Recorded at Abbey Road Studios, London between June 1972 and January 1973. Limited edition crystal clear 2-LP, 180g. Featuring UV artwork printing on the non-groove side.

[From this exceptional event, of enormous historical and performative proportions, the documentary film "Paolo Conte alla Scala, The Maestro is in the soul" was born.
The historic concert is both its predominant fulcrum and a pretext to enter the soul of the Maestro, observe him behind the scenes and during rehearsals, and question him in his relationship with music and musicians, with words and his passions. The voice of today's Maestro then mixes with that of the young Paolo Conte, through repertoire images from the family archive that tell "under the stars of jazz, how much night has passed".

Founded in 2017 by Arranger/Producer Constantine Delo, The Hindley Street Country Club (The HSCC) started as a group of Adelaide musicians, recording re-arranged covers and uploading them to Facebook and YouTube weekly. Fast forward to today, The HSCC has amassed over 590 million YouTube views with over 1,000,000 subscribers globally and accumulated over a billion views accross social media platforms. Following on from major internet success, The HSCC now tours throughout the world to audiences far and wide. Still releasing videos weekly on YouTube every Friday at 8am

Eternal Nightmare is the debut album by the San Francisco Bay Area thrash metal band Vio-lence. It was released on June 27, 1988 through MCA Records' Mechanic sublabel. A limited 10" promo single was released, with two tracks "Eternal Nightmare" and "Phobophobia"; the release was quite unique, as it came in a "vomit pack", a sealed plastic cover containing fake vomit. Shortly after, thrash metal innovators Slayer released a single in a similar format but with fake blood, and rock band The Revolting Cocks released a single with fake semen.

Brand new recording from guitar master is his long-awaited follow-up to 1997's "Shadowman" - now over 70 years old, Link still dishes up what he does best, displaying the depths of his musical roots with some acoustic songs, plus his trademark blistering guitar lines.

This is Chromeo going back to their roots and everything that made them awesome in the first place. Best album since White women!

Fedezd fel Beethoven utolsó három zongoraszonátájának (Op. 109, 110 és 111) mélységes szépségét a hamarosan megjelenő Time Past & Time Future című albumunkon! Hagyd, hogy a zongoralegenda, Davide Cabassi, egy időtlen utazásra kalauzoljon a klasszikus zene lelkén keresztül, bemutatva, hogyan ragadják meg ezek a legendás művek Beethoven zsenialitásának teljes spektrumát, a lírai nyugalomtól a lélegzetelállító intenzitásig.

The TriOlogie String Trio presents an extremely interesting compilation of music for string trio on its debut album A Tres Voces. Reger's first string trio is juxtaposed with three works composed by women. It also becomes clear that the less popular trio formation is in no way inferior to the string quartet in terms of artistry and timbre.

The repertoire we have chosen for this album consists mainly of pieces that have been with me since my childhood. With this recital, Johan Dalene, accompanied by Peter Friis Johansson, offers us a selection of popular violin pieces that have accompanied him since his early years. After hearing them in the family car on long journeys, he went on to learn them and then play them in competitions and in concerts.

The Shadows are usually thought of as the quintessential British instrumental group and, along with the American band the Ventures and the Swedish group the Spotnicks, one of the most popular instrumental groups in the world. But that barely tells the story of their true significance in the history of British rock & roll – including the fact that they were the first homegrown British rock & roll band to dominate the U.K. charts, or that they weren't originally an instrumental group, either.

Performed on early 19th century instruments and presented with brisk tempos, bright tone colors, and a lean ensemble sound, this 2013 Decca recording of Vincenzo Bellini's tragic opera Norma strives to re-create the authentic vocal style and instrumental sonorities that would have been heard at its premiere. This reading is based on a critical study of the manuscript and other sources by Maurizio Biondi and Riccardo Minasi. To the extent that Cecilia Bartoli is able to re-create the historical role of Norma and remove the modern associations that came with time (especially from the 20th century performances by Maria Callas, Joan Sutherland, and Montserrat Caballé), she impresses with a lighter voiced and agile heroine who is wholly believable in this highly florid bel canto role.

Carl Philipp Emanuel Bach's Sonatas with Varied Reprises (comp. 1758-9, publ. 1760) constituted a bold experiment. Spelling out every repeat, Bach applies to each the art of variation. Starting off as a service ("play this and you'll sound as if you're improvising"), the opus ends up a masterclass in variation. Tom Beghin, playing his own beloved clavichord, enacts the role of the keyboardist- composer who repeats himself, while never saying the same thing twice.

Released to coincide with the duo's 2003 reunion tour, this two-disc anthology is no less than the fifth multi-disc compilation of the duo to appear in the CD era.

Composer William Goldstein began his career as an arranger and producer for Motown. He scored every episode of the television series Fame, and subsequently provided soundtracks for several films, including The Quarrel. Goldstein has also worked in television and for Jacques Cousteau, as well as recording solo albums of his material

In 1803 Beethoven received a piano from Erard Frères in Paris. Why had he been so keen to own a French instrument and how did it inspire him, both as a pianist and a composer? The answer may lie in these performances on a new replica of Beethoven’s French piano, created as part of a unique research project. Placing the iconic “Waldstein” and “Appassionata” sonatas alongside equally grand pieces by two of his Parisian contemporaries, they reveal an unfamiliar French aspect to Beethoven’s genius.