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R.E.M. grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection—available as a super-deluxe edition 8-CD/1-DVD box set, as well as 2-CD, 2-LP and digital formats—comprises a treasure trove of rare and unreleased live and studio recordings culled from the BBC and band archives. This is a must-have collection for R.E.M. fans and an authoritative introduction for newcomers.

THREE DISC SET CELEBRATING THE EXTRAORDINARY MUSIC OF R.E.M. It s more than 10 years since R.E.M. last toured, and almost eight since their last studio album, but it seems there is more interest in this seminal band right now then there has been at any time since they called it a day. This 3 CD set celebrates the stunning musical career of R.E.M. by compiling some of the best recordings available of the group in concert across their time together as a touring unit. Featuring full shows, all recorded for FM radio broadcast, in 1983, 1984 and 1989 respectively, this box-set will delight collectors of R.E.M. s music the world across.

Auteur d’un nombre phénoménal d’opéras (cent quinze lui sont attribués, sans compter le reste d’une production considérable), Alessandro Scarlatti avait soixante ans lorsqu’il composa son dernier ouvrage lyrique, Griselda, pour le prince Ruspoli. Créé au Teatro Capranica à Rome en 1721, il s’inspire du Décaméron de Bocacce sur un livret dû à divers auteurs, dans une distribution exclusivement masculine comportant à l’origine cinq castrats et un ténor.Parmi les enregistrements de cet ouvrage, celui de René Jacobs paru en 2002 avait d’emblée placé la barre très haute. Le présent témoignage enregistré en 2021 durant le Festival della Valle d’Itria à l’occasion des trois cents ans de l’ouvrage comporte une distribution essentiellement italienne distribuée à deux sopranos, un contre-ténor et une mezzo-soprano avec des voix lyriques convenant particulièrement bien à cet ouvrage dramatique.

R.E.M. close out their Warner contract – not to mention their entire career – with the double-disc Part Lies Part Heart Part Truth Part Garbage, their first compilation to combine early recordings from their time at IRS with their major-label hits for Warner. It's misleading to look at these as merely two separate eras, as it more accurately breaks down into a three-act structure: the IRS years when R.E.M. were the kings of college rock; the stretch between 1988-1995 when they were international superstars; and then the slow decline of 1998-2011, the years after Bill Berry, the years when Peter Buck, Michael Stipe, and Mike Mills tried to redefine the group as a trio before finally realizing they'd said all they could say.

To some he's the godfather, to others he's the king. Long before bedroom recording became an aesthetic choice, R Stevie Moore built a legend of pop experimentalism, home recording, and mystic curmudgeonry. Equal parts songwriter, improviser, composer, producer, filmmaker, artist, and comedy writer, the self-taught Tennessean polymath has released hundreds of homemade albums since the '60s–and inspired a thousand times more. Rather than pose and slither in the music biz, Moore opted for a more genuine life and a spot on the staff at legendary indie radio station WFMU, sharing Bedroom Radio with the world. His independent streak extends to his record releases, the R. Stevie Moore Cassette Club successful and long-lasting enough that it became the R. Stevie Moore CD-R Club.

R.E.M. verscheen ten tonele toen post-punk overging in alternatieve rock. Hun eerste single, "Radio Free Europe," uit 1981, veroorzaakte een terug-naar-de-garage beweging in de Amerikaanse underground. Door de combinatie van gitaarsolo's, gemompelde, cryptische teksten en een D.H.Z. esthetiek die was overgenomen van de post-punk, klonk de band zowel traditioneel als modern. Gedurende de jaren '80 werkten ze onafgebroken; ze brachten elk jaar platen uit en waren voortdurend op tournee. Tegen het eind van de jaren '80, was hun fanbase groot genoeg om goede verkopen te garanderen, maar het top tien succes van Document en "The One I Love" in 1987 was toch onverwachts. Na Document groeide R.E.M. langzaam uit tot een van 's werelds populairste bands.

RCA will be releasing the official best-of album ‘The Essential R. Kelly‘ under the Jive label on May 19. The 35-song, double-disc set will feature his biggest hits including “Down Low,” “Bump & Grind,” “Ignition (Remix),” “When A Woman Loves,” “I Believe I Can Fly” and many more. Plus, it includes hard-to-find remixes, rare movie soundtrack cuts (several of them out of print), and career-defining collaborations.

Fables of the Reconstruction was intentionally murky, and Lifes Rich Pageant was constructed as its polar opposite. Teaming with producer Don Gehman, who previously worked with John Mellencamp, R.E.M. developed their most forceful record to date. Where previous records kept the rhythm section in the background, Pageant emphasizes the beat, and the band turns in its hardest rockers to date, including the anthemic "Begin the Begin" and the punky "Just a Touch." But the cleaner production also benefits the ballads and the mid-tempo janglers, particularly since it helps reveal Michael Stipe's growing political obsessions, especially on the environmental anthems "Fall on Me" and "Cuyahoga." The group hasn't entirely left myths behind – witness the Civil War ballad "Swan Swan H" – but the band sound more contemporary both musically and lyrically than they did on either Fables or Murmur, which helps give the record an extra kick. And even with excellent songs like "I Believe," "Flowers of Guatemala," "These Days," and "What if We Give It Away," it's ironic that the most memorable moment comes from the garage rock obscurity "Superman," which is sung with glee by Mike Mills.

R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground.