What are you listening to in 2020 and WHY might anyone be interested?

Really like this album…

If you play it really loud, do you hear some kind of pre-echo? I do on certain sections with silent gaps on my Qobuz hi-res download which surprised me.

A bit of Sunday afternoon listening

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Steve Winwood - About Time

Followed by

Chris Rea - The Road To Hell

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I liked it so much I ended up buying it from Qobuz.

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The drumming from Magnus really adds to the lovely music.

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If you like this album then try this one.

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Plum label. @anon10403888 not a first press :joy::joy::joy:

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Can you explain how to access this? I’m assuming I can get this on my Nova via the tuner facility rather than using the IOS app.

Thanks - been playing this too :slight_smile:

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Lovely recording and live performance. Particularly like this track.

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:wink: :sunglasses:

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Played this one at almost inaudibly low volume in the wee hours of this morning. So magical, and love her voice.

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Björk - Debut.

Still fresh, playful, and in my opinion, her best work.

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Kraftwerk | Autobahn | 1973
I fancied a bit of krautrock and this electro-pop is hitting the spot. Little did I know that @crispyduck had the same thoughts an hour or so before me!

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John Martyn. London Conversation. Debut album 1967. The start of a somewhat “interesting” career.

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Vinyl. Album by Chris Goss producer of Queens of The Stone Age. Their second album has Ginger Baker on drums

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The vinyl copy has just arrived - worth it for the first three tracks alone so far. Great synths.

Music aside, why of all the vinyl I’ve purchased in recent years do two Madonna albums stand out sonically? This is strange.

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Not really do you want to be the engineer that tells her lol !!!

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WA Mozart, Requiem. Les Violons du Roy, Bernard Labadie. Karina Gauvin, soprano; Marie-Nicole Lemieux, contralto; John Tessier, tenor; Nathan Berg, bass barytone. CD.

Recorded live in New York on September 20, 2001.

This is a very good performance of the Requiem by a group of all-star Canadian interprets. The most interesting part, however, was that the program of that concert, which took place 9 days after the September 11 attack, had been scheduled a year in advance to feature Haydn’s “Nelson” Mass and Mozart’s Requiem.

“Mr. Labadie used Robert Levine’s superb completion of Mozart’s final, unfinished score […] On another occasion a listener might have dwelled on the musicological niceties of this version, but on Saturday it was the music’s emotional sweep that carried the moment.” - New York Times

LabadieLesViolonsduRoy4389_f

Claude

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