You can't help but get the idea that Domenico Scarlatti rather lived under the shadow of his father Alessandro. It is only with his move to the Iberian peninsula that his career seems to liven up. Very few of his surviving choral and vocal works live up to the imagination at play in the keyboard sonatas. His vocal works were highly regarded by his contemporaries and Charles Burney was admiring indeed. Remarkably, as recently as 1941, only his Stabat Mater had appeared in a modern edition. It was during the centenary in 1985 that new music was discovered and made available.

Dolly will release The Dollywood Collection: Celebrating 40 Years of Music & Memories. The compilation features songs written and performed by Dolly featured at Dollywood and related attractions. The album will be available from all digital retailers and streaming platforms. It is unknown at this time if it will be released on physical formats.

‘Why has this intense, brilliantly orchestrated, claustrophobically gripping masterpiece been so neglected since its 1977 premiere?’ asked Richard Morrison in The Times of the concert performance in the Barbican that preceded this recording. Miss Julie is Alwyn’s last large-scale work, written in 1973-76. Alwyn set his own libretto, based on Strindberg’s 1888 play of that title. The naturalistic drama and lifelike characters of that play appealed to Alwyn from an early age – in fact, he previously attempted to compose an opera on Miss Julie in the 1950s. That attempt failed, because of differences with his then librettist, Christopher Hassall.

The convent of St Francis in Assisi is a place of pilgrimage and the founding location of the Franciscan order. In the baroque period novices hoping to enter the order were trained in music, and there is a long musical tradition there. Most of the performances here are world premiere recordings of baroque vocal compositions from the library of the convent of St Francis in Assisi. All the vocal pieces are for soprano solo (combined with solo alto in Finale's `Oh Quam Jubilat'), and it is thought that the solos may have been sung by young men. Here they are taken by very fine female singers, and the accompanying ensemble is made up of top players.

Flamboyant British icons of the 1970s whose nasty fusion of heavy metal, glam rock, and sneering cynicism influenced many punk bands. Collection includes: 'Mott The Hoople' (1969); 'Mad Shadows' (1970); 'Wildlife' (1971); 'Brain Capers' (1971); 'All The Young Dudes' (1972); 'Mott' (1973); 'The Hoople' (1974); 'Live' (1974) 30th Anniversary Edition 2004; 'Rock And Roll Queen' (1974); 'Drive On' (1975); 'Greatest Hits' (1976); 'Two Miles From Heaven' (1980); 'The Ballad Of Mott: A Retrospective' (1993); 'Fairfield Halls, Live 1970' (2007).

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace – each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz – tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band – Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb – one of the greatest in history, playing at the peak of its power.

Van Morrison never stopped recording during the 1990s, but for a little while it seemed as if he was disconnected from his muse. It wasn't so much his series of jazz cover albums – he'd return to this vein often in subsequent decades – but his songwriting that showed signs bitterness, particularly on 1995's Days Like This, where he seemed dismissive of the very notion of being a songwriter. In that light, it's hard not to see 1997's The Healing Game as a rejuvenation. Indeed, the album's very title suggests that Morrison is in the process of mending fences and reconnecting with a sense of joy, a process that began during his deep dive into Mose Allison and other bluesy jazz artists in the mid-'90s. Morrison retains that sense of swing on The Healing Game – he also retains keyboardist Georgie Fame, who would become a fixture on Morrison's albums over the next two decades – and it invigorates a set of songs that aren't necessarily all that different from what he's been writing as of late; he's still specializing in ballads, blues, and folk-rock colored by R&B.

Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the "coon songs" of the early part of the next century, to the ragtime and "Spanish" music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist.

Unlike its companion, Complete Rarities: IRS 1982-1987, the music collected on the 2014 digital-only Complete Warner Bros. Rarities 1988-2011 hasn't been anthologized often. Bits and pieces have been rounded up in singles boxes, and there was a "Rarities and B-sides" bonus disc added to the 2003 compilation In Time: The Best of R.E.M. 1988-2003, but there was no Warner-era equivalent of Dead Letter Office, and the expanded editions of the albums often skimped on bonus tracks. So this mammoth collection – 131 tracks, all instrumentals, alternate, and singles, mixes, covers, and live tracks that never appeared on albums – is noteworthy for providing a service for dedicated fans who nevertheless stopped buying all those multi-part CD singles somewhere around New Adventures in Hi-Fi or Up. The eagle-eyed will notice there are a few songs missing – usually, these are alternate versions from the early '90s – but there are also a couple of live cover versions M.I.A., along with instrumental B-sides from Automatic for the People – but the sheer heft of the set guarantees that almost all will take its title claim of "Complete" as factual; it's close enough to complete for most intents and purposes.

Step into a realm of pure sensory delight with A Garden After the Rain. This exquisite collection of classical music invites you to immerse yourself in the tranquil beauty of blossoming gardens. Let delicate melodies evoke the vibrant colours of flowers, the gentle rustling of leaves, and the intoxicating scents carried on the breeze. Experience the refreshing peace and quietude of a garden reborn after a shower, where every note is a fragrant bloom and every harmony a whisper of nature's serene embrace. Let this album cultivate a sanctuary for your soul.

UK two CD collection. Mainstream Records' notable dalliance with Psychedelic Rock and Pop is celebrated in exhaustive fashion with All Kinds of Highs: A Mainstream Pop-Psych Compendium 1966-1970. Though best known as a Jazz and soundtrack label, in the late 1960s head honcho Bob Shad dove into the Rock market with a vengeance, conducting a remarkable and seemingly never ending A&R odyssey across America in search of talent. Only a couple of the several dozen acts Shad signed at the time, such as the Amboy Dukes, would ever see chart success, but Mainstream's efforts by the likes of the Tiffany Shade, Jelly Bean Bandits, Orient Express and Tangerine Zoo are now coveted collector artifacts. All Kinds of Highs selects the best cuts from the cream of the psychedelic pop albums in the catalog, and adds appropriate singles only tracks from Mainstream and associated label Brent. Ace Deluxe.

Experience the Fantastic Four's unforgettable home show in all its sonic power: ‘Long Player On Tour’ will be released on 2 May 2025.

Spiritmuse Records is proud to present Journey To Nabta Playa, a new album from composer and multi-instrumentalist Angel Bat Dawid and multidisciplinary artist and musician Naima Nefertari (aka Karlsson), releasing May 2, 2025. A powerful meditation on memory, mythology, and ancestral science, the record draws deep inspiration from the ancient astrological stone circle of Nabta Playa, nestled in the remote deserts of Nubia.

This long awaited and much anticipated album from Thin Lizzy founder, Eric Bell, is a remarkable musical achievement. 'Authenticity' not only displays the innovation in 'guitar wizardry' for which Eric is known around the world, but also his spellbinding craft as a songwriter. Each track portrays its own journey, story, and cinematic presence. This is an emotional album which delves deep into the story of Eric's life, and celebrates the Blues, and the music which defines him. Submerge yourself in 'Authenticity ' and you cannot help but develop a stronger and deeper connection with Eric, as the founder of Thin Lizzy, one of the greatest Rock bands the world has ever seen. Track listing: Some Girls; Walk on Water; Tales of Thin Lizzy; Honeycomb Nights; Rhona; The Empty Beach; I Wasn't Born in the Delta; Chameleon Man; That Time of Night; Away With the Fairies

"Radio Free Europe" is the debut single by American alternative rock band R.E.M., released in 1981 on the short-lived independent record label Hib-Tone. The song features "what were to become the trademark unintelligible lyrics which have distinguished R.E.M.'s work ever since." The single received critical acclaim, and its success earned the band a record deal with I.R.S. Records. R.E.M. re-recorded the song for their 1983 debut album Murmur. The re-recording for I.R.S. became the group's first charting single, peaking at number 78 on the Billboard Hot 100 chart. The song is ranked number 174 in Rolling Stone's 2024 list of the 500 Greatest Songs of All Time. In 2009, it was added to the Library of Congress's National Recording Registry for setting "the pattern for later indie rock releases by breaking through on college radio in the face of mainstream radio's general indifference."