This disc brings together Marcus Garvey, Burning Spear's debut album, with its dub counterpart, entitled Garvey's Ghost. The resulting package is one of the pillars of roots reggae, an album packed with thick, heavy grooves and uncompromising religious and political messages. Although this Mango reissue has been criticized as sonically weaker than the Jamaican original, it will sound plenty dread to all but the most critical ears. Songs like the title track, "Slavery Days" and "Give Me" (with its remarkably well-integrated flute part) all tremble with the intensity of Winston Rodney's dark voice, and some of the dub versions (in particular "Black Wa-Da-Da," based on "The Invasion") number among the most frightening ever created.

Perhaps realizing that The Juliet Letters was one step too far, especially after the willfully eclectic pair of Spike and Mighty Like a Rose, Elvis Costello set out to make a straight-ahead rock & roll record with Brutal Youth, reuniting with the Attractions (though Bruce Thomas appears on only five tracks) and Nick Lowe (who plays bass on most of the rest). Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work. Likely, Froom's self-conscious production appealed to Costello, since it makes Brutal Youth look less like a retreat, but it severely undercuts the effectiveness of the music, since it lacks guts, no matter how smugly secure it is in its tempered "experimentation."

Strata-East: The Legacy Begins celebrates the revolutionary spirit of one of the most influential artist-owned independent jazz labels in history. This anthology, a partnership between Mack Avenue Music Group and Strata-East Records, brings together iconic tracks that embody Strata-East’s commitment to artistry and creative freedom. Featuring the explosive brilliance of Charles Tolliver and Stanley Cowell, the soulful expressions of The Heath Brothers, Charlie Rouse, Shamek Farrah, Pharoah Sanders, and more, the collection showcases cult classics from the label’s deep catalog while honoring the extraordinary artists who shaped its legacy. This release not only marks the launch of the partnership between Strata-East and Mack Avenue Music Group but also delivers the label’s highest-quality audio anthology, transferred directly from the original master tapes and available digitally for the first time. A reflection of Strata-East’s dedication to spiritual jazz and social consciousness, this compilation invites listeners to rediscover classics or experience them anew. Strata-East: The Legacy Begins celebrates the timelessness of this music while marking the start of an exciting new chapter.

Some forty years into one of music’s most impactful, sometimes tense and yet curiously enduring partnerships, Tears For Fears have finally arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades. And now, at very long last, Tears For Fears find themselves back in peak form at The Tipping Point, an inspired song cycle that speaks powerfully and artfully to our present tense here in 2021. This is an album that vividly recalls the depth and emotional force of the group’s earliest triumphs. Imagine a far more outward-looking take on TFF’s famously introspective 1983 debut album The Hurting set in an even more mad world, or 1985’s Songs From The Big Chair bravely confronting even bigger issues in our increasingly unruly world. Or even 1989’s The Seeds Of Love that sows a mix of love and other emotions. The Tipping Point is the bold, beautiful and powerful sound of Tears For Fears finding themselves together all over again.

In 1971 the ever-evolving Soft Machine entered yet another period of transition following the departure of one of their founding members, drummer Robert Wyatt five months after the release of their Fourth album in February 1971. His replacement was Phil Howard, who had come to the UK along with a wave of other top-drawer players from Australia and New Zealand in the 1960s and was part of Elton Dean’s group, Just Us. Whilst this decision may have been born out of necessity, Howard's arrival was a boost to Dean’s desire to move to a looser mode of expression, something he'd been doing since Fletcher’s Blemish (from Soft Machine’s Fourth) and their live blow-out, Neo Caliban Grides, which had been opening live shows of the day to startling effect.

Bittersweet White Light is the ninth studio album by American singer Cher. It is composed mostly of covers of American pop standards and was released in April 1973 by MCA both in the UK and the US. It was the last solo Cher album to be produced by Sonny Bono, then her husband and performing partner. While the album is a favorite among Cher fans critical reviews were mixed, and Bittersweet White Light was Cher's first commercial failure of the 1970s. Bittersweet White Light received mixed reviews from music critics. Rolling Stone said the album "consists entirely of ballad-rocked standards by Kern, Gershwin, etc., and should please the artist's TV fans.

Merci is a deeply personal expression of gratitude, a celebration of the powerful relationships that keep music alive. This effervescent recording is rooted in the compositions of Gabriel Fauré, whom Kathryn Stott calls her “musical soulmate,” and follows the arcs of his inspiration and influence, from the creations of his teacher Camille Saint-Saëns and his friend and supporter Pauline Viardot to works by his student Nadia Boulanger and her sister, Lili. Merci is testament to the gift of friendship, to the connections among performers, between students and teachers, and across generations that make music magic.

Pianist Ketil Bjørnstad's quartet set with cellist David Darling, guitarist Terje Rypdal, and drummer Jon Christensen is almost a stereotype of an ECM release. His ten originals all set an introspective and mostly somber mood, their themes are less important than the atmosphere that they form, and the individual solos of the musicians are less significant than the ensemble sound. The general mood is a bit sleepy and the development from song to song is quite slow, although there are a few fiery and rockish solos from guitarist Rypdal.

15 years into a career that has seen them become one of metal’s most ruthlessly individual and uplifting bands, selling out venues and tours across Europe and the US, Amaranthe are about to make their most definitive and revealing move. Three years on from the widely acclaimed Manifest which hit top 20 charts internationally and has amassed over 130 million streams, Sweden’s masters of thunderous, melodic futurism are about to unveil The Catalyst. 12 songs deep and almost overburdened with lethal hooks and genre-blending ingenuity, The Catalyst is a snapshot of a band hitting a new level of collective power.
From the electronic pulse and irresistible forward momentum of Re-Vision onwards, Amaranthe have given their sound a fearless upgrade…

Sviatoslav Richter Having learned the fundamentals of music from his father, Sviatoslav Teofilovich Richter taught himself the piano and had already given public concerts before entering the Moscow Conservatory in 1937. While still a student, Richter won first prize at the All-Union Contest of Performers of 1945. His playing earned him considerable renown, and by the time of his graduation in 1947 he had devoted fans. In 1949 he garnered the coveted Stalin Prize. Richter gave the 1942 premiere of Sergey Prokofiev's Piano Sonata No. 6 – the composer's first work in that form for years, and the first one he did not premiere himself.

Over the past couple of years, the Alternative Singles vinyl issues have become highly popular amongst fans with different recordings of each single and sometimes tracks that weren't actually singles at the time being issued as such. Most of the recordings are taken from overseas broadcast, rehearsal sessions, discarded mixes and unused demos versions but all of them fascinating. Here we have gathered together all the A & B sides plus some extra bonus tracks.

Something's Going On is the third solo album by Swedish singer Anni-Frid Lyngstad (Frida), one of the founding members of the Swedish pop group ABBA, and her first album recorded entirely in English. Recorded in early 1982 during the final months of ABBA, the album was released in September of that same year. Produced by Phil Collins with Hugh Padgham, the album featured a harder-edged and more rock-oriented sound than the music she had previously recorded with ABBA, and it included Collins' distinctive gated reverb drum sound. The album was met with a positive reception by both critics and the public, with sales in excess of 1.5 million copies, making it the best-selling solo record of any of the ABBA members to date. Something's Going on reached number one on the album charts in Sweden, Norway and Belgium, the Top Ten in Australia and several European countries, and the Top 20 in Germany, Italy and Great Britain.

Fresh from the incredible success of Rick Wakeman’s early concept LPs (he drummed with Wakeman’s band) Barney and his ex-bandmates Warhorse made this sensational lost heavy prog LP as a promo acetate to get an official release. Barney wrote all the songs and sings. Musically complex, it begins with a spoken intro and tells the tale of Koneg Son Of Odin, as he quests to find meaning and death in battle. Keyboards and guitar interweave, with further spoken interludes, and culminating in an epic prog workout featuring fluid soloing electric leads as Koneg dies on the battlefield and is taken by Valkyries to Valhalla.

Dopo "Berlinguer - La grande ambizione", IOSONOUNCANE presenta la seconda uscita e volume numero 7 della sua nuova collana "Il suono attraversato" - dedicata alla produzione dell’artista sardo dedicata alle musiche scritte negli ultimi anni per cinema, teatro e sonorizzazioni - "Lirica Ucraina", il documentario omonimo di Francesca Mannocchi. Francesca Mannocchi, una delle migliori corrispondenti di guerra in Europa, continua il percorso che l’ha portata a raccontare diverse zone di conflitto, dalla Libia al Libano, all’Iraq e, più recentemente, all’Ucraina. Lo fa con un documentario che parte dalle strade di Bucha, la città martire in cui la reporter è entrata solo due giorni dopo la liberazione dalle truppe occupanti russe.

Leonard Bernstein No figure in 20th century American classical music had as prominent or controversial a career – or did more to sell classical music to the general public as something genuinely exciting and worth getting into a sweat over – than Leonard Bernstein. For more than 30 years, from his assumption of the post of Music Director of the New York Philharmonic in 1958 until the final concerts that he conducted in obviously failing health near the end of his life in 1990, he was the most widely recognized American-born conductor in the world, and the dominant personality in American classical music as both a conductor and, to a lesser degree, a composer.