The music of Pink Floyd, coloful, imaginative, surrealistic, and highly inventive, lends itself very well to visual representation. Shot in and around an ancient amphitheatre among the ruins of old Pompeii, Pink Floyd treats the viewer to a stunning audio-visual experience…

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades…

There's no denying Australian heavy rock trio Wolfmother has been raised on rock – specifically, raised on '70s rock. Problem is, from all appearances on their eponymous debut, they made their journey into the past via the twin gateway drugs of the White Stripes and Queens of the Stone Age, and once they dug back to the original Zeppelin and Sabbath texts (stopping along the way for some Soundgarden discs and maybe, for lyrical inspiration, Yes and Rush), they indulged so much it screwed with their sense of aesthetics.

This programme focuses on the verse anthems of two leading musicians from the Restoration period’s church music revival. They stand as representatives of two generations who were deeply marked by the troubled socio-political context of early Stuart England, and both found their creativity temporarily restricted and sacrificed on the altar of Puritanism. Matthew Locke (ca 1621-1677) received his first musical training as a chorister at the cathedral of his native Exeter. During the turbulent years of the English Civil War, he went into exile in the Netherlands, a hive of Italianism, where he became familiar with the ultramontane style and probably converted to Catholicism.

Following its previous album Evoke, with the pianist Timothy End, the Ferio Saxophone Quartet returns with this exciting and innovative programme of works for saxophone quartet and voices. Founded and directed by Freddie Crowley, the Corvus Consort is a vocal ensemble based in the UK, which draws its members from a pool of young singers in the early stages of their professional careers. The project was inspired by the Quartet’s 2018 recording, Revive, an album of baroque transcriptions. Freddie Crowley writes: ‘Heinrich Schütz in the preface to his Geistliche Chor-Music, of 1648 (from which four of the items on this album are drawn) wrote: “You can perform some of these pieces […] with an organ or instruments on the choral parts along with a full choir.” The instruments he had in mind were not saxophones, of course, which would not be invented for another 200 years, but I suspect that he might have found them an excellent choice! Schütz intended his collection to be a demonstration of good composition without basso continuo, focussing on counterpoint as the foundation of compositional technique. It is these contrapuntal properties that make his and other baroque and Renaissance music so infinitely adaptable into new forms – transitioning effortlessly onto the saxophone, for example – and the same properties that underpin the four contemporary works on our album, all inspired in their own different ways by music of the Renaissance.’

Boredom (in German: “long whiling”) is apparently what drove Wolfgang to compose one of his string quartets at the inn at Bolzano. And yes, he was doing well, as father Leopold assured Mozart’s mother in a letter dated 28 October 1772. How can we even imagine what boredom must have felt like for a 16-year-old genius? Was he sitting lackadaisically at the table with his father, scribbling counterpoint on paper and casually inventing the genre of Classical string quartet in passing? Or was Wolfgang just solving musical-logical Sudokus, as we all tend to do in such cases?

Alle Werke auf diesem Album stammen aus der Zeit zwischen 1945 und 1956. Es war ein gutes Jahrzehnt für Paul Ben-Haim, aber es repräsentiert nur einen Bruchteil der künstlerischen Laufbahn eines Komponisten, der der Nachwelt über 250 Werke hinterlassen hat.Dennoch waren diese Jahre für ihn von besonderer Bedeutung. Das Ende des Zweiten Weltkriegs 1945 und die Gründung des Staates Israel 1948 gehörten zu einer Zeit der Hoffnung, des Aufbruchs und der Erneuerung, während der Schatten der vorangegangenen katastrophalen Ereignisse in Europa und die schmerzhaften Erinnerungen an Verfolgung, Vertreibung und Exil noch nachwirkten.

The Best of the Alan Parsons Project, Vol. 2 typically picks up where its predecessor left off. With 11 tracks covering seven albums, including Gaudi, Stereotomy, and Vulture Culture, the songs here are a tad weaker than those on the first collection, since some of the albums that these songs originate from were not of this band's finest caliber. The highlights here include both "Prime Time" and "Don't Answer Me" from Ammonia Avenue, and the provocative instrumental "I Robot," the only non-vocal track on the album. All of the selections on this package convey their purpose much better within their former albums, since each song is a link in the album's conceptual chain.

Before their dissolution in April 1998 Faith No More were one of the most respected and admired bands of recent times. They were a platinum selling arena act with a distinctly non mainstream agenda.
Whilst the world of rock had their heads turned, in true style Faith No More yet again surprised us all. In February this year, they announced that they planned to reform and headline the Download Festival along with a run of European festivals. This is the summer of Faith No More get ready! Rhino presents - The Very Best Definitive Ultimate Greatest Hits Collection A 2CD album with the out & out fully re-mastered best of Faith No More plus a bonus cd showing off the amazing b-sides, covers, rarities and some very interesting songs! Topped off with sleeve notes written by Kerrang! s very own editor and #1 Faith No More fan, Paul Brannigan.

Dennis DeYoung is an American singer-songwriter, musician and producer. Best known for being a founding member of the rock band Styx as primary lead vocalist and keyboardist, a tenure that lasted from 1970 until June 1999. DeYoung has been credited as the writer of more Styx songs than any other Styx member. He was also the band's most successful writer, penning 7 of the band's 8 Billboard Top 10 singles as well as a solo top 10 single. Back to the World is the second solo album from Dennis DeYoung. It was released in 1986 by A&M Records. It reached #108 on The Billboard 200 Charts. "Call Me" reached #5 on the Adult Contemporary Chart. The song "This is the Time" was included on the soundtrack to the movie Karate Kid II.

Building the Perfect Beast is the second solo studio album by Don Henley. The album was released on 19 November 1984 on the Geffen label. A commercial and critical success, it is generally regarded as the culmination of the smoother, more adult-oriented sound of Henley's solo work. For the album, Henley collaborated with members of the then line-up of Tom Petty and the Heartbreakers, who contributed to the writing of the songs: guitarist Mike Campbell, keyboardist Benmont Tench and drummer Stan Lynch, the last of which would later collaborate with Henley in composing the Eagles' song "Learn to Be Still", which was released on their live album Hell Freezes Over. The album also features contributions from Fleetwood Mac's guitarist, Lindsey Buckingham, The Go-Go's lead vocalist Belinda Carlisle, and features contributions from Randy Newman, Jim Keltner, Waddy Wachtel, Pino Palladino, Steve Porcaro, and Ian Wallace.

A dream cast for a wonderful opera. Renata Scotto and Carlo Bergonzi, whose partnership in the EMI recording of Madama Butterfly made it the version of choice, can be seen as well as heard in Donizetti's delicious opera buffa. The cast is filled out with superb singing actors, including Carlo Cava, Giuseppe Taddei and others. A major discovery and a feast for opera fans.

Jim beam classic indie anthems is a 2cd set celebrating the biggest indie songs that are still played on commercial radio in 2008.

Featuring a host of fan favourites, this compilation presents the best of Decca rockabilly over 50 legendary tracks. (2CD) 50 original recordings from the Decca vaults digitally remastered featuring Johnny Burnette, Billy Lee Riley, Brenda Lee, Buddy Holly, Webb Pierce & lots more…you NEED it daddy-o!

I became acquainted to Joe Fonda’s musical creativity in 1998, precisely on November 6th at a concert of the Fonda/Stevens Group at Bunker Ulmenwall in Bielefeld, Germany. Along with some friends, I was curating the club‘s jazz program since 1996 at that time. After the enthralling show in 1998 Joe was a frequent artist at our club as his music was immensely inspiring - full of enthusiasm and playfulness. On November 8th 2003 there was Satoko Fujii Quartet playing a show in Bielefeld. On this evening an enduring friendship with Satoko Fujii and Natsuki Tamura began to develop. I go to know two wonderful artists as well as human beings and – what I did not know at that time – two of the most thrilling and versatile musicians in the jazz scene.