50th anniversary edition of King Crimson's first non-album single / Expanded to a 4 track EP & issued on 10-inch vinyl & CD / Features Cat Food (single version) & Groon (original single B-side) / Also features a live version of Cat Food performed by the current line-up in Toronto in September 2019 / Also included is an alternate mix of the album version of Cat Food prepared by David Singleton as part of the KC50 digital series / Artwork derived from Peter Sinfield's original 7-inch sleeve art / Cut by Jason Mitchell at Loud Mastering.

A re-interpretation so often comes from an impulse, even if subliminal, of one-upmanship – let me do better, wait ‘til you hear it my way. Sometimes though, and it happens too rarely, the cover is an act of devotion in which a musician’s humility produces something more beautiful than bravura could.

With Sam Shepherd’s Floating Points project moving further away from the dancefloor and former status as king of Plastic People with every release, it seemed like only a matter of time before he made a record with an orchestra and a free-jazz luminary. From that point of view, then, the music on Promises – a single, 45-minute semi-minimalist quasi-concerto for saxophone backed by various keyboard instruments and a string orchestra recorded in what appears to be a single, live, and rather spine-tingling take – is not a huge surprise.

Mit dem 2017 erschienenen Album »Bologna 1666« nahm das Kammerorchester Basel unter der Leitung von Julia Schröder den Hörer mit auf eine musikalische Reise in das wohl wichtigste musikalische Zentrum Italiens im 17.

Sax Maniac is a 1982 album by the New York jazz-punk band James White and the Blacks. The album was released on Chris Stein's Animal Records label and dedicated to Anya Philips.

Live At The Fillmore West is Aretha Franklin’s gold-certified masterpiece. The performance captured at the famous venue found Franklin interpreting popular hits and performing her trademark classics.

Inspired by the album of the singers Héctor Lavoe and Willie Colón, of the same name, Cosa Nuestra is the fifth studio album by Puerto Rican Rauw Alejandro, released on November 15, 2024, it is composed of 18 songs, with collaborations with Bad Bunny, Pharell Williams, Marconi Impara, Yan Block, Alexis and Fido, Feid, Romeo Santos, Laura Pausini, Mr. Naisgai and LATIN MAFIA.

Supplementary to his legendary Beethoven cycles for Decca are Hans Schmidt-Isserstedt’s recordings for Philips, Mercury, Deutsche Grammophon and Accord.

French love songs from three centuries, interspersed with reflective lute solos, constitute an Idylle for mezzo-soprano Lea Desandre and lutenist Thomas Dunford.

In 1675, the Italian Francesco Cavalli was at the peak of his fame. His approximately 40 operas have become an integral part of Venice's repertoire.

On 11 September 1992, Die Toten Hosen played live in Argentina for the first time in Buenos Aires, marking the beginning of a great love affair between a band from Düsseldorf and their fans from South America.

Shostakovich was genuinely trying to break new ground but had been sharply brought into line (viz. the edict issued against his opera "Lady MacBeth of Mtsensk"). His 5th Symphony seems to cast doubt on the Marxist purity of the Party in power. He conveys his rage in unexpectedly neo-Mahlerian style, but concludes with politically correct optimism. A quarter of a century later he produced "The Year 1917", a skilfully produced commission which sounds like a film score. Even today Mravinsky is still the most effective interpreter of this contradictory diptych, capable of rendering both its intrinsic power and resounding ambiguities.

Shostakovich was genuinely trying to break new ground but had been sharply brought into line (viz. the edict issued against his opera "Lady MacBeth of Mtsensk"). His 5th Symphony seems to cast doubt on the Marxist purity of the Party in power. He conveys his rage in unexpectedly neo-Mahlerian style, but concludes with politically correct optimism. A quarter of a century later he produced "The Year 1917", a skilfully produced commission which sounds like a film score. Even today Mravinsky is still the most effective interpreter of this contradictory diptych, capable of rendering both its intrinsic power and resounding ambiguities.

Instructing and educating Christians on the one hand and delighting their minds on the other, so that the words and truths of the Holy Scripture would be anchored deeply within them – this was the purpose of the sacred cantata. No master of the Baroque era wrote more of these than Georg Philipp Telemann. He approached this seemingly ‘tedious work’ with such incredible imagination that his congregations could never be bored. One need only listen to the so-called French Cycle (1714-15). To this end, Vol. 4 contributes ten more first recordings. There are certainly meditative moments in both the music for Advent presented here and the cantatas written for the ’normal’ Sundays of the church year; but these works predominantly feature colourful, enormously picturesque music throughout. They always get straight to the heart of the worship service's message and are still instantly appealing today.

The legendary singer Salif Keita makes a grand return with So Kono, an acoustic and deeply intimate album.