Tony Bennett 24 Bit Vinyl Break Down

  • 01.07.2016, 14:24,
  • Music

Tony Bennett 24 Bit Vinyl Pack

Genres: Jazz, Vocal, Exhibit & Screen
Styles: Usual Pop, Vocal Jazz, Vocal Pop, Display Tunes
Fountain-Head: vinyl
Codec: FLAC
Bitrate: ~ 2,900 kbps
Bit Penetration: 24
Sampling : 96 KHz

1955 Alone at Last with Tony Bennett (Mono, 1st US)
1955 Cloud 7 (Mono, 1st US)
1957 The Bash of My Nucleus (Mono, 1st US)
1957 Tony (Mono, 1st US)
1958 Vulgar Velvet (Mono, 1st US)
1958 Big Ago and Far Away (Mono, 1st US)
1958 Tony's Greatest Hits (Mono, 1st US)
1959 Hometown, My Hamlet (1st US)
1961 My Nucleus Sings (Mono, 1st US)
1963 Tony Bennett & Reckon On Basie — Crown Up the Bunch (Mono, 1st US)
1968 Snowfall: The Tony Bennett Christmas Album (1st US)

Tony Bennett«s life»s work has enjoyed three unambiguous phases, each of them very well-heeled. In the ancient «50s, he scored a series of worst hits that made him one of the most approved recording artists of the yet. In the ancient »60s, he mounted a comeback as more of an mature-album seller. And from the mid-«80s on, he achieved renewed vogue with generations of listeners who hadn»t been born when he first appeared. This, however, defines Bennett more in terms of marketing than music. He himself probably would say that, in each side of his life«s work, he has remained by unrelenting to his goals of singing the best available songs the best way he knows how. Approved drop may have caused his even of admission to expand or fall off, but he continued to spill the beans approved standards in a keen, dry substance, varying his timing and phrasing with a jazz fan»s quick-wittedness of spontaneity to illuminate out the melodies and lyrics of the songs effectively. By the start of the 21st century, Bennett seemed like the last of a appear, but he remained as approved as ever.

Bennett grew up in the Astoria allot of the borough of Queens in New York Megalopolis under the name Anthony Dominick Benedetto. His author, a grocer, died when he was about ten after a big-drawn-out affection that had phony his mammy to become a seamstress to bolster the household of five. By then, he was already starting to appeal to advice as a songbird, performing beside Mayor Fiorello La Guardia at the slot of the Triborough Connection in 1936. By his teens, Bennett had set his sights on becoming a prompt songbird. After bluntly attending the Strong Fashion of Industrial Arts (now known as the Strong Fashion of Art and Lay Out), where he gained training as a painter, he dropped out of fashion at 16 to win big green to help bolster his household, meanwhile also performing at bungling shows. Upon his 18th birthday in 1944, he was drafted into the Army, and he saw dispute in Europe during Humanity War II. Mustered out in 1946, he went move in reverse to trying to set up it in music, and he attended the American Theater Wing on the GI Beak. By the end of the 1940s, he had acquired a foreman and was working regularly around New York. He got a emerge when Bob Rely On saw him performing with Flower Bailey in Greenwich Village and put him into his exhibit display, also suggesting a name swop to Tony Bennett. In 1950, Columbia Records A&R skipper Mitch Miller heard his proof recording of «The Boulevard of Disregarded Dreams» and signed him to the term.

Bennett«s first hit, «Because of You,» topped the charts in September 1951, succeeded at gang one by his bed linen of Hank Williams» «Cold, Bleak Nucleus.» Following another five graph entries over the next two years, he returned to gang one in November 1953 with «Rags to Riches.» Its arise-up, «Stranger in Paradise» from the Broadway dulcet Kismet, was another graph-topper, and in 1954 Bennett also reached the Top Ten with Williams« «There»ll Be No Teardrops Tonight« and »Cinnamon Sinner.« The arise of throw & resonate in the mid-'50s made it more tough for Bennett to her big hits, but he continued to take down a peg or two happen singles in the charts regularly through 1960, and even returned to the Top Ten with »In the Mean of an Island» in 1957. Meanwhile, he was developing a nightclub act that leaned more heavily on standards and was exploring album projects that allowed him to indulge his concerned in jazz -- distinctly 1957«s The Bash of My Nucleus, on which he was accompanied mainly by jazz percussionists, and 1959»s In Being! With Reckon On Basie and His Orchestra. By the ancient «60s, although he had faded as a singles artist, he had built a well-heeled life»s work making deprecating appearances and recording albums of well-known songs in the politesse of Plain-Spoken Sinatra.

In 1962, Bennett introduced «I Formerly Larboard My Nucleus in San Francisco,» a ballad written by two unsung songwriters, George Cory and Douglass Rood, who had organized it to his pianist, Ralph Sharon. Released as a unambiguous, the to-do took yet to snatch on, and although it peaked only in the Top 20, it remained on one or the other of the civil charts for almost nine months. It became Bennett«s signature to-do and pushed his life»s work to a higher even. The I Formerly Larboard My Nucleus in San Francisco album reached the Top Five and went gold, and the unambiguous won Bennett Grammy Awards for Notation of the Year and Best Unaccompanied Vocal Exhibition, Masculine. Bennett«s next studio album, 1963»s I Wanna Be Around..., also made the Top Five, and its right lose sight of was another Top 20 hit, as was his next unambiguous, «The Approving Mortal,» also featured on the album. For the next three years, his albums unfailingly placed in the Top 100, along with a series of charting singles that included the Top 40 hits «Who Can I Disclose To (When Nobody Needs Me)» (from the Broadway dulcet The Laugh of the Greasepaint, the Aroma of the Collect) and «If I Ruled the World» (from the Broadway dulcet Pickwick).

By the delayed «60s, Bennett»s notation sales had cooled off as the worst notation labels turned their regard to the lucrative throw demand. Just as Mitch Miller had encouraged Bennett to notation newness songs over his objections in the 1950s, Clive Davis, foremost of Columbia father CBS Records, encouraged him to notation coincidental pop/rock significant. He acquiesced on albums such as Tony Sings the Stupendous Hits of Today!, but his sales did not on mortal. In 1972, he formerly larboard Columbia for the Brio strife of MGM Records, but by the mid-'70s he was without a term affiliation, and he solid to ground his own notation assembly, Improv, to notation the way he wanted to. He made several albums for Improv, including one with jazz pianist Beak Evans (following a disc they made for Concoction Records), but the term at last foundered. (Concord Records released the box set The Intact Improv Recordings in 2004.)

By the delayed «70s, however, Bennett did not need hit records to endure his life»s work, and he worked regularly in concert halls around the humanity. By the mid-«80s, there was a growing acknowledgement of usual pop music, as performers such as Linda Ronstadt recorded albums of standards. In 1986, Bennett re-signed to Columbia and released The Art of Worth, his first album to reach the pop charts in 14 years. Now managed by his son Danny, Bennett shrewdly ground ways to appeal to the regard of the MTV initiation without changing his prime sort of singing songs from the Stupendous American Songbook while wearing a tuxedo. By the ancient »90s, he was as approved as he had ever been. The albums Verbatim Plain-Spoken (1992, a tithe to Plain-Spoken Sinatra) and Steppin« Out (1993, a tithe to Fred Astaire) went gold and won Bennett move in reverse-to-move in reverse Grammys for Best Usual Pop Vocal Exhibition. But his comeback was sealed by 1994»s MTV Unplugged, featuring patron stars Elvis Costello and k.d. lang, which went platinum and won the Grammy for Album of the Year as well as another apportion for Best Usual Pop Vocal Exhibition.

Bennett became a Grammy stable, also winsome shelter Best Usual Pop Vocal Exhibition awards for Here«s to the Ladies (1995) and On Sabbatical: A Tithe to Billie Sabbatical (1997). Bennett Sings Ellington: Hot & Composed (1999) was another Grammy prizewinner in the retitled Best Usual Pop Album rank, as was Playin» with My Friends: Bennett Sings the Blues, an album of duets released in 2001. One year later, Bennett paired off with a unambiguous duet wife, recording A Wonderful Humanity with k.d. lang. The Art of Love Affair followed in 2004. Both albums won the Best Usual Pop Album Grammy for their specific years. In August 2006, Bennett reached his 80th birthday, and his notation term apparent the cause with a series of reissues and compilations. The next month brought Duets: An American Venerable, another solicitation of pairings with other singers on re-recordings of some of Bennett«s best-known songs that reached gang three in the Billboard graph, the highest placing for an album in Bennett»s life's work. It also won him another Grammy for Best Usual Pop Album. A second installment of Duets was released in 2011, and the Latin variation (Viva Duets) followed in yet for Christmas 2012.

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