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SACD

David Oistrakh, Mstislav Rospropovich, The Cleveland Orchestra, George Szell – – Brahms: Violin Concerto & Double Concerto (1970) [Japan 2011] [SACD / EMI Classics – TOGE-12017]

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Title: David Oistrakh, Mstislav Rospropovich, The Cleveland Orchestra, George Szell – – Brahms: Violin Concerto & Double Concerto (1970) [Japan 2011]
Genre: Classical
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

This is one of two recordings of the Double Concerto that Mstislav Rostropovich performed. That the cello’s repertoire has been so wonderfully enriched during the 20th century is due largely to Mstislav Rostropovich, the most influential cellist of his time, a champion of liberty, and also a noted conductor and pianist. Rostropovich was closely associated with EMI Classics (now Warner Classics) for more than 50 years, having made 100 recordings with the company between 1954 and his death in 2007, just a month after celebrations for his 80th birthday at the Kremlin.

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SACD

Olivia Newton-John – Physical (1981/2012) [SACD / Universal (Japan) – UIGY-9086]

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Title: Olivia Newton-John – Physical (1981) [Japanese Limited SHM-SACD 2012]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Uses the 2012 DSD master based on Japanese original analog tape. Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players). DSD Transferred from analogue master tapes by Masaru Takagi.
“Physical” became such a monster hit – not just a hit, but a pop-culture phenomenon that was impossible to escape – that it became difficult to view its accompanying album as anything other than a conduit for the single. The thing was, Physical was a damn good record, in many ways one of Olivia Newton-John’s very best. Picking up where Totally Hot and Xanadu left off, Physical skillfully balances catchy yet mellow dance cuts with immaculately crafted adult contemporary pop and ballads. The title track, of course, is the best example of the dance side, but “Landslide,” “Make a Move on Me,” and “Promise (Dolphin Song)” illustrate that Physical wasn’t a one-hit record at all – if anything, they hold up better than the big hit. There is some filler here – none of her records were free from that curse – but it’s well-made filler and helps make Physical one of the most enjoyable albums of her career.

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SACD

Olivia Newton-John – Come On Over (1976/2011) [SACD / Universal (Japan) – UIGY-9078]

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Title: Olivia Newton-John – Come On Over (1976) [Japanese Limited SHM-SACD 2011]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Olivia Newton-John’s Come on Over is a 2011 DSD-mastered SHM-SACD reissue, transferred from analog tapes by Masaru Takagi. The album blends country, folk, and pop, featuring Newton-John’s haunting arrangement of “Greensleeves.” Her tenth Top 40 hit, the Bee Gees-penned title track “Come on Over” topped the adult contemporary charts. Country covers like “Blue Eyes Crying in the Rain” and “Jolene” frame the album’s first side. “Pony Ride,” a piano ballad, bridges the album’s Western and pop elements. John Farrar’s understated production elevates Newton-John’s heartfelt vocals, especially on the title track. Despite a solid cover of “The Long and Winding Road,” the title track overshadows other performances. “It’ll Be Me,” a Hank Marvin/John Farrar composition, is a highlight, tied to Newton-John’s Shadows connection. Farrar’s production on tracks like “Small Talk and Pride” and “Wrap Me in Your Arms” is elegant and underrated. Come on Over is a pop classic, showcasing Newton-John’s superstar status and Farrar’s masterful grasp of pop.

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SACD

Oliver Nelson – The Blues And The Abstract Truth (1961/2011) [SACD / Impulse! – UCGU-9028]

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Title: Oliver Nelson – The Blues And The Abstract Truth (1961) [Japanese Limited SHM-SACD 2011]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Oliver Nelson, primarily a big band arranger, shines as a saxophonist and small-ensemble leader in Blues and the Abstract Truth. The album defines an era with the iconic “Stolen Moments,” featuring a timeless three-part horn harmony led by Freddie Hubbard. Nelson assembles a stellar sextet with Hubbard, Eric Dolphy, Bill Evans, Paul Chambers, and Roy Haynes. Nelson and Dolphy, on alto (Nelson doubling on tenor), create a perfect, dynamic partnership. The rhythm section of Evans, Chambers, and Haynes is impeccable. “Yearnin’” delivers a stylish, bluesy vibe, highlighting Evans’ emotive playing. “Teenie’s Blues” showcases Dolphy’s distinctive, angular alto sax alongside Nelson. “Hoedown” stands out with its unique country flavor and call-and-response horns. Hard bop tracks “Cascades” and “Butch & Butch” capture the early ’60s jazz spirit and Hubbard’s mastery. A must-have for jazz fans, this album is a timeless classic.

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SACD

Oliver Nelson – The Blues And The Abstract Truth (1961/2010) [SACD / Analogue Productions – CIPJ 5 SA]

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Title: Oliver Nelson – The Blues And The Abstract Truth (1961) [Analogue Productions 2010]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Oliver Nelson’s 1961 album Blues and the Abstract Truth is a jazz masterpiece featuring Freddie Hubbard, Eric Dolphy, Bill Evans, Paul Chambers, and Roy Haynes. It introduces the iconic standard “Stolen Moments,” a timeless, three-part horn harmony led by Hubbard. Nelson, primarily known as a big band arranger, excels here as a saxophonist and small-ensemble leader. The potent sextet, with Nelson and Dolphy on alto (Nelson doubling on tenor), delivers a perfectly balanced sound. “Yearnin’” captures the bluesy essence, showcasing Evans’ emotive style. “Teenie’s Blues” highlights Dolphy’s distinctive, angular alto sax voice alongside Nelson. “Hoedown” stands out with its country flavor and call-and-response horn interplay. Hard bop tracks “Cascades” and “Butch & Butch” reflect the early ’60s jazz era and Hubbard’s mastery. The rhythm section of Evans, Chambers, and Haynes is flawless. A must-have for jazz fans, this album is a defining work of its time.

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SACD

Oliver Nelson – Screamin’ The Blues (1960/2018) [SACD / Analogue Productions – CPRJ 8243 SA]

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Title: Oliver Nelson – Screamin’ The Blues (1960/2018)
Genre: Jazz
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Oliver Nelson and Eric Dolphy shine in a dynamic sextet session, joined by Richard Williams, Richard Wyands, George Duvivier, and Roy Haynes. Nelson’s five original compositions, including “Screamin’ the Blues” and “The Meetin’,” showcase his compositional prowess. Dolphy’s unique virtuosity complements Nelson’s vision, creating a vibrant, funky modernist sound. This album, part of Analogue Productions’ audiophile Prestige Stereo reissues, highlights Rudy Van Gelder’s finest recordings. Nelson, initially celebrated as a small-group leader, proves his versatility here. The Nelson-Dolphy partnership, marked by multi-instrumental skill, generates a rich diversity of tones. Their collaboration later continued on Blues and the Abstract Truth and Straight Ahead. The sextet’s shared commitment to virtuosity and innovation drives the session’s intensity. Wyands, Duvivier, and Haynes provide a solid rhythmic foundation. Screamin’ the Blues remains a standout in Nelson’s early catalog.

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SACD

Oasis – (What’s The Story) Morning Glory? (1995) [Reissue 2003] [SACD / Epic – ES 67351]

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Title: Oasis – (What’s The Story) Morning Glory? (1995) [Reissue 2003] [SACD / ]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

The 2003 SACD reissue of What’s the Story) Morning Glory? is the second album by UK rock band Oasis, originally released in 1995. It was a massive commercial success, topping UK charts for 10 weeks, reaching #4 in the U.S., and selling over 18 million copies worldwide. The album is the third biggest-selling in UK history, with hit singles like “Some Might Say,” “Roll With It,” “Wonderwall,” and “Don’t Look Back in Anger.” Blending 30 years of Britpop, it evokes the British Invasion with tracks like “Wonderwall” (Beatles-esque) and “Don’t Look Back in Anger” (Mott The Hoople-inspired). The Soho cover photo features DJ Sean Rowley and producer Owen Morris. Unlike the raw Definitely Maybe, Morning Glory is introspective, with varied production including strings and keyboards. Noel Gallagher’s melodies carry emotional weight despite lyrical simplicity, often borrowing riffs but crafting transcendent pop/rock. Liam Gallagher’s vocals are more textured, ranging from regretful to defiant. Alan White strengthens the rhythm section, adding authority. Though less immediate than its predecessor, Morning Glory remains exciting and compulsively listenable.

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