Semper Femina, a Latin phrase borrowed from Virgil translating roughly to "always a woman," was tattooed on Laura Marling's body long before it became the title of her sixth album. Like her adopted motto, this striking set gives the impression of a concept that was left to simmer a while before revealing itself in song. Initially intended as an exercise in writing about women from a male's perspective, Marling soon found that the feelings she was expressing were, in reality, her own, and Semper Femina became the work of a woman writing intimately about women.

"Special Forces" contains 38 Special's best song in "Caught Up in You," a hook-filled, smoothly sung radio rock gem that gets its energy from the grace and power of its chorus. But the hooks and the well-proportioned rhythms don't stop there. "You Keep Runnin' Away" gave the album its second charted single, which peaked at number 38, and the borderline boogie rock dash of "Rough Housin'" is among Special Forces' best cuts. Even secondary efforts like "Chain Lightnin'" and "Breakin' Loose" fit in comfortably with the rest of the tracks, offering up a hearty dose of the group's early Southern rock taste.

Special Delivery was 38 Special's 1978 follow up to their self-titled debut. The album features songs that epitomize Southern rock styles ranging from hard rock to Southern boogie and anthemic ballads, like the acoustic guitar-driven "Take Me Back."

38 Special "Rockin' into the Night" is the third studio album by the southern rock band 38 Special , released in 1980. With this album, 38 Special incorporates some arena rock elements into its sound. The title track became the band's first big hit.

The RCO's performance history of Sergei Rachmaninoff's Second Symphony is strangely uneven. Already three years after its completion the symphony was performed by Willem Mengelberg in a program that also boasted the composer as soloist in his own Piano Concerto No. 3. After that the symphony was on the program once more in 1921 and then there's a gap of 59 years. From 1980 on no less than ten conductors (including Vladimir Ashkenazy, Kirill Kondrashin and Kurt Sanderling) put it on the RCO's music stands. The latest RCO incarnation proved to be an ideal performance. With Mariss Jansons at the helm, mind and heart of this piece are totally balanced and the opulence of the RCO's sound at the Concertgebouw iss perfectly suited to Rachmaninoff's most beloved symphony.

As strongly influenced by his personal musical itinerary as by music stemming from other traditions that have fascinated him for more than 40 years, Dominique Vellard's compositions are rooted in his regular practice of sacred repertoires. That is why the pieces he has chosen to set to music are - as for his first CD, Vox nostra resonet, released in 2007 -, essential works of the liturgical repertoire.

In 1933, Arnold Schönberg defined ‘Brahms the Progressive’ as the initiator of a free language: ‘He was a great innovator in the area of musical language.’ This disc covers the composer’s entire life, starting with the Variations op. 9, composed at the age of just 20 years, then touching the middle period of his production with the Rhapsodies op. 79, and finishing with compositions which constitute his farewell to the piano: the Fantaisies op. 116 and the Klavierstücke op. 119, written when he was in his sixties.

Heir to a Latin musical tradition, Juanjo Mosalini decompartmentalises musical boundaries and makes his instrument, the bandoneon, sing alongside partners as different as Gotan Project or Ophélie Gaillard. With Delta y Mar, he returns to an accomplice going back ten years, the prodigious guitarist Vicente Bögeholz, unveiling written compositions nurtured by their Latin and European influences.

After Buxtehude, Tunder, Reinken, Bruhns, Scheidemann and Böhm, Bernard Foccroulle pursues his exploration of the repertoire of the organists of northern Germany before Bach, with the works of Matthias Weckman. Trained in the entourage of Schütz and having perfect mastery of the profession of Sweelinck’s heirs and all aspects of the Italian style, this composer compels recognition as the keystone in the generation preceding Buxtehude’s.

Disciple of Vlado Perlemuter and Jean Hubeau, Michel Dalberto has stood out as a master and ardent defender of French music in the course of a thirty-year career. His signature for the Aparté label of a series of recordings devoted to Debussy, Fauré, Ravel, and Franck marks his awaited return.

Thievery Corporation announce the release of Treasures from the Temple, a companion LP to the band’s chart-topping 2017 album, Temple of I & I. The 12-track compendium includes a trove of original recordings and remixes from the band’s Temple sessions at Geejam Studios in Port Antonio, Jamaica with vocal appearances by LouLou Ghelichkhani, Mr. Lif, Sitali, Racquel Jones, Natalia Clavier and Notch.