The compelling style and charm of David Wilson’s music have made his albums consistent best sellers on the easy listening charts. The gifted multi-intrumentalist (violin, piano, flugelhorn) was classically trained (including composition and theory) in his native Cleveland. He has been prominent on the Hollywood music scene for over two decades. David together with his violin been the go-to guy for captivating music at events hosted by entertainment and music industry insiders. David says about his album Romance After Hours: "The play list in Romance After Hours is made up of some of my personal favorite songs from the golden age of lounge music. These are tunes one might have heard upon entering a back room bar in some long ago Las Vegas lounge."

The Berlin public of the mid-Eighteenth Century was fascinated by the ‘original genius’ of C. P. E. Bach and never tired of listening to his concertos. These works call for a talented soloist capable of mastering the multiple facets of an original and finely worked musical texture: a challenge taken up with panache (and on a period instrument) by the oboist Xenia Löffler, surrounded by her distinguished colleagues of the Akademie für Alte Musik Berlin.

“For the Grateful Dead's second live album, released two years after its predecessor LIVE/DEAD, the band delivered an equally magnificent, but entirely different, Grateful Dead sound. Whereas LIVE/DEAD was a perfect sonic encapsulation of the band at the peak of their Primal Dead era, SKULL & ROSES captures the quintessential quintet, the original five piece band, playing some of their hardest hitting rock 'n' roll (‘Johnny B. Goode,’ ‘Not Fade Away’), showing off their authentic Bakersfield bona fides (‘Me & My Uncle,’ ‘Mama Tried,’ ‘Me & Bobby McGee’), and some originals that would be important parts of the Dead's live repertoire for the next 24 years (‘Bertha,’ ‘Playing In The Band,’ ‘Wharf Rat’).

Beloved indie heroes We Are Scientists return with their first album in 3 years. The intoxicating album ushers in a bold new chapter for the band.

The Emerson String Quartet makes its PENTATONE debut with a recording of Schumann’s three string quartets. Penned in the summer of 1842 during an exceptional peak of creativity, these quartets formed the beginning of a six-month surge during which most of Schumann’s best chamber music saw the light. Inspired by the example of Beethoven, Schumann’s quartets display a mastery of traditional forms, combined with typically Schumannian fantasy and lyricism, particularly in the inner movements. As such, they underline a new level of maturity in Schumann’s artistic development, surpassing the fantastical aesthetic of previous years.

Lucifer wasted no time and used the pandemic to record yet another long player that rings in a new chapter and dives even further into the grande realms of colossal old fashioned rock, with a severe morbid twist. For this opus they entered guitarist Linus Björklund’s Studio Ryssviken for an even more heart pounding drum sound while continuing their work at The Honk Palace. This time Lucifer has expanded their song writing partnership within the band and Johanna has not only penned the new material with Nicke but also with guitarist Linus, as well as guitarist Martin Nordin contributing. With “Lucifer IV” the group is proving furthermore to be steadily building their very own pillar of rock history, brick by brick.

This album by the Jyväskylä Sinfonia conducted by Ville Matvejeff presents three works by Éric Tanguy (b. 1968), one of the leading composers in contemporary French music with two outstanding soloists, clarinetist Pierre Génisson and violinist Júlia Pusker.

Nicole Kidman playing a singing prostitute? Ewan McGregor channeling the Police? If the soundtrack to director Baz Luhrmann's freakish musical Moulin Rouge has its way, we'll all be wearing corsets and swinging from the ceiling while the former Mrs. Tom Cruise becomes our favorite new pop sensation. As daring as Luhrmann himself, the compositions test Kidman–who could have easily used a league of backup singers and studio knob-twiddlers to hide her inexperience–and she actually passes. She's no Olivia Newton-John, but she capably mixes Madonna's "Material Girl" with "Diamonds Are a Girl's Best Friend" (which is as breathy as Marilyn would've wanted it to be) and goes full throttle on any medley thrown her way. Her cover of "One Day I'll Fly Away" is especially poignant given her much-publicized personal tragedies. Ewan, though, is a real star; his giggly schoolboy brogue morphs into a fun cradle for Paul McCartney's Wings as well as U2's Bono on "Elephant Love Medley." Beck's cover of David Bowie's "Diamond Dogs" is a hit waiting to happen, while Pattie LaBelle's '70s staple "Lady Marmalade" (remade by an all-star cast of divas, Lil' Kim and Christina Aguilera among them) already is. A delicious, racy soundtrack that is equal parts cabaret, glam rock, and trip-hop, Moulin Rouge doesn't disappoint. -Kristy Martin

Released to celebrate the 25th anniversary of the first single and first John Peel session. 38 tracks from 1977-1981, including exclusive sessions and Radio One 'In Concert' recordings.
Twenty-five years ago this year, with a snotty little ditty called "In the City", The Jam–angry young men in undersized school uniforms, featuring a singer with a seemingly permanent pair of blocked sinuses–introduced their vibrant young proletarian vitriol to the refuge-strewn streets of jubilee punk Britain. It's time then, in typically silveresque anniversary fashion, to celebrate two and a half decades of Weller and co. with this portable three-CD box set of rarely heard sessions from the secretively maintained BBC archives. The 56 tracks are drawn from sessions and live shows, encompassing the years 1977 to 1981 and thereby concluding with the introduction of brass, borrowed Beatles bass riffs, blue-eyed soul, and ski-influenced knitwear.

"Regret" was released on 5 April 1993 as the lead single from New Order's sixth studio album, Republic (1993).
Rising from the ashes of the legendary British post-punk unit Joy Division, New Order triumphed over tragedy to emerge as one of the most acclaimed bands of the 1980s; embracing the electronic textures and disco rhythms of the underground club culture many years in advance of its contemporaries, the group's pioneering fusion of new wave aesthetics and dance music successfully bridged the gap between the two worlds, creating a distinctively thoughtful and oblique brand of synth pop appealing equally to the mind, body, and soul.

Academy Award-winning director Quentin Tarantino's World War II epic, Inglourious Basterds, starring Brad Pitt, Diane Kruger, Mélanie Laurent, Christoph Waltz, Daniel Brühl, Eli Roth.

Prior to this moment, only in our wildest and sauciest dreams could we picture Sufjan Stevens, Björk, Brad Mehldau, Prince and James Taylor rolling around together. Nonesuch Records, however, has made our dreams a reality.
Joni Mitchell covers dot the musical landscape the way Tim Hortons doughnut shacks line the highways of Ontario. It's a little surprising, then, that the first Mitchell tribute album to be released on a major U.S. label didn't emerge until 2007, which was coincidentally the same year Mitchell was scheduled to release Shine, her first studio effort to appear in some ten years. And as far as tribute albums go, A Tribute to Joni Mitchell isn't half bad. The compilation is split up between songs that were recorded specifically for the tribute album, such as Sufjan Stevens' "A Free Man in Paris," and those that were recorded and released previously, such as James Taylor's "River"…

"Master of the Game" is the solo debut of James "J.T." Taylor, previously known as a member of Kool & the Gang. The album failed to reach mainstream popularity, peaking at #77 on the Billboard R&B Chart. The album was released by MCA Records in 1989.

In 1978 Marlena Shaw released her second album on Columbia Records, "Acting Up", the follow up to "Sweet Beginnings". "Acting Up" once again featured the production genius of the legendary Bert De Coteaux with musical contributions from Abraham Laboriel whose talent made him one of the most in demand bass players of recent years, travelling and working with artists such as Lionel Ritchie, Quincy Jones and Chaka Khan to name a few and on drums, ex-Motown session drummer, Quentin Dennard, all of which helped the album reach an impressive #60 on the Cash Box R&B Charts and #171 on the Billboard 200.

Titled Dark Connection, the upcoming album from the Finnish power metal band is the follow-up to 2019’s From Hell With Love and is scheduled to be released in October this year, via Nuclear Blast Records.