Jul 05

Jamil Sheriff Trio – Places Like This (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 38:40 minutes | 615 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Bandcamp | Artwork: Frontcover| © New Jazz Records

Jamil is known throughout the UK Jazz scene for his lyrical and rhythmic approach to original music, and this latest project is no exception. Carefully developed through-composed elements are interwoven with freer improvisations and swinging solos, showing Sheriff to be an artist with a unique identity. His approach brings together a mixture of influences as he endeavors to find common and genuine ground between a wide ranges of styles. He is a passionate ambassador of creative arts grown in the North of England, and invests much time, as an educator (Head of Jazz at Leeds College of Music) and performer, supporting the development of regional scene.

Tracklist
1. The Contortionist 05:40
2. Blueish 04:52
3. Miss Mae 05:08
4. The New One 08:00
5. Crazy Happy 05:16
6. TP1 07:43
7. Matchstick Man 01:57

Musicians
Jamil Sheriff – piano
Dave Walsh – drums
Pete Turner – bass

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Jul 05

Jeff Bradshaw – Home: One Special Night At The Kimmel Center (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 1:18:47 minutes | 893 MB | Genre: Jazz
Studio Master, Official Digital Download | Artwork: Digital booklet | Label: Shanachie Entertainment

Acclaimed trombonist Jeff Bradshaw came “home” to The Kimmel Center for a once-in-a-lifetime gathering of great artists from the worlds of R&B, Jazz and Gospel; the resulting concert, presented in all its glory here, delivers electrifying performances by Jeff, Robert Glasper, Marsha Ambrosius, Black Thought of The Roots, Will Downing, Kim Burrell, Bilal, Kenny Lattimore, Tweet, Eric Roberson, Take 6, Najee and Trombone Shorty, all backed by a 20 piece orchestra.

Jeff Bradshaw is an award winning trombone player, recording artist and bandleader who has performed and recorded with Jill Scott, Jay Z, Michael Jackson, The Roots, Marsha Ambrosius and many more. Jeff has been at the center of the Neo soul movement that emerged out of Philadelphia, becoming an important influencer of that eclectic scene. Like recent best sellers by Robert Glasper, his two acclaimed solo albums have delivered a unique fusion of R&B, Jazz and Gospel.

For Home, which is co produced by Robert Glasper, Bradshaw brought together a stellar lineup of great vocalists and musicians backed by a killer 20 piece band at Philadelphia s premiere arts venue, The Kimmel Center, for a once in a lifetime performance recorded in front of a rapturous sold out audience. Highlights include Kim Burrell s stunning 9 minute performance of Love, Marsha Ambrosius emotional rendition of a previously unrecorded original song, and Bilal s intense version of the Enchantment s classic Where Do We Go From Here. The album includes a bonus cut studio version of All Time Love featuring Tweet, Robert Glasper and Eric Roberson.

Tracklist:
01 – Open Your Eyes (Intro)
02 – All Time Love
03 – I Do Sincerely
04 – Love
05 – N.O. Groove
06 – Break You Off
07 – All This Love
08 – Where Do We Go From Here
09 – My Forever
10 – Beyond The Stars
11 – What Must I Do
12 – For Grover
13 – The World Is A Ghetto (Outro)
14 – All Time Love (Studio Version)

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Jul 05

Joe Chambers – Landscapes (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 59:56 minutes | 681 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Front cover | © Savant

Ever since Joe Chambers made his recording debut on Freddie Hubbard’s classic LP, Breaking Point! he’s remained a nearly peerless jazz figure in terms of consummate musicianship. His career throughout the 1960s established Chambers as both a noteworthy hard-bop and avant-garde jazz drummer and as an intriguing composer, particularly through his partnership with vibraphonist Bobby Hutcherson. Chambers released his debut LP, The Almoravid in 1974 for Muse Records. After recording several other releases for the Denon, Candid and Blue Note labels, Chambers reconnected with Muse’s Joe Fields in 2005 and released The Outlaw in 2006. Here on his newest disc Chambers reflects all of his well-honed talents as superb multi-instrumentalist, composer and bandleader.

Joe Chambers has always been one hell of a compelling artist – first famously as a drummer on important 60s modern sessions, but over the years also a tremendous leader, and a multi-instrumentalist whose work in a variety of settings never sounds gimmicky or forced at all! That quality really comes through here – as the record’s only a trio date, with Rick Germanson on piano and Ira Coleman on bass – yet Chambers runs through a huge range of moods on instruments that include drums, congas, bongos, vibes, marimba, and piano – sometimes played with overdubs that allow Joe to expand the sound in especially nice ways on some of the more Latin-styled tracks. Joe plays solo piano on the title “Landscapes”, and other trio tracks include “Samba De Marcatu”, “pas De Trois”, “Ecaroh”, “The Outlaw”, and “Havana”.

Tracklist:
01 – Epistrophy
02 – The Outlaw
03 – Never Let Me Go
04 – Havana
05 – Samba de Maracatu
06 – Pas de Trois
07 – Airegin
08 – Ecaroh
09 – Underground (Railroad) System
10 – Landscapes

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Jul 05

Jon Everist – Shadowrun: Hong Kong – Original Soundtrack (2015)
FLAC (tracks) 24-bit/48 kHz | Time – 01:32:13 minutes | 654 MB | Genre: Score / Electronic, Ambient
Studio Master, Official Digital Download – Source: Bandcamp | Artwork: Front Cover

“Good soundtracks aren’t always good indicators of good games, but it’s happily the case with Shadowrun: Hong Kong. The artistry of composer Jon Everist’s work reveals itself in the opening titles, and maintains an atmosphere of subdued mystery through character creation and beyond – spilling over into the first conversations and battles effortlessly and memorably. ” –IGN

Tracklist:

01. Heoi (05:48)
02. Bad Qi (04:34)
03. Deck Con (02:51)
04. Exit Stage Left (04:24)
05. Ghoul Noir (04:12)
06. Grendel (04:31)
07. Hard Landing (02:51)
08. Is0bel (03:12)
09. Kindly (01:57)
10. Plague of Rats (03:29)
11. Prosperity (04:54)
12. Redemption (04:53)
13. SINless from Seattle (02:34)
14. Smash and Grab (03:56)
15. Take Cover (03:11)
16. The Ancient Mirror (03:24)
17. The House of Sparrows (03:13)
18. Welcome to the Grid (03:44)
19. Matrix (Combat) (03:44)
20. The Rat King (03:15)
21. The Walled City (04:11)
22. Whistleblower (02:08)
23. Lightninghoooooold (03:32)
24. Hack Job (01:36)
25. The Plastic Faced Man (01:30)
26. Shangri La (01:48)
27. Reliable Matthew (00:51)
28. Club 88 (02:00)

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Jul 05

Jonas Kaufmann – Dolce Vita (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – :06:57 minutes | 2,17 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | Digital booklet | © Sony Classical

Italy! Like nowhere else on earth – the sunshine and sea salt, the smell of citrus and coffee, a flirtatious glance, an incomparable song drawn deep from the heart. Italy and its immortal music have a magical pull on people like no other culture – and Jonas Kaufmann feels this particularly keenly. The new album Dolce vita is his tribute to this culture, this way of life that has conceived one immortal melody after the other for the tenor voice and influenced him so much. Now Sony Classical is proud to present this special collection of timeless Italian songs – sung by “The world’s greatest tenor” (The Daily Telegraph).

Jonas Kaufmann has had a special bond with Italy since his youth. Growing up in Germany’s most southern city – Munich, locally known as “the most northern city of Italy” – meant that holidays in Italy were just a car ride away for him and his family. Since spending these childhood holidays playing with local bambini, Jonas Kaufmann has absorbed much more than just the Italian language: long familiar with Italy’s ways, its southern temperament, its love of good food, and its fashion and flair, Jonas feels very much at home in this adopted culture. Naturally, much of the magic and authority that Jonas brings to the opera stage stems from his passion and understanding of this Mediterranean land and its music.

But the opera stage is not the only place where the magic of an Italian tenor melody is to be found. Many wondrous songs were written so perfectly for great tenor voices throughout the late 19th and 20th centuries, such as Mattinata, which was dedicated to Enrico Caruso; Non ti scordar di me, which was first sung by Beniamino Gigli in the 1935 movie of the same title; and Parlami d’amore, Mariù, written for the future film director Vittorio De Sica to sing in the comedy Gli uomini, che mascalzoni. The passion and beauty of Italian melody can also be heard in such Neapolitan hits as Torna a Surriento, Core ’ngrato and Passione. Even some of today’s pop songs display the unmistakable stamp of italianità, as for example in Un amore così grande, which was first sung and recorded by Mario Del Monaco in 1976, or in Lucio Dalla’s Caruso and Romano Musumarra’s Il canto, written expressly for Luciano Pavarotti.

Now Jonas presents his own personal homage to a culture where the influence and beauty of opera are felt far beyond the walls of the opera houses. Jonas recorded the album in Palermo with conductor Asher Fisch and the Orchestra del Teatro Massimo di Palermo, who bring their innate Italian flair to this music.

Tracklist:

01. Caruso
02. Mattinata
03. Parla più piano
04. Passione
05. Un amore così grande
06. Il canto
07. Voglio vivere così
08. Catari’, Catari’ (Core ‘ngrato)
09. Ti voglio tanto bene
10. Non ti scordar di me
11. Fenesta ca’ lucive
12. Musica proibita
13. Parlami d’amore Mariù
14. Torna a Surriento
15. Volare
16. Rondine al nido
17. Con te partirò
18. Il Libro dell’ Amore

Personnel:

Guglielmo Cottrau
Stanislao Gastaldon
Ernesto de Curtis
Salvatore Cardillo
Ernesto De Curtis
Stephin Raymond Merritt
Christopher Alder
Francesco Sartori
Cesare Andrea Bixio
Domenico Modugno
Giovanni D’Anzi
Asher Fisch
Ruggero Leoncavallo
Orchestra del Teatro Massimo di Palermo
Vincenzo De Crescenzo
Lucio Dalla
Ernesto Tagliaferri
Guido Maria Ferilli
Romano Musumarra
Nino Rota
Nicola Valente
Andreas Tarkmann, Arranger
Philip Siney, Engineer
Ennio Neri, Lyricist
Lucio Quarantotto, Lyricist
Domenico Furnò, Lyricist
Luigi Sica, Lyricist
Franco Migliacci, Lyricist
Giovanni Battista de Curtis, Lyricist
Riccardo Cordiferro, Lyricist
Libero Bovio, Lyricist
Giandomenico Boncompagni, Lyricist
Zucchero, Lyricist
Tito Manlio, Lyricist
Luca Barbarossa, Lyricist
Antonella Maggio, Lyricist
Matthias Spindler, Preparer
Jonas Kaufmann, Tenor

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Jul 04

Kirill Kondrashin, Moscow Philharmonic Orchestra / RSFSR Russian Chorus / Boys Choir of Moscow Choir School (2011)
Prokofiev: Cantata for the 20th Anniversary of the Russian Revolution & Shostakovich: The Sun Shines over our Motherland
Transferred from a Angel/Meloydia 4-Track Tape | FLAC (tracks) 24 bit/192 kHz | Time – 43:27 minutes | 1,67 GB
Recorded 1965 in Moscow, U.S.S.R. | Studio Master, Official Digital Download | Artwork: Digital Booklet

Serge Prokofiev had been deeply engrossed in the writings of Vladimir Lenin when the All-Union Radio Committee approached him with the idea of a patriotic cantata, one that might incorporate “Revolutionary texts.” The germs of the idea began in 1934, but Prokofiev undertook the main body of the ten-movement work in 1936-1937. Prokofiev repressed the score, however, and it did not receive its premier until 5 May 1966 under Kondrashin. The sheer number of forces involved–which can easily involve up to 500 musicians–suggests another reason for the rarity of this colossus. The musical fecundity of Prokofiev’s style–with clear analogies to Alexandre Nevsky and to the G Minor Violin Concerto–mark the piece as an inspired rather than a merely propagandist vehicle. For the prologue or Introduction, Prokofiev utilizes the phrase “A specter is haunting Europe,” the first sentence from Marx and Engels’ Communist Manifesto. The 1966 recording by Kirill Kondrashin omits two movements–Stalin’s Oath and The Constitution–movements no longer “politically correct” during the period of anti-Stalin reaction, since the Soviet government wished to detach itself from his crimes.

After the Introduction, the dense music and inflammatory texts trace the philosophical seeds of the October Revolution through its various means of political realization and political action. Prokofiev incorporates various masses of sound–including an accordion orchestra–from the folk as well as the classical-concert world to embrace the total will of the people. “We choose to fight and do not seek appeasement” becomes the rallying cry of section four, “We March Closely Together.” The battle scene emerges with terrific force, imitating the sounds of gunfire and the inflamed spirit of the people: “We shall take bread and shoes from the capitalists. . . .We must mobilize and arm the workers.” A frightful peasant dance emerges from the tumult and pandemonium of war and slaughter, a dizzy dance of death and celebration, the voice of Lenin megaphoned over rattling machine gun fire and sirens, Socialist Realism at its most ardent. The throes of revolt clearly hearken to Tybalt’s Death from Romeo and Juliet, then the atmosphere clears with the sense of Victory: “Comrades, spring is coming. . .the ice is broken in all corner of the earth.” A Symphony–Allegro energico–ensues in the manner of scherzo that embodies the ecstatic affirmation of the Revolution’s aims. The cantata ends with a reprise of Philosophers of movement two, an assertion of the difference between those men who dream of a better world and those who bring such change to ecstatic fruition. That much of this music Prokofiev meant as satire escaped the Soviet censors, but its extraordinary sonority appeals to Kondrashin, who controls all his forces with ripe dignity.

Dimitri Shostakovich can hardly be called a “defender” or “apologist” for Soviet Communism, but he did compose his cantata, The Sun shines over our Motherland–after the poem by Yevgeny Dolmatovsky–in 1952, when the Russians were celebrating the 35th anniversary of the October Revolution. The scoring has an airy woodwind character that makes it kin to The Song of the Forests. It opens with a boys’ chorus to establish political innocence. Nevertheless, the squalid post-1948 political atmosphere–which promised more repressions for creative artists–made any “patriotic” project unpalatable for Shostakovich, and many find his twelve-minute cantata bland, to say the least. The sun becomes the dominant metaphor of the “philosophical light” of Soviet Communism that had led Russia away from the capitalist darkness. The men’s chorus and mixed chorus sings of the struggles of the past, and the subsequent battles and the hard work of the People for “the splendid life” of Russia in the bounteous rays of Nature. “We have become wealthy and strong beneath the sun of freedom.” A majestic hymn announces spiritual victory, but hindsight and the composer’s own Testimony impose a hollow sound on an otherwise resonant series of patriotic declamations.

Tracklist:
01-07. Sergei Prokofiev: Cantata for the 20th Anniversary of the October Revolution
08. Dmitri Shostakovich: The Sun Shines over our Motherland
Produced & Engineered by David Gaklin. Recorded 1965 in Moscow, Russia.

Note: HDTT does not supply recording information, and the banding of the tracks runs contrary to the liner notes: 1-7 Prokofiev; 8-Shostakovich. No individual timings for the Prokofiev movements are provided. The sound does hammer us with audiophile fidelity.

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Jul 04

Kid Rock – Rebel Soul (2012)
FLAC (tracks) 24 bit/44,1 kHz | Time – 1:05:31 minutes | 749 MB | Genre: Rock
Official Digital Download – Source: HDTracks.com | Front cover | © Top Dog/Atlantic

Rebel Soul is a return to form for the multi-Platinum recording artist. It cements his place as the premier genre-hopping rock and roller of all time. The sensational masterpiece, produced by Rock, includes the moving hit single “Let’s Ride,” a rocking war anthem dedicated to the men and women of the military. Rebel Soul is steeped in country, southern rocks, blues and hip-hop. Other standouts include “The Mirror,” “Cocaine and Gin” and “Cucci Galore”.

Kid Rock went the respectable rock route on 2010’s Born Free and it didn’t pay back any dividends. He failed to garner any newfound love from buttoned-down critics and, more importantly, he didn’t sell many copies of the new album, so when it came time to record a follow-up he returned to his tried and true, embracing his impeccable sense of sleaze. And so Rebel Soul is as tawdry as Born Free was clean, a celebration of every tacky obsession Kid Rock has, from strippers to downriver brawling with Detroit white trash. Rock produced this record by himself and Rebel Soul has an appealingly cheap sound, as the singer never seems so bothered with finessing the performances into something sonically appealing. Rock has enough discipline to realize when his records would sound lazy — he flirts with the predictable, churning hard rockers, the kind that would have cluttered FM album rock stations back in his teenage years 20 years ago — giving them just enough spark so they don’t sound tired. And that, in a nutshell, is Rock’s gift: he’s a traditionalist aware of the shifting times, adjusting just enough to not alienate his fans while maybe capturing a couple new ones. Rebel Soul is a consolidation, not an expansion, and it’s pretty good on those terms. Rock knows his white trash obsessions could be adapted to any number of styles but he chooses the easiest route for Rebel Soul, hitting the common denominator hard and wallowing in the filth of “Cucci Galore” which, in his good sense, Rick Rubin refused to let Kid Rock record for Born Free. Rock knows that his appeal rests on bad taste and he wallows in it here, cherishing familiar three-chord rockers and finding ways to twist and invert songs you’ve heard before. He’s not always successful — “God Save Rock n Roll” is a procession of clichés that makes him sound about 20 years older than he is — but there’s an enthusiasm to Rock’s embrace of clichés that makes Rebel Soul kind of hard to resist. He’s planting his flag on that old-time rock & roll — “Mr. Rock n Roll” name-checks hits that are nearly 60 years old — but it’s not an act; Kid Rock believes in this stuff and he’s doing his damnedest to bring it into the 21st century. As he does so, he sounds a bit anachronistic — he’s pledging allegiance to an era that’s long gone — but he loves this sound, he loves these songs, he loves this tradition, and, without Rubin keeping him in check, he can indulge in all the bad taste he wants. And so Rebel Soul winds up as a last testament of backwoods, white-trash, red-state rock & roll: Kid Rock sticks to the tried and true, the sounds that always fueled FM rock in Michigan, and he sounds comfortable: not defiant but happy to be where he is, and Rebel Soul is appropriately rebellious and conservative, a dose of old-time rock & roll at a time when the style is starting to fade.

Tracklist:
01 – Chickens In The Pen
02 – Let’s Ride
03 – 3 CATT Boogie
04 – Detroit, Michigan
05 – Rebel Soul
06 – God Save Rock n Roll
07 – Happy New Year
08 – Celebrate
09 – The Mirror
10 – Mr. Rock n Roll
11 – Cucci Galore
12 – Redneck Paradise
13 – Cocaine and Gin
14 – Midnight Ferry

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Jul 04

Joey Alexander – Countdown (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:01:11 minutes | 603 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front cover | © Motéma – MustHaveJazz – Membran

The sensational child prodigy jazz pianist’s second studio album. Joey Alexander’s jaw-dropping ability and beyond-his-years artistry brought him to some of the grandest stages, from performing at the GRAMMYs and the White House, to appearing on the TODAY Show and 60 Minutes. Just over a year removed from his debut, the same maturity and dedication to his craft that made him a phenomenon is evident in his remarkable evolution on his sophomore release, COUNTDOWN. Now stepping forward as a composer, while still paying tribute to the jazz greats, Joey is poised to continue his ascent to becoming one of the biggest names in jazz.

A couple of weeks ago the jazz pianist Joey Alexander turned 13. Given the unusual arc of his young career, it shouldn’t be a surprise that he celebrated onstage with his trio, at the Freihofer’s Saratoga Jazz Festival. After the performance, he was presented with a cake in the shape of a grand piano, and thousands in the crowd sang “Happy Birthday,” basking in a moment that Joey himself seemed to take in stride. His debut album, “My Favorite Things,” earned him two Grammy nominations and an invitation to the awards, where he played a trio number (during a pre-telecast) and a solo piano piece. The tune that he performed solo — bringing Taylor Swift and the Weeknd to their feet — was “City Lights”, an original composition. It opens his second album, “Countdown”. Set over a mid-tempo vamp in Latin rhythm, “City Lights” is Joey’s attempt to capture the bustling energy of New York, where he has lived with his parents since moving from Indonesia two years ago. You can hear the influence of Chick Corea in the track, and possible echoes of an effervescent Latin-jazz pianist like Michel Camilo.

Tracklist:
01 – City Lights
02 – Sunday Waltz
03 – Countdown
04 – Smile
05 – Maiden Voyage
06 – Criss Cross
07 – Chelsea Bridge
08 – For Wee Folks
09 – Soul Dreamer

Musicians:
Joey Alexander – piano
Larry Grenadier – bass
Ulysses Owens Jr. – drums
Chris Potter – sax on “5”

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Jul 04

John Scofield – Country For Old Men (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 1:02:37 minutes | 1,37 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet | © Impulse Select

John Scofield goes country! With the help of drummer Bill Stewart, organist & pianist Larry Goldings, and bassist Steve Swallow, Scofield renders 12 classic country tunes through the prism of vigorous modern jazz. Country icons including Hank Williams, Merle Haggard, Dolly Parton and George Jones are hereby reinterpreted by Scofield by focusing strongly on the melody of each song, accentuating his playing with a noticeable twang, which lends the music the requisite bucolic sensibility.

Following last year’s Grammy-winning Past Present, the improvisationally wily but sociably funky jazz guitarist John Scofield now presents a tribute to the country songs of American icons including Hank Williams, Merle Haggard and Dolly Parton, with pianist/organist Larry Goldings, bassist Steve Swallow, and drummer Bill Stewart pitching in. Williams’ I’m So Lonesome I Could Cry quickly becomes a fast bebop bass-walk, but Scofield always keeps his long, zig-zagging solo within earshot of the tune. Parton’s Jolene begins as a dark and dramatic theme statement, and takes on the elemental rhythmic insistence of the classic John Coltrane quartet, while a fine account of Shania Twain’s You’re Still the One exhibits a tenderness caressed by Scofield’s signature tonal creativity. Occasionally there’s a disconnect between the convivial lilt of some of these tunes and the jazz grooves, but Scofield at full jazz-improv pelt is always something to behold.

Tracklist:
01 – Mr Fool
02 – I’m So Lonesome I Could Cry
03 – Bartender’s Blues
04 – Wildwood Flower
05 – Wayfaring Stranger
06 – Mama Tried
07 – Jolene
08 – Faded Love
09 – Just A Girl I Used To Know
10 – Red River Valley
11 – You’re Still The One
12 – I’m An Old Cowhand

Musicians:
John Scofield – guitar, ukulele on “12”
Larry Goldings – piano, Hammond organ
Steve Swallow – bass
Bill Stewart – drums

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Jul 04

Judas Priest – Battle Cry (2016) 
FLAC (tracks) 24 bit/48 kHz | Time – 01:15:33 minutes | 1,03 GB | Genre: Rock, Metal
Studio Masters, Official Digital Download – Source: HDTracks.com | Front cover | Label: Columbia

Battle Cry combines newer fan favorites with “headbanging classics” from Judas Priest’s extensive catalog. Battle Cry was recorded live on August 1, 2015 at the Wacken Festival in Germany.

Judas Priest’s tour in support of their 17th studio album was one of the most extensive of the group’s entire career, consisting of 130 shows in 33 countries and offering a set-list that touched upon selections from nearly all of their classic albums. Fans can now relive the live Priest experience through “Battle Cry”.

Tracklist:

1. (Intro) Battle Cry (Live from Battle Cry) 00:32
2. Dragonaut (Live from Battle Cry) 04:12
3. Metal Gods (Live from Battle Cry) 04:14
4. Devil’s Child (Live from Battle Cry) 05:18
5. Victim of Changes (Live from Battle Cry) 08:59
6. Halls of Valhalla (Live from Battle Cry) 06:08
7. Redeemer of Souls (Live from Battle Cry) 04:10
8. Beyond the Realms of Death (Live from Battle Cry) 07:01
9. Jawbreaker (Live from Battle Cry) 04:05
10. Breaking the Law (Live from Battle Cry) 02:48
11. Hell Bent for Leather (Live from Battle Cry) 04:26
12. The Hellion (Live from Battle Cry) 00:37
13. Electric Eye (Live from Battle Cry) 04:36
14. You’ve Got Another Thing Coming (Live from Battle Cry) 11:02
15. Painkiller (Live from Battle Cry) 07:25

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