Lindsey Stirling is the debut studio album by violinist and artist Lindsey Stirling, whose popularity grew from her appearance on America's Got Talent and a large following on YouTube. Her first album of original compositions, it topped the category of Classical Albums and Dance/Electronic Albums in Billboard and reached number 79 on the Billboard 200. It also was a success in Europe, earning gold certifications in Poland and Switzerland and platinum certifications in Austria and Germany. On October 29, 2013 the album was re-released worldwide with bonus tracks and achieved its highest-selling week in the United States, reaching number 23 on the Billboard 200 by selling 10,000 copies. Stirling's single "Crystallize" was certified gold.

Soul Steppin': '80s Soulful Steppers Review by Thom Jurek
Backbeats Records is strictly a compilation company based in the U.K. whose releases are distributed throughout the European Union at a budget prices. What they do is simply compile collections of dance music by well-known and obscure artists from the disco era to the latter '90s. And for what it’s worth, when it comes to licensing, they do a terrific job, and this set is a case in point. Compiled by Ian Dewhirst, Soul Steppin' collects 14 jams from the disco era – many of them extended 12" versions such as the Dells’ “All About the Paper,” the original 12” mix of the Impressions' “Fan the Fire,” Walter Jackson's lone entry into the period with the killer “Touching in the Dark,” a midtempo romantic stepper done in that killer baritone of his. Dee Dee Sharp turns in “Easy Money,” and Teddy Pendergrass’ slick, funky “You and Me Right Now” is also here. But along with the bigger names are one-offs, tracks by artists that were a hit on the dancefloor but never really went anywhere else, such as Sound Troupe's trippy meld of smooth future funk, Latin rhythms, jazz, and disco strings for “Can You Really See Me.” Also included is Greg Henderson's lone club classic, “Dreamin,” with its Latin congas, Chic-esque handclaps, and Larry Graham-styled bass solo. This set is pure nostalgia to be sure, but it’s a gas from start to finish.

Hyperion’s blossoming Romantic Cello Concerto series welcomes back German virtuoso Alban Gerhardt for this sixth volume. Henry Vieuxtemps and Eugène Ysaÿe are of course best known for their blistering pyrotechnics on the violin, but each of this eminent teacher-and-pupil pairing also wrote two works—little known today, alas—for cello and orchestra, and what a revelation they are. The two Vieuxtemps Concertos contain all the elements familiar from their famous violin counterparts—long-arched melodies alongside moments of outrageous virtuoso demands. The Ysaÿe works are shorter and make ideal companions.

She'd been a New Yorker since moving to the city in 1967, aged 21. She had a child that she gave up for adoption, met and started a relationship with photographer Robert Mapplethorpe - with whom she shared a room at the infamous Chelsea Hotel for some time - and she discovered the work of French symbolist poet Arthur Rimbaud. She appeared in Warhol Superstar Jackie Curtis's play Femme Fatale with Wayne County, and - for one night only - in Cowboy Mouth which she co-wrote with Sam Shepherd. She was considered for the role of lead vocalist in Blue Oyster Cult, but instead contributed lyrics to many of the band's songs, and she started a relationship with BOC keyboardist Alan Lanier. She contributed articles to rock journals Rolling Stone and Creem.

Recently there seems to be an increasing interest in the music of Johann Michael Haydn. For a long time he was only mentioned as being the younger brother of Franz Joseph, and a good friend of Mozart, but his music was almost completely ignored. From time to time a record with sacred music or chamber music was released, but he was't appearing on concert programmes and in the record catalogue frequently. 2006 was the bicentennial of his death, and this apparently led to a number of new recordings with his music. One must hope this isn't a temporary wave, but the beginning of a thorough and serious exploration of his oeuvre.

Another of Chet Atkins' attempts to break into the jazz world during his Columbia period, this recording veers well across the line into new age wallowing of the most innocuous kind. At this point in time, when a record opened with soothing ocean waves, followed by a gentle wash of synths, you could pretty much expect the new age to be lapping at your feet throughout. As he has with so many other genres, Atkins displays an instinctive grasp of this feel-good idiom, though he has to hold back his powers of invention to conform to its clichés and repetitions. Yet even amidst the twittering sound effects and electronic drums of "Up in My Treehouse" and the listless treatment of Keith Jarrett's "My Song," Atkins' guitar always exudes dignity.

Digitally remastered and expanded deluxe two CD edition of this classic 1995 Trip Hop masterpiece including a bonus 13 track CD featuring B-sides, outtakes and seven previously unreleased versions including 2009 mixes of three of the album's tracks: 'Overcome', 'Hell Is Round The Corner' and 'Black Steel'. Tricky's musical breakthrough came in 1992 on Massive Attack's groundbreaking Blue Lines album. Three years later, when he released this seminal debut album, Tricky became the voice and face of the Trip Hop movement.