Formed in Leeds in 1980, The Sisters Of Mercy achieved early underground success in the city, but the band had their commercial breakthrough in the mid-1980s and sustained it until the early 1990s, when they stopped releasing new records in protest against their record company. They released three original studio albums: First and Last and Always (1985), Floodland (1987), and Vision Thing (1990); each was recorded by a different line-up, with vocalist and composer Andrew Eldritch (alongside Doktor Avalanche, the drum machine) being the only permanent member. By 1983, following the successful ‘Temple of Love’ single, the band signed a contract with major record label WEA. At the same time second guitarist Ben Gunn left in an atmosphere of unanimous bitterness, stating that he did not agree with the direction Eldritch was taking the band. Gunn was replaced by Wayne Hussey, who concentrated on 12-string electric and acoustic guitars while also contributing as a songwriter. His studio experience with Dead or Alive also proved to be invaluable as the Sisters set out to record their first full-length album.

Wagram Music Presents Gospel Greatest Hits: A Timeless Collection of Inspirational Songs album original hits and the original artists genre Blues.

In July 1980, the band started recording tracks for their third album. Produced by Jimmy Iovine, with Mark Knopfler also sharing credit, Making Movies was released in October 1980. During the recording sessions, tensions between the Knopfler brothers reached a point where David Knopfler decided to leave the band for a solo career. The remaining trio continued the album with session guitarist Sid McGinnis on rhythm guitar, although he was uncredited on the album, and Roy Bittan from Bruce Springsteen's E Street Band guesting on keyboards. In his review for Rolling Stone, David Fricke wrote, "Making Movies is the record on which Mark Knopfler comes out from behind his influences and Dire Straits come out from behind Mark Knopfler”.

Wagram Music Presents Sampled All The Original Tracks Behind The Hits Ray Charles, Nina Simone, Frank Sinatra, B. B. King, Louis Armstrong album original hits and the original artists genre Jazz, Blues.

The Life of a Showgirl is the upcoming twelfth studio album by the American singer-songwriter Taylor Swift. It is scheduled for release on October 3, 2025, through Republic Records. Swift created the album during the European leg of the Eras Tour in 2024, inspired by her life as an entertainer. She described it as a vibrant and lively project, departing from the bleak lyricism of its predecessor, The Tortured Poets Department (2024). Swift wrote and produced The Life of a Showgirl with the producers Max Martin and Shellback in Sweden, working with the duo for the first time since Reputation (2017). It contains 12 songs, including the lead single, "The Fate of Ophelia". The American singer Sabrina Carpenter is featured on the album's title track. Photographed by Mert and Marcus, Swift adopted a provocative, showgirl-inspired theme for the album, which journalists described as the most glamorous and flamboyant visual aesthetic of her career.

STUNNING SHOW FROM A REVITALISED STONES IN 1978 In a career spanning four decades, losing the plot is nothing new. The Stones first began to stagnate following a series of classic albums in the early '70s. Curiously, it was the New York City club scene that brought them out of this slump. 1978's Some Girls was a timely release, reclaiming some of the glitz and grit missing from their mostly forgettable mid-'70s efforts. Mick's boogie nights at Studio 54 translated into a massive chart triumph when combined with the sleazy booze bravado of the prototypical Bowery punks, Keef and Ronnie, and the ensuing tour may have been the last time the band married a creative peak to commercial success. This show, recorded during the '78 tour, is a reminder of how it should be. The Stones' strength is making a 4,000-seat theatre feel like a sweaty, smoky, beer-soaked juke joint, and they achieve it here. At times it's loose and ugly, but that just makes it so much sweeter when they get it together. The more "modern" likes of ‘Miss You’ and ‘Shattered’ stand up against classic material such as ‘Tumbling Dice.’ If Mick sounds a little out of breath, just picture him shimmying back and forth across a 100-foot stage and ask yourself if you could do the same and stay in key. This ain't the opera - this is rock 'n' roll at its raw and bloody essence!

David Hallyday revisite ses plus grands titres et ceux de Johnny dans l’album REQUIEM POUR UN FOU réédité en 2 CD (L’album Studio + Le Live à Bruxelles). Une transmission artistique émouvante 100% Hallyday !

The eagerly awaited volume 2 in the fascinating exploration of Antoine Reicha's keyboard music by the trailblazing pianist Ivan Ilic is now out! Ilic here digs into a crucial aspect of Antoine Reicha's music: counterpoint and the manner in which Bach's music served as a point of departure for Reicha's eclectic, fertile mind and wide variety of musical styles. If most of these etudes are made up of a Prelude paired with a Fugue, their variety offers the album great diversity, and unveils the compositional genius of Antoine Reicha: here are unexpected moods and textures, sophisticated canons, cheeky invertible counterpoint, chaconnes and minuet-like character pieces, even a piece the only unifying characteristic of which seems to be its tumbling scales in dotted rhythm.

Beatrice Rana, in the words of the New York Times, is a pianist who "has ferocious technique but is distinguished by her musical intelligence." Here she plays virtuosic, poetic works that evoke the creative ferment of Paris in the transitional early years of the 20th century: piano transcriptions of Stravinsky's iridescent ballet scores The Firebird and Petrushka, and Ravel's Miroirs and La Valse.

Continuing the series 'Bach's Contemporaries', this volume concentrates on the wonderful music of Johann Schelle — a cousin of Kuhnau (another composer featured in this series). This immensely striking sacred music by Schelle (one of Bach's predecessors in the post of Kantor in Leipzig's famous Thomas Church) brings together a top-flight group of soloists and a large and colourful assembly of instrumentalists, and presents remarkable and splendidly varied music which not only stands up proudly in its own musical right, but also greatly enhances our understanding of Bach's own sacred writing.