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SACD

Hall & Oates – Rock ‘N Soul Part 1 (1983) [MFSL 2015] [SACD / Mobile Fidelity Sound Lab – UDSACD 2157]

adminJanuary 31, 2026 96 Views

Title: Hall & Oates – Rock ‘N Soul Part 1 (1983) [MFSL 2015]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Released at the peak of Hall & Oates’ popularity in the early ’80s, 1983’s Rock ‘n Soul, Pt. 1: Greatest Hits effectively chronicles the time when the duo could do no wrong – namely, the period between 1980’s Voices and 1982’s H2O, which includes only one other album, 1981’s excellent Private Eyes. While this reaches back to their early-’70s work for Atlantic for “She’s Gone,” the only big hit they had at the label, and also has their two other big hits from that decade, “Sara Smile” and “Rich Girl,” the bulk of Rock ‘n Soul, Pt. 1 derives from those three albums: “Kiss on My List,” “You Make My Dreams,” “Private Eyes,” “I Can’t Go for That (No Can Do),” “Maneater,” and “One on One.” That’s a long list of singles, but it still misses some terrific singles from this era, including “How Does It Feel to Be Back,” “Did It in a Minute,” “Family Man,” and “You’ve Lost That Lovin’ Feeling” (the latter two were included as bonus tracks on RCA/Legacy’s 2006 reissue). As good as those songs may be, Rock ‘n Soul, Pt. 1 doesn’t necessarily miss them: with the exception of a live version of “Wait for Me” (good, but not essential), this is the cream of the crop of Hall & Oates’ best period, and it makes for a tight, excellent listen, and it’s bolstered by the sublime “Say It Isn’t So” and the good rocker “Adult Education.” Latter-day compilations like 2001’s Very Best of Daryl Hall & John Oates and 2004’s Ultimate (which was reissued a year later under the title Essential) may cover their entire career in more detail – and the duo certainly made great music before and after this era – but as a snapshot of Hall & Oates at their finest, Rock ‘n Soul, Pt. 1: Greatest Hits can’t be beat.

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2 min read

SACD

Hall & Oates – Private Eyes (1981) [MFSL 2014] [SACD / Mobile Fidelity Sound Lab – UDSACD 2115]

adminJanuary 31, 2026 128 Views

Title: Hall & Oates – Private Eyes (1981) [MFSL 2014]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Hall & Oates were in the middle of recording Private Eyes when Voices suddenly, unexpectedly broke big, with “Kiss on My List” reaching number one not just on the Billboard charts, but in Cashbox and Record World. As the album’s producer, Neil Kernon, admits in Ken Sharp’s liner notes to the 2004 reissue of the album, everybody knew that the new record would have to do better than Voices, but even if Hall & Oates were under a lot of pressure, they were in the fortunate position of not just having reintroduced their modernized, new wave-influenced blue-eyed soul on their previous record, but they already had much of the material nailed down. In other words, the sound and songs on Private Eyes were essentially conceived when the group was confident of the artistic breakthrough of Voices but not swaggering with the overconfidence of being the biggest pop act in America, and the result is one of their best albums and one of the great mainstream pop albums of the early ’80s. Hall & Oates don’t repeat the formula of Voices; they expand it, staying grounded in pop-soul but opening up the stylized production, so it sounds both cinematic and sharp. Lots of subtle effects are layered on the voices, guitars, and pianos as they mingle with synthesized instruments, from the keyboard loops that give “Head Above Water” a restless momentum to the drum machine that lends “I Can’t Go for That (No Can Do)” a sexy, seductive groove.

hraudio | allmusic | discogs

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2 min read

SACD

Hall & Oates – H2O (1982) [MFSL 2014] [SACD / Mobile Fidelity Sound Lab – UDSACD 2116]

adminJanuary 31, 2026 108 Views

Title: Hall & Oates – H2O (1982) [MFSL 2014]
Genre: Rock
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Private Eyes solidified Hall & Oates’ status as one of the most popular acts in America in the early ’80s, and with 1982’s H2O, they capitalized on its success, delivering an album that turned out to be bigger than its predecessor, as it climbed higher on the charts and launched three Top Ten singles with “Maneater,” “One on One,” and “Family Man.” Bigger isn’t necessarily better, though, and in comparison to the glistening pop of Private Eyes, H2O pales somewhat, coming across as a little too serious, with its ambitions just being a little too evident. Take the claustrophobic, paranoid “Family Man” — covering an art rocker like Mike Oldfield suggests a far different agenda than crafting a tribute to the Temptations, and while “Family Man” isn’t as key to the album as “Looking for a Good Sign” was to Private Eyes, it does indicate the relatively somber tone of H2O. Not that the album is a tortured dark night of the soul — how could it be, when John Oates kicks off the second side with the proudly silly “Italian Girls”? — but the production and performances are precise and deliberate, effectively muting the pop thrills that spilled over on its predecessor. Even if the album was recorded with Hall & Oates’ touring band — something that the duo and their co-producer Neil Kernon confirm in the excellent liner notes by Ken Sharp in the 2004 reissue — H2O feels as if most songs were cut to a click track, and are just slightly too polished for their own good; when the productions open up a bit, the band still sounds terrific, but they never are given the opportunity to sound as big and bold as they do on Private Eyes. This, coupled with a few drawn-out duds (such as the vaguely atmospheric “At Tension”) means H2O isn’t quite as sharp and bracing as anything the duo had released since X-Static, and the fact that two of the best moments are huge hits — the prowling “Maneater” and “One on One,” perhaps the most seductive song Daryl Hall ever wrote — may suggest that this is closer to singles-plus-filler than it really is. The best of the rest of H2O reveals that Hall & Oates are at a near-peak in their creativity, writing tuneful, soulful fusions of pop, soul, and new wave. “Crime Pays” has an appealing robotic synth pop groove, “Art of Heartbreak” rides a tense guitar line to a great horn line on the chorus, the jealous anthem “Open All Night” slinks by on a stylized late-night groove, “Go Solo” hails back to Hall’s arty Sacred Songs, and “Delayed Reaction” is a sterling piece of propulsive near-power pop. Even if they don’t gel into an album as strong as Voices or Private Eyes, they’re pretty terrific pop in their own right. They’re not just evidence that Hall & Oates’ popularity in the early ’80s was earned and well deserved, they hold up very well decades after H2O ruled the charts.

hraudio | allmusic | discogs

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3 min read

SACD

Halie Loren – Full Circle (2006/2018) [SACD / White Moon Productions – MKSA689242]

adminJanuary 31, 2026 102 Views

Title: Halie Loren – Full Circle (2006/2018)
Genre: Vocal Jazz, Folk, Pop
Format: SACD ISO

A rarity only available at her shows since 2006, Halie Loren’s debut CD Full Circle is finally available nationally. Eleven original songs combined with a stirring Joni Mitchell cover, Full Circle is a great addition to anyone who is a fan of Tori Amos or Norah Jones.

Oregon native Halie Loren is an internationally recognized artist, whose rich and sensitively delivered vocals have garnered her numerous awards and fans from around the world. Loren has uniqueness in her music that transcends genres and opens up new ways of thinking about familiar and original songs, whether they are jazz standards, pop, classic rock, or folk. Singing in several languages, with Loren’s artistic interpretations there is no limit to where she can and will go vocally. Loren’s performances appeal to music fans on multiple levels around the world. Her busy touring schedule in the past year has included performances in, Hong Kong, Italy, Japan, and South Korea.

hraudio | discogs

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1 min read

SACD

Haftor Medboe Group – In Perpetuity (2006) [SACD / Linn Records – AKD 277]

adminJanuary 31, 2026 99 Views

Title: Haftor Medboe Group – In Perpetuity (2006)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

The imaginative debut recording of Haftor Medboe Group who excel in creating deep grooves and delicate textures through bold and vibrant sax lines combined with trombone, guitar and percussion… Diversity and innovation in music often comes when tender characters are cooking and swinging. Guitarist Haftor Medboe from Norway, mixes up different cultures, bringing into his new release the sundry voices of Scottish saxophonist Susan Mckenzie, Australian trombonist Chris Greive and Icelandic percussionist Signy Jakobsdottir. To this line up he has also added the famous Edinburgh String Quartet and Kenny MacDonald’s electronic knowledge.

“In Perpetuity” is the second album of the Medboe quartet. Recorded in Scotland (precisely in Edinburgh in 2004), this album fetches a jazzy, electro-funky rhythm coupled with an embroiled string section. Each voice is wonderfully heard and the arrangements are out-inspired. Haftor Medboe’s release conveys stunning moments of classical and jazz hitched onto Metheny , Frisell and Reich-like influences. Furthermore, the album is sonically produced, outlandish and finicky. Medboe is without a doubt a gifted guitarist able to paint soundscapes with his many different palettes. His cohort’s input is worth listening to. Susan Mckenzie’s soprano sounds easy and lurid in whatever water she is testing, as on Little Auk, Charivari and Teetotum’s introduction. Chris Greive’s languid trombone is accurate and poignant as on Little Auk and Spor. His horn is always marshalling with high skill punctuations. On Little Auk, Medboe showcases the lofty, well-demeanoured strings, all at the hands of a grounded Signy Jakobsdottir’s percussion. Guitar and percussion endorsements are impressive on Charivari. Teetotum comes together in a dialogue, out of which kicks off a rising up upon the string background, providing intensification to this theme. “In Perpetuity” allows every section to burnish, both in the troupe’s work and being self-assured by Haftor Medboe’s proficient arranging abilities, and for solos, which take on the guitar. The Edinburgh String Quartet and Kenny MacDonald’s endowments are awesome from Little Auk to Maikro. A dazzling venture into contemporary jazz!

hraudio | discogs

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2 min read

SACD

Helium Vola – Liod (2004) [SACD / Chrom Records – CRO 6492-A]

adminJanuary 31, 2026 106 Views

Title: Helium Vola – Liod (2004)
Genre: Electronic, Ambient, Modern Classical
Format: MCH SACD ISO + Hi-Res FLAC

Helium Vola is a German “Electro-Medieval” band founded in 2001 by instrumenentalist and composer Ernst Horn, who was also one of the founding members of Qntal. In the contract with Chrom Records Horn insisted on Helium Vola not being seen as a successor of Qntal nor being marketed as such. The band’s name is Latin meaning “Fly, Helium” – a reference to the noble gas Helium which is used to fill balloons. The project’s main vocalist is Sabine Lutzenberger, though the project has utilised a number of guest singers and musicians. Liod is the project’s second album.

hraudio | discogs

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1 min read

SACD

Horace Silver – Supreme Jazz (2006) [SACD / Supreme Jazz – 223259-207]

adminJanuary 31, 2026 84 Views

Title: Horace Silver – Supreme Jazz (2006)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Horace Ward Martin Tavares Silver was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s. After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver’s first hit, “The Preacher”. After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver’s popularity, even through changes of personnel.

hraudio | discogs

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1 min read

SACD

Horace Parlan – Movin’ & Groovin’ (1960) [APO Remaster 2011] [SACD / Analogue Productions – CBNJ 84028 SA]

adminJanuary 31, 2026 76 Views

Title: Horace Parlan – Movin’ & Groovin’ (1960) [APO Remaster 2011]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Horace Parlan’s debut album for Blue Note, Movin’ and Groovin’, is a thoroughly impressive affair, establishing Parlan as a distinctive hard bop stylist. Working with bassist Sam Jones and drummer Al Harewood, Parlan steals the show, playing hard-driving, bluesy bop and lyrical ballads. If it weren’t for the inventive chord voicings and percussive right-hand attack, it would be impossible to tell that he was missing two fingers on his right hand, since his playing is remarkably agile and fluid. Parlan sounds vital on swinging blues, slow ballads, and straight-ahead bop, and Jones and Harewood provide appropriately empathetic support on this collection of standards, blues, bop, jazz, and originals. Everything swings, no matter the tempo, and the end result is a fine debut from a distinctive pianist.

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1 min read

SACD

Hoff Ensemble – Quiet Winter Night (2012) [SACD / 2L – KKC 10009 (2L87SACD)]

adminJanuary 31, 2026 74 Views

Title: Hoff Ensemble – Quiet Winter Night (2012)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Hoff Ensemble consists of some of Norway’s finest jazz and session musicians, fronted by trumpeter Mathias Eick, of ECM renown, who plays a leading role in several of the compositions. The ensemble’s basic quartet features legendary veteran bassist Arild Andersen and arranger Jan Gunnar Hoff on piano. The music on Quiet Winter Night is created by film composers Geir Bøhren and Bent Åserud and among the vocalists are some of Norway’s top names in popular music: Helene Bøksle, Åsne Valland Nordli, Sondre Bratland, Unni Wilhelmsen, Tomine Harket, Bjørn Johan Muri, Cecilia Vennersten and Bjørn Eidsvåg.
Jan Gunnar Hoff has performed with his own group since 1993, collaborating with such artists as Mike Stern, Pat Metheny, Maria Joao and Alex Acuna. This time in this great Norwegian band he mixes flavours in a “cross-over” setting… The music is created by film composers Geir Bøhren and Bent Åserud and among the vocalists are some of Norway’s top names in popular music: Helene Bøksle, Åsne Valland Nordli, Sondre Bratland, Unni Wilhelmsen, Tomine Harket, Bjørn Johan Muri, Cecilia Vennersten and Bjørn Eidsvåg. The music captured by 2L features Norwegian composers and performers, and an international repertoire reflected in the Nordic atmosphere. The surround sound recordings of Lindberg Lyd not only transforms the entire listening experience, more radically, these innovative recordings overturn some very basic concepts regarding how music is played and even composed. 2L emphasizes surround sound with Pure Audio Blu-ray and HiRes file distribution, and have garnered no less than 12 American GRAMMY nominations over the past six years.

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2 min read

SACD

Hoff Ensemble – Polarity: An Acoustic Jazz Project (2018) [SACD / 2L – 2L-145-SABD]

adminJanuary 31, 2026 82 Views

Title: Hoff Ensemble – Polarity: An Acoustic Jazz Project (2018)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Jan Gunnar Hoff launches his new jazz trio with Anders Jormin and Audun Kleive, two of Europe’s most reknown and respected jazz performers. Polarity is an album based on both new and older compositions of mine, recorded in a unique acoustic setting. A powerful trio setting presenting strong melodic compositions and high class interplay.

Polarity is the follow-up album to the Hoff Ensemble’s Grammy-nominated album Quiet Winter Night and Jan Gunnar Hoff’s solo Jazz albums Stories, Quiet Nights and Living. Jan Gunnar Hoff is acknowledged as one of Norway’s leading Jazz pianists, collaborating with international artists including Alex Acuna, Mike Stern, Pat Metheny and Maria Joao. Polarity has been conceived as a cohesive experience where the compositions themselves, the moments of spontaneous inspiration during performance and the natural sound world of the church acoustic all affect the final result. “The Elder” was composed in film director Ingmar Bergman’s study on the island of Fårö. The ambience in Bergman’s house and the view of the unending expanse of the Baltic Sea induced in me a sense of melancholy but also an almost ecstatic mood that resulted in what is really a homage to the legendary director. The title track “Polarity” started out as an improvisation which I was working into a finished melody. We supplemented the ensemble’s palette of sounds by introducing an analogue synthesizer that grows in intensity, its sound filling the room with autonomous power. “Justice” is my emotional response to the experience of witnessing officialdom intervene in a family situation and how this affected all involved. “Innocence” and “Within” both have their take-off point in acutely vulnerable emotional conditions, where to show weakness can be experienced as a sign of strength. “Sacred” is based on a simple major and minor tonality, with the synthesizer and the coll’arco bass line central elements. The character of “Euphoria” is elated – the spontaneous improvisation between the piano and drums driving the melody to a no-holds-barred level of energy. “Beginning”, with its minimalistic calm, is in marked contrast; dark melancholy and gloom find release in a spirit of reconciliation. “Pathway” is a set of variations on a series of chords; the variations unfold with the piano and double bass taking on different roles as the piece develops. “Home” was originally composed as a backdrop to Knut Hamsun’s poem “I ungdommens vår” (In the Spring of Youth) but has been fleshed out to a trio ballad. The idea to work on a project for a trio came to me a few years ago, but it is only recently that the idea has really begun to take form. The choice of musicians was not difficult, with Audun Kleive and Anders Jormin both having long track records on the Scandinavian jazz scene, and both still eager to explore and energize the established trio format. This is the first time the three of us have made a recording like this together, vacating the usual studio setting in favour of the acoustics of a church. My main goal is to create a specific identity for each album and to make the music come alive.

hraudio | discogs

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3 min read