Immortal Temptation

A tenacious Swiss melodic hard rock/heavy metal crew, Shakra emerged in the late '90s and found success in Europe in 2001 with their third full-length effort, Power Ride. Despite enduring multiple lineup changes over the years, the band has endured for over two decades, releasing dozens of well-received albums like Everest (2009), Powerplay (2013), and Mad World (2020) that balance blazing riffs, fist-pumping melodies, and crisp production with plenty of attitude.

The Platters sold more records, played more venues, and appeared in more films than any other vocal group of the time. They truly had the Magic Touch. By 1962, the Platters had placed an astonishing 35 songs on the American pop charts. The lead singer, Tony Williams, influenced an entire generation of singers - black and white. This is one of the most impressive legacies in black music. Virtually all of the Platters' classic recordings from 1955 to 1964 were made for one label, Mercury Records, and they're here complete for the first time.

Ten years after their last album of original material, alternative metal outfit Evanescence continued their late-era comeback with their fifth full-length, The Bitter Truth. In the decade following their enjoyable (but by-the-numbers) self-titled third set, Amy Lee and company – guitarist Troy McLawhorn, bassist Tim McCord, drummer Will Hunt, and guitarist Jen Majura – kept the brand alive with tours and album reissues, but the project wasn't fully reignited until the grand orchestral reimaginings of Synthesis arrived in 2017. Riding that creative wave, they got to work on what would become The Bitter Truth, barreling through the COVID-19 lockdown and completing the album with producer Nick Raskulinecz (Korn, Halestorm).

"The man who was Django’s prestigious partner in the first, immortal Quintette du H.C.F. has made an appearance (on wax) for Barclay with a series of recordings in which you can rediscover his pretty sound and abundant, easy ideas; in a word, his style which, though with less of a bite than before, has lost none of its grace." Those were the first lines of the review that a certain Michel Delaroche (in fact Boris Vian) wrote for the November 1955 issue of Jazz Hot; the subject was this album, the first that Stéphane Grappelli ("Grappelly" at the time) had made on violin under his own name since he'd left England.
The violinist had celebrated his definitive return to France at the Club Saint-Germain on the night of April 25th 1954; he would appear there on and off for the next seven years…