This is something of a sequel to the 1993 Ace compilation of early King sides titled Blues Guitar Hero: The Influential Early Sessions, though it took Ace nearly a decade to unleash the companion volume. All of the 24 tracks were recorded between 1961 and 1966, though some of the songs weren't released until after 1966, in a few cases not for decades; indeed, four alternate takes make their first appearance here. All of King's chart records occurred in 1961, and all were included on the prior Blues Guitar Hero: The Influential Early Sessions, so this couldn't qualify as the first-choice early King; there's no "Hide Away" or "San-Ho-Zay" here. On a musical level, though, this isn't much different in nature or quality than what you'll find on the earlier anthology. Split between vocals and instrumentals, it's top-notch R&B-blues-rock & roll crossover with stinging guitar and soulful vocals, even if the similarity of some of the songs might turn off non-aficionados.

For several years now, the guitarist and lutenist Björn Colell and the Baroque violinist Georg Kallweit, Konzertmeister of the Akademie für Alte Musik Berlin, have formed a noted duo called Ombra e Luce: ‘With only two musicians and two instruments, we aspire to a perfect rapport and a permanent dialogue. We have access to a rich repertory of original pieces from the sixteenth to eighteenth centuries for violin and lute/theorbo: this was a widespread combination, essentially before 1700. We work a great deal on tone colours and nuances, spontaneity and improvisatory playing – a flexible and sensual interpretation of the works we perform, giving full value to chiaroscuro: ombra e luce! We are convinced that, played in this way, our “early music” can speak directly to the hearts even of listeners who are hearing it for the first time. This new recording, “Passagio”, is the result of our recent musical journeys. Setting out from Italy to go farther north, we have virtually and musically crossed the Alps with our instruments. The works on this recording shed a different light on the music of the courts of Modena, Bologna and Venice.’

A força e o sonho de uma vida se concretizam em Afruturo, álbum de estreia da cantora Ro Araujo. Bebendo da brasilidade e navegando em sonoridades como a cumbia e o soul, a cantora traz em seu primeiro trabalho solo 12 faixas que enaltecem a cultura negra, enquanto aborda temáticas espinhosas como a reparação histórica, direitos femininos, autoconhecimento, padrões estéticos, entre outros. O disco já está disponível nas principais plataformas de streaming.

One of the most revolutionary bands in the history of heavy music, Orphaned Land are an unstoppable force. Formed in Israel in 1991, these self-proclaimed ‘Oriental metal’ artisans have spent the last 26 years working tirelessly to use their creative endeavours as a means to spread a positive and peaceful message. Over the course of five conceptually deep and musically ingenious albums, the band have been true to their word, uniting fans across the Middle East and beyond, regardless of nation, face or faith.
It seems safe to say that Orphaned Land are far from the average metal band. In 2018 they will once again prove the uplifting and unifying power of their extraordinary music. Several years in the making, Unsung Prophets & Dead Messiahs marks another high watermark for Kobi and his band mates…

For bandoneonist and composer Denis Plante, tango evokes the old-fashioned melancholy of the bandoneon, an instrument that whispers melodies of bygone elegance. Stéphane Tétreault‘s Stradivarius cello infuses tango with another layer of deep vibrations. With the new album Stradivatango, Plante presents original tango compositions including Stradivatango, Tango romance, and Ménage à trois, paired with tangos by such emblematic composers of the genre as Astor Piazzolla, Carlos Gardel, and Ángel Villoldo.

The "free" in the title to Joss Stone's fourth album apparently refers to the neo-soul singer breaking free from the shackles of her major label, EMI, who apparently have not let Joss be Joss. That this constricting argument happens to be the exact same story line Stone used for 2007's Introducing Joss Stone, the splashy diva power trip meant to unveil the "real" singer, is conveniently forgotten, as is the modern R&B of that makeover, with Joss returning to all the retro-soul of her first two records. The one lingering element of Introducing is a propensity for melisma-laden oversinging, a tic that stands out greatly in the warmer, funkier settings of Colour Me Free!, helping Joss seem somewhat disconnected from the emotional thrust of her music. Still, her raw vocal skills remain impressive, as does her taste in soul, and even if this feels off-kilter, not quite achieving a balance between retro and modernity, it does beat with a messy human heart, one that was subdued on Introducing, so perhaps she did need to break free.

The Hollies are a British pop/rock group best known for their pioneering and distinctive three-part vocal harmony style. The Hollies became one of the leading British groups of the 1960s and into the mid 1970s. It was formed by Allan Clarke and Graham Nash in 1962 as a Merseybeat-type music group in Manchester, although some of the band members came from towns further north in East Lancashire. Graham Nash left the group in 1968 to form the supergroup Crosby, Stills & Nash. They enjoyed considerable popularity in many countries. They are one of the few British groups of the early 1960s, along with the Rolling Stones, that have never disbanded and continue to record and perform. In recognition of their achievements, the Hollies were inducted into the Rock and Roll Hall of Fame in 2010.

"Aquarela do Brasil," an unofficial anthem of Brazil, may have received literally thousands of different version and interpretations, but even then, Egberto and Brazilian percussionist Naná Vasconcelos (his sole accompanist here) were able to devise an extremely original version, which opens with an unassuming stylized samba introduction, slowly bringing elements which conduce the listener to the piece's identification. Egberto is very fond of percussive attacks and ethereal configurations, both acquiring superior importance in his music, not being necessarily attached to or supportive for a musical theme or melody. Therefore, the next defined melody presented (in the low strings of his 10 string violão) is at track six, "Bianca," which is a complex yet lyrical construction based in which seems a folkloric rhythm motif…

Neil Young established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. The Rock and Roll Hall of Fame website describes Young as "one of rock and roll's greatest songwriters and performers". He was inducted into the Hall of Fame twice, first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997. From the beginning of his solo career in the late '60s through to the 21st century, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults. This release includes live performances of Neil Young at the Canadian National Exhibition Grandstand, Toronto, August 18, 1988; Santa Cruz, November 2, 1987; The World, Nyc, April 19, 1988; Jones Beach, August 27, 1988; Auburn Hills, September 4, 1988.

Riccardo Muti Conductor Riccardo Muti has been regarded as the Toscanini of the present day. Not just a Toscanini-style taskmaster who preaches fidelity to the score and presides over intense, hard-driven performances, Muti insists on beautiful tone as well as disciplined ensemble, capitalizing on a youthful Italian glamour. In 2021, Muti led the Vienna Philharmonic's New Year's Concert for the sixth time and was heard leading the Bavarian Radio Symphony Orchestra and Chorus in a performance of Verdi's Requiem. Muti was born in Naples on July 28, 1941. He initially learned piano and violin under his father, a physician. He attended the Verdi Conservatory in Milan, studying composition with Bruno Bettinelli and conducting with Antonino Votto. Muti won the Guido Cantelli Conducting Competition in 1967, leading to his professional debut with the RAI Orchestra in 1968.

Air Supply is the eighth studio and second eponymous album by Australian soft rock band Air Supply, released in 1985. The album was a step down in the band's sales, reaching gold certification and #26 in the US charts. The single "Just As I Am" was their last major entry on the charts, reaching #19 on the Billboard Hot 100, while their interpretation of the Jennifer Rush song "The Power of Love" became a minor hit, reaching #68.

Recorded in the fall of 2006, shortly after B.B. King's 81st birthday, Live is really an abridged audio complement to a video release, containing 12 of the 19 tracks available on the DVD of the same title. King has made a lot of live albums in his time, but his approach hasn't changed much over the years. In addition to his obvious talents as a guitarist and showman, he has also been fortunate in that his chosen style of music, a version of the blues growing out of the swing-influenced jump blues of the 1940s, has not only remained perennially popular but grown in acceptance. As performed here by the B.B. King Blues Band, it is still essentially the same, a jazzy roadhouse music that leaves plenty of room for solos. At one time, most of those solos were played by King on his guitar, but now he is content to give the showcase to his horn players, as he does on "Blues Man," or organist James Toney, who claims the lion's share of "Rock Me Baby." There is still plenty of guitar work, however, and King remains seemingly as agile as ever. He is also a relaxed, comfortable frontman, engaging in easy banter with both band and audience.

Former Be-Bop Deluxe leader Bill Nelson was brought in to produce this album and provide some soaring lead guitar work, but the collaboration with Numan was beset by difficulties involving Numan's ego and approach to recording. While Nelson's production is evident on many tracks and his guitar is heard in several places, much of this is business as usual (a B-side, "Poetry and Power," features more Nelson and has gone on to a great deal of popularity, especially with the Gravity Kills cover on Random). The science fiction influences here are Robert A. Heinlein's The Moon Is a Harsh Mistress and Harlan Ellison's "'Repent, Harlequin!' Cried the Tick-Tock Man." While there is some evidence of confusion as to his direction, the music and songwriting has more energy than anything on the predecessor, I, Assassin, with some genuinely engaging moments along the way.

After building a reputation as being a concept-record mastermind and releasing four highly-realized conceptual works under The Dear Hunter name, frontman Casey Crescenzo has taken the path of the original 70’s proggers: he’s gone back to basics.
Comparisons aside, you’d be hard-pressed to find another recent album that sounds like Migrant. Although the record is mostly filled with shorter songs that do not share any particular thematic or conceptual space, the songs and arrangements themselves are still rich and unique. The end result is a fine and diverse record of standalone tracks that mostly work, but sometimes display growing pains from Crescenzo’s transformation from concept album maestro to songwriter…

Yes didn't invent progressive rock, but they helped bring it to mainstream audiences, steering the development and definition of the genre. Once their classic lineup of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Bill Bruford locked into place for 1971's Fragile, the band crystallized all of the sonic and visual signifiers that eventually became synonymous with prog rock. Yes shifted between complicated time signatures, spliced pastoral folk, and Baroque classical in their muscular rock & roll, structured their songs as mini-suites, and wrapped the entire package in fantastical artwork by Roger Dean.