Dsd64

Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of Carlos Santana is one of the world's best-known musical signatures. "Caravanseari" is Santana's fourth studio album that was originally released in 1972. The album was number 8 on the 1972 Billboard 200 chart and number 6 on the R&B albums chart. "Caravanseari" differed from the guitarist's previous albums, incorporating more jazz and rock influences as opposed to his distinctive salsa, rock and jazz fusion.

"Santana (III)" is Santana's third studio album and was released in September 1971. It is often referred to simply as "III" or as "Man with An Outstretched Hand". The third and last album by the same members who played at Woodstock, it has been considered by many to be the band's peak, musically. The album was the last Santana album to reach #1 on the charts until Supernatural in 1999. Two singles came from III: "Everybody's Everything" and "No One to Depend On".

More Stuff is the title of the second full-length studio release by the group Stuff. It was released in 1977, a year after their debut, on Warner Bros. Records. For the recordings, the group teamed up with Charles Kipps and Van McCoy, who by then had a disco hit with a song called "The Hustle". The band also covers the Stevie Wonder song "As", which appeared on his Songs in the Key of Life disc from the same year. More Stuff, like its predecessor, attained gold status in the U.S.

Stuff was a legendary fusion group that existed briefly in the late 1970s. They were quite popular for a few years, recording four albums for Warner Bros. and having occasional reunions in the 80s. Under the leadership of bassist Gordon Edwards, first-call New York studio musicians got together and mostly played for their own fun.

Abraxas is the second studio album by Latin rock band Santana. The title of the album originates from a line in Hermann Hesse's book, "Demian". The album cover features the 1961 painting "Annunciation" by German-French painter Mati Klarwein. In 2003, the album was ranked number 207 on Rolling Stone magazine's list of the 500 greatest albums of all time. The album was also included in the book 1001 Albums You Must Hear Before You Die.

In the strictest sense, Steve Earle isn't a country artist; he's a roots rocker. Earle emerged in the mid-'80s, after Bruce Springsteen had popularized populist rock & roll and Dwight Yoakam had kick-started the neo-traditionalist movement in country music. At first, Earle appeared to be more indebted to the rock side than country, as he played a stripped-down, neo-rockabilly style that occasionally verged on outlaw country.

Magazine is the third studio album by the American hard rock band Heart. It has an unusual history in that the first release in 1977 was an unfinished version not authorized by the group. A second authorized version of the album was re-released in 1978. The album was certified platinum in the US and Canada.

The Who Sell Out is the third studio album by the British rock band the Who. It was released on 15 December 1967 by Track Records in the UK and Decca Records in the US. A concept album, The Who Sell Out is structured as a collection of unrelated songs interspersed with fake commercials and public service announcements. The album purports to be a broadcast by pirate radio station Radio London. The reference to "selling out" was an intended irony, as the Who had been making real commercials during that period of their career. This release uses the 2012 DSD master based on UK original analog tape.

Ommadawn is the third record album by Mike Oldfield, originally released in 1975 on Virgin Records. As with Hergest Ridge and Tubular Bells, Ommadawn is another two-movement work. Oldfield makes economic use of a relatively small number of subjects throughout Ommadawn and develops them extensively, both with musical variation and varying the instruments used. Each of the two movements of Ommadawn utilise their own subjects without sharing them between the two movements. Oldfield sought out the ancient Celtic influence on English music and composed for traditional instruments such as uilleann pipes on the original LP version.

Sam "Lightnin’" Hopkins, a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas, was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more “authentic” results. Either way, Lightnin’ seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.