Guitar virtuoso Nuno Bettencourt made his name with the eclectic pop-metal outfit Extreme during the height of the guitar-shredder era, and embarked on a solo career after the band's breakup. As a soloist, Bettencourt's most immediately recognizable influence was Eddie Van Halen, but as a songwriter, he might draw from Queen, the Beatles, Prince, and anything in between. The youngest of ten children in a musical family, Bettencourt was born Nuno Duarte Gil Mendes Bettencourt in the town of Praia da Vitoria, on the island of Terceira in the Azores (an archipelago governed by Portugal) on September 20, 1966.

18 tracks live at the Panama Club 2004. Tracks include 'Angel', 'Turn The World' & 'Sleepwalking'.

All or nothing. For Laurence Jones, it's an easy choice. In recent times, the hotshot British bandleader has barely stopped for breath. There's been the release of 2014's all-conquering second album, Temptation. The triumphant Blues Caravan tour that saw him raise roofs across Europe. The auspicious nod to represent his country at this year's European Blues Challenge, and the prospect if his performance at the Albert Hall for Lead Belly Fest in June. At this juncture, a less passionate artist might cool their heels and count their royalties. No chance. Saviour of the British blues scene is not a position for part-timers, and in 2015, Laurence is back with his stunning third album, What's It Gonna Be.

The three works gathered here date from Sergei Prokofiev's last years. Despite his declining health as well as the oppressive political climate, the composer could count on the support of great musicians, in particular the cellist Mstislav Rostropovitch. The relationship contributed to the writing of works for cello. The first was the Symphony-Concerto, an improved reworking of a much earlier cello concerto.

Cherubini's C minor Requiem, full of drama and austere beauty, is a masterpiece of 19th-century choral and church music. Although famous for his operas, Cherubini did not include vocal solos in the work (nor in the D minor Requiem for male chorus composed in his later years). The opening Kyrie is swathed in soft mystery, the Domine Jesu and the Offertory's final Amen have sturdy rhythmic underpinnings, and the Requiem's finale features a closing diminuendo as powerful as it is surprising. Cherubini opens the Dies Irae with a stupendous tam-tam crash, shocking to its first audiences and still packing a wallop, especially as captured by Telarc's engineers.

Smetana holds an important place in the development of musical nationalism in his native Bohemia, where he was born in 1824, the son of a master brewer in the service of Count Waldstein and others. His career was interrupted by a period of self-imposed exile in Sweden after the political disappointments that followed the turmoil of 1848. He was instrumental in the establishment of Czech national opera and a Czech national style, in particular in his symphonic poems. He was deaf in later life but continued to compose, an autobiographical element appearing in his string quartets.

29-song set. “Backstreets” is dedicated to journalist Charles Cross, founder of Backstreets Magazine, who passed away on August 9th. Joe Grushecky and Johnny Grushecky (backing vocal, acoustic guitar) guest on “Twist and Shout.” “If I Was the Priest” and “I’m on Fire” return to the set. Four songs from 2020’s Letter To You: “Ghosts,” “Letter To You,” “Last Man Standing” and “I’ll See You in My Dreams”. “Last Man Standing” features a new arrangement. “I’ll See You In My Dreams” is performed solo acoustic to end the show. One song from 2022’s Only the Strong Survive: “Nightshift” (written by Franne Golde, Dennis Lambert and Walter Orange, popularized by The Commodores). Concert stalwarts like “Because The Night,” “Dancing in the Dark,” and “Tenth Avenue Freeze-Out” are performed in tighter, shorter versions. “Thunder Road” is the main-set closer.

Canadian pianist Stewart Goodyear, in a seminal year approaching his debut at the BBC proms, presents his new album of works by Sergei Prokofiev, alongside the BBC Symphony Orchestra under Andrew Litton. Proclaimed "a phenomenon" by the Los Angeles Times and "one of the best pianists of his generation" by the Philadelphia Inquirer, Stewart Goodyear has carved out a formidable international reputation as both concert pianist and composer, with an impressive catalogue of recorded repertoire to date.

This new album of two piano quartets by Johannes Brahms (1833-1897) consists of pianist Lars Vogt's last recordings. Before his premature death and between treatments, Lars Vogt was able to record a multi-award-winning album of piano chamber music works by Schubert together with Christian Tetzlaff and Tanja Tetzlaff, as well as albums of Mozart's and Mendelssohn's piano concertos. However, a project to record Brahms' complete piano quartets was left unfinished after the studio recording of Piano Quartet No. 2 was completed. With the help of recording producer Christoph Franke, we are now able to offer this recording together with Piano Quartet No. 3 from a live concert performance in connection with the studio recording. Combined, these make up Lars Vogt's last recordings. Violinist Christian Tetzlaff, violist Barbara Buntrock and cellist Tanja Tetzlaff offer stellar performances in these landmark recordings and fulfill Lars Vogt's late wish to have these performances released.

In September 2024, the music world celebrates the 200th anniversary of Anton Bruckner’s birth in 1824. To coincide with the anniversary itself, and following the release of Bruckner’s Ninth earlier in 2024, Accentus Music releases this new recording of Bruckner’s Symphony No. 2 with the Bamberg Symphony, this time under the musical direction of their conductor laureate Christoph Eschenbach. Composed in a rather restless and pessimistic state of mind, Bruckner’s Second oscillates between heartfelt prayers, desperate outbursts, helpless silence, and ecstatic dance scenes.

The title is a bit of a misnomer; this double CD only includes the complete sessions that the Animals recorded with producer Mickie Most in 1964 and 1965. The 40 songs capture the band at their peak, including most of their best and biggest hits: "House of the Rising Sun," "Don't Let Me Be Misunderstood," "Bring It on Home to Me," "We Gotta Get Out of This Place," "I'm Crying," "It's My Life," and "Boom Boom." Most of the rest of the tunes don't match the excellence of these smashes, though they're solid. The great majority of them are covers of vintage R&B/rock tunes by Chuck Berry, Fats Domino, and the like, which aren't quite as durable as reinterpretations from the same era by the Stones and Yardbirds.