Celebrating a new chapter in a nearly 60 year career as a trailblazing rocker, Suzi Quatro brings her signature style to a series of iconic covers on a new EP from Sun Records. Suzi Quatro: Uncovered reminds us why Suzi is “The Boss,” featuring tracks originally made famous by artists like James Brown, Creedence Clearwater Revival, Otis Redding, and Carole King, plus she calls on the legendary Steve Cropper for collaboration on his own songs, “Midnight Hour” and “Sittin’ On the Dock of the Bay.”

A deluxe four disc remastered and expanded clamshell boxed set edition of the classic progressive/jazz rock masterpiece from 1970. Featuring an additional three cds of recordings dating back to the band’s origins in 1965, through to their final recordings in 1971 and 1972. Compiled by mo foster it includes an illustrated book with his liner notes.A new expanded, remastered four CD clamshell boxed set by the legendary progress/jazz rock group, Affinity. The band’s origins go back to 1965 at the University of Sussex in Brighton when Lynton Naiff (keyboards), Grant Serpell (drums), and Nick Nicholas (double bass) formed the US Jazz Trio to perform at University events and local gigs. When Serpell graduated a year later he was replaced by Mo Foster who had earlier been playing bass guitar in his school band but had now switched to drums. In 1968, Naiff, Serpell and Foster recruited Mike Jopp on guitar and the outstanding vocalist Linda Hoyle to form Affinity. The band made their live debut in October 1968 and soon appeared on the BBC radio show Jazz Club. Legendary saxophonist and club owner Ronnie Scott heard a recording of this performance and subsequently agreed to manage them and give them regular bookings at his world-famous jazz club.

Live/Dead is the first official live album released by the San Francisco-based band Grateful Dead. It was recorded over a series of live concerts in early 1969 and released later in the year on November 10. At the time of its release, Robert Christgau wrote that side two of the double album "contains the finest rock improvisation ever recorded." It was the final album with keyboardist Tom Constanten. In 2003, the album was ranked number 244 on Rolling Stone magazine's list of the 500 greatest albums of all time.

By the time Bonnie Tyler completed Silhouette in Red in 1993, she already had nearly a dozen albums to list in her musical resumé, not counting those done as collections. She is probably best known for her three biggest hits, "Total Eclipse of the Heart," "Holding Out for a Hero," and "It's a Heartache." Those songs and others earned her both gold and platinum albums, as well as a loyal following in the United States, Germany, England, and other countries. Tyler perfected her singing talents by performing with a band in numerous clubs in the early '70s. She was a big fan of singers like Tina Turner and Janis Joplin, and those strong influences often shine through on this hard to find album. With standout numbers like "Sally Comes Around," "Send Me the Pillow," and "You Won't See Me Cry," Silhouette in Red is a great find – if you can get your hands on it.

From the beginnings till 1985 - The band Les Sauterelles stood for the decade of the 60ties, when Switzerland's youth was shaken by the rock'n'roll fever.When in summer 1968 Les Sauterelles ruled the Swiss charts with their hit “Heavenly Club”, this success marked both their climax and end. Often referred as the “Swiss Beatles”, Les Sauterelles had been the undisputed kings of the scene for years. It was their resounding success that caused their downfall in the same year – a pattern that would repeat itself on and on throughout the history of pop and rock music in Switzerland. Differences over the direction in which their music was going and the sobering reality of their daily professional routine had led the group to an impasse. Their breakup heralded a similar fate for most other Swiss “beat bands” who had for years been cruising along in the slipstream of their Anglo-American models, albeit with varying degrees of success.

U.S. BROADCAST RECORDING FROM THE CURE’S 1984 TOP TOUR
The Cure had been gradually building their U.S. fan base when they embarked on their third American tour to promote their 1984 studio release, The Top. This broadcast recording was made on that tour, and features the band during their most defining musical period. • Coming off the success of hits like "Let's Go To Bed" and "Boys Don't Cry," Robert Smith and the band had finally come to the point where they could take The Cure's eccentric, characteristically dark sound and combine it with a more radio-friendly approach. At the same time that he was working with The Cure, Smith was also playing with Siouxsie and the Banshees. Musically, however, his true home was always with The Cure - a fact made more than apparent on this recording. • The Cure would eventually go through a number of musical and personal upheavals, but most agree this was the time when they were at their musical peak. Highlights of this set include "Let's Go To Bed," "Boys Don't Cry." and the track borrowed to name this live document “Happy The Man”. They end this noteworthy gig with a live rendition of "Killing An Arab." • For diehard fans or curious listeners, this show offers an impeccable live recording of one of the '80s biggest groups in their prime.

The dean of American pop vocalists took a different and exciting fork in the road for his third Duets album, recruiting the best Latin vocalists in the world, and rejuvenating classic material like "The Best Is Yet to Come" (featuring Chayanne), "For Once in My Life" (featuring Marc Anthony), "Who Can I Turn To (When Nobody Needs Me)" (featuring Gloria Estefan), "The Way You Look Tonight" (featuring Thalía), and "Return to Me" (featuring ranchera legend Vicente Fernández). Most of the charts are big band – one of the exceptions being the highlight, his duet with Fernández – but crossover fans will note that Bennett's English gives way to his duet partners' Spanish, an intriguing and successful choice.

No Doubt’s 2010 installment in Universal’s ongoing Icon series is a retitled reissue of the excellent 2003 compilation The Singles 1992-2003. Spanning 15 tracks, the disc is sequenced like a concert, favoring forward momentum over chronological history, and that's a point in its favor since it shines a spotlight on individual songs, not eras. More than anything, this highlights No Doubt's consistency as a singles band, since the defining breakthrough single, "Just a Girl," is as exciting as both the band's pre-fame "Trapped in a Box" and the sexy neo-electro grind of "Hella Good." It also shows that even if lead singer Gwen Stefani grew increasingly assured and sexier over the years (compare the seductive "Underneath It All" to the breathy, naïve "Don't Speak") and even if she was always rightly the focal point, the band itself is a muscular, versatile, tuneful outfit, rooted in ska revivals like "Spiderwebs" but equally convincing when turning out spiky pop like the glorious "New," the hard-rocking "Sunday Morning" and "Ex-Girlfriend," the sighing ballad "Simple Kind of Life," or the rubbery, reggae-inflected "Hey Baby".

The pianist Ekaterina Litvintseva won critical praise for her solo album on Piano Classics (PCL10226) of piano music by Dora Pejacevic: 'You owe it to yourself to make the acquaintance of Dora Pejacevic if you haven't done so already.' (Fanfare, May 2022) With her colleagues in Trio RoVerde, she now turns to the Croatian composer's chamber music. The Cello Sonata dates from 1913, the same year as Pejacevic wrote the first piano concerto by any Croatian composer. Like Brahms's First Cello Sonata and Elgar's Cello Concerto, it is cast in a moody E minor, with a yearning character are established from the outset by a long-limbed cantabile melody for the cellist.

André Previn recorded this symphony twice, the first time around for RCA with the London Symphony Orchestra. That was, and is, a very fine performance, but this one is finer still. His tempos have slowed somewhat since that first version, but the truth is that you'd never notice unless you listened to music with a stopwatch. Vaughan Williams said that of all of his symphonies, this one was his personal favorite, and it's easy to understand why. The music has a very personal tunefulness and vigor, while the orchestration has a subtlety that clearly reflects the composer's period of study with Ravel. If you don't come away from this excellent performance thinking that the slow movement isn't among the most beautiful pieces of music in the universe, then listen again.

This performance of Der Rosenkavalier is special for a couple of reasons. Christa Ludwig would soon trade the title role for the role of the Marschallin. It is a shame because she is so well suited to Octavian with her ardent sincerity. Sena Jurinac, no stranger to the role of Octavian, sings the Marschallin with poise. Sylvia Gestzy combines youthful charm with opulence of tone. This performance also marks one of the few times that Walter Berry sang the role of Ochs. He is not as "profundo" as one might want but he is very funny and ultimately creates a loveable oaf. The sound is very good.

Annie Fischer enjoys a singular reputation within the great tradition of Hungarian pianists due to her deeply moving and romantically intimate performances. She became famous and admired on account of her uncompromising, spiritually absorbing interpretations. But she left behind only a few studio recordings; like many other musicians, she was critically opposed to working in the studio. Her recordings of the Mozart concertos for EMI, however, became benchmark interpretations. Most of Annie Fischer’s commercial recordings appeared in the 1950s and 1960s, up until her husband’s death in 1968. She retired from the podium in grief for some time afterwards.

With this album, Tony Banks attempted a more mainstream pop sound, and from an artistic standpoint he succeeded, although it certainly wasn't reflected in sales. The vocalists employed here (Alistair Gordon, Jayney Klimek, Banks himself) do an outstanding job blending with fluid, often dark soundscapes. Surprisingly, songs like "Throwback" (with a catchy, synth-horn pop hook) and even the pop fluff of "A House Needs a Roof" were overlooked on American radio, but fans of Tony Banks and the pop powerhouse sound of '80s Genesis will enjoy this release.

In 2019, Spanish progressive/melodic death metal band Eternal Storm released their debut full length 'Come the Tide, which was a shockingly accomplished, poignant and evocative album which many still regard to be one of the highlights in the style. Four years later, after working meticulously to hone their sound even more, they return having fulfilled a seemingly impossible task - to come up with a worthy follow up album, one that doesn’t betray the sound nor dilute it. On 'A Giant Bound to Fall', shattering the apprehensions, they've actually taken the sound further ahead; it's far more nuanced, multifaceted and even feels darker. The emotions are just as palpable as before but are rawer, more piercing, and the heightened extreme parts are not at the expense of their immersive atmospheric ones…

Le mouvement de La Bonne Chanson, initié par Théodore Botrel et l’Abbé Gadbois s’exprima comme la manifestation patriotique du Québec qui devait résister à l’envahissement culturel anglophone.
Conjugaison de la lutte pour la sauvegarde de la langue française et d’une présence ecclésiastique notoire, le genre défendant un retour aux sources s’est affirmé pendant des décennies comme le levier culturel francophone majeur d’un océan à l’autre. Martin Duchesne, gardien et spécialiste de l’histoire de l’enregistrement au Québec, donne à écouter sur 4 CD la centaine de titres qui constituent le panorama identitaire de ce mouvement musical du Canada francophone. Patrick Frémeaux & Claude Colombini.