M83 announces the details of his new forthcoming full-length album, FANTASY, that will see release on March 17th. In addition to this news, M83 has shared the sweeping, transformative first cut “Oceans Niagara”. Accompanying the track is a video directed by his long-time creative collaborator, filmmaker (Knife + Heart, You And The Night) and brother Yann Gonzalez.

A highly regarded composer in his day and considered the equal of Rossini, Bellini and Donizetti, Saverio Mercadante pioneered the transformation of bel canto opera into real music drama. He wrote the operatic tragedy I Briganti (The Brigands) not only to prove himself to the Parisian public but as a direct challenge to Bellini’s I puritani, premièred the previous year. Mercadante’s individual style of canto fiorito and distinctive theatricality demonstrate that opera need not be a mere succession of virtuoso vocal arias, and it paved the way for Verdi’s later dramas. Prepared from a new critical edition, this production was described as ‘outstanding’ by The New York Times.

The recent Glyndbourne staging of this oratorio demonstrated how well it worked as an opera, and this recording by Nicholas McGegan creates a similar dramatic intensity out of the tragic story of oppression and resistance. He finds excellent tempi for the arias, and keeps the recitatives cracking along at a good pace. And though he has a very good ensemble team of soloists, the star of the show is definitely soprano Lorraine Hunt (who, interestingly enough, sang the mezzo role of Irene for Glyndebourne) as Theodora. She uses the rich, throaty quality of her voice to bring out all the terrible pathos of Theodora's plight, while still suggesting that she is a character lit by an inner fire of joy. Unfortunately the acoustic lacks a certain bloom, and this makes the sound world sometimes seem a little flat and dry.

Turina's take on Spanish folk idioms is unmatched, and showcased quite nicely on this CD. The "Danzas fantasticas" are the highlight, but the romantic flair of all the works on this recording is not to be missed. The orchestra is brilliant throughout, and the technical aspects of the recording are lacking nothing. Absolutely no complaints, only pure enjoyment. You can't go wrong with this one.

Highway was recorded just three months after Free scored the career-redefining hit "Alright Now," and while their profile was at a career-topping high, their morale was heading toward an all-time low. Guitarist Paul Kossoff was reeling from the death of friend Jimi Hendrix; a new single, "The Stealer," bellyflopped ignominiously; and, when the album followed suit, the band itself was not far behind. Heavily influenced by their admiration for the Band, Highway has understandably been described as Free's answer to Music from Big Pink, sharing both the laid-back vibe and mellow looseness of that role model. Where it went awry, of course, was in the fact that Free were not cut out to be country-rock guitar-twangers, no matter how fiery their missionary zeal…

Billy Boy Arnold, a fluent blues harmonica player and an expressive singer, made his initial impact in the 1950s/early '60s, but then went three decades between American records. The second recording from his comeback, Eldorado Cadillac, finds Arnold (who worked many yeas earlier with Bo Diddley) in enthusiastic form while utilizing a top-notch group that includes guitarists Bob Margolin and James Wheeler, pianist Sonny Leyland, bassist Steve Hunt, drummer Chuck Cotton, and (for three numbers) David Zielinski on tenor. Arnold contributes such originals as "Don't Stay out All Night," "Mama's Bitter Seed," "Man of Considerable Taste," "Too Many Old Flames," and "Slick Chick." A fun set of passionate Chicago blues.