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Cat Stevens – Back to Earth (1978/2019)
FLAC (tracks) 24 bit/96 kHz | Time – 34:11 minutes | 713 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Cat-O-Log Records
BACK TO EARTH ANNIVERSARY EDITION, REMASTERED TO STUNNING EFFECT AT ABBEY ROAD STUDIOS. In 1978, after having sold millions of records and become one of the biggest international artists of the 1970s, Cat Stevens decided to step out of the rock star spotlight and walk away. That year, he was to release his final album under that name. The appropriately-titled Back To Earth was his parting gift: an album that saw the London-born singer saying farewell to his fans, while obliquely explaining his decision to quit in songs such as ‘Last Love Song’ and ‘Just Another Night’. “What’s going on behind the appearance of stardom or the stage itself can be a completely different world,” he says now, “and that’s what it was a lot of the time. I kept my sanity and I kept my eyes open.” Back To Earth was indeed a remarkable return to form, reuniting Stevens with Paul Samwell-Smith, the producer of his landmark, multi-platinum albums Tea For The Tillerman (1970) and Teaser And The Firecat (1971), as well as continuing his creative partnership with long-time guitarist Alun Davies. Musically, the album was a blend of the acoustic balladeering and spiritually-questing style that had made the singer a worldwide star, along with more distant echoes of his years growing up as Steven Demetre Georgiou in London’s West End. Tracks such as ‘New York Times’ and ‘Randy’ recalled the influence upon him of the UK capital’s theatre land, and – since parts of the album had been recorded in New York City – Broadway. “There was this other side of me which was the sort of musical composer,” he remembers. “I loved musicals and I was surrounded by them where I lived. So, I had Bernstein in my blood.” Long overdue for re-evaluation, Back To Earth is a brilliant and fascinating album capturing Yusuf/Cat Stevens at a defining point in his life. Marketing: Media wide and artist social announcement. Messaging schedule to include all artist platforms. Committed paid activity to run alongside organic messaging to include search marketing, banner and retargeting campaign.
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Academy of Ancient Music, Richard Egarr – Castello: Sonata Concertate In Stil Moderno, Libro Primo (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:37 minutes | 1,32 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Academy of Ancient Music
The Academy of Ancient Music explores a revolutionary period of Italian music through the work of Venetian man of mystery Dario Castello.
Working at the same time as Claudio Monteverdi, Dario Castello wrote innovative and ground-breaking sonatas that had a profound effect on generations of Italian composers. Very little is known about him today, but in the 17th century he was actually more widely published than Shakespeare.
AAM Music Director Richard Egarr is a lifelong advocate of Castello, and on this recording directs the composer’s first book of sonatas from the harpsichord and organ.Taking the form of a small chamber group, the AAM finds itself at its most adventurous and expressive, performing twelve fiercely virtuosic sonatas for violin, cornetto and dulcian that are full of imagination and colour.
This release – the fifth on AAM Records – follows the AAM’s critically-acclaimed series of JS Bach recordings. Their 2015 release of JS Bach’s St Matthew Passion (AAM004) was praised by BBC Music Magazine for Richard Egarr’s “compellingly original vision”, and was awarded BBC Radio 3’s Disc of the Week. JS Bach’s Orchestral Suites (AAM003) was awarded five stars by Fine Music Magazine and was described as “a feast of meaningfully understated musicianship” in an Editor’s Choice review in Gramophone magazine.
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Cassius Lambert – Symmetri (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:31 minutes | 473 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Laborie Jazz
“If now the intelligent phenomenon Thundercat alias Stephen Bruner came from a small Swedish town instead of Los Angeles, he would be called Cassius Lambert alias Pelle Lindsjö. Cassius Lambert is bassist like Thundercat. The musical starting point is hip hop, funk and fusion jazz with many freedoms. The similarities are many. However, the most striking similarity is the ability to keep an eye on some complicated events where recognisability is allowed to prevail with the unknown. Cassius Lambert holds many balls in the air and also throws the juggler up into the air. It sounds wild in writing. It’s also when listening.”
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Cassidy Janson – Cassidy (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 48:44 minutes | 959 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © BMG Rights Management (UK) Ltd
One of London’s major West End stars Cassidy Janson finally releases her debut solo album ‘Cassidy’ on 14th June through BMG.Featuring 14 new tracks, 12 co-written by Cassidy and a new song ‘Beat Me To Goodbye’ gifted to her by Carole King, ‘Cassidy’ is a personal selection of songs about life, love, laughter and longing. Lead track ‘Better’ – which impacts on the same day – is an uptempo killer-chorus tale of wistful memories, relationship goals and what ifs. A version of ‘When A Woman’ also features on the soundtrack of the hit UK film ‘Fisherman’s Friends’. Rupert Christie (Lianne La Havas, Tom Baxter, Lou Reed, Coldplay, U2) produces.
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Cassandra Wilson – New Moon Daughter (1995/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 01:03:12 minutes | 2,41 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
New Moon Daughter is one of Cassandra Wilson’s most-beloved albums, released in 1995 on Blue Note. It reached #1 on the Billboard Top Jazz Albums chart in 1996. Critics noted that the New Moon Daughter, although quite similar to Wilson’s previous album (Blue Light ‘Til Dawn), was darker in feeling and had some very striking, intense performances. Notable tracks include Billie Holiday’s “Strange Fruit”, “Skylark”, and “Last Train to Clarksville”.
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Cassandra Wilson – Glamoured (2003)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:30 minutes | 1,16 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records
Cassandra Wilson has garnered a deserving reputation for her soulful, visionary reads of songs by legendary composers old and new, from Robert Johnson to Van Morrison. On Glamoured, Wilson composed half the album, and her songs are as provocative and deserve the same weight of grace critically afforded her covers. She uses her trademark fluid, smoky delivery to redefine songs such as the old soul nugget “If Loving You Is Wrong”; the poignancy it was written with tells of a woman lost in the delirium of a forbidden love with a married man. The ache and euphoria in her voice shot through with producer Fabrizio Sotti’s stunning acoustic guitar interplay is nearly overwhelming in its emotion. Her Afro-Caribbean read of Bob Dylan’s “Lay Lady Lay” is a different – and perhaps better – version than the original. It doesn’t weep and it doesn’t get bogged down in its melody; it is shot through with a smoldering drone and eclectic polyrhythms that reinvent it harmonically. Willie Nelson’s “Crazy” is kissed with the same elegance and soul that her version of “Tupelo Honey” was. But it is on Muddy Waters’ “Honey Bee” and Abbey Lincoln’s “Throw It Away,” which closes the album, that Wilson offers her greatest gift: that of an improvisational blues and jazz singer who understands these songs to be living embodiments of still developing traditions. Recorded in Jackson, MS, her hometown, these songs are shot through with mischief; a controlled, winking sensuality; greasy, rollicking, and syncopated rhythms; and melody lines to kill for. Wilson’s songs, particularly “I Want More” and “What Is It?” with their funky backbeats and jagged verses, are seemingly new forms for the pop song, while “Broken Drum,” “Sleight of Time,” and “Heaven Knows” could have been written for Nina Simone, such are their out-of-the-ages, folk-infused jazzy cadences, but Wilson makes them unclassifiable in terms of any time but the present and she is working out new forms for color, phrasing, and rhythmic interplay for her voice. Glamoured, like its Gaelic definition, is the sound of the supernatural in a human being. AllMusic Review by Thom Jurek
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Cassandra Wilson – Coming Forth by Day (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 58:15 minutes | 1,17 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Legacy Recordings
A musical homage to legendary jazz vocalist Billie Holiday (born Eleanora Fagan on April 7, 1915) on the 100th anniversary of the singer’s birth, Coming Forth By Day is Cassandra Wilson’s moody, soulful showcase for contemporary yet timeless interpretations of standards associated with Lady Day. Coming Forth By Day was produced by Nick Launay, known as Nick Cave’s producer for the last decade among many other adventurous credits.
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Cassandra Wilson – Another Country (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 44:06 minutes | 919 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © eOne Music
Chart History/Awards
– Reached #2 on Billboard’s Top Jazz Albums.
– Kentucky’s Lex-Go Critics’ Pick
Another Country, released on eOne, is the latest recording from celebrated vocalist, Cassandra Wilson. Wilson, with a million Soundscan albums to her credit, has built an impressive resume that includes two GRAMMY® Awards, an Echo Jazz Award, The Miles Davis Prize and a BET Soul Train Award. Time magazine declared her “America’s Best Singer” in 2001. On Another Country, Wilson collaborates with longtime friend and jazz guitarist/producer Fabrizio Sotti. Her sensational vocals are matched by Sotti’s expressive acoustic guitar. This exquisite outing finds Wilson journeying into a new musical direction. Nine of the ten tracks were composed by the pair. This compelling listen opens with the jazz-blues number “Red Guitar” and sails to the engaging “Passion.” Another Country is poised to exhilarate Wilson’s loyal following and introduce her to a new audience.
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Cassandra Jenkins – An Overview on Phenomenal Nature (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 31:44 minutes | 300 MB | Genre: Indie Folk, Female Vocal
Studio Masters, Official Digital Download | Front Cover | © Ba Da Bing!
“Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
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Cassandra Jenkins – (An Overview on) An Overview on Phenomenal Nature (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 25:13 minutes | 266 MB | Genre: Indie Folk, Female Vocal
Studio Masters, Official Digital Download | Front Cover | © Ba Da Bing!
Cassandra Jenkins’ An Overview on Phenomenal Nature emerged from the blue earlier this year. With pandemic unknowns and political upheaval leaving most at frayed ends, the New York-born musician’s assuring voice and expansive fresh take on songwriting created a much needed reflective space for listeners worldwide. As 2021 comes to a close, Jenkins revisits those flowing textures and refrains with (An Overview On) An Overview On Phenomenal Nature, a collection of previously unreleased sonic sketches, initial run-throughs, demos, and sound recordings from the cutting room floor that provided the scaffolding for what became one of this year’s most critically acclaimed albums.
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Cass McCombs – Tip of the Sphere (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 57:36 minutes | 1,19 GB | Genre: Alternative
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph
For more than fifteen years now, Cass McCombs has been slipping around like wet soap. The Californian songwriter goes at his own pace and each new album blurs his sound a little more. So much so that the forty-year-old is perceived as a kind of outlaw in the indie scene, a man without a family… With his unusual pop, Morrissey folk, Velvet Underground-style country music, improvisations à la Grateful Dead and psyche-folk, McCombs explores a whole array of territories to create his fascinating music. Like its predecessors, this ninth album, Tip of the Sphere, is an assortment of poetic rock that cannot be fully digested in just one listening. With a pedal steel here and a drunken piano there, it’s not easy to decipher the man’s meandering mind. It’s a charm you can never get tired of. – Max Dembo
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Cass McCombs – Mangy Love (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 59:16 minutes | 1,09 GB | Genre: Avantgarde, Neofolk, Indie Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph
Mangy Love marks the eighth long-player for Cass McCombs, who, fans will be happy to hear, continues to hold form as a refreshing renegade on his game. The singer/songwriter takes on the messiness of life including timely sociopolitical topics, with grooving accompaniment that makes it go down breezily. Along the way, he dips into psychedelia, reggae, Baroque pop, funk, and more. Compared to the mercurial 22-track set that was 2013’s Big Wheel and Others, Mangy Love sounds focused and determined, even given a certain amount of style sampling. The album kicks off with “Bum Bum Bum,” a ’70s soft rock stroller that comments on the military-industrial complex and its enablers, including the drumming pun “bum bum bum.” Later, “Run Sister Run” addresses systematic misogyny with tropical rhythms and hand percussion (“Hiding behind a Supreme Court urinal”). The LP’s lead single, “Opposite House,” features fellow indie darling Angel Olsen on backing vocals. Slow-grooving bass and rhythm guitar, strings, and vibraphone set a chill tone for absurdist lyrics like “From the window I can see/You coming back to me/How can this be?/My window’s a tree.” Olsen is one of many guests on the album, including Blake Mills (“Low Flyin’ Bird”), Stuart Bogie (“Laughter Is the Best Medicine”), and HOOPS, the latter of whom appears on the psychedelic “It” (“It is not wealth to have more than others/It is not peace when others are in pain”). The roster of contributors is employed tastefully, as the album stays consistently coherent and low-key. Though those who don’t process the lyrics will be missing a lauded part of the McCombs experience, Mangy Love, arguably more than ever, works as a musical expression alone, mixing the sometimes caustic lyrics and roguish indie touches with an overriding smooth ’70s veneer. For those who take it all in, the album engages both the intellectual and aural pleasure centers. Or, to quote Mangy Love, it’s “Sugar and spice and everything weird.” ~ Marcy Donelson
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Caspian – On Circles (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 46:21 minutes | 575 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Triple Crown Records
Long-running cinematic rock band Caspian don’t want you to call their fifth album On Circles a “redemption,” a “comeback,” a “rise from the ashes,” or any of the other sentiments that emerge when bands return from nearly five years of silence. Instead, this majestic collision of post-rock, metal, shoegaze, electronics, noise and ambient music is an existential meditation, an acceptance of the cyclical nature of both life and career. Produce by Will Yip (Code Orange, Defeater, Quicksand, Turnstile), On Circles marks the most organic writing and recording sessions in Caspian’s 15-year history.
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Caspar Brötzmann Massaker – Home (1995/2020)
FLAC (tracks) 24 bit/96 kHz | Time – 54:00 minutes | 1,04 GB | Genre: Metal
Studio Masters, Official Digital Download | Front Cover | © (RED) Southern Lord
Caspar Brötzmann is a virtuosic guitarist from Wuppertal, Germany. His father, Peter Brötzmann, is a renowned free-jazz saxophonist who was peripherally involved with the highly-influential Fluxus movement. He was introduced to his instrument by Hans Reichel, a prolific improvisational guitarist and experimental luthier. Given his background, making conventional rock music was simply never an option for Caspar Brötzmann. His distinctive approach to the guitar is at once highly technical and wildly experimental, operating the fretboard as a means of extracting harsh and distorted sounds from his amplifier with surgical precision.
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