Les pêcheurs de perles dates from 1863 and represents much more than a mere operatic exercise written by a twenty-five-year-old composer. Pêcheurs is, as a matter of fact, the only other Bizet opera, beside Carmen, to have remained in the repertoire. This opera contains memorable passages, which have ensured its long-lasting success and which many great singers (beginning with Caruso) have recorded and performed: for example the aria of Nadir Je crois entendre encore; the beautiful aria of Léïla Comme autrefois, dans la nuit sombre and, above all, the superb duet between Léïla and Nadir Ton cour n’a pas compris le mien.

Grand Funk/Hits is an adequate collection of Grand Funk Railroad's biggest hits from the early '70s, featuring such familiar cuts as "The Loco-Motion," "Some Kind of Wonderful" and "We're an American Band." …

Nowadays, what's the point of chronicling this "Remasters" when the group released "Mothership" in 2007, which makes it obsolete? Because this record is historic. It is the first to be officially released under the LED ZEPPELIN name since "Coda" in 1982. The 1985 reformations for Live Aid and the 1988 reformation for the 40th anniversary, with Jason Bonham behind the sons, son of the late John n ' will have been occasional and here, there is no place for a fanfare of the Airship. Jimmy Page just wanted to deliver a compilation worthy of the name years after the band's smashing debut, years after a half-hearted ending. How many of you have known LED ZEPPELIN with this "Remasters"? How many of you have had a breath of nostalgia when you saw this cover?

'When we speak of Joseph Haydn,' wrote Ernst Ludwig Gerber in his Lexicon der Tonkunstler of 1790-92, 'we think of one of our greatest men: great in small things and even greater in large… Everything speaks when he sets his orchestra in motion.' Gerber was among the first to recognise 'new and surprising' traits in Haydn's output, particularly among his Sturm und Drang (Storm and Stress) works of the early 1770s. Espousing spontaneity and passion as sources of creativity, Sturm und Drang despised the new rationalism of the Enlightenment, offering darkness and pessimism to counterpoise its orderly logic.

Carl Jackson, an accomplished bluegrass instrumentalist and songwriter, was born September 18, 1953, in Louisville, MS. While playing in his father's bluegrass band at the age of 14, he was approached by Jim & Jesse to join their backing group, the Virginia Boys. He accepted and spent most of his teenage years playing banjo for Jim & Jesse and other groups at the Grand Ole Opry…

Despite all appearances to the contrary, Garbage spent only eight years on an indefinite hiatus – it only seemed like they spent over a decade wandering in the pop hinterlands. Granted, Garbage fostered this impression, presenting their 2012 album Not Your Kind of People as a grand comeback, inviting comparisons to their earlier work and happily riding the burgeoning '90s revival of the 2010s. Unlike their two W administration-era albums, there is no grappling with new sounds and styles, only an embrace of the thick aural onslaught of "Stupid Girl" and "Vow." Garbage have homed in on their essence and are unafraid to revive memories of their past glories. Old pros that they are, they're able to deliver their hooks cleanly and efficiently, accessorized in just enough ruckus to cut through the murk. There is no evident flab in either the composition or production; the album avoids the moody detours that sometimes bogged down their latter-day records, and there is a noted emphasis on the pure, simple power of melody.

When some of Chris Duarte's admirers exalted him as "the new Stevie Ray Vaughan" back in the '90s, it was unfair to Duarte as well as to Vaughan's memory. Vaughan was irreplaceable, and expecting Duarte to somehow fill the void that Vaughan left when he died in 1990 is unrealistic. That said, Duarte has made some exciting contributions to blues-rock – specifically, blues-rock of the Texas variety, and that Lone Star spirit is alive and well on Blues in the Afterburner. Texas, of course, has been a leader in different areas of the blues. Lightnin' Hopkins, Texas Alexander, and Blind Lemon Jefferson are among the icons of pre-rock Texas blues, while the recordings of Vaughan and Johnny Winter are the essence of loud-and-proud Texas blues-rock.

Ol' Blue Eyes is always ripe for a top-notch, big-band-flavored tribute, but how many who take on the daunting task knew him as well as his contemporary, whom Dean Martin and Sammy Davis, Jr. once dubbed "the female Sinatra"? And in case you don't know the history, Frank Sinatra Jr.'s liner notes and numerous archival photos of Smith with Sinatra fill you in. Smith recorded this prior to the legend's passing in 1998 and even had his thumbs up on the project, but held back its release so as not to appear to be capitalizing on the Sinatramania which followed his death. With the ample and energetic backing of the Frankie Capp Orchestra, Smith does him proud on 18 chestnuts from his catalog, her voice clear and honest, her phrasing sharp and emotional…

Recorded in March 2020 just before the coronavirus shut everything down, the Florida-based Sean Chambers went into Showplace Studios in Dover, New Jersey, for the sessions of his 8th album.

New from the London Philharmonic’s own label is a previously unreleased recording by their former Principal Conductor Kurt Masur. And artist who NPR described as the “conductor who rebuilt the New York Philharmonic”. Prokofiev’s Alexander Nevsky cantata features music originally composed for the 1938 film by pioneering Russian director Sergei Eisenstein. It’s a rare example of film music that has found a regular place in the standard classical repertoire.

Isata Kanneh-Mason said, “I am delighted to be presenting my second solo album Summertime, which features a rich array of pieces from many of my favourite American classical composers. The Barber ‘Piano Sonata’ forms the anchor around which the rest of the album was developed; I fell in love with the piece the first time I heard it, and it’s a real pleasure to have recorded it for Decca. I wanted this album to illustrate the diversity of music in America at that time, and so it was important to me to include the more familiar Gershwin songs, as well as the Samuel Coleridge-Taylor spirituals to which I feel a personal connection.”