Beck, Bogert & Appice is the eponymous debut album by the 1970s band Beck, Bogert & Appice. They were a supergroup and power trio, with the line up of guitarist Jeff Beck (who had already been a member of The Yardbirds and The Jeff Beck Group), bassist Tim Bogert, and drummer Carmine Appice (both formerly members of Vanilla Fudge and Cactus). The album had solid sales in 1973. One of the most notable tracks is Beck's version of the famous song of Stevie Wonder's and his creation: "Superstition". This was the band's only studio album, as Beck left the band without warning during the recording of their second album, forcing a sudden dissolution in 1974.

Following 2004's Rancho Texicano: The Very Best of ZZ Top by a decade, The Very Baddest of ZZ Top comes in two different styles: a single-disc compilation with 20 tracks and a set that doubles it. The single disc is good, racking up most of the MTV-era hits – "Gimme All Your Lovin," "Sharp Dressed Man," "Legs," "Got Me Under Pressure," "Rough Boy," "Velcro Fly" – while doubling back for "La Grange, "Tush," "I Thank You," "Waitin' for the Bus," "Jesus Just Left Chicago," "I'm Bad, I'm Nationwide," and "Cheap Sunglasses."

L'Enlèvement du Sérail (French Version) avec Florie Valiquette, qui inclut aussi la participation de Gaétan Jarry et l'Orchestre de l'Opéra Royal, est un enregistrement vocal de l'œuvre de Mozart.

Her musical talent was recognized early on by world-renowned Russian violinist and pedagogue Zakhar Bron. He accepted her into his class at the Lübeck Academy of Music. Then she was invited by the famous Russian violin virtuoso Igor Oistrakh to his newly founded master class at the Royal Conservatory in Brussels, where she completed her concert exam with great distinction.

Arising from a passion shared with his father, Luis Fernando Pérez is inviting you to explore his ‘encores’, the little pearls he only reveals to the audience at his concerts. This album, recorded in a single session, combines masterpieces with rare items, paying tribute to those like his father who supported and inspired him from the very start.

Newly arrived in Paris, where he meets again his ex-pupil Marie-Antoinette, Gluck decides to court the Parisian public by revising one of his great Viennese successes: Orfeo ed Euridice. More than a simple adaptation to the French language and taste, his Orphée et Eurydice proves to be an out-and-out aesthetic revolution. This operatic wind of change has been recaptured for us to rediscover by Paul Agnew, Les Arts Florissants and three exceptional soloists.

Sources inconnues was born from these (non-exhaustive) questions. A piece from Jean-Yves Labat de Rossi’s album En Voyage —musician known as Mr. Frog and cofounder of the Ad Vitam records label— lent its name to this musical recollection. Is this yet another concept album gathering random pieces that have nothing to do with each other merely adorned with a clever, enigmatic title and a misleading premise, all in an attempt to dress itself up in pseudo-intellectualism and wrap the whole thing in a trendy, marketable theme? Reader, listener, trust me.

Two CDs. First-ever complete anthology of hugely collectable early 70s Italian psych/folk/prog band. Heavily influenced by early Jefferson Airplane with lead female vocals and English language lyrics. Fronted by Grace Slick-influenced singer Silvana Aliotta, Circus 2000 formed in Turin, north Italy in late 1969 in an attempt to emulate their British and American psychedelic heroes. They made their vinyl debut a year later with a self-titled album featuring such superb, quasi-mystical songs as 'Magic Bean', 'The Lord, He Has No Hands' and the dramatic 'I Am The Witch'. But the band struggled to find an audience, their guitar-led, song-based nature and English language vocals leaving them out of step with the complex, keyboard-based Italian progressive scene flourishing all around them. After developing a more improvisational, underground-friendly sound on the thriving Italian festival circuit, they returned with a second album, 'An Escape From A Box'. Now regarded by European psychedelic collectors as their masterpiece, this five-track album welded their original Jefferson Airplane leanings with expansive Pink Floyd-esque arrangements that peaked on Side Two with the epic 'Need' and the spooked, climactic closer 'When The Sun Refuses To Shine'. Unable to make a commercial impact, the band broke up shortly afterwards, and it would be a couple of decades before Circus 2000's music began to receive the attention that it deserved.

RossoPorpora made its Arcana debut with an album dedicated to Luca Marenzio, which received widespread critical acclaim, including the German Record Critics' Award, Classic Voice’s Disc of the Month, a Diapason rating of 5, and five-star reviews from Musica and Amadeus. It was described as “magnificent” by Early Music Review and hailed as “a desert island disc” by Forum Opéra. Now, with its second album, the ensemble turns to one of the cornerstones of 17th-century music: Claudio Monteverdi’s Sixth Book of Madrigals. In a deeply immersive exploration of the composer’s inner world during his final years in Mantua, RossoPorpora delivers a profoundly moving interpretation of the many masterpieces contained in the collection—Lamento d’Arianna, Lagrime d’Amante sul sepolcro dell’Amata, Zefiro torna, Oimè ’l bel viso, Qui rise o Tirsi—which together mark one of the highest achievements in the history of the madrigal.

Urban Jazz Grooves - Smooth Sounds For The City.

Elena Firsova and Dmitri Smirnov formed an extraordinary composing couple who spent almost half a century of creative life together as wife and husband. They met and fell in love while studying at the Moscow Conservatoire, and from the start, they shared a passion for the arts and the world around them. As young composers, Smirnov and Firsova’s music was heard in “unofficial” concerts outside the USSR, away from the judgmental ears of the Union of Soviet Composers.

FLEETWOOD MAC comes with Dolby Atmos, 5.1, and Stereo mixes. Recently certified 9X Platinum, the band's first album to include Stevie Nicks and Lindsey Buckingham includes the hits “Landslide," "Say You Love Me," "Rhiannon" & More.

The Hobbit is a 1977 American animated musical television special created by Rankin/Bass and animated by Topcraft. The film is an adaptation of the 1937 book of the same name by J. R. R. Tolkien; it was first broadcast on NBC in the United States on Sunday, November 27, 1977. The teleplay won a Peabody Award; the film received a Christopher Award. The New York Times found the film "curiously eclectic", but felt that whatever its failings, it warranted attention. The Tolkien scholar Douglas A. Anderson called the adaptation "execrable"; the author Baird Searles called it an "abomination" and an attempt that had "failed miserably", regretting the quality of the animation and of the soundtrack, and the omission of key plot points.

In September 2025 Fretwork return with an album of works for Viol by the John Jenkins. Jenkins was a highly active and productive composer who lived through a period of significant transformation in English music, with his lifetime spanning from the era of William Byrd to that of Henry Purcell. He is particularly known for his contributions to the viol consort fantasia, drawing inspiration in the 1630s from a previous generation of English composers such as Alfonso Ferrabosco the Younger, Thomas Lupo, and Orlando Gibbons. His work is distinguished by its rich lyricism, exceptional craftsmanship, and a unique approach to tonality and counterpoint.

Mozart died barely 11 months after completing his final piano concerto, No. 27, in January 1791. It’s one of the composer’s most serene concertos, full of wit and beauty, with a piano part that eschews technical difficulty for songlike elegance. Whether, as has been suggested over the years, the piece contains hints of a man resigned to his fate, doesn’t matter. Mozart was at the height of his inventive powers, and the piece is treated here to a performance of lightness and grace by a team of musicians determined never to overstate and risk romanticizing Mozart’s sublime utterings. Even when Mozart veers into minor-key territory, the storm clouds dissipate almost as soon as they gather. Franz Welser-Möst is a master at navigating these mood changes, coaxing exquisite subtleties of phrasing from his Cleveland forces, both stepping aside for and complementing Garrick Ohlsson’s honest playing, itself devoid of histrionics.