Mundell Lowe's score for the exploitation flick Satan in High Heels is an immensely enjoyable collection of exaggeratedly cinematic jazz. Lowe runs through all sorts of styles, from swinging big band to cool jazz, from laid-back hard-bop to driving bop. He pulls it off because his big band is comprised of musicians as skilled as Oliver Nelson, Al Cohn, Phil Woods, Urbie Green, Joe Newman and Clark Terry. They help give the music the extra kick it needs, and Satan in High Heels winds up as a terrific set of humorous and sleazy, but well-played, mainstream jazz.

…Massimo Checchetto’s opening set…is winningly picturesque…Bepi Morassi’s staging within it seems perfectly natural, its charms never forced. Pratt has a beautiful, expressive face, ever alive to Amina’s changing fortunes and her unchanging love. Her voice, too, is lovely and expressive…She’s endearingly simple, just as Amina should be. Gabriele Ferro conducts the Fenice forces with grace and practiced style…The sound is spacious and the Blu-ray image crystal clear. (Opera News)

One of the most determinative rock/pop groups of Hungary. Due to their local impact, they were sometimes dubbed "The Hungarian Beatles". The band started in 1957 as a family music band. After many member changes (and also musical changes), the final line-up was formed in 1965 and they started to write their own songs, many of them appeared in films. After many 7" singles and co-productions, their first own LP was released in 1968. They combined folk music elements with the (then) latest pop/rock trends and succeeded to be unique with their sound. They maintained their success through 4 LPs until their disbanding in 1973. They have also recorded songs in English and German language and also toured Western Europe and UK when they were active - rare privilege for bands from behind the iron curtain.

Mary Stallings was just 22 at the time this album, her first, was cut in 1961. Fortunately, she was teamed up with a group of top professionals led by vibist Cal Tjader. She also sticks with mostly tried and true material, with Duke Ellington's songs getting a big play. Tjader is not a virtuoso on the vibes, but has made a name for himself because of his attachment to Latin rhythms. With no such music on this album, Tjader's playing seems somewhat stiff at times, particularly on ballads and slow blues. However, alternating pianists Lonnie Hewitt and Clare Fischer get with the program to give Stallings the backing she needs. The vibes player also loosens up on up-tempo tunes like "It Ain't Necessarily So." The singer has a powerful voice with a straight from the shoulder, no holds barred delivery…

Bruckner's early string quartet is more a composition exercise than a full-fledged work of art, but the quintet is something else entirely: a chamber music masterpiece to rank with the great symphonies in expressive intensity and sheer musical grandeur. Indeed, there are a few places where Bruckner seems to demand an almost orchestral volume of tone, and the slow movement has been successful performed (and recorded) by a full string orchestra. The Intermezzo is none other than an alternative scherzo for the quintet, composed because the original players at the premier found Bruckner's first thoughts too difficult. Well, the members of L'Archibudelli certainly don't find the music too difficult–you won't find better performances anywhere.

Chain is an american progressive metal band formed around excellent musician Henning Pauly in late '90's. This time around he could gather some amazing musicians to help him make this CD a more impressive progressive rock/metal experience. Among the musicians are Michael Sadler, lead singer from Saga, and Mike Keneally (Frank Zappa, Steve Vai, Mullmuzzler, Beer for Dolphins, etc.) who lends his voice and guitar skills to the last track on the album. Sadler is singing on an already highly praised cover version of Saga's own "Hot to Cold" together with Chain's lead singer Matt Cash and Maya Haddi. The music offered by Chain is very well performed with excellent instrumental passages, progressive metal most of the time but aswell with hints of progressive rock and even some jazzy interludes here and there, sporadicaly.

"Memory Of The Future" is the third single from the album "Elysium".
Post-modern ironists cloaked behind a veil of buoyantly melodic and lushly romantic synth pop confections, Pet Shop Boys offer wry yet strangely affecting cultural commentary communicated by the Morse code of synth washes and drum machine rhythms. After first emerging in the mid-'80s with "West End Girls" and "Opportunities (Let's Make Lots of Money)," Neil Tennant and Chris Lowe quickly established themselves as hitmaking singles artists who were also able to craft emotionally resonant albums, like 1988's Introspective and 1990's Behaviour. The duo navigated the constantly shifting landscape of modern dance-pop with grace and intelligence, moving easily from disco to house music to thoughtful synth pop without losing their distinctive style in the process…