Wilhe;m Kempff

"If you grew up in the ‘80s and had even the smallest of passing interest in music, particularly club music, chances are you were very familiar, albeit unwittingly, with the work of John Morales. On the radio, in the record racks and most importantly on the dancefloor John’s work (predominately with studio partner Sergio Munzibai) helped define an era and influence future generations of DJs, producers and artists.
Born into a hard working Puerto Rican household in the Bronx, New York, at the start of the rock ‘n’ roll era, Morales, like many children of the era, was fascinated by this new art-form that was saturating the airwaves and rebelling parents everywhere. So in love with the music he heard, as a 12-year old he persuaded his local record store to give him a part-time job with payment not in dollars, but in 45s. By the time he was old enough to get a full-time job his burgeoning record collection had helped land him one of his first DJ gig at the influential Stardust Ballroom in the Bronx (his father had early owned a bar in Jersey City where John had first got the DJ bug). As his reputation grew Morales was invited downtown to Manhattan to play guest spots at the likes of Pippins, Bentleys, 1018, Limelight and the infamous Studio 54.

Asterix & Obelix: The Middle Kingdom (French: Astérix et Obélix: l'Empire du Milieu) is a coming French live action adventure family comedy film directed by Guillaume Canet, who also stars as Asterix. A sequel to Asterix and Obelix: God Save Britannia (2012), it is the fifth installment in the Asterix film series -M- is the alias of French pop enigma Mathieu Chédid, an uncommonly idiosyncratic and far-ranging talent best known to a worldwide audience for his contributions to the animated cult favorite Les Triplettes de Belleville.

DYNAMIC 1995 BROADCAST FROM R.E.M. s MONSTER TOUR R.E.M.'s 1994 album, Monster, was, as the band declared at the time, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its two predecessors - 1991 s Out Of Time and 92 s Automatic For The People - the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. The album topped the charts in both the US and the UK. In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, although health issues plagued the group - on March 1st, Bill Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. Michael Stipe required emergency surgery for a hernia and Mike Mills needed abdominal surgery mid-tour. Despite the above, the band generally performed superbly, with one of the stand-out shows taking place at The Milton Keynes Bowl in the UK, on July 30th, which was broadcast live nationally on UK FM Radio, and synched too, back home in the U.S. Previously unreleased this exceptional performance is now available for the first time on this double CD set.

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.

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R.E.M. mark 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. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom.

The debut album of pianist Friederike Sieber Seelenübervoll is featuring lieder from the late Romantic period and works by Alma Mahler, Erich Wolfgang Korngold, Richard Strauss, and Alexander von Zemlinsky are performed.

A banda americana R.E.M. marcou o ponto em que o pós-punk se transformou em rock alternativo. Seu primeiro single, “Radio Free Europe”, de 1981, desencadeou a volta do rock de garagem e trouxe o pop de guitarra para os holofotes. Combinando letras murmuradas com uma estética caseira, a banda soava tradicional e moderna ao mesmo tempo. Ao longo da década de 80, eles trabalharam incansavelmente, lançando discos anualmente e fazendo turnês constantemente. Em 1987, eles emplacaram seu primeiro sucesso com a música “The One I Love”, que levou a um contrato com a Warner Bros Records. No início dos anos 1990, eles lançaram seus álbuns mais bem-sucedidos, Out of Time (1991), com o single “Losing My Religion”, e Automatic for the People (1992). A banda foi introduzida no Rock n’ Roll Hall of Fame em 2007, e após lançar seu último álbum, Collapse Into Now, em 2011, se separou amigavelmente.