Ten Years After La carrière de Ten Years After est épinglée dans l'espace-temps des 9 minutes et 29 secondes de la prestation du guitariste Alvin Lee, au festival de Woodstock, en 1969. Cet épisode a sublimé pour toujours le parcours d'un groupe issu du British Blues Boom anglais. Le morceau de bravoure intitulé « I'm Going Home » ne doit pas occulter les cinq albums studio enregistrés entre 1967 et 1970 pour le label Deram, ni les albums en public Undead (1968) et Recorded Live (1973), qui représentent l'âge d'or du groupe. Parmi eux, les classiques Stonedhenge (1969) et Cricklewood Green (1970) permettent d'apprécier la formation à son apogée. Par la suite, Ten Years After signe avec Chrysalis (notamment pour l'album A Space in Time en 1971), puis se sépare en 1975. Il ne revient que quinze ans plus tard avec l'album About Time (1989), le dernier avec Alvin Lee qui décède en 2013. Entre temps paraissent Now (2004) et Evolution (2008), avec le nouveau chanteur et guitariste Joe Grooch. En 2017, Marcus Bonfanti prend sa succession sur A Sting in the Tale. Le coffret de dix CD 1967-1974 paru l'année suivante comprend les neuf premiers albums et les séances inédites de The Cap Ferrat Sessions, datant de 1972.

Unlike previous collections Epic has assembled, the double-disc The Very Best of Meat Loaf draws not only from his recordings for the label, but it also licenses his '90s comeback recordings for MCA. Which means, of course, that the 20-track collection is, indeed, the "very best" of Meat Loaf. Not all of his charting hits are here – "What You See Is What You Get," his 1971 single with Stoney, is absent, as is "I'm Gonna Love Her for the Both of Us," the only hit he had between the two Bat out of Hell albums – but all of the key album tracks from the two blockbusters are here, along with highlights from the sequels to the sequel, which means everything that anyone but a die-hard Meat Loaf fan could want is on this collection: ("Paradise by the Dashboard Light," "Two out of Three Ain't Bad," "You Took the Words Right out of My Mouth," "Bat out of Hell," "I'd Do Anything for Love (But I Won't Do That)," "Rock & Roll Dreams Come Through," "Objects in the Rear View Mirror May Appear Closer Than They Are," and a remix of "Life Is a Lemon and I Want My Money Back").

This is an old rip from Ayanami (2001) that I found in my archives.I only share it for pure completist and archiving, the first generation sounds a lot better and the speed is slow here.I just converted the old files from shn to flac.
Free to do what you want.I also found the original artwork, not that great anyway.

Released in Europe on Castle Communications and distributed in the U.S. on Domino Entertainment, a label founded by producer Rob Fraboni, the album's tracks were all shuffled into a different order except for "A Little Bit of Love," "It Don't Come Easy," and "Use That Power." An oddity, but you could put the CD in your player on the shuffle setting and it would remain one of journeyman Alvin Lee's finest statements. The stellar track here is "Real Life Blues," which hit in spots around the states, notably in Texas and in Massachusetts.

Sweet Dreams is the second release for Telarc by modern soul singer Mighty Sam McClain. On these 13 tracks, McClain delivers a powerful mix of originals and covers similar to one of his greatest influences, Bobby "Blue" Bland. Recording at the legendary Bearsville Studio in Woodstock, NY, McClain utlized his regular band of Kevin Belz (guitar), Bruce Katz (piano), Barry Seelen (Hammond B-3), Tim Ingles (bass), and Jim Arnold (drums) along with the addition of the Mighty Horns on several cuts, giving the album an extra funky edge.

The culmination of an extraordinary 9-year collaboration with the London Symphony Orchestra’s Principal Guest Conductor, Gianandrea Noseda, LSO Live proudly presents Shostakovich: Symphonies Nos 1–15. A complete symphony cycle offers not only a comprehensive journey through a composer’s artistic evolution but also a unique glimpse into history, revealing the world as they experienced it. Few composers embody this more than Dmitri Shostakovich (1906–1975), whose career was profoundly shaped by the political pressures of Soviet Russia. His symphonies are known for walking the line between outward conformity and hidden defiance, often infused with irony and coded resistance.

2007 five CD set, a great installment in Sony/BMG's Original Album Classics series that brings together rare and out of print titles with some best sellers from the Sony/BMG Jazz catalog. Many of these albums have been unavailable on CD for some time and are sought after by collectors. Each set is presented in a high quality, rigid cardboard slipcase containing five 'vinyl replica' mini LP sleeves. This collection from the Jazz ensemble features the albums Inner Mounting Flame, Birds of Fire, Between Nothingness & Eternity, Apocalypse and Visions of the Emerald Beyond.

The Choir of Trinity College Cambridge presents a selection of ten favourite anthems from the nineteenth and twentieth centuries. Featuring a line-up of composers from Basil Harwood and Charles Wood to Jonathan Dove and Matthew Martin, this is an album which anyone with an interest in Anglican church music should hear.

The new era begins in 2011 when the band gets together again in a slightly altered line-up. Clive, Mick and John Mitchell are once more joined by their old Arena pal, John Jowitt on bass! The question of a new vocalist is widely discussed by the fans and the eventual announcement of the choice of Paul Manzi, meets with enthusiasm and appreciation. The release of The Seventh Degree of Separation in 2011 confirms that the lineup is strong and Arena is in great shape! The Seventh Degree of Separation dwells on the subject of death and explores Frigyes Karinthy’s theory of Six Degrees of Separation expanded by the seventh degree, which, according to Clive, would link the living to the world of the dead. The release of the album is followed by the European tour during which some of the new material is presented in combination with Arena’s greatest classics.

Her debut album "Piece of My Soul" made a significant impact on the contemporary jazz scene, earning her the title of 'Best New Artist' at the Smooth Jazz Awards. Cole's unique blend of jazz, soul, and pop, coupled with her powerful vocals, has made her a favorite among jazz enthusiasts. Over the years, she has collaborated with some of the industry's most respected artists, further solidifying her standing in the music world. Cole's passion and dedication to her craft are evident in every performance, making her concerts a must-see for any music lover. Stay tuned to ConcertFix for updates on Khani Cole's upcoming performances. Experience the magic of her music live and immerse yourself in the enchanting world of jazz.

In this imaginative and personal recording, violinist Marie Radauer-Plank explores the far-reaching influence of J.S. Bach—without playing a single note by him. Known for her stylistic sensitivity and curiosity-driven repertoire choices, Radauer-Plank traces the subtle connections between Bach’s solo violin works and the music of those who came before and after him.Bach Sans Bach invites the listener into a sound world where Bach is the silent thread running through it all.

As France recovered from the shock of defeat to Prussian forces in 1870, the country began to boast again of its status as the centre of the world. Paris was the place to be for anyone interested in contemporary culture and the advance of modernity, a claim underlined by the city’s rising number of tourists from overseas. Yet the French were increasingly drawn abroad, either as visitors or migrants, with Spain falling among the top European destinations by 1900.

Like Chopin before him, and even more closely Scriabin, Rachmaninoff yielded to the temptation of writing his 24 Preludes, assembling this emblematic number in three stages. It began with a youthful work: the famous Prelude in C-sharp minor. From this root, music deeply anchored in Russian soil, imbued with the Slavic soul to which the composer, later exiled, would remain forever attached, there would spring, a decade later, the Opus 23 set, followed seven years on by Opus 32. These Preludes are like images in an album that Jean-Baptiste Fonlupt invites us to leaf through, sonic paintings whose authentic colours of memory he poetically restores. Far from his native land, which he left for good, Rachmaninoff would never write this way again.

Florence + The Machine releases their highly anticipated 6th studio album Everybody Scream. The band around frontwoman Florence Welsh has become an integral part of the global music scene! With seven Grammy nominations, multiple platinum and gold awards, five top 10 placements in the German album charts and more than 1.5 million records sold in Germany, Florence + The Machine is one of the most influential bands of the last decades. In the past, the band has worked with music greats such as Taylor Swift ("FLORIDA!!!"), Lady Gaga ("Hey Girl") and Calvin Harris ("Sweet Nothing"). The group became known for Florence Welsh's powerful vocals and their theatrical and often mystical sound, which delicately combines elements of art pop, indie rock and baroque pop. In their music, Florence + The Machine explores themes such as love, death and pain and draws inspiration from the art and literature of the Renaissance.

Premiered at the Opéra-Comique in Paris on 26 January 1857, Ambroise Thomas’s Psyché tells the story of the ill-starred love between Eros and Psyche, who are manipulated by the cynical Mercury and envied by Daphne and Berenice, the heroine’s own sisters. The style of the work represents the nec plus ultra of mid-nineteenth-century French opéra-comique, notably in the Italianate influence of Rossini, which gives the singers of the two leading roles – one of which, Eros, is a breeches part for mezzo-soprano – a chance to glitter amid torrents of coloratura poured forth in impressive, passionate love duets. The librettists Jules Barbier and Michel Carré achieved an inspired blend of comedy and tragedy by contrasting a quartet of cruel and grotesque characters (Psyche’s sisters and their suitors) with the noble hero and heroine. Ambroise Thomas’s music does not merely foreshadow the future triumphs of Mignon and Hamlet: it is worthy to stand beside them at the pinnacle of his operatic legacy, as his obituarists declared. This recording confirms their judgment.