Willie's Niles 4th full length release "Beautiful Wreck Of A World" was received as one of his most heralded efforts upon its release in 1999. The follow up to his "Hard Times In America" on Columbia, it marked a return for the NYC songwriter/rocker after a 7 year recording hiatus from the majors as he started a new chapter in his career with the founding of his own imprint River House Records. Willie's brand of urban Americana received high praise from critics as well as fellow artists, with Bono calling it 'A Classic' and Lucinda Williams assertion that 'On The Road To Calvary' is one of the most beautiful songs I have ever heard. Uncut wrote that his "majestic "On The Road to Calvary (For Jeff Buckley)" is soul music of the deepest order". Rereleased remastered version with bonus track.

Following his Rossini recital (Alpha 791), Florian Sempey shares another of his passions: his enthusiasm for the world of knights and medieval narrative. For him, "a mysterious force emanates from castles and other antique buildings; their ancient stones have always fascinated me." Ferrum Splendidum (the Latin for 'Resplendent Metal') recalls the singer's ancestors, who were blacksmiths in the Perigord region. Though not following in that family tradition, Sempey concentrated instead on forging and moulding the metal of his brilliant baritone voice. Now a much sought-after opera soloist at the height of his art, he has devised a programme ranging widely through different heroic characters and operas, including Gretry's Richard the Lionheart, Hamlet by Ambroise Thomas, Meyerbeer's Le Pardon de Ploermel, as well as Tchaikovsky's opera The Enchantress, Wagner's Tannhauser, extracts from Carl Orff's famous neo-medieval cantata Carmina Burana, and even the premiere recording of a piece by Romain Dumas, Le Chevalier d'Eon, composed in 2019. Once again Florian teams up with the Orchestre National Bordeaux Aquitaine and its young maestro Victor Jacob, who was named a 'Revelation' in the conductor category at the 2023 Victoires de la musique awards.

Classic rock giants, The Guess Who, are back with their first new studio album in over 20 years! Features what could be the most rokin’ line-up of the band since its ’60s heyday, anchored by original GW drummer Garry Peterson along with vocalist Derek Sharp, superstar bassist Rudy Sarzo (Quiet Riot/Ozzy), guitarist Will Evankovich, and multi-instrumentalist Leonard Shaw! Fans have been rocking out with this line-up since 2008, and the band has plans to keep those audiences on their feet with a heavy touring schedule starting in mid September and carrying through the end of 2018! Release date - september 14, 2018.

The best British folk-rock band of the late '60s, Fairport Convention did more than any other act to develop a truly British variation on the folk-rock prototype by drawing upon traditional material and styles indigenous to the British Isles. While the revved-up renditions of traditional British folk tunes drew the most critical attention, the group members were also (at least at the outset) talented songwriters as well as interpreters. They were comfortable with conventional harmony-based folk-rock as well as tunes that drew upon more explicitly traditional sources, and boasted some of the best singers and instrumentalists of the day.

This Is Acting is the seventh studio album by Australian singer-songwriter Sia. It was released on 29 January 2016 by Inertia, Monkey Puzzle and RCA. The album was preceded by the release of the lead single, "Alive" on 24 September 2015. The album is mainly an electropop album with soul influences. The album is composed of songs written by Sia that were rejected by other artists, such as Adele and Rihanna. The album received generally positive reviews from music critics, who complimented the bold production and Sia’s vocals. However, it received criticisms for the fact that the songs were not very personal and the messages of the songs could be taken in different ways.

There is power in the written word. The words we say often go unremembered, spilling out into our world and never reaching another’s ear. When words are important enough to write, they gain the power of history. When words are important enough to sing, they gain the power of humanity.

Harmonia mundi is proud to welcome the exceptional countertenor Carlo Vistoli as a new exclusive artist. Here he joins the Akademie für Alte Musik Berlin to explore some of Vivaldi’s finest sacred music. Alongside the famous Nisi Dominus and Stabat Mater, the quasi-operatic motet In furore shows the extravert, theatrical side of Vivaldi’s genius, for the purposes of edification, to be sure, but also for our greater delight.

Joining forces again for their second album on Signum Classics, duo Julian Bliss, clarinet and ames Baillieu, piano perform works by composer giants Clara & Robert Schumann. Many of the tracks on this recording are new arrangements by Bliss himself, and world premiere recordings.

Past and present unite as E Street Band members and special guests drop in on Bruce and the 1992-93 band at the penultimate show of the Human Touch/Lucky Town tour. A stirring 35-song set opens with a mini acoustic set and rolls on through key tracks from both albums plus a few rarities (“Satan’s Jeweled Crown”) before wrapping with an epic, 11-song encore extravaganza featuring Southside Johnny, Joe Ely, Little Steven, Max Weinberg, Soozie Tyrell, the Miami Horns and the Big Man himself.

One of the less essential '60s albums by the Hollies, whose capabilities were arguably stretched by the two-album-a-year-pace-in-addition-to-three-hit-singles model established by the Beatles during this time. Their version of Paul Simon's "I Am a Rock" is nice, but the soul and early rock covers of Sam & Dave, Otis Redding, and Chuck Berry are pretty dispensable; the Hollies were not the Stones or the Animals, lacking their soul and interpretative imagination. Some of the originals are pretty ho-hum too (including the pathetic "Fifi the Flea," which was covered by the Everly Brothers). But every Hollies album of the '60s has some strong overlooked tracks. On this one, they're the surprisingly tough folk-rockers "Hard, Hard Year" and "I've Got a Way of My Own." The ultra-catchy "Don't You Even Care," written by Clint Ballard, Jr. (also responsible for their number one British hit "I'm Alive," as well as "The Game of Love" and "You're No Good"), is the real obscure gem here and could have well been a hit under its own steam…

All but one of these 19 tracks were recorded in December, 1964, as Paul Butterfield Blues Band's projected first LP; the results were scrapped and replaced by their official self-titled debut, cut a few months later. With both Michael Bloomfield and Elvin Bishop already in tow, these sessions rank among the earliest blues-rock ever laid down. Extremely similar in feel to the first album, it's perhaps a bit rawer in production and performance, but not appreciably worse or different than what ended up on the actual debut LP. Dedicated primarily to electric Chicago blues standards, Butterfield fans will find this well worth acquiring, as most of the selections were never officially recorded by the first lineup (although different renditions of five tracks showed up on the first album and the What's Shakin' compilation).

After Alec Frank-Gemmill's critically acclaimed recordings of nineteenth-century works for horn and piano, chamber music by Brahms and pre-Mozart horn concertos, a version of Mozart's famous horn concertos from him has been eagerly awaited. As on his disc of concertante works, he is accompanied here by the Swedish Chamber Orchestra conducted by an expert in 18th-century style, Nicholas McGegan.

Charlie Byrd's second album as a leader features the acoustic guitarist in a trio with bassist Keeter Betts and drummer Gus Johnson. One side of this LP finds the trio interpreting four swing-era standards (including "Blues My Naughty Sweetie Gave to Me" and "Jive at Five") while the flip side consists of the three-part suite "Blues for Night People." Listeners only familiar with Byrd's bossa-nova performances may find this early recording (which predates the emergence of Jobim) a bit of a surprise although the lyrical guitarist is easily recognizable.

Quasar Lux Symphoniae performs a refined music with elaborated and successful arrangements and subtle melodic inspiration in the compositions. The Dead Dream is the first lysergic trip of Quasar L.S. (before Lux Symphoniae's majestic works), originally dated 1977, recorded again in 1995 because the original tapes were lost, with absolute respect of the original recordings. A psychedelic pearl in a concept album. A visionary and dramatic story too. Not only the psychodrama of Roxy, maybe a soundtrack and an epitaph for the death of the lysergic and hippy dream.

This recording contains two compostions by Welsh composer Matthew Owain Jones, String Quartet No 1, 'Deletia' and Wind Quintet along with his arrangement of nine movements from Carl Nielsen's ballet Aladdin, Op 63 for chamber ensemble.All three works on this album are premiere recordings and performed by Denmark's leading chamber ensemble Ensemble MidtVest.Jones is widely regarded as a unique, visionary musician and educator. Alongside composition, Jones is one of the leading violists and violinists of his time, recording 25 solo and chamber albums to date, premiering numerous concertos and commissioning dozens of works.