For a musician like Tony Clarkin who composes constantly, viewing and selecting the material he has written is always one of the most significant moments during the creation process of a new Magnum album. On the one hand it s a luxury to have the opportunity to separate the wheat from the chaff and to be in a position to use only the strongest numbers. On the other hand it's also a difficult process, because after all the creator of those songs has grown fond of every single one of them. I usually start composing for our next album immediately after the release of the previous one, Clarkin explains. When Escape From The Shadow Garden arrived at the stores in March 2014, my thoughts had already turned to our next recording.

Razamanaz is the third studio album by the Scottish hard rock band Nazareth, released in 1973. It was the band's first LP record to break the charts and was produced by Deep Purple's Roger Glover who the band was on tour with at the time. Loud 'n' Proud is the fourth studio album by Nazareth, and their second to be released in 1973.

In 1741 Johann Sebastian Bach published the fourth and last volume of his most extensive keyboard publication, the Clavier-Übung: an aria and thirty variations known universally as the ‘Goldberg’ Variations. This monumental work, which is about eighty minutes long, is unquestionably one of the towering masterpieces of Western music. At times the ‘Goldberg’ Variations anticipate the keyboard writing of nearly a hundred years later. They present the performer with a great challenge, which Daniel Barenboim successfully addresses by using the piano to ‘orchestrate’ the music, creating the illusion of clearly defined instrumental sounds. Recorded at Bavaria Musikstudios Munich, 1992, Directed by Christopher Nupen. Produced by Metropolitan Munich in association with Allegro Films.

Sound explorations are emphasized throughout this release with Jeff Palmer's atmospheric organ, the varied tones of John Abercrombie's guitar synthesizer, David Liebman's very passionate soprano and Adam Nussbaum's drums interacting over a variety of patterns. All of the compositions are group originals with five by Palmer and one apiece from the other three musicians. Whether it be the funky beat of "Hip Slick," the free jamming of "Mr. Adam," the spacey title cut or the almost New Age feel of "Mr. John," the themes are less important than the setting of moods and the advanced improvising.

According to Jack White, Get Behind Me Satan deals with "characters and the ideal of truth," but in truth, the album is just as much about what people expect from the White Stripes and what they themselves want to deliver. Advance publicity for the album stated that it was written on piano, marimba, and acoustic guitar, suggesting that it was going to be a quiet retreat to the band's little room after the big sound, and bigger success, of Elephant. Then "Blue Orchid," Get Behind Me Satan's lead single, arrived. A devilish slice of disco-metal with heavily processed, nearly robotic riffs, the song was thrilling, but also oddly perfunctory; it felt almost like a caricature of their stripped-down but hard-hitting rock.

Jazz pianist Michel Camilo, working with the Barcelona Symphony Orchestra under Ernest Martinez Izquierdo, attempts here to make something new out of George Gershwin's heavily recorded Rhapsody in Blue and Concerto in F – broadly speaking, he tries to tie these jazz-classical fusions more closely to their jazz roots. Given the fluency with which Gershwin moved between the worlds of classical music, jazz, and pop, the experiment would seem a worthwhile and interesting one, but the recording, at least for those with the usual ways of performing Gershwin in their ears, is likely to come off as neither fish nor fowl.

This While My Guitar Gently Weeps: 32 Guitar Ballads album was released in 2001 and featured titles like Love Over Gold, Purple Rain and After Midnight from Dire Straits, Prince and Eric Clapton.

Metamorphosed comes out of the sessions that produced 2019’s Face Stabber. It may only be five tracks long, but it achieves a full album’s length with the help of the more than 23-minute epic “I Got a Lot”. In an interview with Henry Rollins, Dwyer explained that this kind of song, “Usually… takes place at the end of the planned recording. We have extra time and tape to lay down some deep cuts and long jams, etc., the fun part, really.”

Dany Brillant est de retour avec un album hommage à Charles Aznavour, l’artiste qui a le plus compté pour lui. 11 versions réarrangées des plus grands succès de Charles Aznavour « La Bohème », « Emmenez-moi », « Je m’voyais déjà » … Ce projet a été réalisé en proche collaboration avec la famille du chanteur.

The most unusual aspect to this Ernie Watts recording is that the great tenor is joined by a two-bass quartet. Eddie Gomez on acoustic and Steve Swallow on electric blend together quite well, are featured in a delightful version of Oscar Pettiford's "Tricotism" and (with pianist Geri Allen and drummer Jack DeJohnette) keep the accompaniment consistently stimulating. Ernie Watts is in top form throughout this fine modern mainstream date, playing with both passion and lyricism on a variety of standards and originals (which, in addition to four songs from the leader, include one apiece from DeJohnette and Swallow). There is just enough variety to keep the proceedings from ever getting predictable, making this one of Watts' finest sessions.

The performance of this High Baroque piece in a Classical guise would not be worth mentioning at all if it had not contained the spark for the next folia, the Twenty-Six Variations on La Folia di Spagna of 1815 by Eybler’s teacher, Antonio Salieri (1750–1825). A recording of this instrumentation treatise in sounds, with a scoring enhanced by three trombones, bass drum and, above all, a harp, was included in the third album in our series Beethoven’s World.

There are no great surprises here – he's no innovator – but plenty of good music of the kind one expects from him: a fairly mellow brass sound, jazz touches (including a version of the Gillespie classic, "Night in Tunisia"), solid musicianship and a discreet updating by way of synth voicings.

Paul Nagle has been writing and performing electronic music since the late 1970s influenced mainly by German musicians such as Roedelius and Schnitzler and bands such as Tangerine Dream and Cluster.
Paul: "Before the 2020 Covid-19 lockdown I had a week in Scotland with a good buddy. He took photos (e.g. the cover) and I recorded lapping lochs, frenetic streams, birds and fog. While we were largely oblivious, my wife was at home watching the news and fearing the end of the world was nigh. The audio recordings form the backdrop of this, over which I improvised some tracks over April, May and June. Like everyone else I've had a lot of time on my hands so have spent much of it in the studio."

DVD1 - INSIDE BOWIE 1969/72: long awaited critical review of the music of David Bowie and the Spiders From Mars during the crucial period from 1969 to 1972 when Bowie rose from obscurity to superstardom. DVD2 INSIDE BOWIE 1972/74: We pick up with the Ziggy Stardust album and review the work of Bowie on Aladdin Sane through the break up of the Spiders, Pin Ups and on to the Diamond Dogs album.; DVD3 A CLASSICAL TRIBUTE: The greatest music in the history of rock like youve never heard it before. The Classic Rock Chamber Suites is a major new series featuring challenging new arrangements of the very best music produced by some of the greatest names in the history of rock.