from all its players.

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Kai Winding – Dirty Dog (1966) (Original Mono Verve LP) (24Bit/96Khz) (Vinyl Rip)

Kai Winding – Dirty Dog (1966) (Original Mono Verve LP)

Vinyl rip @ 24/96 | FLAC | Artwork | 396 MB
Genre: jazz, bop | RAR 5% Rec. | Label: Verve Records | CAT # V6-8661

Never released on CD as far as I can tell. Anything with 4 trombone players must be good. Great set of funky, groove oriented jazz, not too unlike Lee Morgan’s “The Sidewinder” (which is covered here). Nice version of Herbie’s classic “Cantaloupe Island”. The title track is a real floor shaker. These tunes were probably played a lot at Hugh Heffner’s NY Playboy Club, where Kai was the musical director.

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Ann Peebles – I Can’t Stand The Rain (1974) (24Bit/96Khz) (Vinyl Rip)

Ann Peebles – I Can’t Stand The Rain (1974)

Vinyl rip @ 24/96 | FLAC | Artwork | 579mb
Soul | 1974 UK LP | London SHU 8468

his wonderful album, originally released in 1974 on the Memphis-based Hi Records label, deserved a wider audience than it ended up getting at the time. It played to Ann Peebles’ great strength, her poised and sultry voice, and surrounded by the sparse, easy funkiness of the trademark Hi rhythm section and producer Willie Mitchell’s perfect use of horns and strings, she sings like a resilient but disappointed angel on this impressive set of songs about the darker side of love. Her best song is here, the eccentric but brilliant “I Can’t Stand the Rain,” along with a marvellous version of Joe Simon’s “(You Keep Me) Hangin’ On,” and perfect readings of a pair of Earl Randle songs, “If We Can’t Trust Each Other” and “I’m Gonna Tear Your Playhouse Down.” Peebles sings her heart out, and with those somehow bright-sounding Hi grooves behind her, it all comes together to make a classic album of dark, bouncy, and beautiful Southern soul. Steve Leggett, Allmusic.

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