Over the past decade, The Velvet Underground’s live archive has been raided with increasing frequency. First we got the official release of a long-bootlegged 1966 Columbus, Ohio gig as a part of the “super-deluxe” edition of The Velvet Underground & Nico. And in 2013, the 1967 Gymnasium gig (which had only circulated amongst collectors for a few years), showed up on the similarly super deluxe White Light/White Heat box set. At this point, there’s very little live material left from the John Cale-era of the group, at least that anyone knows about. But one of the strangest, most fascinating treasures of Cale’s time with the Velvets still remains in the hands of bootleggers: “Sweet Sister Ray.”

This release is the second of three major recordings featuring LPO Principal Conductor Edward Gardner during the period of marking 20 years of the Orchestra's acclaimed record label. Dvorák's Symphony No.7 was commissioned by the London Philharmonic Society in 1884. It may not be his most popular symphony, but it's arguably the best. It combines dramatic, dark and flawless structure with radiant melodies cutting through it's intensity. In contrast, Schumann's Symphony No.2 is a deeply personal work, written during the time of his struggles with depression. The melodies blend restless energy with transcendent lyricism, culminating in a cathartic finale. Captured live in concert at London's Royal Festival Hall, these recordings are a testament to the emotional depth and refined artistry of the LPO under Gardner's dynamic leadership.

NOW – Yearbook Extra 1998 - a must-have 60-track 3CD collection out March 28th, continuing our celebration of a fantastic year in pop!CD1 kicks off with Robbie Williams’ classic ‘Let Me Entertain You’, followed by a run of hits from Stereophonics, Natalie Imbruglia, Sheryl Crow and The Corrs with the Tin Tin Out Remix of ‘What Can I Do’ – taken from 1998’s biggest selling album ‘Talk On Corners’. Space and Cerys Matthews’ collaboration on ‘The Ballad Of Tom Jones’ adds touch of alternative pop ahead of All Saints with their #1 version of ‘Lady Marmalade’, and Billie Piper’s #1 smash ‘Girlfriend’. More classic 90s pop anthems next with huge hits from B*Witched and Five, before Busta Rhymes, Usher and Brandy featuring Ma$e deliver unforgettable hip-hop and R&B smashes. The disc closes with superb vocals from the Lighthouse Family, Simply Red and Elton John!

Het succes komt niet snel voor Bruce Springsteen. De Amerikaanse zanger draait al heel wat jaartjes mee wanneer hij in 1975 eindelijk doorbreekt. Dat is vooral te danken aan het album Born to Run. Wat volgt is een carrière van louter superlatieven. Hij levert inmiddels klassieke popalbums af als The River, Born in the U.S.A. en Tunnel of Love en groeit uit tot een held van de Amerikaanse arbeidersklasse. In zijn muziek vermengt hij rock met pop en folk en zijn gruizige stemgeluid is uit duizenden herkenbaar. Ook bouwt hij een reputatie op als uitmuntende liveperformer, die moeiteloos hele stadions in vervoering brengt. Springsteen heeft 22 studioalbums op zijn naam staan, met Only the Strong Survive uit 2022 als meest recente album. Twee jaar later komt het compilatiealbum Best of Bruce Springsteen uit, dat de periode van 1973 tot 2020 beslaat.

This fabulous radio broadcast comes from The King's Head Inn, a tiny venue popular with students near the Old Dominion University campus, in Norfolk, Virginia, that could accommodate barely 100 people. Luckily, local radio station WNOR was on hand to preserve this storming performance made on July 20th 1980 by soon-to-become-legendary Blues guitarist Stevie Ray Vaughan.

Judith Marjorie Collins (born May 1, 1939) is an American singer and songwriter known for her eclectic tastes in the material she records (which has included folk music, show tunes, pop music, rock and roll and standards) and for her social activism.

Wagram Music Presents Tubes 80 Tous les hits des annees 80 album original hits and the original artists genre Pop.

"Next to Normal is of real value to anyone who cares about the direction and possibilities of the American musical." - Ben Brantley, The New York Times A supercharged ride from the opening number to the final seconds, Next to Normal is an emotional roller coaster that takes you from the highest highs to the lowest lows. With a rocking score and exhilarating performances by Broadway's hottest stars, you cannot escape the power of this bold new musical.

Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players, and without him, modern guitar music would not sound as it does – his style has influenced blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. From the beginning, King had his own style and unique tone. He played left-handed, without re-stringing the guitar from the right-handed setup; this "upside-down" playing accounts for his difference in his sound, since he pulls down on the same strings that most players push up on when bending the blues notes. His first album for Stax, the 1967 singles collection Born Under a Bad Sign, became one of the most popular and influential blues albums of the late '60s. King's massive tone and unique way of squeezing bends out of a guitar string enormously impacted followers, especially in rock & roll, where many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he holds the status of one of the most important blues guitarists to ever pick up the electric guitar.

Willie Nelson Als een songwriter en artiest speelde Willie Nelson een belangrijke rol in de post-rock & roll country-muziek. Hoewel hij pas in het midden van de jaren 70 een ster werd, bracht Nelson de jaren 60 door met niet alleen het schrijven van nummers die hits werden voor sterren zoals Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls") en Billy Walker ("Funny How Time Slips Away") maar ook het uitbrengen van een aantal platen bij Liberty en RCA die hem een kleine, maar toegewijde cultaanhang opleverde. Aan het begin van de jaren 70 voegde Willie zich bij Waylon Jennings en de bloeiende outlaw country-beweging die hem in 1975 tot een ster maakte.

When Legacy put together The Essential Teddy Pendergrass for release in 2007, four years had come and gone since the Philly soul singer's hits had last been anthologized in double-disc form. So, is this really all that necessary? Yes, it is completely necessary. Unlike 2003's Anthology, released through The Right Stuff, The Essential Teddy Pendergrass does not cut off just prior to TP's mid-'80s switch from Philadelphia International to Elektra/Asylum. This means that later R&B number ones "Joy" and "It Should've Been You," along with the 1984 Whitney Houston duet "Hold Me" (number five), are all included – but this is at the expense of some of TP's lower-charting singles from the earlier years, which are squeezed out. Regardless, due its greater breadth, it is the more attractive set of the two. William C. Rhoden, who was a jazz critic and editor at Ebony prior to becoming a well-known sports columnist and author, penned the liner notes.

As a songwriter and performer, Willie Nelson has played a vital role in post-rock & roll country music. Although he didn't become a star until the mid-'70s, he spent the 1960s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away"), as well as releasing a series of records on Liberty and RCA that earned him a small but devoted cult following. During the early '70s, Nelson abandoned Nashville for his native Texas, setting up shop with the redneck hippies in Austin and taking control of his music on the landmark Shotgun Willie (1973) and Phases & Stages (1974). He found a kindred spirit in Waylon Jennings and, together, they spearheaded the outlaw country movement that finally made him a star by 1975.

Since he was the son of cult songwriter Tim Buckley, Jeff Buckley faced more expectations and preconceived notions than most singer/songwriters. Perhaps it wasn't surprising that Jeff Buckley's music was related to his father's by only the thinnest of margins. Buckley's voice was grand and sweeping, which fit with the mock-operatic grandeur of his Van Morrison-meets-Led Zeppelin music. His audacious debut, Grace, made him one of the most popular alternative artists of the '90s, accentuated by his early and tragic death in 1997, and his cover of Leonard Cohen's "Hallelujah" virtually redefined the song for a modern audience.

In 1964, when this concert at New York City's legendary Copacabana night club was recorded, Sam Cooke was at the top of his game, having charted numerous times with his unique blend of pop and soul. The success doesn't seem to have gone to his head, though: he sounds relaxed and conversational throughout this intimate performance. Accompanied by a band that includes Bobby Womack on guitar, Cooke brings his R&B tendencies further to the fore than on his immaculately produced studio work. He moves deftly through his own hits, like "You Send Me" and "Twistin' The Night Away," but it's on the folk songs "If I Had A Hammer" and "Blowin' In The Wind" that he really stretches out, proving himself a gifted interpreter unbound by stylistic constrictions. At The Copa is an essential part of the Cooke canon.

With a limitless supply of dirty riffs, snarling vocals, and timelessly catchy, anthemic choruses, AC/DC is one of the most important and most lasting forces in hard rock. Founded in the early '70s by Scottish-born brothers Malcolm and Angus Young, the Aussie band exploded onto the international stage in 1979 with the release of their multi-platinum-selling sixth album, Highway to Hell. The death of charismatic frontman Bon Scott in 1980 threatened to derail the group, but AC/DC powered through. They recruited Geordie vocalist Brian Johnson and unleashed their most successful effort to date, Back in Black, which has become the second best-selling album in history. The band continued to help define the sound of hard rock and metal throughout the '80s, '90s, and beyond, spawning countless imitators and enjoying steady, consistent commercial success. They also became one of the best examples of arena rock, playing to enormous crowds as the years went on, and rocking as hard as ever on studio albums like 1990's pop-glinted The Razor's Edge and 2020's Power Up, both of which reached the upper tiers of multiple charts.