Way-kool 3rd studio disc by this killer hard rock project from NYC featuring the awesome vocals of Ed Terry (Rage And Beyond / American Mafia) and legendary rock drummer Carmine Appice (Cactus / Vanilla Fudge / BBA). III also features JZ Barrell on guitar, Randy Pratt (Cactus / The Lizards) on bass & the excellent musical talents of these outstanding guest musicans: Pat Travers, Pat Thrall (Pat Travers Band / Hughes-Thrall), Dave Meniketti (Y&T), Vinne Moore (UFO), Ron Bumblefoot Thal (Guns N' Roses / Sons Of Apollo), Tracy G. (Dio), Jim McCarty (Cactus), Tony Franklin (The Firm / Blue Murder), Derek Sherinian (Dream Theater / Sons Of Apollo / Black Country Communion).

Following their latest, much-acclaimed offering, Reforged - Ironbound (released in 2022 via AFM Records), Hamburg-based power metal act Iron Savior has announced the release of a brand new studio album!
The band's upcoming album will feature a wide range of influences from hard rock to pop, all calibrated to heavy metal standards thanks to those typical Iron Savior virtues.

This twenty-second and last volume of cantata recordings contains two of Bach's latest cantatas (BWV 30 and 80), including the secular model for BWV 30 and Wilhelm Friedemann Bach's arrangement of two movements from BWV 80 dating from after 1750. Also included are the four Kyrie-Gloria masses of the late 1730s; they are very closely associated with the cantata repertoire of the 1720s. These masses are based on selected movements of cantatas dating from the period 1723-6; after an interval of ten or so years Bach reworked them, in most cases very thoroughly. Renowned Bach specialist Ton Koopman (1944) was awarded the 2006 Bach Medal by the city of Leipzig 05 Jun 2006, the final day of this year's annual Leipzig Bach Festival.

Let the Bad Times Roll is the tenth studio album by American rock band the Offspring, released on April 16, 2021. Produced by Bob Rock, it is the band's first release on Concord Records, and their first studio album in almost nine years since Days Go By (2012), marking the longest gap between two Offspring studio albums. Let the Bad Times Roll also marks the Offspring's first album without their original bassist Greg K. who was fired in 2019. The band's tour schedules, lineup changes, legal issues and the search for a new label after their split with Columbia Records, who released the Offspring's previous six albums, contributed to a years-long delay behind Let the Bad Times Roll.

Trois chefs-d’oeuvre, dont deux quasi inconnus, interprétés de surcroît par deux interprètes épatants, la fine et véhémente Valérie Aimard et le toujours poétique Cédric Tiberghien : …un disque réellement indispensable.

Agricola was already considered one of the 'old masters' soon after his death in 1506. His works were approached with veneration and, already in the early 16th century, regarded as examples of good and demanding counterpoint. As a member of the first generation of genuinely instrumental composers, he wrote not only the masses, motets and chansons that were customary during this period, but also a large number of works without text that were obviously created for instruments by virtue of their construction. As a result, his musical rhetoric went considerably farther than his otherwise congenial colleagues Josquin Desprez and Heinrich Isaac, and he composed instru¬mental works that were far ahead of his time.

Renaissance composer Balduin Hoyoul (1547-1594) was a member of the Franco-Flemish school of composition. Born in Liege, he was, from the age of 13, a discant singer at the Court in Stuttgart. In 1589 he took over as Hofkapellmeister in Stuttgart. This release features perhaps his most well-known body of composition, the Sacrae Cantiones, performed by the Ensemble Hofkapelle. The Ensemble Hofkapelle was founded in 1998 by Michael Procter and Edzard Burchards with the aim of performing Renaissance music in an authentic way. The ensemble allows the singers to deal intensively with the music from 1450 to 1650 and gain a thorough knowledge of it's theoretical foundation.

Jewels has some great material on it. Not all Queen collections include tracks from Innuendo and Made in Heaven, as well as Night at the Opera. It's also nice to see "Radio Ga Ga" on the roster, a song that despite its wince-inducing title is actually one of the most beautiful odes to the medium ever written. The inclusion of so many newer tracks pushes a pretty big chunk of classics out of the job like "Fat Bottomed Girls," "Tie Your Mother Down," and "The Game," but it's a noble attempt. This EMI-licensed Japanese import does a decent job at trying to reign in the many phases of Queen.

The second full-fledged Loggins And Messina album found the duo in good form as songwriters, with Messina turning in the sparkling "Thinking Of You," and the two collaborating on the hit single "Your Mama Don't Dance" and "Angry Eyes." Their backup band was anchored by multi-instrumentalist Al Garth, and also featured keyboardist Michael Omartian and Poco steel guitarist Rusty Young.

It is extremely difficult for a vocalist to hide his or her age while singing. Anita O'Day, 69 at the time of this recording, no longer sounded like she had in 1959, but this was actually her best all-around set in several years. O'Day still retained her highly appealing phrasing and most of her range; she still took chances (her version of "I Cried for You" is a good example), and she sounded happy to be alive, having beaten the odds. Gordon Brisker's creative arrangements for the backup group (which consists of his tenor and flute, pianist Pete Jolly, bassist Brian Bromberg, drummer Frank Capp, percussionist Dave Black, and on a few songs the harp of Corky Hale) allow room for plenty of concise solos. On "Anita's Blues," one can almost feel the years dropping away as O'Day hints at her recordings from the 1940s. This fine CD is definitive of Anita O'Day's later years and worth investigating.

A few months before the COVID-19 2020 lockdown, I received a CD labelled ‘Valdapozzo 05/30/2004’, from an unknown sender. Thinking it over, it came to me… yes! On that day we had performed a unique gig at Valdapozzo, the location where we had recorded the CD ‘Pic_nic@Valdapozzo’ just two years before. My first impression had been that of a great performance, though, actually, it sounded like a total mess. The rules of engagement for this gig were total improvisation based on the audio samples of Demetrio Stratos’ voice and some sequences of the album. For musicians, and not only for them, two years of lockdown meant the smoke of hundreds of cigarettes blown inside empty pockets. So, instead of playing Tetris, I resolved to edit the sound of the stereo tracks by fragmenting them into frequency bands, and remixing the whole lot to a new sound. This is the result, perhaps not a masterpiece, but passionately reworked.

Following on from his formidable complete recording of the Preludes, Nikolai Lugansky now immerses us in two more major cycles by Rachmaninoff, the Études-tableaux. Like Chopin and Liszt, the Russian composer here transcends every technical difficulty to make room for emotion alone. At once poet and virtuoso, Nikolai Lugansky is unmatched in his ability to do justice to this prodigious musical kaleidoscope.