Takahiro Yoshikawa (吉川 隆弘, Yoshikawa Takahiro) is a Japanese classical pianist. He is a regular piano soloist at La Scala, Italy's leading opera house.

Members of the Tcherepnin family helped shape European music history for more than a century, beginning with Nikolai Tcherepnin (1873–1945), continuing with his son Alexander (1899–1971) and ending with Ivan (1943–1998), who continued the family practice of composing into a third generation. Combining traditional and innovative elements, these recordings demonstrate an evolving compositional style, from late-Romantic to late-20th-century.

This album is a collection of Schubert's masterpieces in his last years for piano duets. Etsuko Terada and Kikuo Watanabe have been working together as a duo for many years while each other is active as a soloist. This album is a live recording of the concert titled "Schubert Miracle 1828" in June 2023. It contains his sublime creations and beautiful melodies, the essence of music.

By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. "Let It Shine" (number 77), an R&B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status.

Burning Witches set the world ablaze, ushering in a new wave of heavy metal! When Burning Witches come together, the world is ablaze! With just a sip of their bewitched brew of heavy metal, the quintet whisks the listener back to the heyday of the hottest and cruelest era in rock history. Inspired by the trademarks of classic 80s heavy metal - like skyscraper guitar solos, bludgeoning, raspy vocals and screams, and fast paced drums - Burning Witches unleash a searing attack once more with their fifth studio album and Napalm Records debut, The Dark Tower. Fasten your broom’s seat belt for this wild and fiery ride!

With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock – there are several fine, jazzy interludes – most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful.

This is a very unusual and rather experimental CD. The actual artist for the album is listed as Geoff Downes and the New Dance Orchestra. The liner says that the music the group performs is designed to bring tone and color to the stereo sound spectrum. It lists their further goals are to simultaneously retain "a deep musical foundation, upon which are built a series of images to stimulate the listener in his or her own domain." High ideals indeed, but does the music live up to it? Well, this music is strictly instrumental and quite electronic, but it does contain some very potent sound imagery and power and majesty. Among the other unique qualities the disc possesses is the fact that each of the five main pieces on the disc are divided into separate sections, for a total of 33 tracks.

I Still Do is the twenty-third solo studio album by the English rock musician Eric Clapton. The album was released on 20 May, 2016 through the independent Bushbranch Records/Surfdog Records label. The album features a combination of new material written by Clapton as well as cover versions of classic songs, contemporary tunes and influences interpreted in his own style. For the album, Clapton reunited with record producer Glyn Johns and had the album's artwork painted by Sir Peter Blake who also previously worked with Clapton.[3] The album follows up to Clapton's global hit album The Breeze: An Appreciation of JJ Cale released in summer of 2014, his compilation album Forever Man released in spring of 2015 and his also commercially successful concert film and live album Slowhand at 70 – Live at the Royal Albert Hall released in late 2015.

RCA and the Elvis estate made no bones about their intention on replicating the blockbuster success of the Beatles' The Beatles 1 with their own single-disc collection of number one hits – hence, the 2002 release of Elvis: 30 #1 Hits. The idea of collecting all the number one hits is simple enough, but there are problems inherent with the concept, not the least of which is that RCA did this once before. Unlike the Beatles, who went through numerous changes in just seven years of recording, Elvis had nearly three times as many years' worth of material and hits to choose from. Also, he hit on a number of different charts – not just pop, but also R&B, country, and adult contemporary.

Johnny Marr and Bernard Sumner have a unique musical companionship. Both artists bred the '80s British music scene into pop candy delight thanks to Marr's charming guitar hooks while fronting the Smiths, and Sumner, whose ingenuous lyrical poetry pushed New Order's dance-oriented sound into the new wave mainstream. But since their musical collaboration began back in 1991, the duo continues to make music for themselves, uninhibited by current norms and marketing success. Twisted Tenderness, the band's third album, is certainly a vast improvement over their sophomore effort, 1996's Raise the Pressure. Twisted Tenderness steps back into Marr's talented guitar work: carefree, a bit rollicking at times, but in classic Electronic fashion. The obvious rock-laden riffs carry the typical synth-generated backdrops, and Sumner's cheeky lyrics are stylish and breezy.

In a perfect world, Curtis Peagler's Modern Jazz Disciples would have had a longer run and built a much larger catalog. But regrettably, the Cincinnati quintet is only a small footnote in the history of hard bop and gave listeners only two albums. The first was this self-titled LP, which was recorded for Prestige's New Jazz subsidiary in 1959. The Modern Jazz Disciples shows the late Peagler, who turned 29 that year, to be a hard-swinging alto saxman in the Charlie Parker/Sonny Stitt/Cannonball Adderley/Phil Woods vein - his hot-blooded solos on tracks like "A Little Taste," "Slippin' and Slidin'," and the standard "After You've Gone" make this record well worth the price of admission. Quite often, "After You've Gone" has been heard in swing and classic jazz settings, but the Disciples' version is pure bop…

In 1993, Pete Townshend issued his fourth true studio solo album for Atco (not counting a live album, a couple of demo collections, and a collaboration with Ronnie Lane), entitled Psychoderelict. Perhaps best known for his conceptually based works (the Who's Tommy, Quadrophenia, etc.), Townshend did indeed thread a storyline throughout the album, which appeared to be the tale of an aging rock star. Psychoderelict includes Townshend's hardest-rocking songs since his 1980 solo album, Empty Glass, such as "English Boy" and "Let's Get Pretentious." Three instrumental tracks paying tribute to Townshend's spiritual mentor, Meher Baba, incorporate the synth loop from the Who's "Baba O'Riley," the best being "Meher Baba M4" (although strangely, the synths sound remarkably similar to the Who's 1978 hit "Who Are You").