This hybrid SACD contains stereo and 4.0 multi-channel audio and I think it's fantastic!
In essence, Tomita's The Planets is an electronic rendition of The Planets by Gustav Holst. The idea of messing with a classic like The Planets might offend some, but not me - I love it! His interpretation is incredibly imaginative and works a treat because each piece manages to capture some of the mood and emotion of the original as scored by Holst, yet also adds something to make it sound truly special. Not only does it work tremendously well as a piece of music, it sounds great too i.e. it sounds spectacular in stereo and multi-channel, as hi-res music should.
Thunderstorm: A Surround Sound Experience SACD will completely transform any living space into the heart of a crackling thunderstorm. Specially designed and produced for SACD (Super Audio Compact Disc), but playable on any standard CD player, you will experience 64 times the clarity, depth, and audio resolution of a traditional CD. And featuring true 5.1 high-resolution surround sound, this Solitudes Thunderstorm SACD offers an audio experience like no other. It really is the next best thing to being there.
Trouble Man is a soundtrack and twelfth studio album by American soul singer Marvin Gaye, released on December 8, 1972, on Motown-subsidiary label Tamla Records. As the soundtrack to the 1972 Blaxploitation film of the same name, the Trouble Man soundtrack was a more contemporary move for Gaye, following his landmark politically charged album What's Going On.
You're All I Need is the second studio album by soul musicians Marvin Gaye and Tammi Terrell, released in August 1968 on Motown-subsidiary label Tamla Records. Highlighted by three hit singles written by Nickolas Ashford and Valerie Simpson (who composed two of the four hit songs on the first Gaye/Terrell duets LP, United), You're All I Need was recorded throughout 1966 and 1967 and features two Top 10 Billboard Hot 100 hits, "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". It peaked at #60 on the U.S. Billboard 200 Album Chart. You're All I Need was the two singers' final collaboration effort, as Terrell would turn ill following recording, before succumbing to a brain tumor in 1970.
David Chesky, born in Miami in 1956, settled in New York City in the 1970s and now identifies himself as an "urban orchestral composer." His Urban Concertos, of which he has written nearly a dozen, constitute his most substantial output. In the program notes for this recording of three of his concertos, he wrote, "Perhaps one can say my style is neo-impressionist. But I do not live on some quaint idyllic country farm, I live in the city that never sleeps! It is a hard-driving concrete jungle that pulsates around the clock." "Pulsating" is an apt descriptor for Chesky's music, which is notable for its restlessly high energy and rhythmic propulsiveness.
This is one of the most highly acclaimed soul albums of the 1970s. A longtime innovator at Motown, Robinson responded to the Funk revolution in black music (Marvin Gaye, James Brown, Sly Stone, Curtis Mayfield, Al Green) with an effective counterpoint: the stylish and mature album A Quiet Storm. This landmark album spawned and lent its name to the "Quiet Storm" musical programming format, a format still adopted by radio stations across America 40 years later.
For Simon Rattle, Jean Sibelius is “one of the most staggeringly original composers that there is”. And indeed, this music has a unique musical language whose many beauties are particularly succinctly conveyed in Sibelius’s seven symphonies. There is sonorous warmth as much as there is austere Nordic folklore. Moreover, there is a conceptual boldness that takes the listener on exciting musical journeys of discovery. In 2015, to celebrate the 150th anniversary of Sibelius’s birth, Simon Rattle and the Berliner Philharmoniker presented the cycle live, which was met with unanimous delight by audiences and critics alike. “The Philharmoniker show that with them and Simon Rattle, Sibelius is in excellent hands,” wrote the Berliner Zeitung, “because the orchestra has that astringency and sheer power which is so important for this kind of music.”
Karl Richter’s recordings of Bach’s orchestral and sacred music influenced an entire generation of musicians and listeners, presenting the conductor’s unique sound and style. When Richter recorded Bach’s works, he freed them from a ponderous tradition that had mired the music in romantic sounds and idiom. Richter lightened Bach’s music, and, with an orchestra of outstanding musicians, helped bring it toward the more modern interpretations that listeners have become familiar with today. This is still a bit far from the historically-informed performances that are pretty much the norm, but there is a unity and natural originality that comes through the music in these recordings.
Regarded as one of Aretha’s best albums off Atlantic Records, Let Me In Your Life reached #1 on Billboard’s Top R&B charts. Teaming up with legendary Atlantic producer Jerry Wexler, the queen of soul delivered her trademark vocal chops. The recording would yield three highly successful singles, “Until You Come Back To Me (That’s What I’m Gonna Do),” “Ain’t Nothing Like The Real Thing” and “I’m In Love.” The track, “Ain’t Nothing Like The Real Thing” would win Aretha a GRAMMY® for Best Female R&B Vocal Performance.