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Stevie Wonder – For Once In My Life (1968/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 35:41 minutes | 1,38 GB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Motown
For Once in My Life is the ninth (tenth overall) studio album by American singer-songwriter Stevie Wonder on Motown Records, released in November 1968. Then eighteen years old, Wonder had established himself as one of Motown’s consistent hit-makers. This album continued Wonder’s growth as a vocalist, songwriter and producer. It featured songs like the title track, “Shoo-Be-Doo-Be-Doo-Da-Day” and the modest hits “I Don’t Know Why” and “You Met Your Match”. It also marked the debut of the Hohner Clavinet on a Stevie Wonder album, which would become a mainstay on albums to come.
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Stevie Ray Vaughan And Double Trouble – Couldn’t Stand The Weather (1984/2013)
FLAC (tracks) 24 bit/176,4 kHz | Time – 38:11 minutes | 1,65 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Epic – Legacy
“Couldn’t Stand The Weather” is the remarkable sophomore album by Stevie Ray Vaughan and Double Trouble. Incorporating the same winning formula of musicianship and songwriting, “Couldn’t Stand The Weather” cemented Vaughan’s place as one of music’s greatest. It is their first to earn Gold certification and their first platinum-seller. It includes breathtaking renditions of Clark’s “Cold Shot” and Hendrix’s “Voodoo Child”. A staple on the Billboard charts, this definitive masterpiece received praise from Entertainment Weekly, Q, Down Beat and many others.
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Steve Tibbetts – A Man About A Horse (Remastered) (2002/2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 44:50 minutes | 427 MB | Genre: Jazz, Contemporary Jazz
Studio Masters, Official Digital Download | Front Cover | © ECM
Eight years separate 1993’s The Fall Of Us All and A Man About A Horse, during which time Steve Tibbetts met with an accident that required him to have surgery on his right hand. Before the procedure, the story goes, the reclusive Minnesotan laid down all the guitar parts for A Man About A Horse in his home studio, thus leaving a skeleton as solid as his was uncertain. This apocryphal information matters little, however, once “Lupra” reaches its hands, zombie-like, from the soil. The tap of tabla and twang of acoustic guitar engage in intimate conversation, seeming to diagram hitherto unheard regions of the guitarist’s postmodern terrains. The continental drift of his sound is as tectonically aware as ever: sparkling, sure, and ceremonially poignant like the flames on the album’s cover. This teetering session indeed holds on its kindling shoulders a giant cauldron, in which the listener becomes like the fabled frog, unaware of the lethal heat flowering around him. Spirits beckon from behind the beams of the “Red Temple,” wherein slumber the relics of a nameless saint: the faintest sliver of fingernail, a baby’s-breath of hair…each the element of an alchemy that can only be taught through sound. “Black Temple” magnifies the possibility of transformation by polishing its sole crucible to an ember’s glow. Whether in the earthen percussion or transcendent sustains, echoes of The Fall Of Us All permeate every decorated wall, if in a more contemplative mode.
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Steve Kuhn – Non-Fiction (1978//2019)
FLAC (tracks) 24 bit/96 kHz | Time – 40:06 minutes | 871 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © ECM
Steve Kuhn is the all-purpose element: his presence heightens any musical concoction. Like no jazz pianist I know, he is aware of the negative spaces between his notes and shapes those spaces to suit the emotional needs of the tune. And what a set of tunes we have in Non-Fiction, a sorely out-of-print firecracker in dire need of a digital fuse. Speaking of conflagration, nothing singes our brow in any Kuhn project quite like “Firewalk,” which, despite its characteristically spacious feel, is clear and present (I bow to the uncredited engineer on this one). Kuhn accolades aside, it’s the sopranism of reedman Steve Slagle that really sets these coals to glowing and cradles every assured step in the liberation of play. Bob Moses and Harvie Swartz—an ideally suited rhythm section if there ever was one—lock the “Random Thoughts” that follow into lively traction. Slagle opts for flute and alto sax over a constantly shifting sonic palette. Whenever he isn’t breathing, he keeps his hands busy with additional percussion. (Unfortunately, the latter comes across as intrusive to my ears during headphone listening. External speakers will remedy this.) “A Dance With The Wind” and “The Fruit Fly” reverse the scales with a collective dose of whimsy and nostalgia. Swartz is simply fantastic here, weaving deftly through Kuhn’s canvas of vamps with distinct yet harmonious brushstrokes of its own. If anything has been missing so far, we find it all collected in “Alias Dash Grapey,” which has it all: a sweeping piano intro, replete with unrestrained cries from Kuhn, a spirited collage of solos (Moses ever palpable), and a deep sense of communication.
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Steve Miller Band – Bingo! (2010/2019)
FLAC (tracks) 24 bit/96 kHz | Time – 32:09 minutes | 669 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Steve Miller – Owned
Bingo! is the Steve Miller Band’s first studio record in 17 years. Thematically, it’s a look back at the the electric blues and R&B that influenced him as a young man. Issued on his own Space Cowboy imprint, is also the final recorded appearance of blues harmonica great Norton Buffalo who passed away in 2009. Blues classics by B.B. King, Lowell Fulsom, Otis Rush, Howlin’ Wolf, Earl King, Jimmy Reed, and Jessie Hill are here, along with three selections by contemporary bluesman Jimmie Vaughan. What all of these tracks all have in common is Miller’s signature approach: he is a stellar guitarist who has no need to show off, a tight arranger, and an intuitive modern producer (with help from Andy Johns).These 14 tunes (all under four minutes) actually extend the electric blues tradition. While paying tribute to his heroes and contemporaries, there are also nods to his own history as a recording artist. Check Vaughan’s “Hey Yeah,” with wah-wah guitars and killer solo breaks in the intro and verses. Miller’s and Buffalo’s harmonies are tight, and evoke the early fusion of blues with psychedelic rock (à la the earliest Steve Miller Band). One can also hear traces of Jimi Hendrix’s production style in the tune as well as in his stellar version of Rush’s “All Your Love (I Miss Loving),” that adds some gorgeous Latin percussion – courtesy of Michael Carabello and Adrian Areas –to the silvery, reverb-laden guitar work. Fulsom’s “Tramp” has that trademark opening chord, but the rest is pure Miller. He plays sparely, but with swagger aplenty, the funky shuffle at its heart played by rhythm guitar ace Kenny Lee is deep in the pocket; the vocal trade-off between Sonny Charles and Miller is priceless. The lone ballad on the set is the Vaughan/Nile Rodgers’ tune “Sweet Soul Vibe.” With Joe Satriani guesting (he appears on “Rock Me Baby” as well) it touches on gospel, soul, and modern R&B. Miller’s and Satriani’s alternate leads are deceptively sweet, but they feel more like knives being sharpened and carried confidently in sheaths. Earl King’s “Come On (Let the Good Times Roll)” is a burning solo workout and takes the party jam into an entirely new musical dimension. Vocally, Miller touches on his ’70s persona, but it’s only a glance; the rest is burning blues. There are also four bonus tracks, the most notable are readings of Elmore James’ “Look on Yonder Wall” – with a killer vocal from Charles – and the closer, Roosevelt Sykes’ “Drivin’ Wheel,” with Miller’s filthiest guitar work of the set. This is a welcome return for Miller, and a must for modern electric blues fans. ~ Thom Jurek
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Steve Davis – Correlations (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:13:59 minutes | 1,47 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Smoke Sessions
Exploration and innovation may be the aspiration of modern jazz, but trombonist Steve Davis’ Correlations exemplifies the fact that nothing proves more compelling than the timeless art of gathering a group of musicians who work remarkably well together. A veteran of The Jazz Messengers, One for All, and The Jazztet, Davis has a wealth of experience sharing the stage with multiple horns, essential to this album’s sextet. His “get out of the way and let it happen” approach to band leadership pays off well with saxophonist Wayne Escoffery and trumpeter/flugelhornist Joshua Bruneau, who are backed by a rhythm section comprised of pianist Xavier Davis (no relation), bassist Dezron Douglas, and drummer Jonathan Barber.
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Arima Ederra – An Orange Colored Day (2022/2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 33:06 minutes | 331 MB | Genre: Art Pop, Singer-Songwriter Female Vocal
Studio Masters, Official Digital Download | Front Cover | © Arima’s Lab
The firstborn daughter of Ethiopian refugees, music and songwriting were inherently part of Arima’s upbringing as she discovered the power of mezmur, Ethiopian spiritual music, in the back of an Ethiopian Orthodox Church in Las Vegas where she was raised. That belief in the healing power of songs and stories flows through her own music, which she took with her as she found a home amongst like-minded peers and friends in Leimert Park, Los Angeles. In 2016, she released her celestial 2016 EP Temporary Fixes, which The FADER called “a tranquil offering laced with pleasant vocals and jazzy melodies inspired by love, attraction, and loss.” In LA, she found herself a home and community amongst like-minded peers, and toured with Noname around her critically-acclaimed debut album Telefone.
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New Math – Die Trying & Other Hot Sounds (1979-1983) (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 30:32 minutes | 640 MB | Genre: New Wave, Post-Punk
Studio Masters, Official Digital Download | Front Cover | © Propeller Sound Recordings
Formed in Rochester, NY in 1976, New Math opened for the likes of the Ramones, Pretenders, The Cramps, The Psychedelic Furs, The Damned, and The Gun Club at now-extinct local clubs. Offering up an endless supply of ascending guitar lines and catchy hooks of amphetamine-fueled power pop. With ease, the band produced charming, should’ve-been hits like the adrenaline rush of “The Restless Kind,” the two-tone English Beat-inspired “Older Women,” and of course the hyper-melodic anthem “Die Trying.” The latter was produced by Howard Thompson, who was known for working with John Cale and the Psychedelic Furs. It was first released on Reliable Records in 1979 and then re-released on CBS in England with the same B-side “Angela,” a take on ‘60s girl groups that juxtaposed its innocent pop leaning with a tragic story. “Die Trying” did receive some airplay on John Peel’s radio show and landed somewhere near the bottom of the British Charts. With a 7” on CBS in the UK (which now goes for a strong price on Discogs) and a debut EP on US indie label 415 Records, the band rode the new wave. This collection of out-of-print early singles and unreleased demos showcases why they made fans both in the US and UK.
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Christopher Howell – Charles Hubert H. Parry: Piano Music, Vol. 1 (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:06:48 minutes | 538 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Da Vinci Classics
There was music in the Parry home from his earliest days. His father played, composed and helped organize the Three Choirs Festival but, in line with Victorian prejudices, he did not greatly encourage music in his sons. Nevertheless, by 1860, 12-year-old Hubert was eagerly studying Bach’s “48”. Later, in the 1870s, he took lessons from the influential pianist Dannreuther, who became something of a mentor, opening his mind to the latest German music. With Dannreuther, Parry assiduously worked at his piano technique, though without any strong ambition to become a professional performer. By 1878, when the Theme and 19 Variations were substantially completed, he had published two Sonatas, three sets of Sonnets and Songs without Words (totalling ten pieces) and a cycle of Seven Charakterbilder. Other piano music from this period remains in manuscript. This CD project will record all the published solo works.
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Lyn Stanley – London Calling: A Toast To Julie London (2018)
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 65:37 minutes | F/R Covers + Digital Booklet | 1,87 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | F/R Covers + Digital Booklet | 1,62 GB
or FLAC (carefully converted & encoded to tracks) 24bit/96 kHz | F/R Covers + Digital Booklet | 1,43 GB
Analogue Recording | Label: A.T. Music LLC # ATM 3107
Award-winning vocalist Lyn Stanley follows her top-selling Moonlight Sessions with an ultimate tribute to Julie London. In this stunning collection, London Calling : A Toast To Julie London, listeners will discover a side of singer Lyn Stanley that they havent heard before. This is gift for lovers and lovers of great music, created as it was in the 1960s.
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Birdy – Portraits (+ Remixes) (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 57:05 minutes | 696 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Warner Music UK
UK multi-platinum singer songwriter Birdy is back with her fifth studio album Portraits – a new chapter and confident change in direction for an artist who has achieved an unbelievable amount since releasing her debut album, Birdy. In her most confident album yet, Portraits sees Birdy take a liberated leap into the unknown, her timeless songwriting style now infused with a fresh, exuberant rush of energy and inventive, off-kilter production flourishes. It’s the sound of a creative stepping into a new world and thrillingly, finding her true voice.
This expanded addition adds 3 new remixes alongside a live cover of Prince’s “When Doves Cry”!
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A Giant Dog – Bite (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 35:10 minutes | 477 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Merge Records
The moment the needle drops on Bite, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed.
The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. You’re thrown into it quickly, as a calm, robotic voice says, “Welcome to Avalonia, happiness awaits inside” over a crushing synth line that segues into an opulent string arrangement.
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Szabolcs Szilagyi & Laszlo Borbely – Bach, Complete Flute Sonatas, Volume I (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 46:18 minutes | 2,06 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Hunnia Records
Bach’s flute sonatas are particularly sensitive, penetrating and soul-stirring music. If I had to use a single word to describe the four sonatas on this disc, surprisingly, I would have to use something far from idyllic. But why should Bach be so idyllic? His perfect structures (far beyond the ‘idyllic’ sound we imagine) remind us of the tragedy of our finitude and imperfection. And perfection never ‘anaesthetises’. With Bach, even the simplest-seeming music (or movement) explores the darkest spheres (along with the lightest, of course) that the human psyche can scarcely imagine. Just listen to the soaring, inducible phrases of the slow movement of the Sonata in C Major, over and over again. Like the stems of a plant spreading towards the light, tirelessly bursting forward, upwards, towards the surface, towards the light. If you listen to it once with deep attention, you will never forget the opening movement of the Sonata in E Minor, with its almost brutal phrasing, and then the fiery even movements that rush in as a counterpoint. But also the shifting moods of the A Major Sonata in the two outer movements, or the ‘heartbeats missing’ in the slow movement. In these Bach prophetically foreshadows the rebellious structures of modernity. And we haven’t even mentioned the second movement in the Sonata in E flat Major, which evokes the Passions…
So these pieces really do speak to us! They contain content that cannot be expressed in words, and beyond that, they ask the ultimate questions of our humanity, and they do it for us. Bach’s language hides for us the evidence of a time before the turmoil of Babel.
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Supergrass – Life On Other Planets (2023 Remaster) (2022/2023)
FLAC (tracks) 24 bit/96 kHz | Time – 02:38:22 minutes | 2,58 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Supergrass Records
Supergrass makes music so effervescent and so effortlessly joyous that it’s easy to take them and their skills for granted. Surely that was the case around the release of their third album, 1999’s eponymous effort, which in its labored fun and weary ballads illustrated just how much hard work it was to craft records as brilliant as I Should Coco and In It for the Money. It suggested the group might have burned too bright and flamed out, but, happily, 2002’s Life on Other Planets is a smashing return to form, an album giddy with the sheer pleasure of making music. What makes this all the more impressive is that this is the record that Supergrass attempted to be – a perfect balance of the sensibility and humor of I Should Coco with the musicality and casual virtuosity of In It for the Money. Where that album felt labored and a little weary, Life on Other Planets is teeming with life. The tempos are sprightly, the hooks tumble out of the speakers, the band mixes up styles and eras, and they never, ever forget the jokes (Gaz’s fleeting Elvis impression on “Seen the Light,” an allusion to Spinal Tap’s “All the Way Home,” or the chorus of “Evening of the Day”). Sure, it’s possible to spot the influence all the way through the album – most clearly T. Rex on “Seen the Light” and “Brecon Beacons,” where Gaz’s warble is uncannily like Marc Bolan’s – but it never sounds exactly like their inspirations – it all sounds like Supergrass. And Supergrass hasn’t offered such pure, unabashed pop pleasure since their debut; there hasn’t been an album that’s this much fun in a long time. Since they’ve been away for a while and have never broken in the States, Supergrass has been curiously overlooked, even though they’re better than 99 percent of the power pop and punk-pop bands out there (plus, their everything-old-is-new-again aesthetic can be heard in such albums as the Strokes’ Is This It?). But, as this glorious record proves, there are few bands around these days who are as flat-out enjoyable as this trio. The world is a better place for having Supergrass in it.
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