„Abstract Emotions" is a reflection of the struggles and complexities I’ve faced over the past year. It’s been a time of loss, overwhelming feelings and confusion followed – feelings that often seemed impossible to articulate. With words, we attempt to define our common human experience, but words can never truly capture the depth of what we feel. We may have to accept that others will never truly understand our journey, and that we in turn may never fully understand theirs.

Queen epitomize all the glittery excess of album-oriented rock in the 1970s, marrying the crunch of heavy metal to the pomp of prog rock then leavening the heady mixture with camp humor. It's an eccentric blend that proves to be surprisingly versatile, allowing for the mock-operatic "Bohemian Rhapsody," soaring arena rock like "Somebody to Love," thumping rockers like "Fat Bottomed Girls," the neo-rockabilly "Crazy Little Thing Called Love," and the disco excursion "Another One Bites the Dust." Queen's range proves that they were a deceptively egalitarian band: they're the only classic rock group where each member wrote at least one of the group's signature songs.

Daniel Hope Described at one time in his publicity materials as "the British violinist," as if he were the only one, Daniel Hope is at least the most versatile British violinist of the early 21st century. An advocate of contemporary music, he has also performed Beethoven and Schumann with the period-instrument ensemble Concerto Köln, recorded music inspired by Indian classical composer/performer Ravi Shankar, partnered with actor Klaus Maria Brandauer in conceptual projects involving music and the spoken word, and recorded a pair of successful albums that use the familiar music of Antonio Vivaldi as a starting point for further creative activity.

Wilhelm Furtwängler was born in Schöneberg (now a district of Berlin) in 1886, but spent most of his childhood in Munich, where his father, an archaeologist, taught at the university. He received a musical education from an early age, and soon became obsessed with the works of Beethoven – a lifelong fascination. Furtwängler considered himself to be a composer, and learned to conduct principally to be able to promote his own works. Everyone else saw him as an incredibly talented conductor, but as a composer? – not so much. It is, however, his own individual approach that underscores his entire career – his reputation as a conductor was built on the re-interpretation of each score he conducted, a principle far removed from the then more usual rigid adherence to performance tradition. His whole career was built on his belief in the sanctity of the German artistic tradition – not only of music but of literature and philosophy.

Recommended to fans of heavy rock, avant-garde improvisation, free jazz, and death metal. Guitarist Ava Mendoza, violinist Gabby Fluke-Mogul, and drummer Carolina Pérez release their debut album, Mama Killa, named for the Inca goddess of the moon. Mama Killa offers eight tracks of high-volume, riff-based guitar-violin improvisation bolstered by thunderous drumming. Working together for the first time, these three musicians have created a record that blends country, blues, and psychedelic rock with blast beats and the heaviness of black, death and doom metal, wrapping it all in feedback, distortion and pure whomping power.

Mozart provided a steady output of Masses during his time at the court in Salzburg. The fine Missa brevis in G major was composed in 1768 when Mozart was just twelve years old. The theatrical and inventive ‘Credo’ Mass in C major, from 1776, is regarded as one of Mozart’s finest achievements from this period. The profound key of D minor for the Missa brevis, K65, reflects its use at a 40-hour vigil, while the affectionate nickname ‘Spatzenmesse’ (‘Sparrow Mass’) for the Missa brevis in C major refers to the chirping nature of the Sanctus.

The album features David Bowie's live performances recorded for the BBC between 1967 and 1972.

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990, a period where they survived the departure of key band members while also subtly adapting to changing times. That's not an easy task for any rock band and it's especially difficult for a group like Chicago, a band that placed equal (if not greater) emphasis on horns as guitar. Picking up where Blood, Sweat & Tears left off, Chicago initially specialized in jazz-inflected prog-rock, using the sides of a vinyl record as canvasses for sprawling, adventurous rock. Chicago quickly learned how to channel this expansive sound into concise pop songs, scoring hits in the early 1970s with such punchy tunes as "25 or 6 to 4" and "Beginnings," while also showing facility with sweeter melodies on "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the decade progressed, the band began to emphasize their softer side with bassist Peter Cetera singing such mellow standards as "If You Leave Me Now," "Baby, What a Big Surprise" and "Hard to Say I'm Sorry." The band stayed in this lane after Cetera's departure in the mid-1980s, not missing a beat with new lead vocalist BIll Champlin; he sang the number one hit "Look Away," as well as "I Don't Wanna Live Without Your Love" and "Look Away." Hits dried up in the 1990s but Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow leading a rotating cast of supporting members through regular tours and albums.

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990, a period where they survived the departure of key band members while also subtly adapting to changing times. That's not an easy task for any rock band and it's especially difficult for a group like Chicago, a band that placed equal (if not greater) emphasis on horns as guitar. Picking up where Blood, Sweat & Tears left off, Chicago initially specialized in jazz-inflected prog-rock, using the sides of a vinyl record as canvasses for sprawling, adventurous rock. Chicago quickly learned how to channel this expansive sound into concise pop songs, scoring hits in the early 1970s with such punchy tunes as "25 or 6 to 4" and "Beginnings," while also showing facility with sweeter melodies on "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the decade progressed, the band began to emphasize their softer side with bassist Peter Cetera singing such mellow standards as "If You Leave Me Now," "Baby, What a Big Surprise" and "Hard to Say I'm Sorry." The band stayed in this lane after Cetera's departure in the mid-1980s, not missing a beat with new lead vocalist BIll Champlin; he sang the number one hit "Look Away," as well as "I Don't Wanna Live Without Your Love" and "Look Away." Hits dried up in the 1990s but Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow leading a rotating cast of supporting members through regular tours and albums.

Most tracks unavailable for decades. Includes some of the most influential reggae recordings of the early 70s. Complements previous Perry-themed Doctor Bird collections. Featuring numerous tracks unavailable on any format for decades, this compelling 2CD set not only provides a fascinating insight into Lee 'Scratch' Perry's musical adventures during a transformative period in Jamaican musical history, it is also a must for all fans of the classic reggae sound.

Joan Baez's album If I Wrote You: Favorite Songs By Some Of My Favorite Songwriters is a collection of songs by artists she admires, showcasing her ability to interpret and breathe new life into their work.

Matmos’ singular compositional approach resembles the creation of sculpture. The incredibly detailed pieces that make up each album are created with carefully selected sounds that adhere to a specific conceptual framework. The duo, composed of Drew Daniel and M.C. Schmidt, makes music that defies both category and expectation, shattering notions of what electronic music is by questioning what else it could be. In the case of Metallic Life Review, what may be possible with the sound that metal objects make? By ignoring the categorical genre constraints associated with terms like found sound, music concrète, techno, glitch and, yes, “metal” and pushing into new territory, Matmos’s approach answers this question with gleeful abandon. Underpinning their adventurous and inquisitive spirits is a sense of real feeling, never shying from the difficult and unsettling moments, but embracing the breadth of human experiences that live in communication with the constraints of each project.

From the Italian Irma label comes the first volume of nu-school acid jazz, including highlight tracks like "Tokio Station" by Ohm Guru, "Spread Your Sax" by 2 Men 4 Soul, "I'm Gonna Love You" by Jestofunk, and "4 Steps" by DJ Rodriguez.

Nassau Coliseum New York 20th May 1977. CHICAGO S FINAL PERFORMANCE WITH GUITAR LEGEND TERRY KATH NASSAU COLISEUM, 1977 Until his untimely death on January 23rd 1978, eight months after the concert featured on this 2 CD set, Terry Kath had been Chicago s lead guitarist, having been with the band since their formation as Chicago Transit Authority, in 1967. Jimi Hendrix once told saxophonist Walter Parazaider, "Jeez, your horn players are like one set of lungs and your guitar player is better than me." Kath had to play both lead and rhythm with Chicago, in addition to singing on certain tracks, and make it sound as strong and powerful in front of Chicago s prominent horn section. In this, he did exceedingly well. This show opens with Kath s Mississippi Delta City Blues , originally found on Chicago XI. The show was performed on May 20, 1977 at The Nassau Coliseum on Long Island. At the time up and coming super-reporter Geraldo Rivera hosted an annual charity raising event entitled The One to One Telethon , to raise money to update and/or eradicate the gloomy insane asylums that were mistreating mentally challenged individuals in NYC back then. 1977 s One to One Telethon featured this concert by Chicago. Two sets with a break in the middle. The concert was broadcast live on FM radio - WLIR 92.7 in the greater New York area.

Unpublished Songs & Alternative Versions 1967 - 70.