Steppenwolf – Steppenwolf (1968) [Analogue Productions Remaster 2013] {SACD ISO + FLAC 24/88,2}

Steppenwolf – Steppenwolf (1968) [Analogue Productions Remaster 2013]
PS3 Rip | ISO | SACD DSD64 Stereo > 1-bit/2.8224 MHz | 46:57 minutes | Scans included | 1,89 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 895 MB
Genre: Rock

Steppenwolf entered the studio for their recording debut with a lot of confidence — based on a heavy rehearsal schedule before they ever got signed — and it shows on this album, a surprisingly strong debut album from a tight hard rock outfit who was obviously searching for a hook to hang their sound on. The playing is about as loud and powerful as anything being put out by a major record label in 1968, though John Kay’s songwriting needed some development before their in-house repertory would catch up with their sound and musicianship. On this album, the best material came from outside the ranks of the active bandmembers: “Born to Be Wild” by ex-member Mars Bonfire, which became not only a chart-topping high-energy anthem for the counterculture (a status solidified by its use in Dennis Hopper’s movie Easy Rider the following year), but coined the phrase heavy metal, thus giving a genre-specific name to the brand of music that the band played (and which was already manifesting itself in the work of bands like Vanilla Fudge and the just-emerging Led Zeppelin); the Don Covay soul cover “Sookie, Sookie,” which, as a single by the new group, actually got played on some soul stations until they found out that Steppenwolf was white; two superb homages to Chess Records, in the guise of “Berry Rides Again,” written (though “adapted” might be a better word) by Kay based on the work of Chuck Berry, and the Willie Dixon cover “Hoochie Coochie Man”; and Hoyt Axton’s “The Pusher,” an anti-drug song turned into a pounding six-minute tour de force by the band. The rest, apart from the surprisingly lyrical rock ballad “A Girl I Knew,” is by-the-numbers hard rock that lacked much except a framework for their playing; only “The Ostrich” ever comes fully to life among the other originals, but the songs would catch up with the musicianship the next time out.

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Rubinstein – Piano Concertos Nos. 1 &2 (2005) {SACD ISO + FLAC 24/88,2}

Frederic Chopin – Piano Concerto No. 1 in E minor Op. 11, Piano Concerto No. 2 in F minor Op. 21
Arthur Rubinstein – New Symphony Orchestra / Stanislaw Skrowaczewski & Symphony of the Air / Alfred Wallenstein
SACD ISO (2.0/MCH): 2,60 GB | 24B/88,2kHz Stereo FLAC: 1,24 GB | Artwork
Label/Cat#: RCA Red seal “Living Stereo” # 82876-67902-2 | Country/Year: US 2005, 1958-1961
Genre: Classical | Style: Romantic

This is absolutely the best recording of Frederic Chopin’s Piano Concertos! I heard many recordings of these familiar works (for example: Zimmermann, Polish Festival Orchestra, DG), but this recording beats my all old favorites.
1) The recording quality is excellent. Their were made in 1958 and 1961, but still sound is very clear. Unfortunately this isn’t five-channel hybrid recording, there is only three-channel engineering. Music comes only from both middle speakers and front speaker.
2) Rubinstein is brilliant pianist, maybe the greatest of all time! First Concerto sounds very effectively, and peaceful second movement is performed beautifully. Second Concerto is also outstanding, and fast finale is breathtaking!
3) The booklet and SACD are packaged nicely in a strong jewel case.
This is excellent purchase for all classical music lovers! It is very good, that Living Stereo label publishes old masterful recordings on multi-channel SACD! Incredible! ~sa-cd.net

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Shelby Lynne – Just A Little Lovin’ (2008) [Analogue Productions Remaster 2012] {SACD ISO + FLAC 24/88,2}

Shelby Lynne – Just A Little Lovin’ (2008) [APO Remaster 2012]
PS3 Rip | ISO | SACD DSD64 Stereo > 1-bit/2.8224 MHz | 39:19 minutes | Scans included | 1,7 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 839 MB
Genre: Country

Shelby Lynne has followed her own sometimes reckless, always adventuresome muse throughout her career. Just a Little Lovin’ is her personal homage to the late, legendary Dusty Springfield. Nine of its ten cuts are inextricably linked to the late British vocalist whose sway Lynne came under years ago, but a chance conversation with Barry Manilow — of all people — led to the making of this record. Lynne doesn’t attempt to sound like Springfield. She uses her own phrasing and rhythmic sensibility.

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Love – Da Capo (1966) [MFSL 2013] {SACD ISO + FLAC 24/88,2}

Love – Da Capo (1966) [MFSL 2013]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 36:23 minutes | Scans included | 1,12 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 727 MB
Mobile Fidelity Sound Lab # UDSACD 2130 | Genre: Rock

Love was an American rock group of the late 1960s and early 1970s. They were led by singer/songwriter Arthur Lee who wrote most of the songs, although some of their best known songs were written by Bryan MacLean. One of the first racially diverse American pop bands, their music reflected different influences, combining elements of rock and roll, garage rock, folk and psychedelia. Da Capo is their second album.

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Kevin Mahogany – Pride & Joy (2002) {SACD ISO + FLAC 24/88,2}

Kevin Mahogany – Pride & Joy (2002) {2.0 & 5.1}
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 50:03 minutes | Scans included | 3,53 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,03 GB
Genre: Vocal Jazz / Bop | Features 2.0 Stereo and 5.1 multichannel surround sound

Kevin Mahogany’s decision to cover Motown hits in a jazz setting stems from his desire to not only increase the audience for jazz, but to add new material to the music’s repertoire, in addition to the established standards. The results are ear-opening, particularly for those who never seriously listened to the likes of Marvin Gaye or Smokey Robinson. Mahogany, whose richly textured baritone helped him become one of the top male jazz vocalists to emerge during the 1990s, arranged several of the tracks, including the stark “My World Is Empty Without You,” where his only backing is provided by bassist Melissa Slocum and percussionist Don Alias, as well as a swinging treatment of “The Hunter Gets Captured by the Game.” The singer is backed by a quartet of singers for catchy doo wop interpretations of “Signed, Sealed, Delivered I’m Yours” and “Reach Out I’ll Be There.” Pianist James Weidman, who provides just the right support on six of the CD’s 11 tracks, is the sole accompanist and arranger of “Just My Imagination (Running Away With Me),” reworking this huge hit into a lush ballad. Gaye’s “Pride and Joy,” arranged by guitarist Dave Stryker, is recast in a driving hard bop setting, featuring Mahogany’s scat exchanges with the muted trumpet of Jon Faddis. Stryker also contributed the tasty chart of “I Can’t Get Next to You” and a startling, very slow ballad treatment of “The Tears of a Clown,” where his acoustic guitar is the only backing for Mahogany’s magical vocals. This stunning release is heartily recommended.

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John Coltrane and Johnny Hartman – John Coltrane and Johnny Hartman (1963/2004) {SACD ISO + FLAC 24/88,2}

John Coltrane and Johnny Hartman – John Coltrane and Johnny Hartman (1963/2004]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 62:15 minutes | Scans included | 2,65 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,27 GB
Genre: Jazz

John Coltrane’s matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman was in prime form on the six ballads, and his versions of “Lush Life” and “My One and Only Love” have never been topped. Coltrane’s playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections.

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John Coltrane – Standard Coltrane (1990) [Analogue Productions 2002] {SACD ISO + FLAC 24/88,2}

John Coltrane – Standard Coltrane (1990) [Analogue Productions 2002]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 34:39 minutes | Scans included | 1.39 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 652 MB
Genre: Jazz

John Coltrane had yet to move into his modal post-bop phase in 1958 when he recorded a session for Prestige Records on July 11 with trumpeter/flügelhornist Wilbur Harden, pianist Red Garland, bassist Paul Chambers, and drummer Jimmy Cobb, the results of which were issued in 1962 as Standard Coltrane. His groundbreaking modal work with Miles Davis on Kind of Blue was still a few months into the future, which makes this set more historical than vital or transitional, although it’s pleasant enough, featuring Coltrane on several standards, including a ten-plus-minute version of “Invitation.” Other Coltrane material from this 1958 Prestige era ended up on the albums Stardust (1963) and Bahia (1965), and all of it, including these four tracks, has been collected on The Stardust Session from Prestige Records, which is probably the way to go.

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John Coltrane – Soultrane (1958) [MFSL 2003] {SACD ISO + FLAC 24/88,2}

John Coltrane – Soultrane (1958) [MFSL 2003]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 39:56 minutes | Scans included | 1,61 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 855 MB
Genre: Jazz

In addition to being bandmates within Miles Davis’ mid-’50s quintet, John Coltrane (tenor sax) and Red Garland (piano) head up a session featuring members from a concurrent version of the Red Garland Trio: Paul Chambers (bass) and Art Taylor (drums). This was the second date to feature the core of this band. A month earlier, several sides were cut that would end up on Coltrane’s Lush Life album. Soultrane offers a sampling of performance styles and settings from Coltrane and crew. As with a majority of his Prestige sessions, there is a breakneck-tempo bop cover (in this case an absolute reworking of Irving Berlin’s “Russian Lullaby”), a few smoldering ballads (such as “I Want to Talk About You” and “Theme for Ernie”), as well as a mid-tempo romp (“Good Bait”). Each of these sonic textures displays a different facet of not only the musical kinship between Coltrane and Garland but in the relationship that Coltrane has with the music. The bop-heavy solos that inform “Good Bait,” as well as the “sheets of sound” technique that was named for the fury in Coltrane’s solos on the rendition of “Russian Lullaby” found here, contain the same intensity as the more languid and considerate phrasings displayed particularly well on “I Want to Talk About You.” As time will reveal, this sort of manic contrast would become a significant attribute of Coltrane’s unpredictable performance style. Not indicative of the quality of this set is the observation that, because of the astounding Coltrane solo works that both precede and follow Soultrane — most notably Lush Life and Blue Train — the album has perhaps not been given the exclusive attention it so deserves.

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John Coltrane Quartet – Ballads (1962) [Japanese Limited SHM-SACD 2010 # UCGU-9009] {SACD ISO + FLAC 24/88,2}

John Coltrane Quartet – Ballads (1962) [Japanese Limited SHM-SACD 2010 # UCGU-9009]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 32:16 minutes | Scans included | 1,43 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 762 MB
Genre: Jazz

Throughout John Coltrane’s discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn’t want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did — exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He’s not aggressive, and he’s not outwardly. Instead he’s introspective and at times even predictable, but that is precisely Ballads’ draw.

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John Coltrane – Lush Life (1961) [Fantasy Remaster PRSA-7188-6] {SACD ISO + FLAC 24/88,2}

John Coltrane – Lush Life (1961) {1957-58 Recordings} [Fantasy Remaster ‘2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 36:33 minutes | Scans included | 1.53 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 433 MB
Genre: Jazz

When he recorded Lush Life, John Coltrane was rapidly gaining recognition for his innovations in jazz soloing. As a member of the Miles Davis Quintet, he had become known far beyond a small circle of jazz insiders. Coltrane’s development as a soloist came at a pace and an intensity seldom witnessed in jazz. It was immeasurably aided by two factors: He jettisoned his drug and alcohol habits and, during a hiatus from the Davis band, he worked with Thelonious Monk. The boldness and daring that began to characterize Coltrane’s playing during the Monk period are evident here in three pieces on which he is accompanied only by bass and drums. Freeing his astonishing creativity from the imposed harmonies of a piano, he employs his massive technique to put into standard song and blues forms nearly all that they could contain. In two pieces with pianist Red Garland, his colleague from the Davis group, Coltrane is scarcely less inventive. The clarity and definition of SA-CD technology make the intimacy of Coltrane’s style seem even more conversational.

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