Discothèque is the eleventh studio album by Australian singer Marcia Hines, released in Australia on 30 September 2006.

Signed to Mushroom Records, Deni spent 9 months recording for her debut release in the UK with writer/producer Ian Green. The first single from the album, “Its Alright” smashed into the charts at #4, ensuring her first solo hit with a platinum award. Further hit singles including “I Like the Way”& “Joy” solidified Deni as a solo star in her own right, and Deni deservedly received an ARIA (Australian Recording Industry Association) Award for Best Australian Debut Performance. The album went on to sell over 300,000 in Japan alone, while the UK release (re-titled to “Pay Attention”) result in yet more hit singles and saw her tour with Earth Wind & Fire, Chaka Khan and the Lighthouse Family.

To open the Met’s 2017–18 season, powerhouse soprano Sondra Radvanovsky tackled one of opera’s most fearsome roles, the title druid priestess of Bellini’s Norma, who wrestles with love and betrayal before making the ultimate sacrifice on a funeral pyre. Mezzo-soprano Joyce DiDonato sang Norma’s friend and rival, Adalgisa, in Sir David McVicar’s evocative production.

Duncan Browne - Give Me Take You (1968) {Immediate–Castle Music CMRCD057 rel 2000}
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© 1968, 2000 Immediate / Castle Music | CMRCD 057
Rock / Folk / Folk Rock / Baroque Pop / Prog Rock / British Folk Rock

Duncan Browne's melancholy first album, Give Me Take You – released on music impresario Andrew Loog Oldham's Immediate label in August of 1968 – is one wonderfully tender album. Many who only discovered it well after its original release compare its dulcet introspective tone to Nick Drake's albums. It does fall into a similar English folk vein, though Browne's arrangements are, on the whole, more Baroque, giving the album a semi-classical, regal feel. Browne charted his own classical arrangements and wrote out vocal charts for a choir, but turned to his art school friend David Bretton for song lyrics.

Obsidian… dark, reflective and black: it’s a pretty decent description of the music that PARADISE LOST have been making over the last 32 years, even though this most resilient of British metal bands have stoically refused to be pinned down to one easily defined formula. Powered by a lust for creativity and a stout devotion to haunting heaviness, PARADISE LOST have defied the odds by coming back stronger than ever over the past decade.

Comprising seven songs in a taut 'n' tight 44 minutes, Absentia bursts into being with a brilliance that's blanching to behold. Undeniably emotional as ever, it's immediately apparent, however, that Blaze of Sorrow are operating on a different wavelength on Absentia. Their windswept, cascading black metal is undoubtedly melancholic at heart - their moniker was well chosen, after all - but the range of textures and sensations across this sixth album encompass a far broader spectrum than most usually associated with "black metal." Laced within the deepest heart of Absentia is an aching nostalgia, a bittersweet wistfulness, and even rays of hope: doomed they may be, but delivered with an indeed-blazing passion that puts Blaze of Sorrow into a rarefied field…

Better known as a big band and session player, tenor saxophonist and bass clarinetist Bob Mintzer expanded his playing and his repertoire on this '90 quartet date. Working with guitarist John Abercrombie, bassist Marc Johnson, and drummer Peter Erskine, Mintzer moved into more probing, unpredictable, and challenging areas and played with more fire and conviction. Abercrombie, Johnson, and Erskine each fulfilled their reputations; the results were both enlightening and surprising.

Twilight Fauna is a folk/atmospheric black metal band devoted to telling the stories of Appalachia.

John Patitucci has quickly developed into one of the world's great bassists, both on acoustic and electric. He is not on the same level as a composer, but is steadily improving, as witnessed by the music on this fine release. There are many bass solos as one would expect (Patitucci's high-note flights often sound like a guitar), but he does leave space for his sidemen, most notably keyboardist John Beasley (who has two numbers without the bassist), trumpeter Jeff Beal, and one selection apiece for the steel drums of Andy Narell and Mike Brecker's tenor. A few tracks are throwaway funk, but there are enough surprise twists and unusual improvisations to make this a recommended disc even for adventurous listeners.

One of the prime architects of the organic grooves later dubbed trip-hop, Nightmares on Wax deserted their early formula in 2002 only when it became respectable and a crossover appeared most likely. With the air cleared of downtempo cash-ins, producer George Evelyn and producer/keyboardist Robin Taylor-Firth went right back to dub-heavy trip-hop with In a Space Outta Sound. Unsurprisingly, Nightmares on Wax remain among the best at constructing simple grooves with endless depths; their only rival is Massive Attack. The centerpiece is "Damn," seven and a half minutes of gently undulating hip-hop courtesy of a reedy Al Hirt sample (familiar from its use by De La Soul) that eventually flowers into an R&B jam with a gospel choir…

Archie Shepp - On This Night (1965) {Impulse! GRD-125 rel 1993}
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© 1965, 1993 Impulse! / MCA / GRP | GRD-12
Jazz / Post Bop / Progressive Jazz / Saxophone

Tenor saxophonist Archie Shepp's third release for the Impulse label collects valuable loose ends recorded between March and August 1965. Among the highlights are a passionate reading of Duke Ellington's "In a Sentimental Mood" and the title piece, a moving tribute to W.E.B. DuBois, featuring the haunting soprano vocalist Christine Spencer employing a distinct 20th century classical influence, with Shepp on piano. Shepp is the solo horn on these dates, playing at peak form with contributions from vibraphonist Bobby Hutcherson early in his career, David Izenzon or Henry Grimes on bass, and four rotating drummers, including Rashied Ali, J.C. Moses, Joe Chambers, and Ed Blackwell, playing a variety of percussion.

Thelonious Monk - Something In Blue (1971) {Tokuma Japan–Black Lion TKCB-30742 rel 1992}
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© 1971, 1992 Tokuma Japan / Black Lion | TKCB-30742
Jazz / Post Bop / Piano Trio

This is one of Thelonious Monk's most important records, even though it was his last studio session. He went out with a bang, with old friends Art Blakey and Al McKibbon on board in late 1971. (Any Monk record made after this is a concert bootleg with reluctant participation by Thelonious.)