The Lost Weekend a Love Story

Celebrating the 100th birthday of Academy Award-winning film composer Miklós Rózsa this three-CD box set captures his most memorable compositions. Present here are heraldic passages from the KING OF KINGS and BEN HUR scores the haunting piano concerto (with theramin!) from SPELLBOUND the lush and poignant love theme from THAT HAMILTON WOMAN the pastoral wedding suite from EYE OF THE NEEDLE and many more evocative symphonic works.

Sony Classical announces another ten releases in its popular series of Classical Masters. This new batch of budget-priced sets contains major recording projects by some of the 20th centurys most celebrated musicians. It was the Warner Brothers 1946 Bette Davis starrer Deception in particular, its score by Erich Wolfgang Korngold that originally aroused a passion for film music in the American conductor and producer Charles Gerhardt. Beginning his career in 1950 as a technician for RCA, where he came into contact with Toscanini, he went on to become a producer for Westminster before returning to RCA as a conductor, moving to Europe and making his name in the 1970s with the monumental series of recordings collected here for the first time: twelve discs of classic film scores, many of them Oscar winners or nominees, from Hollywoods golden age with Gerhardt at the helm of Londons elite recording ensemble, the National Philharmonic Orchestra.

During the latter half of the '80s a new breed of guitar-orientated bands began to emerge in the UK - armed with an overt pop song craft sensibility, and enamoured with a conflicting post-punk spirit and adoration of the '60s, many of these unlikely acts - all anoraks, Dr Martens and charity shop chic - would go on to become Top 40 regulars and set the tone for music beyond these shores, culminating in 'The Stone Roses', an album that defined a generation. 'Cut Me Deep' - named for a Jasmine Minks track which captured that spirit - presents a snapshot of that time and place, via essential independent labels such as Creation, Sarah Records and 4AD, and their major backed counterparts in Blanco Y Negro et al, alongside distribution via Rough Trade and other like-minded outlets. With an electric guitar in hand (no Stratocasters here please), and resplendent in clothes as immaculately and cheaply curated as their record collections, a new generation of British musicians kickstarted what would become the only credible challenge to the increasingly dominant synthesiser pop scene of the late 1980's.

Philadelphia International Records (PIR) was an American record label based in Philadelphia, Pennsylvania. It was founded in 1971 by songwriting and production duo Kenneth Gamble and Leon Huff along with their longtime collaborator Thom Bell. It was known for showcasing the Philadelphia soul music genre (also known as Philly soul) that was founded on the gospel, doo-wop and soul music of the time. This sound later marked a prominent and distinct era within the R&B genre. During the 1970s, the label released a string of worldwide hits that emphasized lavish orchestral instrumentation, heavy bass and driving percussion. Some of their most popular and best selling acts included the O'Jays, Harold Melvin & the Blue Notes, Teddy Pendergrass, MFSB, Billy Paul, Patti LaBelle and Lou Rawls. Between 1971 and the early 1980s, the label released more than 170 gold and platinum records. Philadelphia International Records had been mostly defunct since 1987 and finally shut down in 2001. As of 2007, Sony Music Entertainment owns all rights to the Philadelphia International Records catalogue.

Produced by John Lennon during his infamous “Lost Weekend” period in 1974, Pussy Cats is often regarded as one of Nilsson’s weaker albums due to the fact that he lost his voice halfway through the recording of it. Keeping the news from Lennon out of fear he’d abandon the project, Nilsson forged ahead, recording a slew of rock n’ roll classics and engaging in revelry with a huge cast of backing musicians that included Ringo, Keith Moon, Bobby Keys and Sneaky Pete Kleinow. While it’s entertaining to hear Nilsson run through these oldies (each coated in a layer of Phil Spector glaze), the real treats here are his originals, which stack up as some of the most engaging in his entire catalog — namely “Don’t Forget Me” and “All My Life.”