Depeche Mode Sacd Iso
Frederic Chopin – Arthur Rubinstein – Ballades and ScherzosSACD ISO (2.0/MCH): 3,09 GB 24B/88,2kHz Stereo FLAC: 1,23 GB Full Artwork 3% Recovery InfoLabel/Cat#: RCA Red Seal “Living Stereo” # 6-2 Country/Year: Europe 2004, 1959Genre: Classical Style: Romantic, PianoIf you like Artur Rubinstein’s Chopin, then this is a disc to get.The sound here is slightly better than that on the Rubinstein Collection, but still better. Can only hope for more Chopin here in the future.This is from the “Living Stereo” series by RCA, now re-released on SACD. The original 2 or 3 track analog masters were used. The multichannel tracks use the front 3 channels only.
The stereo presented is the original mix, no remixing. The sound is great. You can hear Rubenstein breathing, and even some of his fingers hitting the keys are audible. The piano benefits from the SACD treatmentno tininess in the upper register.
There are a few extraneous noises I can’t explain, but they are in no way obtrusive.The performances are heavenly. Rubenstein, Polish himself, was a lifelong exponent of Chopin, in his full romantic expression. I can always reccomend Rubenstein when listening to any Chopin. Others are also wonderful (Ashkenazy, Perahia), but you simply MUST have some Rubenstein. Buy this SACD, get a good glass of your favorite spirit, put on your best headphones and feel the music.
You will then be doing a search on Amazon for Rubenstein.trust me!I bought the 20-bit reincarnation (1999 mix in the Rubinstein collection) of this recording just two months before the release of the SACD version, so I had to compare them. The SACD is better. It is smoother and warmer than the 20-bit version. More importantly, the SACD is also CHEAPER! Sierra vista apartments sierra madre.
It’s hard to beat Rubinstein’s interpretation of the Ballades. These must be incredibly difficult to play and interpret well. It is easy to over interpret them. I have Wild’s, Zimerman’s, Perahia’s, amongst others.
Rubinstein’s seems to be the one that is just about rightnot overdone.not too fast etc. I strongly recommend this SACD for anyone who loves Chopin.Starting with Ballade no.1 I thought Perahia was even more dramatic and was thinking well Rubenstein was born in 1887 so was over 70 when he made these recordings. Arthur Rubinstein – Saint-Saens / Liszt / FranckSymphony of the Air, Alfred Wallenstein, conductorSACD ISO (2.0/MCH): 2,03 GB 24B/88,2kHz Stereo FLAC: 956 MB Full ArtworkLabel/Cat#: RCA “Living Stereo” # 9-2 Country/Year: Europe 2007 3% Recovery InfoGenre: Classical Style: RomanticArthur Rubinstein had performed Saint-Saens Piano Concerto No. 2 in G minor, Op. 22 many times throughout his concert career; in fact, this was one of the pieces on the program of his first public concert given in 1900. The style in which he plays it is simply captivating. It’s not a serious concerto in the German-school, but rather a light-hearted and somewhat amusing concerto.
This is probably the most famous recording of the composition, and it’s no wonder why.The Symphonic Variations of Cesar Franck are fantastic, full of energy, vitality and French-Romantic beauty.SACD Info:Arthur Rubinstein – Saint-Saens / Liszt / FranckSymphony of the Air, Alfred Wallenstein, conductorLabel: RCA Red SealSeries: Living StereoCatalog#: 9-2Format: Hybrid-SACD, Album, Reissue, Stereo, MultichannelCountry: EuropeReleased: 2007, recorded 1956 & 1958Genre: ClassicalStyle: RomanticTracklist:1-3 Saints-SaensConcerto No. 2 in G minor, Op. 224-5 FranckSymphonic Variations6-9 LisztConcerto No. 1 in E flatISOFLACInfo+Art. Anton Bruckner – Symphony D minor “Nullte” WAB 100, 3 Pieces WAB 97, March WAB 96Beethoven Orchester Bonn / Stefan BlunierSACD ISO: 3,49 GB (Stereo + MCH DSD) FLAC @ 24bit/88.2kHz: 1,01 GB Full Artwork 3% Rec. InfoLabel/Cat#: MDG “Live” # 937 1673-6 Country/Year: Germany 2011Genre: Classical Style: Romantic, OrchestralThis is a new recording of Bruckner’s ubiquitously numbered “0” symphony which is a fine work in its own right.
Bernard Haitink included the work in his cycle of symphonies for Philips and Sir Georg Solti also recorded a fine interpretation with the Chicago Symphony Orchestra some years back.Stefan Blunier and his Bonn Orchestra are quite the real deal, having recorded various romantic symphonic works for the German label, MD&G. They play with an unabashed know-how of the music lending brazen authority to the loud fanfares which Bruckner integrates into the symphony. The opening Allegro is particularly enthusing while the Finale is also taken at a rather brisk pace with great momentum. All in all this is a pleasing performance of this symphony which is well worth investigating.The disc also includes some fine rarities in the form of a March in D minor and Three Pieces lasting around eight minutes. These are winningly done by the Beethoven Orchestra Bonn and are almost worth the price of the disc alone. Theatre of Voices, Paul Hillier – Stories: Berio And FriendsSACD ISO (2.0/MCH): 3,50 GB 24B/88,2kHz Stereo FLAC: 1,04 GB Full Artwork 3% Recovery InfoLabel/Cat#: Harmonia Mundi USA # HMU 807527 Country/Year: Europe 2011Genre: Classical Style: Contemporary, ExperimentalThis collection of works for unaccompanied voices is bookended by works by singer Cathy Berberian and composer Luciano Berio, who were once married to each other. John Cage’s Story is a movement of his percussion quartet Living Room Music, while Young Turtle Asymmetries is by Cage’s pupil Jackson Mac Low and Roger Marsh’s Not a Soul But Ourselves is set to a text by James Joyce.
Usually done solo, Berberian’s Stripsody, with its score consisting solely of cartoons, is sung here by a trio and must be heard to be believed.“There’s also plenty of humor in the Cage, which gets a little bit of swing in this performance, making it a very catchy number, and in Sheldon Frank’s ‘As I was Saying.’ The group’s director, Paul Hillier, takes a solo on the latter, hamming it up with a low-rent accent in this compilation of the sounds people make when they’re vamping.”—Opera News“Burps, sighs and coughs. Hisses, purrs and groans. Giggles, barks, polyglot whispers and the chaste-sexy shreds of madrigals and motets cast a spell in Theatre of Voices’s performance of ‘A-ronne’. Luciano Berio’s virtuosic 1974 quintet opens a disc that explores extended vocal techniques and narrative, and closes with Cathy Berberian’s rapacious ‘Stripsody’ (1966). The Police – Zenyatta Mondatta (1980) Japanese SHM-SACD 2014PS3 Rip SACD ISO DSD64 2.0 1-bit/2.8224 MHz 38:26 minutes Scans included 1,56 GBor FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz Full Scans included 738 MBThe stage was set for the Police to become one of the biggest acts of the ’80s, and the band delivered with the 1980 classic Zenyatta Mondatta. The album proved to be the trio’s second straight number one album in the U.K., while peaking at number three in the U.S. Arguably the best Police album, Zenyatta contains perhaps the quintessential new wave anthem, the haunting “Don’t Stand So Close to Me,” the story of an older teacher lusting after one of his students.
While other tracks follow in the same spooky path (their second Grammy-winning instrumental “Behind My Camel” and “Shadows in the Rain”), most of the material is upbeat, such as the carefree U.S./U.K. Top Ten “De Do Do Do, De Da Da Da,” “Canary in a Coalmine,” and “Man in a Suitcase.” Sting includes his first set of politically charged lyrics in “Driven to Tears,” “When the World Is Running Down, You Make the Best of What’s Still Around,” and “Bombs Away,” which all observe the declining state of the world.
While Sting would later criticize the album as not all it could have been (the band was rushed to complete the album in order to begin another tour), Zenyatta Mondatta remains one of the finest rock albums of all time.Tracklist:01. Don’t Stand So Close To Me02. Driven To Tears03.
When The World Is Running Down, You Make The Best Of What’s Still Around04. Canary In A Coalmine05. Voices Inside My Head06. Bombs Away07. De Do Do Do, De Da Da Da08. Behind My Camel09.
Man In A Suitcase10. Shadows In The Rain11. The Other Way Of StoppingDSD flat transferred from UK original analogue master tapes by Richard Whittaker at FX Copyroom, London, in 2014.Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2014.ISOFLAC. The Police – Reggatta De Blanc (1979) Japanese Limited SHM-SACD 2013 # UIGY-9538PS3 Rip SACD ISO DSD64 2.0 1-bit/2.8224 MHz 41:54 minutes Scans included 1,69 GBor FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz Scans included 907 MBBy 1979’s Reggatta de Blanc (translation: White Reggae), nonstop touring had sharpened the Police’s original blend of reggae-rock to perfection, resulting in breakthrough success. Containing a pair of massive hit singles — the inspirational anthem “Message in a Bottle” and the spacious “Walking on the Moon” — the album also signaled a change in the band’s sound. Whereas their debut got its point across with raw, energetic performances, Reggatta de Blanc was much more polished production-wise and fully developed from a songwriting standpoint. Depeche Mode – Black Celebration (1986) DMCD5 – 2007 RemasterPS3 Rip ISO SACD DST64 2.0 & 5.1 1-bit/2.8224 MHz 41:15 minutes Scans included 3,1 GBor FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz 41:16 mins Scans included 842 MBBlack Celebration is the fifth studio album by English electronic music band Depeche Mode, released on 17 March 1986 by Mute Records.
Depeche Mode – Music For The Masses (1987) DMCD6 – 2006 RemasterPS3 Rip ISO SACD DST64 2.0 & 5.1 1-bit/2.8224 MHz 43:42 minutes Scans included 3,06 GBor FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz 43:42 mins Scans included 880 MBMusic for the Masses is the sixth studio album by English electronic music band Depeche Mode. It was released on 28 September 1987 by Mute Records, and was supported by the Music for the Masses Tour.Initially the title must have sounded like an incredibly pretentious boast, except that Depeche Mode then went on to do a monstrous world tour, score even more hits in America and elsewhere than ever before, and pick up a large number of name checks from emerging house and techno artists on top of all that. As for the music the masses got this time around, the opening cut, “Never Let Me Down Again,” started things off wonderfully: a compressed guitar riff suddenly slamming into a huge-sounding percussion/keyboard/piano combination, anchored to a constantly repeated melodic hook, ever-building synth/orchestral parts at the song’s end, and one of David Gahan’s best vocals (though admittedly singing one of Martin Gore’s more pedestrian lyrics). It feels huge throughout, like they taped Depeche recording at the world’s largest arena show instead of in a studio. Other key singles “Strangelove” and the (literally) driving “Behind the Wheel” maintained the same blend of power and song skill, while some of the quieter numbers such as “The Things You Said” and “I Want You Now” showed musical and lyrical intimacy could easily co-exist with the big chart-busters.
Add to that other winners like “To Have and to Hold,” with its Russian radio broadcast start and dramatic, downward spiral of music accompanied by Gahan’s subtly powerful take on a desperate Gore love lyric, and the weird, wonderful choral closer, “Pimpf,” and Depeche’s massive success becomes perfectly clear. AllMusic Review by Ned RaggettTracklist:01. Never Let Me Down Again02. The Things You Said03. Behind The Wheel07. I Want You Now08.
To Have And To Hold09. Depeche Mode – Violator (1990) DMCD7 – 2006 RemasterPS3 Rip ISO SACD DST64 2.0 & 5.1 1-bit/2.8224 MHz 46:49 minutes Scans included 3,25 GBor FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz 46:55 mins Scans included 945 MBViolator is the seventh studio album by English electronic music band Depeche Mode, released on 19 March 1990 by Mute Records.Preceded by the hit singles “Personal Jesus” and “Enjoy the Silence” (a top-10 hit in both the UK and US), Violator propelled the band into international stardom. The album yielded two further hit singles, “Policy of Truth” and “World in My Eyes”. Violator is the band’s first album to reach the top 10 on the Billboard 200, peaking at number seven.
It was supported by the World Violation Tour.In a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore’s upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder’s ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea that this record would both dominate worldwide charts, while song for song being simply the best, most consistent effort yet from the band could only have been the wildest fantasy before its release. The opening two singles from the album, however, signaled something was up. First was “Personal Jesus,” at once perversely simplistic, with a stiff, arcane funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp production touches and David Gahan’s echoed, snaky vocals. Then “Enjoy the Silence,” a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope.
Follow-up single “Policy of Truth” did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of “Sweetest Perfection” (well sung by Gore) and the ethereal “Waiting for the Night” to the guilt-ridden-and-loving-it “Halo” building into a string-swept pounder. “Clean” wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a “rock” band, Depeche here reach astounding heights indeed. AllMusic Review by Ned RaggettTracklist:01. World In My Eyes02.
Sweetest Perfection03. Personal Jesus04. Waiting For The Night06. Enjoy The Silence07. Policy Of Truth08.
Blue Dress09. Depeche Mode – Songs Of Faith And Devotion (1993) DMCD8 – 2006 RemasterPS3 Rip ISO SACD DST64 2.0 & 5.1 1-bit/2.8224 MHz 46:55 minutes Scans included 3,44 GBor FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz 47:14 mins Scans included 963 MBSongs of Faith and Devotion is the eighth studio album by the English electronic music band Depeche Mode, released in the United Kingdom on 22 March 1993 by Mute Records and in the United States and Canada on 23 March by Sire and Reprise Records. The album incorporated a more aggressive, darker rock-oriented tone than its predecessor, Violator (1990), largely influenced by the emerging alternative rock and grunge scenes in the United States.Upon its release, Songs of Faith and Devotion reached number one in several countries, and became the first Depeche Mode album to debut atop the charts in both the UK and the US. To support the album, Depeche Mode embarked on the fourteen-month-long Devotional Tour, the largest tour the band had ever undertaken to that date.Recording the album and the subsequent tour exacerbated growing tensions and difficulties within the band, prompting Alan Wilder to quit, making this album the final with him as a band member. The ordeal had exhausted their creative output following the enormous success they had enjoyed with Violator, leading to rumours and media speculation that the band would split.
Depeche Mode subsequently recovered from the experience, and released Ultra in 1997.In between Violator and Songs of Faith and Devotion, a lot happened: Nirvana rewrote the ideas of what “alternative” was supposed to be, while Nine Inch Nails hit the airwaves as the most clearly Depeche-influenced new hit band around. In the meantime, the band went through some high-profile arguing as David Gahan turned into a long-haired, leather-clad rocker and pushed for a more guitar-oriented sound.
Yet the odd thing about Songs of Faith and Devotion is that it sounds pretty much like a Depeche Mode album, only with some new sonic tricks courtesy of Alan Wilder and co-producer Flood. Perhaps even odder is the fact that it works incredibly well all the same. “I Feel You,” opening with a screech of feedback, works its live drums well, but when the heavy synth bass kicks in with the wailing backing vocals, even most rockers might find it hard to compete. Martin Gore’s lyrical bent, as per the title, ponders relationships through distinctly religious imagery; while the gambit is hardly new, on songs like the centerpiece “In Your Room,” the combination of personal and spiritual love blends perfectly. Outside musicians appear for the first time, including female backing singers on a couple of tracks, most notably the gospel-flavored “Condemnation” and the uilleann pipes on “Judas,” providing a lovely intro to the underrated song (later covered by Tricky).
“Rush” is the biggest misstep, a too obvious sign that Nine Inch Nails was a recording-session favorite to unwind to. But with other numbers such as “Walking in My Shoes” and “The Mercy in You” to recommend it, Songs of Faith and Devotion continues the Depeche Mode winning streak. AllMusic Review by Ned RaggettTracklist:01. I Feel You02. Walking In My Shoes03. Mercy In You05. In Your Room07.
Get Right With Me08. One Caress10. Higher LoveISOFLAC. Depeche Mode – Ultra (1997) DMCD9 – 2007 RemasterPS3 Rip ISO SACD DST64 2.0 & 5.1 1-bit/2.8224 MHz 60:02 minutes Scans included 4,31 GBor FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz 59:43 mins Scans included 1,17 GBUltra is the ninth studio album by the English electronic band Depeche Mode, released on 14 April 1997 by Mute Records.
The album was the band’s first since the departure of Alan Wilder, who had left the band in 1995 having become disillusioned with life in Depeche Mode. Wilder’s departure and lead singer Dave Gahan’s drug problems, which culminated in a near-fatal overdose, had caused many people to speculate that the band was finished.This is their first album as a trio since 1982’s A Broken Frame, along with it being their first album where the band themselves were not involved with production.Ultra debuted at number one on the UK Albums Chart and at number five on the Billboard 200. By April 2006, the album had sold 584,000 copies in the United States.The project was initially conceived as an EP.In 1999, Ned Raggett ranked the album at number 50 on his list of “The Top 136 or so Albums of the Nineties”. That same year, the annual Ultra Music Festival in Miami was named after the album by its co-founder Russell Faibisch,and acknowledging its influence on the Polish rock scene, Tylko Rock ranked it at number 71 in its list of “100 Albums That Shook Polish Rock.”When news surfaced in 1995 that Alan Wilder had departed Depeche Mode to concentrate on his solo project Recoil, the immediate concern among fans was whether the band would be able to hit past heights again. Though Wilder’s profile was always much lesser than that of Martin Gore and David Gahan — and almost even that of Andy Fletcher, whose nonperformance live has always been a running joke in the fan community and who freely admits to generally being around merely to maintain a vibe with his childhood friend Gore — his capability at arranging the songs over the years gave the band its increasingly distinct, unique edge. Combined with Gahan’s near suicide and lengthy recovery from drugs, things looked bleak.
Happily, Ultra turned out a winner; hooking up with Tim Simenon, longtime U.K. Dance maven and producer of arty fare such as Gavin Friday’s Adam ‘n’ Eve, Depeche delivered a strong album as a rejuvenated band. The most immediate change was Gahan’s singing; for the first time ever, he took singing lessons beforehand, and his new control and projection simply shines, especially on the marvelous “It’s No Good,” a pulsing, tense, yet beautiful song with another deeply romantic Gore lyric. Opener “Barrel of a Gun” continues in the vein of arena-level stompers like “Never Let Me Down Again” and “I Feel You,” with huge drum slams and scratching to boot, but Ultra mostly covers subtler territory, such as the slightly creepy “Sister of Night” and the gentle “The Love Thieves.” Gore sings two winners: the orchestral, slow dance groove “Home” and “The Bottom Line,” featuring steel guitar and Can’s Jaki Liebezeit on drums, distinctly different territory for Depeche. Closing with “Insight,” a quite lovely, building ballad, Ultra showed Depeche wasn’t ready to quit by any means. AllMusic Review by Ned RaggettTracklist:01. Barrel Of A Gun02.
The Love Thieves03. It’s No Good05. Sister Of The Night08. Jazz Thieves09. The Bottom Line11. Junior PainkillerISOFLAC.
Depeche Mode – Playing The Angel (2005) LCDStumm260 – 2005 Deluxe EditionPS3 Rip ISO SACD DST64 2.0 & 5.1 1-bit/2.8224 MHz 52:36 minutes Scans included 3,56 GBor FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz 52:10 mins Scans included 1,01 GBPlaying the Angel is the eleventh studio album by the English electronic music band Depeche Mode, released in the United Kingdom on 17 October 2005 by Mute Records and in the United States and Canada on 18 October by Sire Records and Reprise Records. It was supported by the Touring the Angel tour.When Ultra was declared the best Depeche Mode album since Violator, those who said so must have forgotten about Songs of Faith and Devotion.
When Exciter was declared the best Depeche Mode album since Violator, those who said so must have also forgotten about Songs of Faith and Devotion, in addition to having found a roundabout way of saying that it was merely better than Ultra. There’s no doubt this time: Playing the Angel is both the band’s best album since Violator and, more significantly, an album that is near Violator in stature. The biggest clue dropped by the band prior to its release was a quote from Dave Gahan, who said that being in Depeche Mode is better than it has been in 15 years.
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Some quick math reveals that Gahan was hinting at the Violator era, a time when the band’s creativity and popularity peaked synchronously. It also turns out that this is a time as good as any other to be paying attention to the band. Playing the Angel lacks Songs of Faith and Devotion’s end-to-end chest-beating, Ultra’s grinding murk, and Exciter’s desiccated patches.
It takes the best qualities from those releases, combines them with a few subtle allusions to Violator — tiptoeing the border that separates retread from reinvention — and makes for a highly concentrated set of songs that all but demand to be heard in one uninterrupted shot. Gahan, still riding the confidence he gained as a songwriter from Paper Monsters, his 2003 solo debut, contributes three songs co-written with band associates Christian Eigner and Andrew Phillpott. Though none of them vie to be the album’s centerpiece, it’s apparent that the move wasn’t a concession of desperation on anyone’s part. The friendly competition seems to have kicked chief songwriter Martin Gore into high gear; he’s in top form. Musically, a lot of analog gear was used, and it’s apparent that the arrangements and extra sounds were less fussed over than they have been in the recent past. You get the sense that everything fell into place, as opposed to being forced or aimlessly manipulated. Despite the favoring of older gear, there’s no other year in which any of the songs could’ve been made.
Like the best Depeche Mode, almost everything on the album will make an initial wowing impact while remaining layered enough in subtle details to surprise and thrill with repeated listens. It is not the kind of album a 25-year-old band is supposed to make. AllMusic Review by Andy KellmanTracklist:01. A Pain That I’m Used To02. John The Revelator03. Suffer Well04. The Sinner In Me05.
Depeche Mode Sacd Review
I Want It All08. Nothing’s Impossible09. Damaged People11. The Darkest StarISOFLAC.