"Songs of Love and Hate" is the third studio album by Canadian singer-songwriter Leonard Cohen. Produced by Bob Johnston, the album was released on March 19, 1971, through Columbia Records.

"New Skin for the Old Ceremony" is the fourth studio album by Leonard Cohen. On this album, he begins to evolve away from the rawer sound of his earlier albums, with violas, mandolins, banjos, guitars, percussion and other instruments giving the album a more orchestrated (but nevertheless spare) sound. The album is silver in the UK, but never entered the Billboard Top 200.

"Death of a Ladies' Man" is the fifth studio album by Leonard Cohen. Produced and co-written by Phil Spector, the voice of typically minimalist Cohen was surrounded by Spector's Wall of Sound, which included multiple tracks of instrument overdubs. Fifteen songs were written by the two over a course of three weeks, and Spector described it as "some great f-ckin' music".

"One-Trick Pony", Paul Simon's fifth album, was released in 1980. It was Paul's first album for Warner Bros Records. His back catalog from Columbia Records would also move to Warner Bros. as a result of his signing with the label. As a side note, the music careers of both Simon and Art Garfunkel were influenced by The Everly Brothers, one of the early members of the Warner Bros label roster.

Hearts and Bones is the sixth solo album by Paul Simon. It was released in 1983. The album was originally intended to be called Think Too Much, however Mo Ostin, president of Warner Bros Records, persuaded Simon to change it to Hearts and Bones. The album was written and recorded following the Simon and Garfunkel Concert in Central Park in 1981, and the world tour of 1982-1983. Some of the songs intended for Think Too Much were previewed on the tour, and Garfunkel worked on some of the songs with Simon in the studio, with an intention that the finished product would be a Simon and Garfunkel album. Ultimately, Garfunkel left the project early on, and none of his contributions were included in the final mix.

1997 saw Blur abandon English character song and look towards left-field American rock for inspiration. Recorded partly in Iceland, Britpop is shunned in favor of abstract experimentalism, abrasive guitars, held together with Damon Albarn’s instinctive knack for writing memorable tunes. The album features the band’s second UK number 1 single, “Beetlebum” and the casually anthemic "Song 2", the latter finally acquiring Blur transatlantic success.

Following Anna Netrebko's astounding success in Salzburg's Il Trovatore production we are pleased to announce a very exciting opera release for the start of 2015, recorded during her U-Live tour in 2012. Anna Netrebko performs Iolanta, the title role of one of Tchaikovsky’s most passionate, evocative scores and one of opera’s most enigmatic figures making the character her own and dedicating herself to championing this under-appreciated work.

Recorded in 1968 at Van Gelder Studio, The Ultimate features performances by Elvin Jones, Joe Farrell, and Jimmy Garrison. It was produced by Duke Pearson.

O início é dos mais bonitos para apresentar o primeiro ato da peça. O início épico dá o tom de como será contada a história de Orfeu da Conceição e o drama amoroso que envolve toda história do mito transformado em um homem morador de uma favela no Rio de Janeiro. A única participação vocal de Vinicius de Moraes no disco é em "Monólogo de Orfeu", embalado por uma flauta bem leve ao fundo enquanto declama um poema de amor de Orfeu para Eurídice.

Trinidad-born, Julliard-trained trumpet player and composer Etienne Charles was fascinated by Jab Molassie, the blue, fire-breathing carnival characters, and the people who become them for Carnival. He went to the village of Paramin on Carnival Monday, to watch them compete–only to dive in and start playing the biscuit tin along with them, getting himself splattered with blue paint.

After I finally accepted the fact that I had no future as a rock singer, I switched to jazz, which is a bit easier on the voice. I am still very nostalgic for this period of my life.

The band arrived in Paris in September 55 - Dick Twardzik was 24, Jimmy Bond was 22, Peter Littman only 20 and Baker, for all his achievements, was just 25 - with his good looks still intact. It was the first time any of them had traveled outside North America.

Recently deceased conductor Carlo Maria Giulini had a long and distinguished career and many regard his years at the helm of the Chicago Symphony Orchestra as among his most inspired. The work receive appropriately expansive readings with Giulini taking great care in drawing out the orchestral sonorous and chromatic potential. Giulini's judicious moderate tempos particularly in the Mahler, are especially well suited to the composers spiritual grand plan. Deutsche Grammophon's sound is remarkably good with exceptional presence and detail.

Carlo Maria Giulini (1914-2005) was music director of the Los Angeles Philharmonic from 1978-1984, beginning upon the departure of Zubin Mehta (mus. dir. 1962-1978) to be the New York Philharmonic's music director. This recording of the Beethoven "Eroica" Symphony was Giulini's very first Los Angeles Philharmonic recording (November, 1978) and was released shortly after on LP.

Except that the playing is nowhere near at the same level as the conducting and the recording is nowhere near at the same level as the playing, this disc of early recordings of the great Italian conductor Carlo Maria Giulini would be a success. And despite the orchestras' extremely limited capacities, Giulini's charismatic personality, intrinsic sense of drama, and sheer strength of will achieve much: his 1954 Schubert B minor Symphony is almost entirely convincing and his 1956 Brahms E minor nearly totally persuasive.