May 26

Hank Snow – Gloryland March (1965/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 30:35 minutes | 700 MB | Genre: Country
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front Cover |  © Legacy Recordings
Recorded: 1965, RCA Victor’s “Nashville Sound” Studio, Nashville, Tennessee

Clarence Eugene “Hank” Snow (May 9, 1914 – December 20, 1999) was a celebrated Canadian country music artist. In a career that spanned more than 50 years, he recorded 140 albums and charted more than 85 singles on the Billboard country charts from 1950 until 1980. His number-one hits include the self-penned songs “I’m Moving On”, “The Golden Rocket” and famous versions of “I Don’t Hurt Anymore”, “Let Me Go, Lover!”, “I’ve Been Everywhere”, “Hello Love”, as well as other top 10 hits.

Snow was an accomplished songwriter whose clear, baritone voice expressed a wide range of emotions including the joys of freedom and travel as well as the anguish of tortured love. His music was rooted in his beginnings in small-town Nova Scotia where, as a frail, 80-pound youngster, he endured extreme poverty, beatings and psychological abuse as well as physically punishing labour during the economically depressed 1920s and 1930s. Through it all, his musically talented mother provided the emotional support he needed to pursue his dream of becoming a famous entertainer like his idol, the country star, Jimmie Rodgers.

As a performer of traditional country music, Snow won numerous awards and is a member of the Country Music Hall of Fame, the Canadian Country Music Hall of Fame and the Canadian Music Hall of Fame. The Hank Snow Museum in Liverpool, Nova Scotia celebrates his life and work in a province where his fans still see him as an inspirational figure who triumphed over personal adversity to become one of the most influential artists in all of country music.

1 Invisible Hands 2:30
2 I’m Moving On To Glory 2:26
3 He’ll Understand And Say Well Done 2:50
4 Sweet Hour Of Prayer 2:21
5 Jesus Wept 2:19
6 These Things Shall Pass 2:18
7 His Hands 2:11
8 A Rich Man Am I 1:54
9 Farther Along 3:17
10 The Last Mile Of The Way 2:35
11 Gloryland March 2:02
12 I Saw A Man 2:51

Hank Snow – Guitar, Vocals

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May 26

London Early Opera, Cunningham, Moult – Handel at Vaux Vol. I (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 48:09 minutes | 876 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz | Artwork: Digital booklet |  © Signum Records

Handel at Vauxhall Volume One contains music by Handel and his English contemporaries. It reconstructs the first act in a typical evening’s concert at Vauxhall Gardens during the 1740s when the programme became more standardized, usually with a set of 16 pieces a night including an opening piece, organ concerto, wind music, instrumental pieces and dances and vocal music including solo and group songs which Jonathan Tyers reputedly introduced for the first time on the advice of Dr.Arne. The music, which was significantly by English composers, was performed by a small band with players doubling up on instruments and singers with very different types of voices…

Vauxhall Gardens was a “pleasure garden,” a kind of private park where entertainment of various kinds might be presented indoors and outdoors. Part of it still exists today. Handel and others wrote music for the venue, only to see it disparaged by Samuel Johnson; partly for this reason, the selections on this album qualify as genuinely neglected Handel. They are light, but not unsophisticated. Contained on this release is music that roughly reconstructs part of an evening’s music at Vauxhall. One of the park’s pavilions contained a small organ, and the Organ Concerto in B flat major, Op. 4, No. 2, HWV 290, receives a delightful small-scale performance here from organist Daniel Moult and players from the London Early Opera orchestra under Bridget Cunningham, the creative force behind this album. The outdoor pieces would have included little strophic songs and pastoral scenes by Handel and others; these are small gems that have hardly been touched by performers. Sample the rather comically overwrought The Melancholy Nymph, HWV 228, No. 19 (track 12), or the comic pastoral Colin and Phoebe by Thomas Arne, one of a pair of Handel contemporaries included. The sound disappoints; the church acoustic makes no differentiation among the types of music heard here and isn’t really right for any of them. But this release is essential for anyone interested in understanding Handel’s musical world, and it holds a good deal of charm for any listener.

01 – Handel: Acis and Galatea, HWV 49: Sinfonia
02 – Moult: Organ Improvisation in the style of John Worgan and Handel
03 – Handel: Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: I. Sinfonia: A tempo ordinario e staccato
04 – Handel: Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: II. Allegro
05 – Handel: Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: III. Adagio e staccato
06 – Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: IV. Allegro ma non presto
07 – Handel: Acis and Galatea, HWV 49: Ye verdant plains and woody mountains
08 – Handel: Acis and Galatea, HWV 49: Hush, ye pretty warbling choir!
09 – Arne: Colin and Phoebe: A Pastoral
10 – Handel: Saul, HWV 53: Dead March
11 – Handel: The Advice, ‘Mortals wisely learn to measure’
12 – Handel: The Melancholy Nymph, HWV 228 No. 19
13 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: I. Adagio
14 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: II. Fuga
15 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: III. Largo
16 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: IV. Allegro
17 – Handel: L’Allegro, il Penseroso ed il Moderato, HWV 55: As steals the morn upon the night

Produced by Christopher Alder. Engineered by Neil Hutchinson.
Recorded in May 2012 at St. Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom.

London Early Opera, Conducted by Bridget Cunningham
Daniel Moult – organ
Sophie Bevan – soprano
Eleanor Dennis – soprano
Kirsty Hopkins – soprano
Charles MacDougall – tenor
Greg Tassell – tenor
Benjamin Bevan – baritone

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May 26

Ellie Goulding – Delirium (2015) 
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:22:12 minutes | 0,97 GB | Genre: Pop
Studio Master, Official Digital Download – Source: PonoMusic | Front Cover | © Polydor Records UK

Delirium is the third studio album by English singer and songwriter Ellie Goulding, released on 6 November 2015 by Polydor Records. Music critics were generally impressed by the overall production of the record, although they were ambivalent in regards to its originality. It debuted at number three on the UK Albums Chart and the US Billboard 200, earning Goulding her highest-charting record in the latter country and her highest first-week sales figures in both territories. The album has spawned three singles: “On My Mind”, “Army” and “Something in the Way You Move”.

British chanteuse Ellie Goulding returns with her highly anticipated third studio album, 2015’s expertly produced Delirium. Goulding’s previous effort, 2012’s Halcyon, was a hypnotically ambient, lightly experimental album that balanced catchy pop hooks with textural electronic soundscapes. While Delirium isn’t devoid of this electronic atmosphere, it’s somewhat more mainstream in its tone, and finds Goulding expanding her sonic palette with a melodically catchy set of more R&B-infused songs. Helping Goulding to achieve this are a handful of uber-pop producer/songwriters, including Sweden’s Max Martin (Britney Spears, Taylor Swift) and Carl Falk (One Direction, Nicki Minaj), Savan Kotecha (Ariana Grande, One Direction), Greg Kurstin (Sia, P!nk), and others. Halcyon also benefited from a similarly collaborative approach, but Delirium feels less distinctly personal, bigger in scope, and brimming with a pressurized commercial energy. But that’s not necessarily a bad thing. Whereas Halcyon may have required several listens to grow on you, Delirium grabs you with immediately hooky, danceable tracks like “Something in the Way You Move,” “Keep on Dancin’,” and “Don’t Need Nobody.” Some of the more R&B-leaning cuts like the Police-meets-Rihanna single “On My Mind” seem at first like an odd fit for Goulding’s highly resonant, throaty chirp of a voice. That said, Goulding’s voice has always fit well in the contemporary pop landscape and even when you get the sense that she’s trying on someone else’s sound, as in the CeeLo-esque “Around U” and the swoon-worthy “Codes” with its ’90s Brandy-meets-M83 vibe, the sheer craftsmanship of the material alone keeps you listening. There are also enough passionately heartfelt EDM anthems, like the effusive “Army” and bubbly, Ibiza-ready “Devotion,” to please longtime Goulding fans. Ultimately, it’s the unexpectedly appealing combination of Goulding’s distinctive voice and the melismatic R&B bent of the songs on Delirium that makes for such an ecstatic listen. ~~ AllMusic Review by Matt Collar

1. Intro (Delirium) 01:54
2. Aftertaste 03:46
3. Something In The Way You Move 03:47
4. Keep On Dancin’ 03:46
5. On My Mind 03:33
6. Around U 03:17
7. Codes 03:16
8. Holding On For Life 04:15
9. Love Me Like You Do (From “Fifty Shades Of Grey”) 04:12
10. Don’t Need Nobody 03:33
11. Don’t Panic 03:16
12. We Can’t Move To This 03:28
13. Army 03:57
14. Lost And Found 03:36
15. Devotion 03:46
16. Scream It Out 03:09
17. The Greatest 03:31
18. I Do What I Love 02:51
19. Paradise 03:44
20. Winner 03:20
21. Heal 04:52
22. Outside 03:47
23. Powerful 03:26

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May 26

Stealers Wheel – Stealers Wheel
SACD ISO (2.0/MCH) ~ 1.39 GB | FLAC (tracks) 24-bit/88.2 kHz ~ 630 MB | 34:37 min | Artwork
Label: A&M Records / Intervention Records | Tracks: 10 | 1972/2016
Genre: Classic Rock, Folk Rock, Oldies

Stealers Wheel is the debut 1972 album by the Scottish folk rock band Stealers Wheel. It never charted in the UK, as did neither of the first two singles, “Late Again”, or “You Put Something Better Inside Me”. “Stuck in the Middle with You” reached the Top 10 in the UK, US and Canada.

The cover painting was by John Patrick Byrne. The words “Stealers Wheel” are embedded eight times in the design, in addition to the large lettering in the bottom left-hand corner.


01. Late Again 03:16
02. Stuck In The Middle With You 03:28
03. Another Meaning 02:59
04. I Get By 03:17
05. Outside Looking In 03:55
06. Johnny’s Song 03:47
07. Next To Me 03:39
08. José 03:25
09. Gets So Lonely 02:58
10. You Put Something Better Inside Me 03:54

Gerry Rafferty – guitar, lead vocals
Joe Egan – keyboards, lead vocals
Paul Pilnick – lead guitar
Tony Williams – bass
Rod Coombes – drums

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May 26

Cat Stevens – Tea For The Tillerman (1970/2011)
Genre: Folk Rock | SACD ISO: DSD64 2.0 > 1-bit/2.8224 MHz | Artwork | 1.53 GB
Label: USA – Analogue Productions – CAPP 9135 SA | Release Year: 2011 |

Tea for the Tillerman is an album by singer-songwriter Cat Stevens. This album, Stevens’ second during 1970, includes many of Stevens’ best-known songs including “Where Do the Children Play?”, “Hard Headed Woman”, “Wild World”, “Sad Lisa”, “Into White” and “Father and Son”. Four of the tracks (“Where Do the Children Play?”, “On the Road to Find Out”, “Tea for the Tillerman” and “Miles from Nowhere”) were featured in the Hal Ashby and Colin Higgins’ black comedy film entitled Harold and Maude, in 1971. The track “But I Might Die Tonight” was featured on another 1971 film: Deep End by Jerzy Skolimowski. Stevens, a former art student, created the artwork featured on the record’s cover.

With “Wild World” as an advance single, this was the album that brought Stevens world-wide fame. The album itself charted into the top 10 in the United States, where he had previously had few listeners.[citation needed]On 18 November 2003, Rolling Stone Magazine included this album in its 500 Greatest Albums of All Time list at number 206.

The title-song “Tea for the Tillerman” was used as the ending theme for both series of the Golden Globe-winning BBC-HBO sitcom Extras, written and co-directed by Ricky Gervais and Stephen Merchant.

In 2006, the album was included in the book 1001 Albums You Must Hear Before You Die. In 2007, the album was included in the list of “The Definitive 200 Albums of All Time”, released by The National Association of Recording Merchandisers and the Rock and Roll Hall of Fame.

In August 2011 Tea For The Tillerman was reissued by Analogue Productions. The album was the first album pressed by AP’s new record pressing plant. The album was remastered by George Marino at Sterling Sound from the absolute original master tape. In 1970, Lee Hulko at Sterling Sound cut Tea For The Tillerman for A&M Records in the U.S. and Island Records in the UK.


1. Where Do the Children Play? – 3:52
2. Hard Headed Woman – 3:47
3. Wild World – 3:20
4. Sad Lisa – 3:46
5. Miles from Nowhere – 3:35
6. But I Might Die Tonight – 1:52
7. Longer Boats – 3:13
8. Into White – 3:25
9. On the Road to Find Out – 5:08
10. Father and Son – 3:41
11. Tea for the Tillerman – 1:05

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May 26

Cat Stevens – Tea For The Tillerman (1970/2013)
DSD64 (.dsf) 1 bit/2,82 MHz | Time – 36:47 minutes | 1,45 GB | Genre: Folk Rock
Official Digital Download – Source: AcousticSounds | Digital Booklet | © Island Records/Universal Music

Mona Bone Jakon only began Cat Stevens’ comeback. Seven months later, he returned with Tea for the Tillerman, an album in the same chamber-group style, employing the same musicians and producer, but with a far more confident tone. Mona Bone Jakon had been full of references to death, but Tea for the Tillerman was not about dying; it was about living in the modern world while rejecting it in favor of spiritual fulfillment. It began with a statement of purpose, “Where Do the Children Play?,” in which Stevens questioned the value of technology and progress. “Wild World” found the singer being dumped by a girl, but making the novel suggestion that she should stay with him because she was incapable of handling things without him. “Sad Lisa” might have been about the same girl after she tried and failed to make her way; now, she seemed depressed to the point of psychosis. The rest of the album veered between two themes: the conflict between the young and the old, and religion as an answer to life’s questions. Tea for the Tillerman was the story of a young man’s search for spiritual meaning in a soulless class society he found abhorrent. He hadn’t yet reached his destination, but he was confident he was going in the right direction, traveling at his own, unhurried pace. The album’s rejection of contemporary life and its yearning for something more struck a chord with listeners in an era in which traditional verities had been shaken. It didn’t hurt, of course, that Stevens had lost none of his ability to craft a catchy pop melody; the album may have been full of angst, but it wasn’t hard to sing along to. As a result, Tea for the Tillerman became a big seller and, for the second time in four years, its creator became a pop star. ~~ AllMusic Review by William Ruhlmann

1 Where Do The Children Play? 3:52
2 Hard Headed Woman 3:47
3 Wild World 3:20
4 Sad Lisa 3:45
5 Miles From Nowhere 3:37
6 But I Might Die Tonight 1:53
7 Longer Boats 3:12
8 Into White 3:24
9 On The Road To Find Out 5:08
10 Father And Son 3:41
11 Tea For The Tillerman 1:01

Cat Stevens – classical guitar, acoustic guitar, keyboards, lead vocals
Alun Davies – acoustic guitar, backing vocals
Harvey Burns – drums, congas, tambourine
John Ryan – double bass
Del Newman – string arrangements
Jack Rothstein – violin

Recorded: May–July 1970, Morgan Studios, Island Studios and Olympic Studios, London
Mastered by George Marino at Sterling Sound. Download files authored direct to native DSD from analog tape by Gus Skinas.

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May 26

Cat Stevens – Tea For The Tillerman (1970/2000)
FLAC (tracks) 24-bit/192 kHz | Time – 36:46 minutes | 1,24 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Island Records

“The 192/24 download is … the definitive version of this classic album.” – The Absolute Sound, May/June 2012
The groundbreaking, multi-platinum folk/rock masterpiece, Tea for the Tillerman remains one of

singer/songwriter Cat Stevens’ finest works. The beautifully written and well-arranged album encompasses themes of spiritual fulfillment, delivering hit after hit. The album includes “Where Do the Children Play?,” “Sad Lisa,” “Father and Son” and the highly regarded single “Wild World.” Tea for the Tillerman established Stevens as a driving force in music history and this high resolution release offers the ideal way to experience this timeless classic.

We are so fortunate that Ted Jensen, who originally mastered Tea for the Tillerman, for compact disc, was available to do these hi res transfers. Ted was kind enough to share some information about the process:

“The tapes are in still excellent condition, the Dolby A encoded BASF tape used has held up very well compared with other formulations used in the mid 70’s and later. The tapes sound excellent. I’ve done no limiting or compression on these files at all. Playback was done on an Ampex ATR100, and the A/D converter was a prototype MSB unit that David Chesky was good enough to loan us.” – Ted Jensen, Sterling Sound

01. Where Do The Children Play? (00:03:52)
02. Hard Headed Woman (00:03:47)
03. Wild World (00:03:20)
04. Sad Lisa (00:03:46)
05. Miles From Nowhere (00:03:37)
06. But I Might Die Tonight (00:01:59)
07. Longer Boats (00:03:06)
08. Into White (00:03:24)
09. On The Road To Find Out (00:05:08)
10. Father And Son (00:03:41)
11. Tea For The Tillerman (00:01:03)

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May 26

Harry Belafonte, Miriam Makeba – An Evening With Belafonte-Makeba (1965/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 00:34:22 minutes | 720 MB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © RCA/Legacy
Recorded: 1965, RCA Victor’s Studio A, New York City

An Evening With Belafonte/Makeba is Harry Belafonte and Miriam Makeba’s 1965 Grammy Award-winning album for Best Folk Recording. The recording features five songs sung by Belafonte, five by Makeba and two duets with the two vocalists. An Evening With Belafonte/Makeba delves into the political plight South Africans were facing under apartheid.

Since Harry Belafonte and Miriam Makeba had appeared together in concert frequently in the early ’60s, customers spying an LP called An Evening with Belafonte/Makeba might reasonably have assumed that the record would contain a joint live performance by the two, and that might help explain why this album charted in the Top 100 despite its challenging material. To begin with, it is not a live album, but rather a studio recording. And it isn’t so much a duo album, for the most part, as a joint album; Belafonte and Makeba perform together on only two tracks, “Train Song” and “Cannon.” Otherwise, they split up the selections, each appearing on five. The real point of this album is to present a group of South African songs in more or less authentic fashion. They are sung mostly in either Xhosa or Zulu, with one song in Sotho and another in Swahili. Despite the English song titles (with the original titles following in parenthesis), there is only one moment on the album when the English language is spoken; that is when Makeba explains the meaning of “Khawuleza” (the Xhosa title of “Hurry, Mama, Hurry!”) as referring to situations in which children alert their mothers that the authorities are coming. Both Belafonte and Makeba are frequently accompanied by a choir for some wonderful effects. This is a powerful album of traditional South African music, and anyone buying it realizing that will be well satisfied. Just don’t think the disc is what it appears to be from the title. ~~ AllMusic Review by William Ruhlmann

1. Train Song (Mbombela) 03:10
2. Kwazulu (In the Land of the Zulus) 02:32
3. Hush, Hush (Thula, Thula) 03:03
4. Nongqongqo (To Thos We Love) 02:17
5. Give Us Our Land (Mabayeke) 02:27
6. Beware, Verwoerd! (Ndodemnyama) 02:05
7. Gone Are My Children (Baile Banake) 02:47
8. Hurry, Mama, Hurry! (Khawuleza) 03:25
9. My Angel (Malaika) 03:12
10. Cannon (Mbayi, Mbayi) 02:47
11. Lullaby (Thula Sthandwa Same) 02:46
12. Show Me The Way, My Brother (Iph’Indlela) 03:10

Harry Belafonte – vocals (#1,3,5,7,9,11,12)
Miriam Makeba – vocals (#1,2,4,6,8,9,10)
Sam Brown, Eddie Diehl, Marvin Falcon, Ernie Calabria, Jay Berliner – guitar
William Salter, John Cartwright – bass
Auchee Lee, Solomon Ilori, Chief Bey, Ralph MacDonald, Percy Brice – percussion
Conducted by Jonas Gwangwa and Howard Roberts

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May 26

Harry Belafonte – Jump Up Calypso (1961/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 00:41:45 minutes | 910 MB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © RCA/Legacy
Recorded: June 3-6, 1961 at Webster Hall, New York, New York

Jump Up Calypso is Harry Belafonte’s second studio album originally released in 1961. The record went on to sell over a million copies and made it to the number 3 spot on Billboard‘s Pop chart.

Belafonte was an established all-around entertainer and actor by the time of this album, so it could be seen in a sense as a return to “roots” styles. In any case, it’s all-out calypso, with backing by the Trinidad Steel Band, and qualifies as one of his most energetic albums, even getting rambunctious at times. ~~AllMusic Review by Richie Unterberger

1. Sweetheart From Venezuela 03:32
2. Go Down Emanuel Road 03:11
3. The Baby Boy 03:22
4. Gloria 03:08
5. Land of the Sea and Sun 02:59
6. Goin’ Down Jordan 03:35
7. Jump in the Line 03:44
8. Kingston Market 03:17
9. Monkey 03:58
10. These Are The Times 03:14
11. Bally Mena 03:25
12. Angelina 03:58

Harry Belafonte – vocals
The Trinidad Steel Band
Ernie Calabria – guitar, quatro
Millard Thomas – guitar
Norman Keenan – bass

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May 26

Harry Belafonte – ‘Mark Twain’ and Other Folk Favorites (1954/2016)
FLAC 2.0 Mono (tracks) 24-bit/96 kHz | Time – 00:33:43 minutes | 368 MB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © RCA/Legacy
Recorded: RCA Victor’s Manhattan Center and 24th Street Studios, April 9, 22 & 29 and May 13, 1954

Harry Belafonte’s first album features a solid variety of songs from American folk tradition, learned during his studies of folk music at the Library of Congress in the early 1950s. He had signed with RCA Victor in 1952, recording a series of well-received singles. Belafonte’s new-found love for music of the West Indies can be found in songs such as “Man Piaba” (which he wrote) along with songs from English and Scottish tradition such as “Lord Randall” and “The Drummer & the Cook.” Songs from African-American tradition include the chain gang song “Tol’ My Captain” and the ubiquitous “John Henry.” Mark Twain was a good initial effort, but Belafonte’s repertoire and delivery would get stronger with the next album. ~~ AllMusic Review by Cary Ginell

1. Mark Twain 03:43
2. Man Piaba 03:30
3. John Henry 03:30
4. Tol’ My Captain 02:47
5. Kalenda Rock (Mourning Song) 03:24
6. The Drummer and the Cook 02:05
7. The Fox 02:44
8. Soldier, Soldier 01:38
9. The Next Big River 00:21
10. Delia 03:00
11. Mo Mary 02:16
12. Lord Randall 04:11

Harry Belafonte – vocals
Millard Thomas – guitar
Orchestra and chorus supervised by Hugo Winterhalter

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