The Satanist is the tenth studio album by Polish extreme metal band Behemoth. The album was announced on 31 May, 2013 and released on February 3, 2014 through Nuclear Blast in Europe and on February 4 in United States and Poland via Metal Blade Records and Mystic Production, respectively. Release was preceded by digital download single "Blow Your Trumpets Gabriel" and 12" EP under the same title released on December 4, 2013.

Indian harp played by young South American harpist, residing in Argentina, Aldana Palacios, who released her first album at the age of eighteen. Aldana started very young performances in public, making a moving hosting because the quality of her sound. Instrumentally accompanying on this recording musicians Ariel Lopez Gatti (bass) and Mario Silva on guitar. The album features fifteen famous traditional themes of Paraguayan music with rhythms of Paraguayan polka (more alive) or guarania (slower).

The Music Machine's debut would have been a lot better if they'd let Sean Bonniwell write all of the songs. Yet it was, as was often the case at the time, divided between fine Bonniwell originals and dispensable covers of then-current rock hits. Which means that, side by side with excellent Bonniwell originals like "Talk Talk," "The People in Me," and "Trouble," you'll find lukewarm covers of Neil Diamond's "Cherry Cherry," the Beatles' "Taxman," and "96 Tears" (though the slow, moody reading of "Hey Joe" is nice). …

The perfect way to acquire drummer Chick Webb's recordings is to get his two Classics CDs which contain all of his performances as a leader, other than Ella Fitzgerald's features (which are in a separate Ella series) and a few numbers from Webb's final dates…

Following three straight masterworks that balanced hard funk workouts with laid-back bedroom jams, This Boot Is Made for Fonk-N ditched the balancing act, offering up straight, relentless hard funk. This is great for those who just want the sweaty workouts Bootsy Collins had proven himself well capable of delivering on his own as well as with Parliament-Funkadelic. In fact, if that's what you're looking for – hard-hitting, unrelenting funk – look no further, for This Boot Is Made for Fonk-N is absolutely teeming with it. …

Bootsy Collins' debut solo album, Stretchin' Out in Bootsy's Rubber Band, was an extremely tough act to follow, but thankfully, there are no signs of a sophomore slump (either creatively or commercially) on his second album, Ahh … The Name Is Bootsy, Baby! Most P-funk addicts consider this 1977 LP essential listening, and it isn't hard to see why they feel that way. Everything on the album is excellent; …

Doom, Sludge, a bit of Sabbath, even some Type O -and they do know how to write songs. Feel that bass!

Work recorded in August 1962 for the Riverside label, but ultimately was not published until 1982, after the death of Evans. He was accompanied in the quintet by musicians Zoot Sims (tenor sax), Jim Hall (guitar), Ron Carter (bass) and Philly Joe Jones (percussion). The album was lost for years partly due to the impending bankruptcy of the label and otherwise the impression that initially caused the complexity of tempos devised by Evans and difficulty engaging the group was derived from it. The album is notable for its emotional depth and originality.

The Goldberg Variations are a pinnacle of Bach’s art. Conceived for harpsichord, the work has been transcribed for quite different instruments. . . Richard Boothby’s version for his own consort of viols, Fretwork, is arguably the most unusual, in that it opts for a soundworld that looks even further back in time. Part of the justification for such a setting must be Bach’s own liking for viola da gamba, already then old-fashioned…. Boothby’s setting is dexterously divided between various combinations of the treble, tenor and bass viols, and he achieved some magical effects, notably (…) in variations of gossamer passagework.