In January it was revealed that Thom Yorke composed the original score for Daniele Luchetti’s film Confidenza, an adaptation of the Italian drama based on Domenico Starnone’s novel of the same name, now it gets released physically on XL. Confidenza follows Yorke’s previous full-length score and original soundtrack for Luca Guadagnino’s 2018 Suspiria remake, Suspirium receiving a GRAMMY-nomination for Best Song Written for Visual Media. Produced by Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), Confidenza sees Petts-Davies and Yorke working again with the London Contemporary Orchestra alongside a jazz ensemble which included Robert Stillman and fellow The Smile bandmate Tom Skinner.

This is as close to Latin purist Mongo as we have heard in recent years, an eight-piece salsa band – including several members of the 1997 Tito Puente ensemble, like trumpeter Ray Vega, altoist Bobby Porcelli and tenorman Mitch Frohman – playing a brace of Mongo classics and Latin jazz pieces live before a hushed crowd in Seattle's Jazz Alley. There are no pop covers, one electric instrument (a bass), lots of extended jazz solos (Porcelli and Frohman really burn on the pioneering Afro-Cuban classic "Manteca"), and an unusual (for Mongo) emphasis on the timbales on many tracks, which shoves the rhythms closer to the salsified Puente manner.

No American rock group ever started with as much daring or musical promise as Blood, Sweat & Tears, or realized their potential more fully – and then blew it all as quickly. From their origins as a jazz-rock experiment that wowed critics and listeners, they went on – in a somewhat more pop vein – to sell almost six million records in three years, but ended up being dropped by their record label four years after that. Blood, Sweat & Tears started as an idea conceived by Al Kooper in July of 1967. An ex-member of the Blues Project, Kooper had been toying with the notion, growing out of his admiration for jazz bandleader Maynard Ferguson, of forming an electric rock band that would include horns and use jazz as the basis for their work. He planned to pursue this in London, but a series of New York shows involving some big-name friends didn't raise enough money to get him there. He did, however, find three players who wanted to work with him: bassist Jim Fielder, Blues Project guitarist Steve Katz, and drummer Bobby Colomby. Kooper agreed, as long as he was in charge musically. The horn section featured Fred Lipsius (saxophone), with Randy Brecker and Jerry Weiss on trumpets and flügelhorns, and Dick Halligan playing trombone. The new group was signed to Columbia Records, and the name "Blood, Sweat & Tears" came to Kooper after a jam at the Cafe au Go Go, where a cut on his hand left his organ keyboard covered in blood.

When the pandemic began, and the world shut down, so did the process of creating for Iron and Wine’s Sam Beam. In its place was a domesticity that the singer hadn’t felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes:

Once again, Six Organs of Admittance showcases the intricate tangle of fingers on the fretboard and flash of lens flare slicing the air, as the future arcs 360 degrees around to become a part of the past as well. Oscillations in this glass bowl ripple outward eternally, but are rooted on the ground where all the creatures are moving and communing; humans too. An intimate cosmic expression, file under: rural-industrial psych, ecosystem goth.

Fuckin' Up (also censored as Fu##in' Up) is a live album by Canadian singer-songwriter Neil Young and his band Crazy Horse, released on April 26, 2024, through the Other Shoe Productions and Reprise Records. It is a live recording of their 1990 grunge album Ragged Glory, with each track retitled with a phrase taken from the lyrics (with the exception of the cover version of "Farmer John"). The final song on Ragged Glory, "Mother Earth (Natural Anthem)", was not performed. The album was recorded at a private birthday party held at the Rivoli in Toronto, Canada on November 4, 2023. Fuckin' Up received positive reviews from critics.

Album number seven and St Vincent continues to thrill, educate and be innovative. Her first fully self-produced album (having co-produced every one of her previous efforts), All Born Screaming is St. Vincent at her most primal. Featuring Clark leading “a curated group of rippers” through the brawny “Broken Man,” the mordant catwalk sashay through the deafening assault of self-loathing that is “Big Time Nothing,” the sublime, elegiac earworm “Sweetest Fruit," All Born Screaming is equal parts spiritual desolation and rapturous acceptance. “If you’re born screaming, that’s a great sign,” says Clark, “because it means you’re breathing. You’re alive. My god. It’s joyous. And then it’s also a protest. We’re all born in protest in a certain way. It’s terrifying to be alive, it’s ecstatic to be alive. It’s everything.”

If the 32 piano sonatas and the great works in variation form (Eroica, Diabelli) form the weightiest part of Beethoven's legacy to pianists and lovers of piano music, they by no means tell the full story. In his highly acclaimed survey of the complete music for solo piano, Ronald Brautigam has previously recorded the early, unnumbered sonatas, the Bagatelles and the earlier sets of variations. He now treats us to a disc of rondos and piano pieces, spanning from one of the very earliest surviving works – a Rondo in C major composed by a 13-year old Beethoven – to what is often referred to as the composer's ‘Last Musical Thought’, an Andante maestoso in C major.

During her years with Fleetwood Mac, Christine McVie only recorded one album. It was released in 1984, after Mirage had run its course and the band was taking an extended break. Given its release date, it's not surprising that Christine McVie sounds like it could have been recorded during the Mirage sessions – it's a collection of soft rock/pop and ballads that are pleasantly melodic and ingratiating. Only a handful of cuts, such as the wonderfully catchy, lightly bouncy hit single "Got a Hold on Me," work their way into the memory, but nothing on Christine McVie is anything less than agreeable. The record simply suffers from a rather predictable fate – it's a little too sweet and laid-back to be consumed in one sitting, and its best songs would have sounded even better if they were balanced by Lindsey Buckingham's insular, paranoid pop genius and Stevie Nicks' hippie-folk mysticism.

Elysian Encounter is Baker Gurvitz Army's second studio album. Formed By Former Gun And Three Man Army Members Adrian Gurvitz (Guitar, Vocals), Paul Gurvitz (Bass, Vocals) And Virtuoso Drummer Ginger Baker (former CREAM), The Baker Gurvitz Army Recorded Three Of The Finest British Rock Music Of The Mid-1970s. The Recording Of "Elysian Encounter" Saw The Band Expanded With The Addition Of Vocalist Mr. Snips (Steve Parsons) And Keyboard Player Peter Lemer. Arguably The Band'S Finest Work, The Album Featured Such Classic Material As "People", "Time", "The Artist" And "The Key".

Con il suo primo album dal titolo ‘Smeraldo’ Ambra Di Marte mette in musica la sua vita che ci propone come fosse una casa di colori in cui ogni stanza è un’emozione e una esperienza del suo vissuto racchiusa in un brano che ha un colore, un carattere e una storia tutta sua.

Blood, Sweat & Tears is a jazz-rock American music group. They are noted for their combination of brass and rock band instrumentation. The group recorded songs by rock/folk songwriters such as Laura Nyro, James Taylor, The Band and the Rolling Stones as well as Billie Holiday and Erik Satie. They also incorporated music from Thelonious Monk and Sergei Prokofiev into their arrangements.

Cosmic Messenger is more elegant, European-flavored jazz-rock from the French virtuoso Jean-Luc Ponty, and pretty much in the same mold as his previous Atlantic albums but with gradually tightening control over every parameter of performance. Ponty's analog-delay special effects on the title track are spectacular, and the album is loaded more than ever with revolving electronic arpeggios as Ponty's own involvement with the ARP synthesizer grows. But there is still plenty of his fluid, slippery electric violin soloing to be heard within the tight structures of these pieces, and the tunes themselves are often pretty good. In addition, this fusion express finds its way into the funk on "The Art of Happiness," and there are some tricky rhythmic experiments on some tunes.

The Beatles So much has been said and written about the Beatles – and their story is so mythic in its sweep – that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and they introduced more innovations into popular music than any other group of their time. Moreover, they were among the few artists of any discipline who were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed hold of the international mass consciousness in 1964 and didn't let go for the next six years, always staying ahead of the pack in terms of creativity and never losing the ability to communicate their increasingly sophisticated ideas to a mass audience.

Formed 1968 in New Jersey as Dr. Hook & The Medicine Show, disbanded in 1985. Their name was shortened in 1975 to Dr. Hook.