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
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.
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.
MPEG-4 AVC | 1080p | DTS-HD Master Audio 5.1,Dolby Digital 2.0 | 21.8 Gb+ 3 Rev. Parts
The only movie powered by AC/DC. This legendary concert film, covering a 1979 Paris concert during the Australian heavy metal band’s “Highway To Hell” tour showcases the power and precision that the quintet bring to vicious rockers like “Whole Lotta Rosie” and “Let There Be Rock.” Pixie-ish lead guitarist Angus Young, attired in his trademark school-boy’s uniform, takes center stage with his energetic antics and frenetic solos, while the rest of the band crank out their minimalist boogie with quiet determination. Interview segments and humorous backstage footage show another side to the thuggish musicians, especially AC/DC’s flamboyant lead singer Bon Scott, who died two months after this filmed concert.
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.
Rod Stewart – Every Picture Tells A Story (1971/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 40:51 minutes | 954 MB Official Digital Download – Source: HDTracks.com | Front/Rear covers
A defining moment in a career that has spanned multiple decades, Rod Stewart remains one of the best selling artists of all time. Stewart continued his legacy with the release of his 1971 masterpiece, Every Picture Tells A Story. This quintessential recording rocks hard, comprised of originals and covers; the album is a rich mix of rock, blues and folk. Stewart’s soulful and brilliantly textured vocals are at the forefront of this album, which includes an inspired rendition of The Temptations’ “(I Know) I’m Losing You” and his chart-topping pop anthem, “Maggie May.” Experience this timeless classic and one of the greatest rock albums of all time as a pristine hi-res download.
Peter Frampton – Thank You Mr Churchill (2010) FLAC (tracks) 24 bit/96 kHz | Time – 55:49 minutes | 1,23 GB Official Digital Download – Source: HDTracks.com | Digital Booklet
Frampton remains one of the most celebrated artists and guitarists in rock history. At 16, he was lead singer and guitarist for British teen band, the Herd. At 18, he co-founded one of the first super groups, seminal rock act Humble Pie. His fifth solo album, the electrifying Frampton Comes Alive, is one of the top selling live records of all time.
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”…
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.