Djal Extra Bal (2003)

Back in the World (subtitled Live) is a live album by Paul McCartney composed of highlights from his spring 2002 "Driving USA" tour in the United States in support of McCartney's 2001 release Driving Rain. It was released internationally in 2003, save for North America – where Back in the US saw issue four months earlier in 2002 – to commemorate his first set of concerts in almost ten years…

Contagious [EP] (2003). One of the most interesting items from the “Contagion” tour merchandising is this EP, entitled “Contagious”, a reasonably necessary complement to the LP. This CD includes four brand new songs, and a remix of “Witch Hunt”. In short, a brief but interesting release, a must for any Arena and Nolan collector. And don't forget another great artwork job by David Wyatt.
Contagium [EP] (2003). “Contagium” is the second and last EP to follow British progressive rock band Arena’s early 2003 studio album “Contagion”. Just like “Contagious”, the second EP that was released mid 2003, this mini album contains tracks that complete the conceptual story and musical journey of the full album, supplemented by a special remix.

Sixty Six to Timbuktu has to be the icing on the cake for Robert Plant. After Led Zeppelin issued its second live album as well as a spectacular DVD in 2003, his career retrospective outside of the band is the new archetype for how they should be compiled. Containing two discs and 35 cuts, the set is divided with distinction. Disc one contains 16 tracks that cover Plant's post-Zep recording career via cuts from his eight solo albums. Along with the obvious weight of his former band's presence on cuts like "Tall Cool One," "Promised Land," and "Tie Dye on the Highway," there is also the flowering of the influence that Moroccan music in particular and Eastern music in general would have on him in readings of Tim Hardin's "If I Were a Carpenter," Jesse Colin Young's "Darkness, Darkness," and his own "29 Palms." There is also a healthy interest in technology being opened up on cuts from Pictures at Eleven and Now & Zen…

Electric blues fans flock to Jimmy Thackery to hear his fiery guitar, and tolerate his serviceable but far from thrilling gruff vocals. So, the compilers of this Blind Pig-era (six albums from 1992-2000) collection wisely stuck with all instrumental cuts. While that doesn't adequately summarize his career during this time, it sure makes for a dazzling disc displaying Thackery's sizzling six-string prowess. Although it is compiled predominately of previously released material (along with three unreleased live tracks), and these tunes are certainly among his best, by avoiding the "Greatest Hits" tag Blind Pig makes it easy to zero in on Thackery's most incendiary guitar showcases.

It only seems like there has been an endless stream of Grateful Dead compilations. In reality, there has only been a handful, and the most notable of those were released while the band was still an active recording and touring unit in the '70s – and before they had belated chart success in the late '80s, 20 years after their debut album. So, Warner/Rhino's 2003 collection The Very Best of Grateful Dead marks the first attempt to do a thorough single-disc overview of the group's career, encompassing not just their classic Warner albums but also the records they cut for their own Grateful Dead/UA and Arista.

O Negative, Tiamat, Sisters of Mercy, and sixth album The Antidote finds the Portuguese group existing in its own unique, creative headspace. Bolstered by a thoroughly enveloping production - which carefully places lush, gothic textures into harsh, metallic realms, and vice versa - and accomplished, memorable songwriting, The Antidote is easily the group's most ambitious effort. The band utilizes a rich sonic palette that smartly balances melodic hooks, keyboard textures and an impressively strong foundation of steely guitar riffs; moody, rousing numbers ("Capricorn at Her Feet," "Crystal Gazing," "The Southern Deathstyle") mingle with lengthy, spacious excursions ("Lunar Still," "As We Eternally Sleep on It") and exemplary fist-pumping anthems that toe the line between the black/death metal grit and commercial sheen ("In and Above Men," "A Walk on the Darkside")…

Haydn conducted the first performance in 1768. This 5 star plus production was staged at the Congress Palace, Lugano in 1982. The fine Libretto in Italian is by Carlo Goldoni. The acting is superb, the body language great. In fact one of the best is an extra apprentice who has no lines at all. The singing is excellent throughout and Griletta (Antonella Manotti) has a very fine voice and technique. The staging is one of the finest I have ever seen.