David Pipe

Killers of the Flower Moon is a 2023 American epic Western crime drama film directed and produced by Martin Scorsese, who co-wrote the screenplay with Eric Roth, based on the 2017 book of the same name by David Grann. Its plot centers on a series of Oklahoma murders in the Osage Nation during the 1920s, committed after oil was discovered on tribal land. Leonardo DiCaprio, Robert De Niro, and Lily Gladstone lead an ensemble cast that includes Jesse Plemons, Tantoo Cardinal, John Lithgow, and Brendan Fraser. It is the sixth feature film collaboration between Scorsese and DiCaprio and the tenth between Scorsese and De Niro.

"Celebrate Christmas with this heartwarming collection gathering 100 of the most popular new and classic festive hits by the most revered artists. The great names include Shakin’ Stevens, Jackson 5, Rod Stewart, Michael Ball, David Essex, Jona Lewis, Frankie Goes To Hollywood, Aled Jones and Katherine Jenkins, plus newer superstars like Maroon 5, Justin Bieber, Ariana Grande, Girls Aloud and not to forget legendary names such Nat King Cole, Dean Martin, Peggy Lee and many more. This festive collection captures the true spirit of Christmas for the whole family to cherish and enjoy. "

Filmworks 1986–1990 features the first released film scores of John Zorn. The album was originally released on the Japanese labels Wave and Eva in 1990, on the Nonesuch Records label in 1992, and subsequently re-released on Zorn's own label, Tzadik Records, in 1997 after being out of print for several years. "For Zorn, filmscores have always been a place to experiment, and the FilmWorks Series is in many ways a microcosm of his prodigious output. This original installment of the FilmWorks Series presents three scores ranging from punk-rockabilly (featuring the nasty guitars of Bob Quine, Bill Frisell and Arto Lindsay); a jazzy Bernard Herrmann fantasy; to a quirky classical/improv/world music amalgam for Raul Ruiz's bizarre film The Golden Boat. Zorn's infamous one-minute arrangement of Morricone's classic The Good, The Bad and The Ugly, is included as a bonus track. This is the place where it all began."

Thomas Albertus Irnberger, the Salzburg violinist, who performs worldwide, and Michael Korstick, piano, internationally known for his Beethoven interpretations, release works by Sergei Prokofiev for violin and piano on this double SACD. With unmatched precision in ensemble play and critically acclaimed virtuosity, the performers present the two sonatas for violin and piano, Op. 80 and Op. 94a, the “Five Melodies, Op. 35a” and “Five Pieces from Cinderella”. Also included on this recording is the Sonata for Violin solo, Op. 115. Irnberger dedicates this recording to Igor Oistrakh, who was born in Ukraine and died in 2021, from whom he received important impulses for his own playing, and whose father David Oistrakh was one of the most important Prokofiev interpreters and friends of the composer.

Tonight You're Mine is a 1980 album by Eric Carmen. There is speculation that its title was inspired by the opening line in the Shirelles song Will You Still Love Me Tomorrow, though this is not confirmed. It peaked at #160 on the Billboard album chart. It contained the singles "It Hurts Too Much" (#75 Billboard Hot 100) and "All For Love".

Angst in My Pants is the eleventh studio album by the American rock band Sparks. Angst in My Pants marked the second occasion that Ron Mael and Russell Mael worked with the backing band of guitarist Bob Haag, bassist Leslie Bohem, and drummer David Kendrick. Additionally James Goodwin augmented the line up playing synthesizers, though these were mixed farther back, letting the rest of the band come to the fore. The resulting power pop album was recorded at Musicland Studios, Munich, produced by Mack in association with Giorgio Moroder Enterprises. The recording of the album was the second and last time that Sparks worked with Mack. "Angst In My Pants" and "Eaten by the Monster of Love" were both used in the movie Valley Girl, a romantic comedy released in 1983. "Eaten by the Monster of Love" was also featured in the 2009 horror movie Cabin Fever 2.

Organ Duets by Howard Hanson, Rayner Brown, Leo Sowerby, Barrie Cabena, Joseph Jongen and Gustav Merkel are played upon the Austin pipe organ of Asbury First United Methodist Church in Rochester, New York by David and Marian Craighead. The Hanson and Sowerby works are transcriptions by Marian and David Craighead. In the Sowerby, the Craigheads are joined by Tami L. Petty, soprano and John Beck, tubular bells.

ANNA HOMLER, is a vocal, visual and performance artist based in Los Angeles. She has performed and exhibited her work in venues around the world. With a sensibility that is both ancient and post-modern, Homler sings in an improvised melodic language. Her work explores alternative means of communication and the poetics of ordinary things. She creates perceptual interventions by using language as music and objects as instruments. Since 1982 she has collaborated in America with composer/musicians Steve Moshier, David Moss, Ethan James, Steve Roden, and Steve Peters; and in Europe, with the Voices of Kwahn, Steve Beresford, Peter Kowald, Frank Schulte, Richard Sanderson, Geert Waegeman, and Sylvia Hallett, among others.

Bon Scott was so compelling as the howling front-man of AC/DC that it’s nearly impossible to imagine the more tender pop vocals of his earlier years. Compiled here are twenty-two tracks that Scott recorded with his earlier groups, The Valentines and Fraternity, in the late ’60s and early ’70s. Highlights include an Everlys-ish take on Phil Spector’s “To Know Him is to Love Him,” a soulful version of Arthur Alexander’s “Every Day I Have to Cry,” covers of the Small Faces, Soft Machine and Steppenwolf, and songs from the Easybeats’ Vanda & Young. Hints of Scott’s distinctive tone can be heard, but the material, vocals and arrangements are drawn from the pop, rock and soul music of their times, rather than the hard-rock of AC/DC. By the time the Scott joined Fraternity in 1970, his more familiar bluesy phrasings began to emerge, but not yet with the full-blown leer he’d bring to AC/DC. Diehard fans will enjoy hearing Scott’s evolution towards his famous style, as will those interested in late ’60s pop and early ’70s blues-rock.