When Colors Come Together… The Legacy of Harry Belafonte is an essential single-album anthology of Harry Belafonte's biggest hits and timeless classics and includes a new re-recording of one of the great pop standards in the Belafonte catalog, "Island In The Sun" entitled "When Colors Come Together (Our Island In The Sun)," performed by a children's choir.

Spirit Talk is the debut album by John Moulder and Ken Hall. Featuring a tantalising match of guitar and vibraphones, this album is the perfect vehicle to express the spirit of John and Ken's musical dialogue. Spirit Talk portrays a world of beauty and enchantment in which the magical partnership of the two instruments suit the music perfectly. The guitar and vibes weave together, creating an intriguing and uplifting album.

„Natural Causes“ is the third studio album by American recording artist Skylar Grey. It is her second album since her stage name change from Holly Brook to Skylar Grey.

Susan Boyle is back. The surprise British singing sensation is releasing her seventh album, A Wonderful World. The album features covers of well-known tracks including Madonna’s “Like a Prayer,” Paul McCartney’s “Mull of Kintyre” and a duet with Michael Bolton on “Somewhere Out There.” She also sings a virtual duet on “When I Fall in Love” with the late Nat King Cole – a first for a British artist.

Nineteen-year-old singer/songwriter Grace is one of the hottest pop-soul prospects this year. Hailing from Brisbane, Australia, with a strong musical heritage (her grandparents were singers with the Gibb brothers), Grace developed a raw, throaty, soulful sound whose emotional timbre belies her tender years.

THREE is a modern snapshot, capturing a moment in the constantly expanding world of the Blue Man Group. Building upon previous studio albums, including the gold-certified Grammy-nominated Audio (1999), and sophomore concept album The Complex (2003), THREE draws inspiration from 25 years of creative growth and development.

"To the best of my knowledge, a 1969 single on A&M was all that was heard from Ralph Graham prior to his signing with Sussex in late 1973 and, despite this fine album for the label and a further pair on RCA, by the end of the seventies, Ralph's name had disappeared from the record labels except with regard to writing credits. Doug Kinan, Ralph's manager at the time, contributed this to the album's back cover: "We won't kid you - this is not an album that has sold one million copies before it hit the stands, nor is Ralph Graham an artist who has been labelled a 'star' before his time has happened.

Avi Avital re-imagines the sounds of Venice in this vivid homage to the most beloved composer of the Italian Baroque, Antonio Vivaldi. After his introduction with BACH and the colorful, contrasting exploration of world music on BETWEEN WORLDS, on this album Avi presents four popular Vivaldi concerti with the great Venice Baroque Orchestra: Vivaldi’s Mandolin Concerto, the Lute Concerto (with its famous second movement), “Summer” from the Four Seasons, and the A minor Violin Concerto (familiar to violin students everywhere).

In 1978, the Cars had a Top 40 hit with the band's very first single, 'Just What I Needed.' That streak continued over the next 10 years, as the band revisited the Top 40 a dozen more times with radio hits 'Let's Go' and 'Shake It Up' along with iconic videos like 'Magic' and 'You Might Think,' which won MTV's first-ever 'Video Of The Year' award in 1984.

The Wandering Earth, directed by Frant Guo, music by Roc Chen, starring Wu Jing, is a Sci-Fi feature film based on the novel by Hugo award winner Liu Cixin. Roc Chen conducted and recorded the score with Royal Philharmonic Orchestra in the historic Abbey Road Studios. Roc brings strong emotion along with cutting-edge electronic music element into the soundtrack, receiving innumerous acclaims since the film's release.

Original Motion Picture Soundtrack (OST) from the film The Aftermath (2019). The music composed by Martin Phipps (Black Earth Rising, Victoria, The Crown). The Aftermath is a 2019 war drama film, based on the novel of the same name by Rhidian Brook. The film written by Joe Shrapnel and Anna Waterhouse, directed by James Kent, stars Keira Knightley, Alexander Skarsgard, Jason Clarke.

Angel-Ho takes to Hyperdub with her killer debut album proper, ‘Death Becomes Her’. Metamorphosing from the bullet-riddled chrysalis of her ‘Red Devil’ mixtape into a melodically colourful and vital voice in new electronic club music, the South African artist is accompanied by guest vox from K Rizz, Queezy and K-$, plus production by Gaika, Nunu, Bon and Asmara Maroof, who all play their role in “killing the old self, and expressing a poetic way of assuming a new identity.”

Born into a musical family in Argentina, Sebastian Plano is a classically-trained contemporary composer and multi-instrumentalist. Exploring his strong roots in folk music and tango, and enchanted by the resonance of electronic music, he began to interpret his influences with his own sounds at age 12. His music draws from a wide pool of influences. Indeed, it is influenced by much of classical music, but we also find similarities to some soundtrack composers, as well as certain musicians such as Ólafur Arnalds, Sigur Rós, Arvo Pärt, Nils Frahm and Max Richter. Plano has gained international acclaim with albums 'Arrhythmical Part of Hearts' and 'Impetus', placing him as one of the pioneering artists combining classical and electronic elements.

Eleven tracks in length, the album was produced by Dears frontman Murray Lightburn. Workman wrote and recorded Median Age Wasteland after making a move to Montreal from rural Ontario. The body of work is said to have "no lipstick, literal or figurative – just the purity of loving, loathing, and living." "I've always had this constant hunger to innovate, reevaluate what I do, and keep remaking it to confuse myself and maybe confuse my audience," Workman said in a statement. "This time, I'm just committing to writing focused and honest songs, which feels like the most interesting thing I can do right now."

Recorded in 1958, this Don Giovanni’s prime attraction is Ferenc Fricsay’s crisp, forward-moving conducting. The tempos are swift, almost as though Fricsay can’t wait to damn the Don, a scene done with the requisite sense of fatal drama. It’s an approach that might have worked better with a cast more alive to the ambiguities of the text and music; this is, after all a “Dramma giocoso”. Balancing those two elements is always a challenge, but there’s precious little “giocoso” here.