The soundtrack to Disney’s resplendent live-action update of the animated classic gets a similarly opulent makeover with Ariana Grande, John Legend, Josh Groban, Céline Dion, Audra McDonald, and more. The album is filled with rousing sing-along moments perfect for the family trip (“Belle,” “Gaston,” and “Be Our Guest”) or when you need some alone time in the driveway (“How Does a Moment Last Forever” and “Evermore”).

It was Springsteen’s final show at the Philadelphia Spectrum, finishing a four-night stand at the venerable venue – a sort of last dance at the arena where he and his band had played 35 times in 36 years. Just 11 days later, the Spectrum was to close with a concert by Pearl Jam and be razed.

This recording is devoted to the works of a composer about whom we know practically nothing — neither his date of birth nor even his origins. All that we do know is that Giorgi held the position of maestro di cappella in San Giovanni Laterano in Rome in 1719 and that he ended his career in Lisbon, dying there in 1762.

Does music add substance to words or is music inspired by them? Songs of departure and farewell are deeply rooted in the great tradition of British choral music, nourished by ancient myths of testing journeys, wayside transformations and homecomings. The transcendent nature of music and the power of poetry to challenge and alter perceptions of reality – harnessed by English composers over many centuries – flow through a programme that invites contemplation of life and death, of love and loss, creation and eternity. In a journey covering six centuries of musical history, The Sixteen performs a cappella anthems with powerful texts by writers as varied as Edmund Spenser, Christopher Fry and W.H. Auden.

The Milk Carton Kids are reviving folk music. With a contemporary twist on the genre and the incorporation of simple, yet enticing harmonies, the pair has crafted a sound that is not only beautiful but also seamlessly constructed. Their latest album, The Ash & Clay, is a further example of the duo’s ability to create songs that are both intimate and powerful, bittersweet and inspiring.

This recording features one of today's most sought-after conductors, Vladimir Jurowski, who was appointed Principal Conductor of the London Philharmonic Orchestra in 2007, with many of his recordings on the LPO Label being chosen for special mentions by BBC Music Magazine and Gramophone Magazine. As Composer in Residence from 201014, Julian Anderson has a close affinity with the London Philharmonic Orchestra and this album is a celebration of his time at the LPO.

West coast balladeer Emily Jane White's third album, Ode to Sentience, makes its home in the place where an irresistible force meets an immovable object, and the two create a deceptive state of seeming stasis. In fact, White's songs take a microscope to the meeting point between the two, documenting the quiet but intense pressure that's being applied there. With her cool, breathy voice, White could easily just coast her way through less weighty concerns and achieve a pleasingly breezy feel, but that's not what she's after.

Erich Wolfgang Korngold was one of the most astonishing prodigies in the history of western music, admired by Mahler, Strauss, and Puccini. His compositions were regularly performed by renowned musicians from around the world.

Bernard Foccroulle here continues his exploration of the north German organist composers with a recording of the works of Georg Böhm, a composer with whom J.S. Bach had come into contact at the end of his adolescence. At the foot of a manuscript dated around 1700 in which he had copied out pieces by Buxtehude, Reinken and Pachelbel that served as models for his own compositions, the young Johannes Sebastian Bach wrote that he was a pupil of Georg Böhm in Lüneburg.

Inspired by Haydn’s trips to England, where he first heard Handel’s oratorios, The Creation is widely considered Haydn’s crowning masterpiece. Set for three vocal soloists, four-part chorus, and a large Classical orchestra, there seems little doubt that Haydn wanted a big sound (by the standard of his day) for this work. Based on both the biblical Book of Genesis and Milton’s Paradise Lost, the oratorio was premiered in the US by the Handel and Haydn Society in 1819.

Produced and recorded by Mike Fraser (AC/DC, Metallica), Black Swans and Wormhole Wizards, is Joe's 14th studio album. Once again, Joe is joined by his long-term drummer Jeff Campitelli, alongside newcomers Mike Keneally (keyboards - Frank Zappa, Steve Vai) and Allen Whitman (bass guitar - Mermen). On the eleven tracks that make up Black Swans and Wormhole Wizards, Satriani‟s classic sound is accompanied by a surprisingly rich new texture. The first single "Light Years Away" provides a great introduction to the album, alongside several other high energy offerings, like the anthemic "Pyrrhic Victoria", "Wormhole Wizards" and "Premonition".

„Super Colossal“ is the 12th studio album from guitar virtuoso Joe Satriani. The master shredder still traffics in arena-sized hard rock instrumentals that provide plenty of room for his melodic, technically dazzling solos. But Satch mixes things up, too, with sunny, country-tinged riffs ('It's So Good'), atmospheric jams ('Ten Words'), and bittersweet love songs ('Made of Tears').

Ambition got the better of Brad Paisley on 2013's Wheelhouse, coaxing him into the briar patch that was "Accidental Racist" an ill-conceived cross-cultural duet with LLCool J which generated a flurry of headlines that camouflaged how the album straight-up flopped on country radio. Wheelhouse was Paisley's first record since Play not to go gold, and even that is misleading because that 2008 effort was an instrumental album and those never sell in large numbers; subtract that from his stats and the 2013 record achieves the ignoble status of his first-ever album not to reach gold and, perhaps more importantly, his first not to generate a number one single.

Ever since 1999, Brad Paisley has been touted by some critics and fans as new traditionalist country's great hope. Blessed with good looks, good taste, and a nice twang in his voice, Paisley could have gone pure country-pop but decided to stick fairly close to his roots and play a nice amalgam of honky tonk, Western swing, and pop. It was straight out of the George Strait handbook, but it was nicely done on his first two records, particularly compared to a crop of new artists who seemed anxious to gun for the big hit. Paisley never seemed that desperate for chart success; he took it easy, so any sales seemed to be the side effect of his easygoing charm.

Recorded and issued in 1966, Nashville Rebel is the soundtrack to a budget film of the same name by Jay Sheridan who also wrote most of the songs on side two. While the title of the album may be prophetic in terms of the radical changes in Waylon Jennings' career around 1971, the music found here is anything but. While Jennings brought seven of the 12 songs to these sessions, and starred in the film, the soundtrack feels and sounds dated and overwrought mostly from a production point of view.