Don't Break the Oath is the second studio album by Danish heavy metal band Mercyful Fate, released in 1984. The style Mercyful Fate employed on Don't Break the Oath resembled a mixture of heavy metal with progressive elements, lyrically preoccupied with Satan and the occult and distinguished by King Diamond's theatrical falsetto vocals. Although very influential to future black metal bands due to its lyrical content, the music itself is more reminiscent of traditional heavy metal. The album was remastered and subsequently re-issued on Roadrunner Records in 1997. This reissue came with the bonus track "Death Kiss (Demo)", which would eventually evolve into the album's lead-off track, "A Dangerous Meeting". Metal Rules named this the greatest extreme metal album of all time.

If this session were to be described in just one word, that would be "Power." Hard-bop specialists Mads Vinding and Alex Riel have both recorded with Dexter Gordon and have each played powerful, yet straight-ahead jazz for over thirty years. Drummer Riel has worked with hard bop leaders such as Jackie McLean, Michael Brecker, Kenny Drew, and Eddie "Lockjaw" Davis. Bassist Vinding, similarly, has worked with Johnny Griffin, Ed Thigpen, the Ernie Wilkins big band, and Duke Jordan. The third member of the trio, pianist Enrico Pieranunzi, with nine releases as a leader, works, as do the others, in a hard bop-vein. It would seem quite unnecessary to mention credentials like this if the artists lived in New York City or recorded with a major U.S. label; but Vinding and Riel are from Copenhagen and Pieranunzi is from Italy. Hence, their reputation may not have preceded them.

Blue Jeans a'Swinging is the first UK studio album by British Merseybeat band the Swinging Blue Jeans, released in November 1964 on HMV…

When she delivered Box, Sam Brown had long since disappeared from the pop spotlight. It was nearly ten years since the hit single "Stop," and while she had continued to tour and record, her audience had shrunk substantially. That's too bad, because Box is arguably her best effort yet. Brown has always been a fine vocalist, but her material can be uneven. As Box illustrates, she's developed into a first-rate songwriter, capable of crafting melodic, memorable songs with true emotion and depth. It's mature pop with many layers and levels, and while that may limit its audience, those that want to seek it out will be pleasantly surprised by the strength of Box.

The Atipico Trio's Gone with the Winds could also be called "Three Guys Passing Wind" or "Middle-Aged Farts at Play." No disrespect meant; in fact, quite the opposite. The clarinet, saxophone, and voice trio (each member does everything, sometimes at once) is comprised of Carlo Actis Dato, Sandro Cerino, and Stefano Corradi, sly dogs all. They would have you believe by their album cover – and the fact that they dedicate their works to aunts, pharmacists, dogs, etc…

Rounding up all the B-sides, demos and rarities Ocean Colour Scene released over the course of 1996, when the band was riding the crest of their popularity, B-Sides: Seasides & Freerides, for all its inconsistency, illustrates the depth of their ambition, as well as their flaws. Primarily comprised of acoustic material, including a demo of "The Circle" and a fine, stripped-down version of "The Day We Caught the Train," the 16 tracks on B-Sides can tend to sound a little samey, but when the group branches out to the neo-prog-rock of the very English "Huckleberry Grove" or to the funky instrumental "Chicken Bones and Stones," they sound better than ever, and a couple of early songs by the pre-Ocean Colour Scene band the Fanatics are interesting.

Attorno alla metà del '700 Baldassare Galuppi (1706-1785) era il compositore più completo, di maggiore successo, e il più significativo dell'Italia settentrionale. La fama della sua attività come compositore di opere serie giunse a Londra, dove fu chiamato nel 1741, e a S. Pietroburgo dove Caterina di Russia lo volle nel 1765.Nel 1749 Galuppi iniziò la collaborazione, assai fruttifera, con Carlo Goldoni, dalla quale trasse materia per una dozzina di opere buffe, genere al quale il "Buranello" attese nella parte finale della propria carriera.

This matchup between trumpeters Doc Cheatham (91 at the time) and Nicholas Payton (just 23) is quite logical and delightful. Cheatham, one of the few survivors of the 1920s, was still in remarkably fine form, while Payton (a flexible New Orleans player capable of ranging from Dixieland to Freddie Hubbard) is both respectful and inspiring. With Doc contributing occasional vocals and the settings ranging from a quartet to an octet with clarinetist Jack Maheu and pianist Butch Thompson, the brassmen explore a variety of 1920s and '30s standards, including a couple of obscurities ("Do You Believe in Love at Sight?" and "Maybe"). The interplay between the co-leaders, the many subtle tributes to Louis Armstrong, and the consistent enthusiasm of this swinging set make this a historic success and a very enjoyable outing.

For Carly Simon, Film Noir is a way to explore traditional pop classics. Using smoky saloon songs like "Ev'rytime We Say Goodbye" as a blueprint, Simon and producer Jimmy Webb create a seductive, intimate atmosphere. Simon's vocals aren't naturally suited to this material, but she acquits herself well, and the two duets – one with Webb and one with John Travolta ("Two Sleepy People") – are charming additions to an ingratiating album.