Playlist
When Snarky Puppy won a Grammy in January of 2014, the question I was asked most was, Was this on your bucket list of things to do before you die? And my answer to each of them was, actually, no. I have only one thing on my list. The only thing I want to do before I die is make an album with an orchestra. It had been a topic of discussion for three months at that time. During the October 2013 recording sessions for We Like It Here in Utrecht, our good friend Friederike Darius had invited two of the Metropole Orkest s managers to join us as guests. Within ten minutes of the performance s end, we had already crafted a plan to make a record together. Sometimes life is that easy. Not always, not most of time, but every once in a while, it is.The last thing I wanted to do with this opportunity was turn it into a Snarky Puppy With Strings situation. While on tour in Germany in November, I snuck off to Berlin for a night to meet with conductor Jules Buckley and discuss possibilities for the material. We both agreed that a brand new piece of music written specifically for this hybrid ensemble would be the ideal scenario. I asked Jules, could I customize the instrumentation of the Metropole a bit? Of course I could. How about a lot more than a bit? No problem. Is it okay if I do the arranging on my own despite the fact that I ve never arranged for an orchestra and then just have you clean it up and make it sound like I know what I m doing? Perfectly fine with me. Is there anything I could ask you right now that would elicit a negative response? No.If there were any way to sum up the tone and attitude of the entire experience, this conversation with Jules would just about do it. It went like that from start to finish. I wrote the music while on tour, in buses and on planes and in dressing rooms backstage before and after shows. Throughout the whole process, my governing concept was to try to capture the many sides and personalities of the only place where I feel truly connected to the earth as a human being. A place that is at once innocent, frightening, awe-inspiring, impenetrable, fragile, stoic, telling, a shelter, a labyrinth, a temple, a tomb, a sanctuary, a parliament, a prison. The forest.I wanted it to be a suite, a single piece of music connected by a thread that could highlight the strengths of the Metropole- specifically, their stylistic versatility and incredible sense of groove and feel (a rarity in the orchestral world). Each movement is about a different forest I ve spent time in, from the mountains of Portugal to the swamps of Louisiana to the giant redwoods of northern California to the land behind my neighbor s house in Virginia to the dark wood that lived all of our heads as children, the one that we dreamt of being lost in, consumed by, and then woke up sweating, running to our parents room for reassurance.My desire was to make everything about the album different from what we ve ever done and also from what is expected of an orchestral album. It was recorded 100% live, with no overdubs or studio magic to make things sound cleaner or thicker. 300 audience members joined us for four performances over two nights, wearing headphones in order to hear the music exactly as we, the performers, were hearing it. We stacked the low end of the orchestra with bass and contrabass clarinets and low brass and expanded the string section. We arranged set pieces and the physical bodies of the musicians to form a kind of integrated human-floral forest within which the audience would sit (I m still jealous of the people whose seats were inside of the string section). We tried to create a place where one could forget where they were and simply be surrounded by sound.-Michael League
Sylva
Snarky Puppy & Metropole Orkest
The Curtain
Genre: Jazz
Year: 2015
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Elton John will release his 33rd studio album, Wonderful Crazy Night, on February 5, 2016 on Island Records. The album will feature the infectious and upbeat lead single, Looking Up, which will be available October 23nd. Wonderful Crazy Night was co-produced by Elton and T-Bone Burnett and recorded at The Village in Los Angeles.
Wonderful Crazy Night (Deluxe)
Elton John
The Open Chord
Genre: Rock
Year: 2016
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Elton John will release his 33rd studio album, Wonderful Crazy Night, on February 5, 2016 on Island Records. The album will feature the infectious and upbeat lead single, Looking Up, which will be available October 23nd. Wonderful Crazy Night was co-produced by Elton and T-Bone Burnett and recorded at The Village in Los Angeles.
Wonderful Crazy Night (Deluxe)
Elton John
A Good Heart
Genre: Rock
Year: 2016
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Elton John will release his 33rd studio album, Wonderful Crazy Night, on February 5, 2016 on Island Records. The album will feature the infectious and upbeat lead single, Looking Up, which will be available October 23nd. Wonderful Crazy Night was co-produced by Elton and T-Bone Burnett and recorded at The Village in Los Angeles.
Wonderful Crazy Night (Deluxe)
Elton John
Blue Wonderful
Genre: Rock
Year: 2016
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Shall We Descend
The Jelly Jam
March of the Trolls
Genre: Rock
Year: 2011
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Shall We Descend
The Jelly Jam
Halos in Hell
Genre: Rock
Year: 2011
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Shall We Descend
The Jelly Jam
Stay Together
Genre: Rock
Year: 2011
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Shall We Descend
The Jelly Jam
Who's Comin' Now
Genre: Rock
Year: 2011
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When Snarky Puppy won a Grammy in January of 2014, the question I was asked most was, Was this on your bucket list of things to do before you die? And my answer to each of them was, actually, no. I have only one thing on my list. The only thing I want to do before I die is make an album with an orchestra. It had been a topic of discussion for three months at that time. During the October 2013 recording sessions for We Like It Here in Utrecht, our good friend Friederike Darius had invited two of the Metropole Orkest s managers to join us as guests. Within ten minutes of the performance s end, we had already crafted a plan to make a record together. Sometimes life is that easy. Not always, not most of time, but every once in a while, it is.The last thing I wanted to do with this opportunity was turn it into a Snarky Puppy With Strings situation. While on tour in Germany in November, I snuck off to Berlin for a night to meet with conductor Jules Buckley and discuss possibilities for the material. We both agreed that a brand new piece of music written specifically for this hybrid ensemble would be the ideal scenario. I asked Jules, could I customize the instrumentation of the Metropole a bit? Of course I could. How about a lot more than a bit? No problem. Is it okay if I do the arranging on my own despite the fact that I ve never arranged for an orchestra and then just have you clean it up and make it sound like I know what I m doing? Perfectly fine with me. Is there anything I could ask you right now that would elicit a negative response? No.If there were any way to sum up the tone and attitude of the entire experience, this conversation with Jules would just about do it. It went like that from start to finish. I wrote the music while on tour, in buses and on planes and in dressing rooms backstage before and after shows. Throughout the whole process, my governing concept was to try to capture the many sides and personalities of the only place where I feel truly connected to the earth as a human being. A place that is at once innocent, frightening, awe-inspiring, impenetrable, fragile, stoic, telling, a shelter, a labyrinth, a temple, a tomb, a sanctuary, a parliament, a prison. The forest.I wanted it to be a suite, a single piece of music connected by a thread that could highlight the strengths of the Metropole- specifically, their stylistic versatility and incredible sense of groove and feel (a rarity in the orchestral world). Each movement is about a different forest I ve spent time in, from the mountains of Portugal to the swamps of Louisiana to the giant redwoods of northern California to the land behind my neighbor s house in Virginia to the dark wood that lived all of our heads as children, the one that we dreamt of being lost in, consumed by, and then woke up sweating, running to our parents room for reassurance.My desire was to make everything about the album different from what we ve ever done and also from what is expected of an orchestral album. It was recorded 100% live, with no overdubs or studio magic to make things sound cleaner or thicker. 300 audience members joined us for four performances over two nights, wearing headphones in order to hear the music exactly as we, the performers, were hearing it. We stacked the low end of the orchestra with bass and contrabass clarinets and low brass and expanded the string section. We arranged set pieces and the physical bodies of the musicians to form a kind of integrated human-floral forest within which the audience would sit (I m still jealous of the people whose seats were inside of the string section). We tried to create a place where one could forget where they were and simply be surrounded by sound.-Michael League
Sylva
Snarky Puppy & Metropole Orkest
The Curtain
Genre: Jazz
Year: 2015
• Download at Amazon
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When Snarky Puppy won a Grammy in January of 2014, the question I was asked most was, Was this on your bucket list of things to do before you die? And my answer to each of them was, actually, no. I have only one thing on my list. The only thing I want to do before I die is make an album with an orchestra. It had been a topic of discussion for three months at that time. During the October 2013 recording sessions for We Like It Here in Utrecht, our good friend Friederike Darius had invited two of the Metropole Orkest s managers to join us as guests. Within ten minutes of the performance s end, we had already crafted a plan to make a record together. Sometimes life is that easy. Not always, not most of time, but every once in a while, it is.The last thing I wanted to do with this opportunity was turn it into a Snarky Puppy With Strings situation. While on tour in Germany in November, I snuck off to Berlin for a night to meet with conductor Jules Buckley and discuss possibilities for the material. We both agreed that a brand new piece of music written specifically for this hybrid ensemble would be the ideal scenario. I asked Jules, could I customize the instrumentation of the Metropole a bit? Of course I could. How about a lot more than a bit? No problem. Is it okay if I do the arranging on my own despite the fact that I ve never arranged for an orchestra and then just have you clean it up and make it sound like I know what I m doing? Perfectly fine with me. Is there anything I could ask you right now that would elicit a negative response? No.If there were any way to sum up the tone and attitude of the entire experience, this conversation with Jules would just about do it. It went like that from start to finish. I wrote the music while on tour, in buses and on planes and in dressing rooms backstage before and after shows. Throughout the whole process, my governing concept was to try to capture the many sides and personalities of the only place where I feel truly connected to the earth as a human being. A place that is at once innocent, frightening, awe-inspiring, impenetrable, fragile, stoic, telling, a shelter, a labyrinth, a temple, a tomb, a sanctuary, a parliament, a prison. The forest.I wanted it to be a suite, a single piece of music connected by a thread that could highlight the strengths of the Metropole- specifically, their stylistic versatility and incredible sense of groove and feel (a rarity in the orchestral world). Each movement is about a different forest I ve spent time in, from the mountains of Portugal to the swamps of Louisiana to the giant redwoods of northern California to the land behind my neighbor s house in Virginia to the dark wood that lived all of our heads as children, the one that we dreamt of being lost in, consumed by, and then woke up sweating, running to our parents room for reassurance.My desire was to make everything about the album different from what we ve ever done and also from what is expected of an orchestral album. It was recorded 100% live, with no overdubs or studio magic to make things sound cleaner or thicker. 300 audience members joined us for four performances over two nights, wearing headphones in order to hear the music exactly as we, the performers, were hearing it. We stacked the low end of the orchestra with bass and contrabass clarinets and low brass and expanded the string section. We arranged set pieces and the physical bodies of the musicians to form a kind of integrated human-floral forest within which the audience would sit (I m still jealous of the people whose seats were inside of the string section). We tried to create a place where one could forget where they were and simply be surrounded by sound.-Michael League
Sylva
Snarky Puppy & Metropole Orkest
Atchafalaya
Genre: Jazz
Year: 2015
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When Snarky Puppy won a Grammy in January of 2014, the question I was asked most was, Was this on your bucket list of things to do before you die? And my answer to each of them was, actually, no. I have only one thing on my list. The only thing I want to do before I die is make an album with an orchestra. It had been a topic of discussion for three months at that time. During the October 2013 recording sessions for We Like It Here in Utrecht, our good friend Friederike Darius had invited two of the Metropole Orkest s managers to join us as guests. Within ten minutes of the performance s end, we had already crafted a plan to make a record together. Sometimes life is that easy. Not always, not most of time, but every once in a while, it is.The last thing I wanted to do with this opportunity was turn it into a Snarky Puppy With Strings situation. While on tour in Germany in November, I snuck off to Berlin for a night to meet with conductor Jules Buckley and discuss possibilities for the material. We both agreed that a brand new piece of music written specifically for this hybrid ensemble would be the ideal scenario. I asked Jules, could I customize the instrumentation of the Metropole a bit? Of course I could. How about a lot more than a bit? No problem. Is it okay if I do the arranging on my own despite the fact that I ve never arranged for an orchestra and then just have you clean it up and make it sound like I know what I m doing? Perfectly fine with me. Is there anything I could ask you right now that would elicit a negative response? No.If there were any way to sum up the tone and attitude of the entire experience, this conversation with Jules would just about do it. It went like that from start to finish. I wrote the music while on tour, in buses and on planes and in dressing rooms backstage before and after shows. Throughout the whole process, my governing concept was to try to capture the many sides and personalities of the only place where I feel truly connected to the earth as a human being. A place that is at once innocent, frightening, awe-inspiring, impenetrable, fragile, stoic, telling, a shelter, a labyrinth, a temple, a tomb, a sanctuary, a parliament, a prison. The forest.I wanted it to be a suite, a single piece of music connected by a thread that could highlight the strengths of the Metropole- specifically, their stylistic versatility and incredible sense of groove and feel (a rarity in the orchestral world). Each movement is about a different forest I ve spent time in, from the mountains of Portugal to the swamps of Louisiana to the giant redwoods of northern California to the land behind my neighbor s house in Virginia to the dark wood that lived all of our heads as children, the one that we dreamt of being lost in, consumed by, and then woke up sweating, running to our parents room for reassurance.My desire was to make everything about the album different from what we ve ever done and also from what is expected of an orchestral album. It was recorded 100% live, with no overdubs or studio magic to make things sound cleaner or thicker. 300 audience members joined us for four performances over two nights, wearing headphones in order to hear the music exactly as we, the performers, were hearing it. We stacked the low end of the orchestra with bass and contrabass clarinets and low brass and expanded the string section. We arranged set pieces and the physical bodies of the musicians to form a kind of integrated human-floral forest within which the audience would sit (I m still jealous of the people whose seats were inside of the string section). We tried to create a place where one could forget where they were and simply be surrounded by sound.-Michael League
Sylva
Snarky Puppy & Metropole Orkest
Flight
Genre: Jazz
Year: 2015
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Ever the primary conceit of mainstays Walter Becker and Donald Fagen, 1976's The Royal Scam marks the first time the Steely Dan duo actually owned up to the fact. Musically, it's their edgiest, most guitar-driven record (thanks to Becker and a murderer's row of session greats that includes Larry Carlton, Elliot Randall, Dean Parks, and Denny Dias). Lyrically, the songs cut an ever-sardonic, presciently discomforting slice of modern life that was a couple decades ahead of the game (who else was extolling the virtues of condom-couture, à la "The Fez," mid-Me Decade?). Though it didn't garner the radio attention of Aja, its more jazz-suffused, multiplatinum follow-up, Scam boasts a diverse, occasionally muscular musical rhetoric and some of the Dan's most telling portraits (the deranged, yet all-too-familiar killer of "Don't Take Me Alive," "Kid Charlemagne"'s drug-culture celebrity, the tropical convenience of a "Haitian Divorce"). Small wonder many Dan fans consider it their best. --Jerry McCulley
The Royal Scam
Steely Dan
The Fez
Genre: Rock
Year: 1976
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Captain Beefheart's 1982 release 'Ice Cream For Crow' was his final recording before retiring from the music business forever to devote himself to painting full time. A more somber affair than the previous record 'Doc At The Radar Station' it is still a strong final musical statement from him. A more streamlined new Magic Band is back for this recording and masterfully help send the Captain off in style. Featuring hit songs (in an alternate universe!) such as The Host The Ghost The Most Holy-O, Hey Garland I Dig Your Tweed Coat and 81 Poop Hatch. Musicians: Don van Vliet - vocals, harmonica, sax, chinese gongs; Jeff Moris Tepper - guitar; Gary Lucas - guitar; Richard Snyder - bass, marimba, viola; Eric Drew Feldman - bass, piano; Cliff Martinez - drums.
Ice Cream for Crow
Captain Beefheart & The Magic Band
Semi-Multicoloured Caucasian
Genre: Rock
Year: 1982
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Pages
Pages
Sesatia
Genre: Rock
Year: 1981
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Pages
Pages
Fearless
Genre: Rock
Year: 1981
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With drummer John Bonham's death and the dissolution of Led Zeppelin, Robert Plant and Jimmy Page pursued solo careers. In 1994 they reunited for MTV's hugely popular Unplugged. That historic session -- which led to a new studio album and an international tour -- became No Quarter. The duo's talents are potent as ever as they deliver these unique variations on choice picks from the Led Zeppelin songbook. Expanded with the bonus tracks "The Rain Song" and "Wah Wah."
Pages
Pages
Automatic
Genre: Rock
Year: 1981
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2016 album form the NOLA-born and Nashville-based singer/songwriter. Music, like fashion, food and a bevy of other cultural landscapes, continually waffles between nostalgia and innovation, cycling through one reinvention to the next. Brooke Waggoner's inherent grasp and commitment to her sound, seems decidedly unconventional considering these patterns of trend. "I found my sound at a pretty young age," says the songwriter, composer and performer. That sound, explored and refined in her latest album, Sweven, draws the notes between her past and present and doesn't hesitate to mine an unusual source - herself. Brooke found herself revisiting her earliest work, captured in a pre-YouTube phase of life, that she had recorded throughout her childhood. "My mom is a big memorabilia person and really pushed me to record everything on cassette tapes at the time. I have every lyric I've written since age nine." Brooke ended up producing the album, and handpicking a close knit group of friends and family to play. The deadline was self-imposed. "My only goal was to finish it before my son was born. It came down literally to the day. I tracked my last set of vocals the afternoon before his arrival."
Sweven
Brooke Waggoner
Fink
Genre: Singer/Songwriter
Year: 2016
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Since the release of 2013 s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour. Kingcrow kept busy in 2014, touring Europe in support of Fates Warning and at the same time crafting the material that would become Eidos. Eidos is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth. Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Pink Floyd, Meshuggah , Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow. With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
Eidos
Kingcrow
Fading Out (Part IV)
Genre: Rock
Year: 2015
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Since the release of 2013 s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour. Kingcrow kept busy in 2014, touring Europe in support of Fates Warning and at the same time crafting the material that would become Eidos. Eidos is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth. Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Pink Floyd, Meshuggah , Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow. With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
Eidos
Kingcrow
Open Sky
Genre: Rock
Year: 2015
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Since the release of 2013 s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour. Kingcrow kept busy in 2014, touring Europe in support of Fates Warning and at the same time crafting the material that would become Eidos. Eidos is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth. Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Pink Floyd, Meshuggah , Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow. With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
Eidos
Kingcrow
Adrift
Genre: Rock
Year: 2015
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Since the release of 2013 s In Crescendo, Kingcrow toured North America in support of Pain Of Salvation, and headlined a European tour. Kingcrow kept busy in 2014, touring Europe in support of Fates Warning and at the same time crafting the material that would become Eidos. Eidos is a new conceptual album about choices, consequences, dealing with regret and disillusion. Their earlier album Phlegethon dealt with childhood and In Crescendo about the end of youth. Eidos can be considered the third part of a trilogy about the path of life. Musically it sees the band exploring new territories and pushing the extremes of its complex soundscape with a darker atmosphere and a more progressive attitude.Describing the band today is quite a difficult task, but one could state that the influence of such artists as Porcupine Tree, Riverside, Opeth, Anathema, Pink Floyd, Meshuggah , Radiohead , King Crimson and Massive Attack are all present in the music of Kingcrow. With each release Kingcrow has taken a step further away from their original roots as a classic metal band and is now one of the most personal and exciting bands that Italy has to offer.
Eidos
Kingcrow
The Moth
Genre: Rock
Year: 2015
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A Dream in Static
Earthside
The Closest I've Come
Genre: Metal
Year: 2015
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MYSTERY is back with a brand new studio album, first one with new Singer Jean Pageau. The Canadian progressive rock band continues the tradition of releasing albums with great production and musicianship. Other band members include Benoit Dupuis on keyboards, François Fournier on bass, Sylvain Moineau on guitar, Jean-Sébastien Goyette on drums, and band leader Michel St-Père on guitars as well as two guest musician Antoine Michaud of Monochrome Seasons (also touring guitarist for Mystery) and Sylvain Descoteaux (Huis). Produced by Michel St-Pere ©2015 UNICORN DIGITAL Inc.
Delusion Rain
Mystery
Delusion Rain
Genre: Rock
Year: 2015
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
Three Days
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
Act of Faythe
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
When Your Time Has Come
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
A Savior In the Square
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
Lord Nafaryus
Genre: Rock
Year: 2016
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Toronto is hardly a hotbed of soul, blue-eyed or otherwise. But geographic roots inform little of Amanda Marshall's third album. As the title suggests, her lively songs play out against a more personal landscape of first- and third-person perspectives and narratives. While Marshall's husky, expressive voice sometimes lapses into contemporary R&B shadings, it's often a shrewd vehicle to deliver genre-blending songs whose viewpoints and rich, telling details are anything but mundane. Part confessional, part personal challenge, the album's songs are largely rooted in autobiography. "Double Agent" explores Marshall's bicultural roots (Canadian-Trinidadian). "Colleen (I Saw Him First)" offers up a romantic rivalry steeped in tragedy. "The Voice Inside" acknowledges the foibles of ambitions of all stripes. Marshall's songwriting collaborator-producers--Peter Asher (the onetime Beatles associate who's midwifed careers from James Taylor's to 10,000 Maniacs'), Billy Mann (Diana King, Art Garfunkel), and NYC DJ Molecules--wrap her voice in an intoxicating cocktail of orchestral flourishes, hip-hop beats, crunchy samples, and crystalline acoustic guitar that inform, tease, and cajole Marshall's spunky groove musings and solid pop instincts ("Dizzy," "Crystal Ball," "Gypsy," the title track) to new heights. --Jerry McCulley
Everybody's Got a Story
Amanda Marshall
Inside the Tornado
Genre: Pop
Year: 2002
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Amanda Marshall ~ Amanda Marshall ~ Tuesday's Chi
Tuesday's Child
Amanda Marshall
Ride
Genre: Rock
Year: 1999
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
A Better Life
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
The Answer
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
The Gift of Music
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
Dystopian Overture
Genre: Rock
Year: 2016
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The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock. The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ. Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.
The Astonishing
Dream Theater
Descent of the Nomacs
Genre: Rock
Year: 2016
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This Is Acting
Sia
Alive
Genre: Pop
Year: 2016
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KCRW - Rare on Air Volume 4
Tom Waits
The Fall of Troy
Genre: General Rock
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12 of Patti's biggest, original Mercury hits! Includes The Tennessee Waltz; (How Much Is) That Doggie in the Window; I Went to Your Wedding; Let Me Go, Lover!; Allegheny Moon; Old Cape Cod; Mockin' Bird Hill; Detour; Why Don't You Believe Me?; Mister and Mississippi; Cross over the Bridge , and Changing Partners.
Pages
Pages
O.C.O.E. (Official Cat of the Eighties)
Genre: Rock
Year: 1981
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12 of Patti's biggest, original Mercury hits! Includes The Tennessee Waltz; (How Much Is) That Doggie in the Window; I Went to Your Wedding; Let Me Go, Lover!; Allegheny Moon; Old Cape Cod; Mockin' Bird Hill; Detour; Why Don't You Believe Me?; Mister and Mississippi; Cross over the Bridge , and Changing Partners.
Pages
Pages
Clearly Kim
Genre: Alternative
Year: 1978
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12 of Patti's biggest, original Mercury hits! Includes The Tennessee Waltz; (How Much Is) That Doggie in the Window; I Went to Your Wedding; Let Me Go, Lover!; Allegheny Moon; Old Cape Cod; Mockin' Bird Hill; Detour; Why Don't You Believe Me?; Mister and Mississippi; Cross over the Bridge , and Changing Partners.
Pages
Pages
Room At the Top
Genre: Alternative
Year: 1978
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