Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of Black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

And thus do we arrive at the third and the fnal album in a set of three dedicated to Beethoven's Complete Violin Sonatas featuring magnifcent performances by the brilliant Carlos Damas (violin and Rubén Lorenzo (piano).As mentioned in the second album's notes, the musicians had already collaborated on four live recitals in Spain, in which they performed the Complete Violin Sonatas, which subsequently gave rise to this remarkable recording.

A slightly more muffled sound on this bootleg recording does not detract from the fun and games the team are getting up. Whereas the previous gig took a little while to warm up, Crimson hitting the ground running, despite a few fluffed notes in set-opener Discipline. There’s a rolling energy present on stage that extends into an frantic alt funk-driven Thela which somehow transmutes into a glowering brutality of Red - best described here as a slow moving juggernaut. Those mangled, twisted chords at the end are downright scary. After the darkness, comes the light and Matte with Ade in tender form.

“Finally, after a long journey, the intrepid pianist and the magic piano arrived at the distant land. T’was lonely and silent. They slept for two days. Then, after a change of tyres and breakfast, it was safety belt on and ignition! They whizzed off. The pianist, gripping the steering wheel and peering into the distance looking for a vague musical pathway and the piano sniffing up the music with its acoustic nose.

RTL Hits - Die Grosse 80er Edition Volume 2 is designed and signed as a reference on your choice of several exchangers file. Tainted Love helped the duo Soft Cell to an international mega-hit in 1981, which has been covered many times to this day. Don't You Want Me by The Human League is also one of the classics of the New Wave era and Visage also conquered the top of the charts with Fade To Grey, not least thanks to the music video, which was very elaborate by the standards of the time.

Soon it will be just around the corner, the contemplative season. The days are getting shorter, it's getting colder and a very special mood is spreading over the world Christmas season is here! And what could be better than listening to the right music while baking cookies, doing handicrafts, having Advent coffee with family or friends? RTL Christmas Hits presents the most beautiful classic English-language Christmas songs that accompany us every year anew during the Christmas season and that have lost none of their magic for decades.

The nine-track collection, which includes singles ‘Like You Did Before’, ‘We Made It’, and ‘Let’s Leave Together’, was self-produced by frontman Kieran Shudall and engineered by Matt Wiggins, known for his work with Adele, Lana Del Rey, and Glass Animals.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

Lung Oysters - The new studio album from NWW featuring the multi instrumentalist Diarmuid MacDiarmada, a heady free range mix of krautrock, experimental and toe tapping psychedelia, leaning towards a slightly more rock orientated sound. Regular Nurse members Colin Potter, Andrew Liles and Matt Waldron are all on board with the added voice and talents of Irish artist and poet, Tara Baoth Mooney. Artwork by Babs Santini.

The Beatles ‎– Yellow Submarine Songtrack / Apple Records ‎Audio CD 1999 UPC 724352148127 //// Yellow Submarine Songtrack is a compilation/soundtrack album by the Beatles for the 1999 re-release of the 1968 film Yellow Submarine. The film was re-released on 13 September 1999 in the United Kingdom and the following day in the United States. In sharp contrast with other Beatles remasters available, the songs were fully remixed by Peter Cobbin at Abbey Road from the original multitrack tapes, something not done for the original CD release of the Beatles catalogue in the late 1980s (except for Help! and Rubber Soul), nor the 2009 remastered albums. This album contains all but one of the Beatles songs used in the film, including several that were not included on the original 1969 Yellow Submarine album. The extra tracks replaced the George Martin film score from the original release, while Martin's complete score was included as a DVD audio track in the CD/DVD package featuring the album and film. The album debuted in the UK charts at number 8, selling 19,000 copies in its first week. It also peaked at number 15 on the Billboard 200, with 68,000 copies sold in its opening week. In France the album debuted at number 13.

Lily Allen Sets Return With New Album, ‘West End Girl’ The record is scheduled to arrive on Oct. 24 as the follow-up to 2018’s No Shame. Lily Allen has announced her first album in seven years: West End Girl is out this Friday, October 24, via BMG. Its 14 songs were mostly written by Allen and her musical director, Blue May, and the pair executive-produced the LP alongside Seb Chew and Kito. Below, check out Spanish artist Nieves González’s cover art. In a press release, Allen said, “I’m nervous. The record is vulnerable in a way that my music perhaps hasn’t been before—certainly not over the course of a whole album. I’ve tried to document my life in a new city and the events that led me to where I am in my life now. At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction which I hope serves as a reminder of how stoic yet also how frail we humans can be. In that respect I think it’s very much an album about the complexities of relationships and how we all navigate them. It’s a story…” Since her last album, 2018’s No Shame, Allen has appeared in various West End London theater productions and co-founded the podcast Miss Me.

Fantastic Rockpalast performance from the Markthalle in Hamburg, Germany on February 18, 1983, completely reworked in sound and vision.

Miles Davis recorded for Prestige for just four years, from October 1951 to October 1955. Those sessions were not only productive (they yielded 27 studio LPs), but also fundamental to his origin story. His earliest work for the label was hindered by his heroin addiction and erratic behavior, as well as his struggle to clearly define his post-bebop musical voice. By 1955, however, he was (mostly) clean, and also laser-focused on the rapid evolution of his sound. If the work that he recorded the previous year (collected on Craft's excellent Miles '54 box set) documented a growing confidence still hobbled by addiction, this even more superlative collection stands as a testament to just how quickly he was able to mount a post-addiction comeback and translate that confidence into the beginnings of a musical revolution.

All traditional singers have sung modern and self- composed pieces alongside old songs. This album follows in that tradition. Some of these songs are from centuries past, and some from the last century, which, given the massive shift in our lived lives, I consider now almost traditional themselves, since the references are now obscure to most people. Yet others are totally new and address our immediate concerns. We have named this album Conflict, as much to reflect the times we find ourselves in, but also the stretch and tear of our relationship with this planet that hosts us.

The G minor Symphony, the second of Vanhal’s symphonies in that key, is an absolute delight, full of good ideas The C minor Symphony (1770) is also a work of originality Matthias Bamert and the London Mozart Players give an excellent account of themselves, and are recorded with clarity and warmth.