Director Alexander Janiczek proves the perfect choice to direct the music of his fellow Austrian as he delivers a superb performance in this, his second, recording with the Scottish Chamber Orchestra.

Norwegian metal avant-gardists ENSLAVED will release a new EP, "Caravan To The Outer Worlds", on October 1 via Nuclear Blast. According to a press release, the four-song effort "is a tale of departure, of leaving behind a barren and desolate world, travelling boldly into the future." The "Caravans To The Outer Worlds" EP contains neck-breaking riffage that points backwards to the raw beginnings of ENSLAVED — the title track marking an explosive lift-off with melodic breakaways and proggy slingshots onto new orbits, while the ominous "Ruun II: The Epitaph" takes a somber dive into the murky and mysterious ocean of stars beyond the known. These two main pieces are framed by two intermezzos: "Intermezzo I: Lönnlig. Gudlig." and "Intermezzo II: The Navigator", wrapping up the main stories with respectively what came before and what is to come.

The Coasters were one of the few artists in rock history to successfully straddle the line between music and comedy. Their undeniably funny lyrics and on-stage antics might have suggested a simple troupe of clowns, but Coasters records were no mere novelties – their material, supplied by the legendary team of Jerry Leiber and Mike Stoller, was too witty, their arrangements too well-crafted, and the group itself too musically proficient. That engaging and infectious combination made them one of the most popular early R&B/rock & roll acts, as well as one of the most consistently entertaining doo wop/vocal groups of all time. The Coasters grew out of a successful Los Angeles doo wop group called the Robins, which had been recording since 1949 and working with Leiber & Stoller since 1953.

« On a rejoint l’estuaire/Et bravé les sanglots/Du ciel et ses colères/On a eu peur on a eu chaud. » La chanson « Le Bleu de la Mer Noire » ouvre le cinquantième album studio de Sylvie Vartan et donne le ton. Un album qui se compose de quatorze titres, très cohérents, aux textes puissants et à la nostalgie discrète, élégante et assumée.
Des thèmes personnels comme le retour à l’enfance, l’amour ou encore, l’abandon sont présents dans cet opus. D’après Sylvie, « “Le Bleu de la Mer Noire”, c’est une façon poétique d’aborder le thème de l’exil, l’image est très forte. C’est un peu mon histoire.Léonard Lasry, Joseph d’Anvers et Clara Luciani font alors leur entrée en scène comme auteurs/compositeurs. Tous les trois travaillent pour la première fois avec Sylvie. Un album dont l’unité est remarquable avec des arrangements de grande qualité orchestrés par l’ami Philippe Russo. « Je crois que cet album est vraiment l’un de mes meilleurs, résume Sylvie. Tout est cohérent et chaque chanson me correspond ».
Une cohérence musicale que Sylvie célébrera également sur scène pour ses soixante ans de carrière en octobre 2021. Un spectacle sous le regard de son fidèle public à qui elle dira merci, forcément…

After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion…

Don Ellis' Connection, issued in 1972, was a brazen attempt at swinging for the chart fences. Most of the tunes selected come right from the pop vernacular of the day. They range from a barnburning read of Andrew Lloyd Webber and Tim Rice's theme for "Jesus Christ Superstar" and a dirty funk approach to Carole King's "I Feel the Earth Move" to a provocative and spacy cover of Procol Harum's "Conquistador" that feels like the horn chart for Chicago's "25 or 6 to 4" wedded to Mason Williams' "Classical Gas" trumped by Stan Kenton in the mid-'50s. While the description may read atrociously, sonically and aesthetically the set comes off far better. Ellis incorporated inventive, in-your-face, swaggering arrangements into his hearing and execution of pop's possibilities in the jazz world of the early '70s…

Anna Clyne’s Masquerade was first heard at the 2013 Last Night of the Proms and, since then, a snippet has become familiar in Proms adverts across the BBC. Wildly exuberant, the piece suited its celebratory purpose to a T – and its live recording does likewise in opening this album of show-stopping orchestral works, written over a ten-year period.

Formed by ex-patriate Brit and ex-Kinks bassist Peter Quaife and ex-Just Us bassist Stan Endersby who met while Endersby was in England in 1968. Maple Oak was a collaborative Canadian/UK hybrid that took six months to come to fruition with Endersby and Martin Fisher (ex-Flying Circus/Olivus/Bobby Kris & The Imperials) going to England to team up with Quaife in April 1969. The band was revealed to the world in the centre spread of NME on 3rd April, shocking the members of Quaife's former band The Kinks.
They embarked on a tour of Denmark during May 1969 but after the tour Cook left and Fisher brought in fellow Canadian and former bandmate MacBain (ex-Flying Circus/Olivus/Bobby Kris & The Imperials) as a replacement…

An intriguing re-creation of how Mozart’s large-scale orchestral works might have been encountered in Georgian Britain, realized by the kind of ensemble which played such a prominent role in its musical life.

Kaija Saariaho (b. 1952) is among the most prominent names in contemporary music scene today. This new album by the Finnish Radio Symphony Orchestra conducted by Hannu Lintu includes world première recordings of three works by Saariaho featuring bass-baritone Gerald Finley and harpist Xavier de Maistre as soloists. True Fire is a six-movement song cycle that was written to a commission from the Los Angeles Philharmonic, the NDR Symphony Orchestra, the BBC Symphony Orchestra and the Orchestre National de France, for baritone Gerald Finley with an original idea to explore the scope of the baritone voice. The texts conclusively determined what the vocal expression would be like and how the details in the musical material would shape up.

Maurice Jarre wrote the central musical motif of his score for Doctor Zhivago, "Lara's Theme," in a few minutes in a hotel, amid a frantic five-week rush to score the 197-minute movie. That theme made the Doctor Zhivago soundtrack album one of the biggest selling soundtrack of the 1960s, a considerable feat when one reckons in the competition from A Hard Day's Night, Never on Sunday, A Man and a Woman, Exodus, and 2001: A Space Odyssey. The rest of Jarre's score is more in the realm of lushly textured Russian-themed mood music, filled with dark male choruses, folk and folk-like themes, and dense orchestrations, sort of faux-Tchaikovsky. The stereo separation is used to good effect, and the music as a whole forms a kind of romantic/exotic travelogue as much as a dramatic sketch of the movie's action.

"Described as an Opera-Ballet in four Acts, Les Indes Galantes was Rameau's biggest stage success in his own lifetime, and one can understand why from this spectacular production, staged at the Paris Opéra in 2004. The director, Andrei Serban, presents the piece with the sort of lavish effects and movement that would have delighted 18th-century audiences…Outstanding among the soloists are Nathan Berg as Huascar…Anna Maria Panzarella as Emilie and Paul Agnew as Valere, with Joao Fernandez memorably in drag as Bellone. The final curtain brings an exuberant encore after the credits, with Christie hilariously joining in the dance.

I Heard That!! is a 1976 album from Quincy Jones. The album was released as a double album by A&M, a combination of newly-recorded material from the album plus previously-released songs that he released through A&M.

$ (also titled Dollar$) is the 1972 soundtrack album by Quincy Jones. Originally released on Reprise, it features vocal contributions from Little Richard and Roberta Flack in a few songs. A few of the songs featured have been sampled in hip-hop songs, well known and little known. This is taken from a French CD pressing released in 2001.

The Lost Man is the 1969 original soundtrack album to the film, put together by Quincy Jones. Released by the Uni label, Jones is assisted on the album by Ernestine Anderson, Venetta Fields, Geraldine Jones, The Mirettes, and many more.