Interscope Records has announced the cast album for the 2023 revival of Parade–Alfred Uhry and Jason Robert Brown’s award-winning musical, which opened on March 16 at New York’s Bernard B. Jacobs Theatre to rave reviews.
Parade (2023 Broadway Cast Recording) features the vocal talents of Tony, Grammy, and Emmy Award winner Ben Platt and Micaela Diamond, and is conducted by three-time Tony Award-winning composer Jason Robert Brown, and will be released on March 23.

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector where he sang like Roy Orbison, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s, Springsteen never hid how he was raised on '60s AM radio.

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector where he sang like Roy Orbison, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s, Springsteen never hid how he was raised on '60s AM radio.

An intergalactic roadmap to the most mind-blowing sounds in the Universe, this set contains the best space rock including Hawkwind, Amon Düül II, Gong, Can, Guru Guru, Tangerine Dream, Ozric Tentacles, Nik Turner, Popol Vuh, Alice Cooper, Nektar, Chrome, and others.

Career-spanning four CD box set from the British Folk Rock legend spanning the years 1969-2009. The songs chosen for this selection of his work were carefully assembled and aim to provide a real sense of Richard Thompson, as well as to celebrate the diversity of his music - Rock 'n' Roll with Folk, Jazz, Rockabilly and the odd waltz thrown in - the scope of his songwriting, and the sheer virtuosity of his playing. Produced by Richard Thompson, Walking On A Wire impressively includes 71 tracks from albums released by 15 different labels, and includes a 60 page booklet with new notes by Patrick Humphries.
"A perennial dark-horse contender for the title of Greatest Living Rock Guitarist…. folks should be sated by this excellent 71-track primer, which also shows the U.K. vet as a world-class songwriter. 4.5 Stars" – Rolling Stone, August 9,2009

Pollini is so much a part of the contemporary music scene that it's amazing to realize that the earliest material on this disc (Stravinsky and Prokofiev) dates to the 1940s. These two performances retain their power to startle and amaze, both through Pollini's seemingly effortless virtuosity and through the immediacy of his musical conceptions. This Prokofiev is a close rival even to Richter's. Webern, from six years later, is so colorful and well organized that it makes the difficult music almost easy to listen to. Not many listeners will put up with Boulez's obscurities, but there is still plenty to make the disc worthwhile.

This is a unique blend of free jazz and electronica. Beginning with three live concerts, each recorded in four instrumental layers, some performances (notably the trumpet) were left intact, other layers were either re-performed or invented anew. Some layers migrated from one performance to another. Other completely new layers were made by canibalizing parts from previous works and reshaping them. This collection is an interesting blend of live concert recordings and studio mixes which makes for a haunting and ethereal soundscape.

Underpinned by perfect virtuosity, Zukerman's rich and beautiful violin tone perfectly reveals the charm that Beethoven puts into these sonatas. A well-balanced and excellent performance with the exquisite support of Neikrug has value that should be listened to for a long time as a standard of Beethoven's performance.

“The Beethoven concerto is a piece of overwhelming power,” says violinist Vilde Frang. “It is somehow more than music – the dimension of it feels almost cosmic. The force of this concerto takes me by surprise, over and over again.” Frang juxtaposes Beethoven’s epic, lyrical work with Stravinsky’s compact violin concerto, which pays spiky tribute to 18th century models. The conductor is Pekka Kuusisto, himself an adventurous violinist, in his role as Artistic Best Friend of the Deutsche Kammerphilharmonie Bremen. “It was the chamber musical qualities of the Beethoven concerto that provided the key for me,” says Frang.

More than two centuries before John Lennon favorably compared the Beatles' popularity to that of Jesus, Italian violin virtuoso Francesco Maria Veracini confidently remarked that there was only one God, and only one Veracini. He was one of the first stars of the violin, younger than Corelli, roughly contemporary with Vivaldi and Tartini, who is better known only because of the satanic verses he wrote for the instrument.

This album, recorded at The Summit in Houston, Texas, is taken from the legendary but ultimately damaging Hotel California tour, capturing the Eagles in fine form in the run-up to the release of the aforementioned LP. Broadcast in superb quality over local FM radio, and featuring such favorites as ‘Hotel California,’ ‘Lyin’ Eyes,’ and ‘Desperado’ alongside a couple of Joe Walsh numbers performed by the whole group, this recording offers a rare opportunity to hear the band at the height of their fame and abilities.

After several challenging years, marked by the pandemic and a harsh political climate, we fortunately have musical treasures we can unearth. This is precisely what the Norwegian Wind Ensemble has done. This spring, they present two masterful pieces of music that deserve the full attention of an interested listener.

A 3 CD set collecting highlights from the band's entire career. Progressive rock's first supergroup, Emerson Lake & Palmer fused together rock and classical music like no-one before. This 3CD set collects highlights from their entire career. ELP were no strangers to extended instrumental suites and longer running times. 'Take A Pebble' from their debut album ran for twelve and a half minutes, whilst the follow-up, 'Tarkus', featured a twenty-minute title track. Piano and keyboard workouts by Keith Emerson, often adapted from the classical realm, dazzle on these longer pieces. Their UK #2 hit single 'Fanfare For The Common Man' was inspired by an Aaron Copland work.
Bassist Greg Lake would contribute shorter tracks, often ballads, that would become known via radio play: US hit 'Lucky Man', 'From The Beginning' and a single that is familiar to all, 'I Believe In Father Christmas'.
All are featured on 'Emerson Lake & Palmer - The Ultimate Collection'.

London 1982. As the new romantic youthquake of 1981/1982 faded, and after what felt like a lifetime since punk’s last gasp, a tiny nightclub opened its doors in London’s Soho. Drawing to it a new generation of misfits and miscreants with a penchant for polysexual hedonism, for dressing up and showing out, The Batcave became the dark heart of alternative club culture, just like The Roxy and The Blitz before it.Art school students, ex-punks and psychobillys, boys and girls, gays, straights, don’t-knows and don’t-cares, Camden and Kensington Market stallholders, professional squatters, kids on the dole, kids in bands, nocturnal music journalists, edgy fashionistas, androgynous randoms and even a smattering of bona fide popstars – from Nick Cave to Siouxsie Sioux, Marc Almond, Robert Smith, Killing Joke and Sigue Sigue Sputnik. All were welcome to pile in, gawp at the hair, ripped, torn, bleached and rubberised fashions, and death-mask make-up and take in the dancefloor’s heady musical mix of beats-heavy post-punk pioneers, outsider icons like Wayne County and The Cramps, and a teetering pile of lusty glam rock singles from the likes of T. Rex and The Sweet.

Boss Soul: The Genius of Barry White Review by Richie Unterberger
In 1966-67, long before he attained seventies superstardom as a growling bedroom funkster, Barry White gained valuable experience as an A&R man for the Del-Fi label in Los Angeles. This compilation has 16 tracks that he was involved with as producer, engineer, songwriter, and/or session musician, the results appearing on Del-Fi's Bronco and Mustang subsidiaries; note, however, that only five of the cuts are by White himself (including one instrumental and a pre-Del Fi 1965 single released under the pseudonym of Lee Barry). At this time, White was very much under the spell of Motown both as producer and songwriter (he wrote or co-wrote all but two of these tunes). The material, whether by White or other Mustang/Bronco artists Felice Taylor, Viola Wills, and Johnny Wyatt, consists for the most part of very derivative, but nonetheless enjoyable and professional, Motown variations. Felice Taylor's "It May Be Winter Outside," a #42 pop hit in 1966, is the most accurate mid-'60s Supremes imitation bar none, both for Taylor's uncanny Diana Ross-like vocals and the dead-on Motownesque arrangement.