Album published in 1992 in the UK by Polydor under license Motown Records. It's a compilation of 20 of the greatest hits by the American vocal quartet 'Four Tops' during the years when they recorded with Motown (approximately 1964-1972). In jazz music 'Four Tops' have been listed as interpreters style called 'Motown soul', which is distinguished by the use of tambourines and drums, bass and instrumentation, melodic structure and chord particular and a vocal style derived of music 'gospel', with call and response. It was the own team of producers and composers of Motown the creator of this type of sound. During his career Four Tops launched a quarantine of musical productions until 2004 (not counting compilations) and came to place two of his creations at number 1 on the U.S. charts, "Reach Out, I'll Be There' and 'I can not help myself'.

Joaquim Homs was a Catalonian composer, schooled in Schoenberg's twelve-tone techniques, so one might expect to hear music that shouts "I'm different, I'm learned, respect me!" However, Homs' piano music, particularly as played by Jordi Masó, speaks more for the person who wrote it, rather than for itself. Much of it is atonal and composed following prescribed techniques, but it is at the same time very evocative and emotionally expressive.

AllMusic

From the early Two Sketches (1921-2), the second of which employs a Catalan folk-tune, to the 12-note Impromptus of 1950, Roberto Gerhard constantly rethought his compositional techniques, but even in his most doctrinaire works the modality and inflexions of folk music are never far away, and his gift for the lyrical mostly prevails. The Second Sonata of his pupil, Joaquim Homs, is a strictly 12-note work, but by no means difficult for the listener. Masó’s interpretations are masterly.

Wadham Sutton @ classical-music.com

CD by The 101 Strings Orchestra published in 1993 under the American label Emporio. It includes twenty-two now classic and universal themes of the great Broadway musicals. Shows music from legendary films such as "Fiddler on the Roof ', ' Can Can ', ' Gigi ', ' Hair', 'Godspell ', etc. Nice music, easy listening or lounge, to take pleasure in moments of relax. Music always charming.

First formed in 2003, Bloodshot Dawn have evolved from a straight forward, groove orientated death metal band into an unrelenting, hyper speed, extreme-metal machine. Hailed by Terrorizer as a band that delivers “blistering live shows”, Bloodshot Dawn have become a household name in the UK underground. In September 2011, Bloodshot Dawn entered the studio again, this time at 16th Cellar Studios in Rome (Fleshgod Apocalypse, Hour Of Penance, Inherit Disease), to record their debut full-length release. The self-titled album has seen Bloodshot Dawn's writing style mature noticeably, becoming more intense while also increasingly melodic and accessible. This unique writing sensibility, coupled with fierce production from Stefano Morabito, has resulted in an album that will cement Bloodshot Dawn's status as one of the UK's fiercest Metal bands.The album was finished in December 2011 and is set for a limited release on 26th January 2012.

Gripping, mesmerizing and flat-out massive, Seattle-based doom/death metal band Anhedonist's debut full-length, 'Netherwards,' is an aural and aesthetic masterpiece. Spanning over 40 minutes spaced out across four songs, Anhedonist have created a mournful album which is sure to please even the harshest of critics. Their 2010 demo, 'The Drear,' only touched on the capabilities of this band, and this album combines harrowing melodies, monolithic riffs and scathing vocals to create an extremely memorable and complete debut sure to leave definable marks on the listener's psyche.

"Enregistré au studio Gang de Paris en 1985, Rock'n'Roll Attitude a permis à Johnny Hallyday de travailler avec deux figures éminentes (mais très différentes l'une de l'autre) de la scène musicale française. C'est-à-dire Michel Berger, comme compositeur, et l'ex-Magma, Jannick Top, comme directeur artistique….." (amazon)

The Island of Real is the ninth studio album by rock band The Rascals, released in 1972. It peaked at number 180 on the Billboard 200 chart. The group's final three singles — “Lucky Day,” “Brother Tree,” and “Hummin’ Song” — failed to make the Top 100 and the Rascals disbanded.

I just received the new recording, Blues Magic, by Brad Wilson. Wilson has assembled 11 original tracks with strong airplay appeal. Blues Magic is a smooth rocker with light latin Rhythms not unlike contemporary Santana…

As Turandots go, this is an eminently likable and satisfying rendition. It is certainly a recording that is buoyed by the expert performances of the singers, all of whom are perfectly cast and who rise to the occasion to pull off Puccini's most difficult and most intoxicating opera.Of course, there is no opera without the ice princess herself, and I greatly enjoyed Montserrat Caballe's performance

This recording of William Bolcom’s complete works for cello begins with Capriccio, written in a sonata-like form that combines aspects of Milhaud and Brahms. Bolcom’s Suite No. 1 expands on stage music written for Arthur Miller’s tragic Broken Glass, and reflects the play’s somber mood. The one-movement Décalage is strongly influenced by the music of Pierre Boulez, and the bleak and barren universe of Dark Music recalls certain plays of Samuel Beckett. In contrast to these last two works, Bolcom’s Cello Sonata returns to a traditional form and world of sound, echoing the models of Schubert and Brahms.