May 18

New York Voices – Let It Snow (2013) [Audio Fidelity 2014]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 53:24 minutes | Scans | 3,32 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 0,98 GB
Audio Fidelity # AFZ5-520 | Features Stereo & Multichannel Surround sound | Genre: Jazz

New York Voices is unquestionably one of the finest singing ensembles ever assembled and with Let It Snow, lend their quality vocals to the wintery season of cheer delivering a powerful performance of familiar Christmas songs sure to be regarded as a future holiday classic.

Tracklist:
01. Let It Snow
02. Christmas Time
03. O Little Town of Bethlehem
04. O Come, O Come, Emmanuel
05. We Three Kings
06. Holiday for Strings
07. Have Yourself a Merry Little Christmas
08. Sleepers, Wake!
09. O Come, All Ye Faithful
10. The Merry Medley (Man with the Bag, I’d Like You for Christmas, Santa Claus Is Coming to Town)
11. I Wonder as I Wander
12. The Coventry Carol
13. We Wish You a Merry Christmas
14. Silent Night

5.1 Surround Sound Mix: Elliot Scheiner
5.1 Surround Sound Mastering: Elliot Scheiner
2 Track Stereo Mastering: Darcy Proper

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May 18

レーベル rhythm zone
配信開始日 2016.08.10
収録曲数 全4曲
販売データ ハイレゾ|FLAC|48.0kHz/24bit

http://mora.jp/package/43000002/ANTCD-18822_F/

E-girlsが今年の夏を、200%熱くする!!
“W CONCEPT SUMMER SINGLE”
2ヶ月連続 発売決定!!

コンセプトは【E.G.POP】&【E.G.COOL】
E-girlsの2つの魅力が、2016年の夏を200%熱くする!!

収録曲

1 – Pink Champagne 4 – 03:52
2 – Bad Girls 4 – 04:16
3 – カウガール・ラプソディー 4 – 03:48
4 – Dance Dance Dance (PKCZ Remix) 4 – 03:49

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May 18

rhythm zone >
2016/02/10 >
(P)2016 AVEX MUSIC CREATIVE INC.

http://www.e-onkyo.com/music/album/antcd17357/
http://ototoy.jp/_/default/p/60005
http://mora.jp/package/43000002/ANTCD-17357_F/

E-girls、待望となる初のベスト・アルバム!
これまでリリースされた全シングルに本邦初公開の新曲2曲を加えた全17曲がハイレゾで登場!

収録曲

1 – Celebration! – 03:55
2 – One Two Three – 04:03
3 – Follow Me – 04:05
4 – THE NEVER ENDING STORY ~君に秘密を教えよう~ – 03:22
5 – CANDY SMILE – 04:08
6 – ごめんなさいのKissing You – 03:40
7 – クルクル – 03:51
8 – Diamond Only – 03:47
9 – E.G. Anthem -WE ARE VENUS- – 03:22
10 – おどるポンポコリン – 03:19
11 – Highschool love – 03:55
12 – Mr.Snowman – 03:49
13 – Anniversary!! – 03:52
14 – Dance Dance Dance – 03:20
15 – Merry × Merry Xmas★ – 04:29
16 – DANCE WITH ME NOW! – 04:50
17 – 出航さ! ~Sail Out For Someone~ – 03:57

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May 18

Bela Bartok – Duke Bluebeard’s Castle – Philharmonia Orchestra, Esa-Pekka Salonen (2014)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:06:38 minutes | 567 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records.co.uk | Digital Booklet | © Signum Classics
Recorded: November 2011, Konzerthaus, Vienna, Austria

Sir John Tomlinson’s world-weary enactment of the tortured Bluebeard is variously available under the batons of James Levine (Munich Philharmonic), Jukka-Pekka Saraste (BBC SO), Richard Fames (Orchestra of Opera North, in English) and Bernard Haitink with the Berlin Philharmonic (1996), Some little while ago I recommended the Haitink version as vocally superior, Levine as the most compelling interpretation and the BBC SO Prom as a valuable memento of an occasion that many will doubtless want to revisit. Salonen’s memorable reading was recorded live at tile Vienna Konzerthaus on November 8, 2011, and for those who care about broken spells, I’m happy to report that there is no spell-breaking applause at the end of the performance. I wasn’t sure about Juliet Stevenson’s Listen with Mother-style delivery of the spoken Prologue – too polite by half – but as soon as Salonen cues the score’s reptilian first bars, just after the one-minute mark, you can sense both a tightening of tension and Salonen’s natural grasp of Bartok’s richly suggestive tone-poetry. Tomlinson himself tends to favour a dry, ‘lowing’ delivery, at times suspending vibrato. Try 3’11” into track 1, where he invites Judith to answer his request to join him; and when he repeats his invitation, he seems almost desperate – needlessly, as it happens, because Michelle DeYoung sounds more than willing. Thereafter, Salonen pushes for some fierce accents while keeping the undulating Prologue restlessly on the move. Tomlinson suggests real menace when he asks Judith why she made the visit (track 1, 8’54”); and when she hammers on the first door three minutes later, the Philharmonia Voices do their bit with a ghostly sigh. As the subsequent doors open, Salonen and his players take centre stage, the instruments of torture sounding almost graphic in their impact, before the pace dips and the sunrise temporarily breaks through. DeYoung is at her best as she glides effortlessly among the flora and fauna of Bluebeard’s garden, while her lacerating C as the fifth door flies open to reveal Bluebeard’s vast and beautiful kingdom is breathtaking. There’s a very audible organ, too. The final climax is overwhelming because Salonen understands so well how the music must simultaneously rise to greet her and express Judith’s tragedy. Sound-wise, the score’s vast dynamic curve is truthfully reproduced and while I would unhesitatingly recommend this recording for the sake of Michelle DeYoung, Salonen and the Philharmonia, Sir John’s post-prime Bluebeard, although rich in drama and theatrical presence, can’t compare with the best of his former selves, most notably under Bernard Haitink, with Anne Sofie von Otter and the Berlin Philharmonic on EMI. For opera-in-English fans, the Farnes recording is pretty impressive, too. ~~ Gramophone, Rob Cowan, July 2014

Tracklist:
Béla Bartók (1881-1945)
Duke Bluebeard’s Castle
1 Prologue and Introduction 16.33
2 First Door: Bluebeard’s Torture Chamber 4.29
3 Second Door: The Armoury 4.50
4 Third Door: The Treasure Room 2.41
5 Fourth Door: The Garden 5.22
6 Fifth Door: Bluebeard’s Vast & Beautiful Kingdom 6.46
7 Sixth Door: The Lake of Tears 14.42
8 Seventh Door: Bluebeard’s Wives 11.15

Personnel:
Sir John Tomlinson, Bluebeard (bass)
Michelle DeYoung, Judith (mezzo-soprano)
Juliet Stevenson, narrator (#1)
Philharmonia Voices
Philharmonia Orchestra
Esa-Pekka Salonen conductor

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May 18

Bob Dylan – Fallen Angels (2016) 
FLAC (tracks) 24-bit/44,1 kHz | Time – 37:55 minutes | 366 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | Front Cover | © Columbia Records
Recorded: February 2015-March 2016, Capitol Studios, Los Angeles, US

Fallen Angels is the thirty-seventh studio album by Bob Dylan, released by Columbia Records on May 20, 2016.

The album features covers of twelve classic American songs chosen by Dylan from a diverse array of writers such as Johnny Mercer, Harold Arlen, Sammy Cahn and Carolyn Leigh. Much like the album’s predecessor, Shadows in the Night, every song on the album, except for “Skylark”, was once recorded by Frank Sinatra.

The album has received generally favorable reviews from critics, with particular praise for Dylan’s vocal performance, production quality, and the arrangements of his band.

Fallen Angels may have been recorded at the same session as 2015’s moody Shadows in the Night, but its tone is very different. Call Fallen Angels the Nice ‘n’ Easy to the No One Cares of Shadows in the Night: they’re both tributes to Frank Sinatra, but the 2016 album is light at heart. It’s filled with songs of love, not heartbreak, and Dylan’s band plays the numbers as sweet shuffles that function as a counterpart to the gloomy saloon tunes that filled Shadows in the Night. Another distinction of Fallen Angels is that, unlike its cousin, some of the featured songs are quite common: “Young at Heart,” “All the Way,” “It Had to Be You,” and “Come Rain or Come Shine” often pop up on Great American Songbook tributes, whereas the compositions on Shadows often felt carefully curated. Such familiar tunes — which are offset by such nifty excavations as “Maybe You’ll Be There,” “On a Little Street in Singapore,” and “Skylark,” the only song here not recorded by Sinatra — help draw attention to Dylan’s interpretations. Supported by his trusted touring band, he pushes these songs into the realm of a dusty roadhouse, letting “That Old Black Magic” skip along to a swift danceable beat, turning “Polka Dots and Moonbeams” into a country ramble, playing “Melancholy Mood” as an after-hours blues. These wise, wily interpretations underscore Dylan’s ultimate aim with these Sinatra records, which is to slyly tie together various strands of American music, bringing Tin Pan Alley to the barrooms and taking the backwoods uptown. The results are understated yet extraordinary, an idiosyncratic, romantic vision of 20th century America. ~~ AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Young At Heart 03:00
2 Maybe You’ll Be There 02:56
3 Polka Dots And Moonbeams 03:36
4 All The Way 04:02
5 Skylark 02:56
6 Nevertheless 03:27
7 All or Nothing at All 03:04
8 On a Little Street in Singapore 02:16
9 It Had to be You 04:02
10 Melancholy Mood 02:53
11 That Old Black Magic 03:03
12 Come Rain or Come Shine 02:39

Personnel:
Bob Dylan – vocals
Charlie Sexton – guitar
Stu Kimball – guitar
Dean Parks – guitar
Donnie Herron – steel guitar, viola
Tony Garnier – bass
George Recile – drums

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May 18

Bob Dylan – Tempest (2012)
FLAC (tracks) 24-bit/96 kHz | Time – 01:08:31 minutes | 1,38 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | Front Cover | © Columbia Records
Recorded: January–March 2012 at Groove Masters Studios in Santa Monica, California

Tempest is the thirty-fifth studio album by American singer-songwriter Bob Dylan, released on September 10, 2012 by Columbia Records.The album was recorded at Jackson Browne’s Groove Masters Studios in Santa Monica, California. Dylan wrote all of the songs himself with the exception of the track “Duquesne Whistle”, which he co-wrote with Robert Hunter.

Tempest received universal acclaim from music critics, who praised its traditional music influences and Dylan’s dark lyrics.The album peaked at number three on the Billboard 200.

Fifty years after Bob Dylan’s debut album appeared, we get Tempest. Since he returned to recording original material on 1997’s Time Out of Mind, he’s been rambling through American musical styles — blues, country, folk, rockabilly, swing — that were popular before he was even on the scene. Tempest continues the exploration, but more urgently than on Modern Times and Together Through Life. It’s a gritty, cantankerous record with abundant images of violence, lust, and humor, though the latter is often black. His protagonists settle scores with lovers, enemies, and power brokers; they’re often self-aggrandizing and self-deprecating simultaneously. Most of these are story-songs, though none but “Tempest” tracks in a linear fashion. “Duquesne Whistle” opens nostalgically with steel and acoustic guitars playing a swing melody reminiscent of Bob Wills. When the band enters, it becomes a rockabilly shuffle with teeth. “Soon After Midnight” is a ballad with hazardous warnings (“…Two-Timing Slim/Who’s every heard of him?/I’ll drag his corpse through the mud”). “Narrow Way” is a blues wailer that faintly looks back at “Maggie’s Farm.” Dylan’s lyric contradictions are in full force; the song asks unanswerable questions while expressing rage and vulnerability (“…Even death has washed its hands of you” and “Put your arms around me, where they belong”). “Pay in Blood” is a rocking venomous boast with one of his more memorable refrains: “I pay in blood, but not my own.” “Early Roman Kings” is a basic rewrite of Muddy Waters’ “Mannish Boy.” David Hidalgo’s old-world accordion plays the signature swaggering, razor-sharp guitar riff underscoring the notion that the blues are universal, timeless. Dylan’s nasty rasp fueled by lust, vengeance, and power is balanced by his wicked humor: “I can strip you of life, strip you of breath/I can ship you down, to the house of death…I ain’t dead yet, my bell still rings/I keep my fingers crossed like the early Roman kings.” Musically, “Tin Angel” looks back to “Man in the Long Black Coat” for a frame. Lyrically, this is Dylan at his storytelling best; its twists and turns would be right at home on Blood on the Tracks and Desire — and it would have made a great closer. Sadly, that’s not the case. The nearly 14-minute, 45-verse title cut retells the story of the Titanic with references to history — and the James Cameron film. Hearing it once is enough. “Roll on John,” Dylan’s elegy for friend John Lennon, closes the set. He uses a slew of Lennon’s own lyrics as a tribute. The end result is moving but clumsy. These last two cuts aside, Tempest is still a damn fine album. Dylan is in mostly excellent form — even when sloppy; it sounds like he’s having the time of his life. ~~ AllMusic Review by Thom Jurek

Tracklist:
1 Duquesne Whistle 5:43
2 Soon After Midnight 3:27
3 Narrow Way 7:28
4 Long And Wasted Years 3:46
5 Pay In Blood 5:09
6 Scarlet Town 7:17
7 Early Roman Kings 5:14
8 Tin Angel 9:05
9 Tempest 13:54
10 Roll On John 7:25

Personnel:
Bob Dylan – guitar, piano, vocals, production
Tony Garnier – bass guitar
Donnie Herron – steel guitar, banjo, violin, mandolin
David Hidalgo – guitar, accordion, violin
Stu Kimball – guitar
George G. Receli – drums
Charlie Sexton – guitar

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May 18

Marco Borsato – Onderweg (2002) [2.0 & 5.1]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 65:52 minutes | Front Cover only | 4,31 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included (Front only) | 1,3 GB
Features Stereo & Multichannel Surround sound | Genre: Rock

Marco Borsat is a Dutch singer. He started performing in Italian before switching to Dutch in 1994. He has consistently been one of the most successful and biggest grossing artists in the Netherlands for the past twenty years. Onderweg is his nine studio album, released in 2002 in multiformat variations.

Tracklist:
01. Lopen Op Het Water
02. Ik Leef Niet Meer Voor Jou (Cerco A Primavera)
03. Binnen
04. Margherita
05. Wat Is Mijn Hart [Live Version – Ahoy, Rotterdam ‘2000]06. De Waarheid
07. Zij
08. De Bestemming
09. Speeltuin
10. Het Water
11. Vrij Zijn (5 Mei Versie) [Sempre]
12. Kom Maar Bij Mij [Come Saprei]
13. Waarom Nou Jij [Radio Edit]
14. Wereld Zonder Jou (Duet Met Trijntje Oosterhuis) [Album Version]
15. Dromen Zijn Bedrog (Storie Di Tutti i Giorni)

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May 18

Matthew Lien – Arctic Refuge (2004)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 47:04 minutes | Scans included | 3,07 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 890 MB
Genre: New Age

Matthew Carl Lien is a Yukon, Canada based World music singer-songwriter and producer. His primary lyrical and musical focus is on environmental and cultural themes. Preferring his native San Diego to Los Angeles, he discovered Signature Sound recording studios in San Diego, California, which is owned by his friend and musician/producer Luis Arteaga whom he met earlier at Mix Masters, where he recorded most of his albums to date, with the exception of his Hybrid SACD “Arctic Refuge” which was recorded at Bryan Adams’ Warehouse Studio in Vancouver, British Columbia, Canada. He now has a fan base of millions in Taiwan and China, where he is known for his environmental music and his work with aboriginal and traditional cultures.

Tracklist:
01. Among The Rafters Of The Earth
02. Currents
03. Under Mountain and Valley
04. Moon Over Crow Mountain – Intro
05. Moon Over Crow Mountain
06. A Perilous Trek
07. The Journey Home
08. Renewal
09. One River To The Sea
10. Whales
11. Heart Of The Refuge

All music compositions, Lyrics and Arrangements by Matthew Lien.
Produced by Matthew Lien. Recording Engineer (Stereo & 5.1): Michael W. Harris.
Recorded and Mixed in June and July of 2003 at the Warehouse Studio, Vancouver B.C., Canada.
Editing and Authoring by Lon Neumann of the Sony SACD Project, Hollywood, California.
Mastered by Chris Bellman at Bernie Grundman Mastering, Hollywood, California.

Field recordings of the Alaskan and Canadian arctic gathered by Matthew Lien during arctic expeditions from 1994 to 2002.
Additional beluga and narwhal recordings provided by John К. В. Ford of Fisheries and Oceans Canada.

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May 18

Maeve O’Boyle – All My Sins (2009) [2.0 & 5.1]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 39:02 min | Scans included | 2,39 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 785 MB
Features Stereo & Multichannel Surround sound | Linn Records # AKD 318 | Genre: Rock, Pop

All My Sins, the debut album from Glasgow’s rising star Maeve O’Boyle, is a master class in melodic, folktinged pop and showcases Maeve’s poignant, personal and deeply meaningful self-penned songs. Produced by Calum Malcolm (The Blue Nile), ‘All My Sins’ is a master class in melodic, folk-tinged pop and features co-writes with, among others, Ricky Ross (Deacon Blue) and Francis Macdonald (Teenage Fanclub). Her unique blend of melodic pop, folk and rock won the acclaim of many established musicians and the press upon its release.

It has been a fruitful few years for local singer songwriter Maeve O’Boyle as she prepares for the release of her debut album. She has planned a show with the guys from Intimate Gigs at The Georgian Hotel in Coatbridge. Maeve has been writing songs since the age of 13 and the 21-year-old has now matured into one of the finest talents to emerge in Scotland in many a year. Her debut album titled All My Sins is a culmination of years of hard work and a steady recognition in the industry of her burgeoning talent. She first started to attract attention when she won the Danny Award at the Celtic Connections festival and winning the Daily Record’s Search for a Star competition. The album has taken several years to record and is an outstanding piece of work, with producers Calum Malcolm (The Blue Nile) and Stuart McCredie (The Fratellis) bringing out the best in Maeve’s voice. The album also features a host of well known Scottish talent including legendary fiddler John McCusker and Norman Blake of Teenage Fanclub. Writing the album also afforded Maeve the opportunity to write with some of Scotland’s most respected songwriters including Ricky Ross from Deacon Blue who commented: “When Maeve sang for me I thought she was fantastic. I could listen to her voice all day. She’s up there with anyone”.

Tracklist:
01. Old Greenwich Time
02. The Place You Became
03. Facing Home
04. Taxi
05. Swimming Upstream
06. Butterfly
07. Carnival Attraction
08. All My Sins
09. Romeo
10. Pray It Never Happens

Produced by Calum Malcolm and Stuart McCredie.

Personnel
Maeve O’Boyle – vocals
Stuart McCredie – guitars
Calum Malcolm – keyboards
Laurence Cottle – bass
John McCusker – fiddle
Liam Bradley – drums

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May 18

Luciano Pavarotti – Ti Adoro (2003)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 55:19 minutes | Scans included | 3,52 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,1 GB

Luciano Pavarotti has long avoided doing the kind of solo crossover release often proffered by his Three Tenors comrades Plácido Domingo and José Carreras; indeed, in his liner introduction he claims that he was initially “very skeptical” of this project. He came around, though, and the result marks his first solo album of any kind in years. Catty opera cognoscenti hoping for an embarrassment may be gratified by a few booklet photos (keep that shirt on, Luciano!), but otherwise they’re out of luck. The music is actual modern Italian pop rather than the sort of international sentimental style that seems to have been dreamed up in a marketing department, not a music studio. The songs included are mostly originals (several by producer Michele Centonze), and though they vary in quality they don’t rely on the kind of flabby familiarity that can doom a crossover project artistically. (An adaptation of Nino Rota’s old Love Theme From Romeo and Juliet will please Three Tenors fans.) The style is vocally oriented and suits Pavarotti well; electronic accompaniments are quiet and rarely compete with his voice. The singer even has fun with the quasi-rock & roll title track and with a portrait of the aging Caruso, featuring Jeff Beck on guitar. His age is clearly audible, but he’s still got it. Some have suggested that Ti adoro represents an attempt on the part of Pavarotti’s label Decca to compete with the current crop of teen-classical crossover divas. If so, the attempt is misconceived and proves little – except that he could teach them a thing or three. On its own terms, however, it works just fine. You might even wish he’d done it ten years ago, but even so you won’t find another 68-year-old who can sing with this kind of verve.

Tracklist:
01. Il canto
02. Neapolis
03. Starai con me
04. Ti adoro
05. Notte
06. Come aquile
07. Domani verrа
08. Buongiorno a te
09. Ai giochi addio
10. Stella
11. Tu e il tuo mare
12. Il gladiatore
13. Caruso

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