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January 13, 2020

Goldmine1 Kinks founding member, guitarist Dave Davies, discusses the reissue of “Arthur”

1969’s “Arthur (Or the Decline and Fall of the British Empire)” album has wrongly failed to earn gushing accolades like other Kinks’ releases. Now that’s about to change with a 50th anniversary 4-CD deluxe reissue of the album. Dave Davies discusses the release to Goldmine.

The post Kinks founding member, guitarist Dave Davies, discusses the reissue of “Arthur” appeared first on Goldmine Magazine.

from Goldmine Magazine

Michael_Beek All nine Star Wars scores ranked…


With the release of Star Wars – Episode IX: The Rise of Skywalker comes the final part of an incredible body of work by a single composer. 

John Williams has written each of the nine original scores for the generation-spanning film saga over a period of some 43 years, beginning in 1977. 

While each individual entry was written as such, for a single film, Williams continually looked to what came before and built on the soundworld and growing library of thematic threads he had created each time. 

As such, themes and motifs composed for that first 1977 film crop up again, and again. 



Indeed, the composer sees this set of scores as one body of work and Williams’s Ninth doesn’t disappoint. 

The Rise of Skywalker adds many new items to the canon while reflecting viscerally, and emotionally, on all that has come before. 

But where does this new, and final, score sit compared to the other eight? 

Here’s our ranking of all of John Williams’s Star Wars scores…


#9 / Star Wars – Episode II: Attack of the Clones (2002)

London Symphony Orchestra; London Voices/John Williams


Even in last place, this score delivers thrills, spills and romance. Williams’s score suffered from heavy editing – particularly in the third act, but there are standout moments. 

Top of the list is a tragic love theme, ‘Across the Stars’, for the forbidden romance between Anakin Skywalker and Padme (future parents of Luke Skywalker and Princess Leia). 

There’s a chase in the skies above the city-planet Coruscant that will leave you breathless, but beyond that it’s a lot of action-heavy music designed to tie up disparate locations and story threads.



#8 / Star Wars – Episode III: Revenge of the Sith (2005)

London Symphony Orchestra; London Voices/John Williams


This third act of George Lucas’s ‘Prequel Trilogy’ (ie. films set before the original 1977-83 trilogy but made 20+ years after) delivers much drama, darkness and some absurdity. Williams takes it all in his stride, though, with broad Mahlerian strokes to underline Anakin Skywalker’s fall from grace – spoiler alert, he becomes Darth Vader – and what amounts to a Jedi genocide. 

Probably the most choir-heavy of all the scores, it’s marvellous stuff but perhaps quite removed from the sound of Star Wars we know and love. 

The appearance of babies Luke and Leia, and the ‘birth’ of Darth Vader, in the finale allows Williams to dust off some classic themes, though.



#7 / Star Wars – Episode VIII: The Last Jedi (2017)

Studio Orchestra; Los Angeles Master Chorale /John Williams & William Ross


The middle film of the most recent trilogy saw Williams build on an arsenal of new themes he introduced in The Force Awakens

There is rather less looking over the shoulder to ‘classic’ themes, though a much-anticipated ‘reunion’ of siblings Luke and Leia sees the return of the composer’s 1983 theme for the pair. 

Action music is rife, but not trivial; Williams seems to have been much-inspired and revels in it. 

There’s lightness and brevity, too, with memorable new music for the resistance fighter Rosie, an unusual casino scene and rollicking music for a chase on horse-like creatures called ‘Fathiers’.



# / Star Wars – Episode IX: The Rise of Skywalker (2019)

Studio Orchestra; Los Angeles Master Chorale/John Williams


Williams’s final entry in this Star Wars saga doesn’t see him resting on his laurels or showing any signs of boredom. 

Given this film ties up a story which began in 1977, Williams brings out many classic themes and moments to create bridges between plot moments and characters. It’s deftly done, sometimes thrillingly. 

There’s an abundance of new material, too, with a lyrical new theme of belonging and destiny, a delightful speeder chase through the desert and no end of despicably dark modes for the evil Emperor – including an ‘Anthem of Evil’.



#5 / Star Wars – Episode I: The Phantom Menace (1999)

London Symphony Orchestra; London Voices/John Williams


This was Williams’s first return visit to the galaxy far, far away and the beginning of a new trilogy of films with director George Lucas. 

The 16-year gap had left fans anticipating greatly what a new Star Wars score would sound like. 

There’s a sophistication and opulence to be found here, fresh sounds for colourful new worlds and characters. 

It remains an underrated score, one which is a masterclass is musical storytelling. 

Williams cleverly pre-empts themes and material that would ‘follow’ in later instalments in the timeline. 

Indeed, his theme for the child Anakin Skywalker ends with a subtle quotation of what will be Darth Vader’s theme. 

The crowning glory of the score is ‘Duel of the Fates’, a choral-symphonic tone poem of sorts. 

With a complex story to set out, it’s Williams’s music which binds this galaxy together.



#4 / Star Wars – Episode VII: The Force Awakens (2015)

Studio Orchestra/John Williams, William Ross & Gustavo Dudamel


Given this most recent, and final, trilogy of films picks up some 35 years after the original trilogy ended, you’d expect John Williams to rely heavily on established themes. 

What he did, though, was embrace fully the new threads and faces that director JJ Abrams brought to life. 

It feels like the composer was really inspired with this film and these characters, as he created a raft of new and memorable themes and motifs. 

At the heart of the score is ‘Rey’s Theme’, written for a character (and actress) who Williams admits enchanted him. 

The references to established musical material are effectively executed and have a lot of impact – in particular the reunion of the estranged Han Solo and Princess (General) Leia. 

Gustavo Dudamel guest-conducted portions of the score, including the opening ‘Main Title’.



#3 / Star Wars – Episode VI: Return of the Jedi (1983)

London Symphony Orchestra/John Williams


The original third film in third place… by this point the soundworld and themes were well established and already much-loved. 

There’s an emotional depth and charm to this score which can be overlooked. Williams composed new themes, including one for the ‘vile gangster’ Jabba the Hutt, an ominous choral chant for Emperor Palpatine and a colourfully riotous piece for the diminutive Ewok warriors. 

The space and forest battle music is some of the composer’s finest, perfectly balancing pace, action, emotion and humour as the rebels triumph over the empire.



#2 / Star Wars – Episode IV: A New Hope (1977)

London Symphony Orchestra/John Williams


This is the one that started it all. George Lucas asked Williams for an old-fashioned symphonic film score and it was a request that would see a resurgence in thematic, orchestral music in films. 

It also secured Williams’s place at the top of the A-list of Hollywood’s composers and established what would really be his signature style. 

The root of all the scores that followed is established here and with the familiarity of the ‘Main Title’ (aka Luke Skywalker’s theme) in mind, it’s easy to forget the rest of the score. 

It’s inventive, exciting and introduced a generation of filmgoers to the concert hall thanks to its life beyond the screen.



#1 / Star Wars – Episode V: The Empire Strikes Back (1980)

London Symphony Orchestra/John Williams


Williams could never have known just how impactful the first Star Wars film, and score, would be. 

With the follow-up, though, he knew what he was dealing with, so he could play around and dig a little deeper. 

Themes returned, were embellished and an established soundworld was mined ever-deeper, eliciting some of the composer’s most dynamic and thrilling dramatic scoring. 

Highlights include the Battle of Hoth, the chase through the Asteroid Field and a nail-biting finale showdown between Luke Skywalker and Darth Vader. 

There were strong new themes for this film, too, including a march for Vader, a furtive love theme for Han Solo and the Princess and a noble, poetic piece for the ancient Jedi Master, Yoda. It doesn’t get better than this.





Jeffrey Lee Puckett Jeff Lynne’s From Out Of Nowhere

With a successful recent arena tour and now a new album, the Electric Light Orchestra is back in the public consciousness in a way that transcends nostalgia, although that certainly plays a role. Anyone who grew up listening to Out Of The Blue is clearly psyched to once again be living in Jeff Lynne’s world. 

From Out of Nowhere is officially credited to Jeff Lynne’s ELO, which is as redundant as it gets. For the vast majority of the band’s existence, it has belonged to Lynne; he has been the primary architect of ELO’s sound and the driving force behind its multi-platinum legacy.

With From Out of Nowhere, he and longtime member Richard Tandy have delivered textbook ELO, equal parts 1960s English pop and 1950s American rock, all of it wrapped in a lush blanket of strings and keys. It immediately reached the Top 20 in nearly a dozen countries, including the No. 1 spot in the United Kingdom.

Given Lynne’s contributions to modern pop, it’s nice that he’s enjoying another good run. He’s earned it. 

Lynne has spent nearly 60 years turning his musical obsessions into wildly popular music of his own making, along the way experiencing the kind of wish fulfillment that only a lucky few achieve.

As a child, he looked to Roy Orbison and The Beatles for inspiration, finding a kindred spirit via Orbison’s devastating odes to loneliness while reveling in the Beatles’ extraordinary abilities to craft both concise miracles of pop and epic production pieces.

As an adult, he actually worked with a reasonable facsimile of The Beatles, doing the bulk of the production work on two singles after the death of John Lennon. He was a member and producer of the Traveling Wilburys, co-starring George Harrison, and Orbison. He produced a Paul McCartney album. And a Harrison album. And one by Orbison.

In other words, he has quite literally lived his dreams. 

Lynne honed his childhood influences into a singular sound that turned the Electric Light Orchestra into a force that dominated radios worldwide throughout the 1970s and ‘80s.

That success led to Lynne joining the Traveling Wilburys, and to his duties as chief producer of Tom Petty’s Full Moon Fever and Into the Great Wide Open, by Petty and the Heartbreakers. He collaborated with McCartney, Harrison and Ringo Starr as the co-producer of Free As A Bird and Real Love, the final official Beatles singles released as part of the series of Anthology compilations.

Lynne, this pop savant in sunglasses, has been a constant in our cultural universe, to such a degree that it’s all too easy to forget the pervasive cult of his influence. There’s a Jeff Lynne sound, best experienced via ELO records loved by millions, but it also runs through music made by the most iconic of artists. That’s the definition of a life well-lived.

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The post Jeff Lynne’s From Out Of Nowhere appeared first on Discogs Blog.

from Discogs Blog

Peter Gale Ludwig van Beethoven

John Suchet profiles Ludwig van Beethoven – the composer who sparked a musical revolution


Beethoven was a revolutionary. Not just in the obvious sense that his compositions took music in a new direction. He was an artist imbued with the idea of revolution. Crucial to a full appreciation of Beethoven’s music is a knowledge of the times in which he lived, an understanding of the tumultuous events sweeping across Europe, bringing with them new orders and new ideas.

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RL Artist Of The Week: Rosie Tee

Birmingham’s Rosie Tee straddles the contrasting worlds of alt-pop, rising UK Jazz & contemporary classical. Colour and image are at the centre of Tee’s lyrical writing, depicting imagined scenes and scenarios. Her sound is inspired by that of Laura Mvula, Björk & Anna Meredith.


Rosie gracefully weaves melodies over infectious rhythms that instils head bopping upon first listen!  Every phrase leaves you wondering what will come next, with twists and turns keeping you engaged until the very end.  Check her out on our Fresh Finds playlist.

The post Artist Of The Week: Rosie Tee appeared first on Richer Unsigned.

from Richer Unsigned

“I’m very playful, very open-minded, very aware of the way people move, the way the…

via The Real Mick Rock

Mark Kimber Classic Album Sundays Oslo Presents Maja Ratkje ‘Voice’

ALBUMLYTT og KONSERT med MAJA S. K. RATKJE og LASSE MARHAUG // kafé hærverk // søndag 26. januar kl. 19 // cc: kr. 200,-

18.00 dørene åpnes – albumrelatert musikk
19.00 PRAT m/Ratkje og Marhaug
20.00 LYTT: Maja Ratkje ‘Voice’ (spilletid 47:45)
20:50 Q&A med publikum
21:30 KONSERT: Maja S. K. Ratkje og Lasse Marhaug

I en serie med helaftens soniske søndagsmarinader tar lytteklubben Classic Album Sundays for seg artister som på forskjellig vis har vært med å flytte grensene for hva vi oppfatter som musikk, lyd og ulyd. Vi legger en albumklassiker på disseksjonsskålen, spiller den i sin helhet på et lydanlegg i audiofil verdensklasse og tar en prat med de involverte før vi hører dem live med nytt materiale.

Etter besøket fra Alexander Hacke i forbindelse med Einstürzende Neubautens ‘Halber Mensch’ (1985) og den påfølgende konserten med Hackedepicciotto i fjor presenterer vi denne gang to av våre sterkeste påvirkningskrefter innenfor eksperimentell musikk de siste par tiårene her til lands; Maja Solveig Kjelstrup Ratkje og Lasse Marhaug.

Klokken 19 skrur vi tiden tilbake til år 2002 og Ratkjes klassiker ‘Voice’ på Rune Grammofon der hun endevender mulighetene for den menneskelige stemmen på en måte vi aldri har hørt før og neppe får høre på samme vis igjen. I samtale med lytteklubbvert Kent Horne forteller Ratkje om utgivelsen sammen med Lasse Marhaug som sto i ledtog med henne på produksjonssiden, før vi hører albumet fra begynnelse til slutt.

I tillegg til en rekke iørefallende soloutgivelser hver for seg har de også levert fabelaktig nybrottsarbeid i lag med andre ved flere anledninger, ikke minst i duo med hverandre. Spontane musikalske utflukter mellom slagene i prosjekter de to har jobbet på ihop har eftersigende gitt utfall like uventede og spennende for dem selv som for oss lyttere, og så langt resultert i fire album; “Music For…” henholdsvis “…Shopping” (2003), “…Loving” (2004), “…Faking” (2005) og “…Gardening” (2009).

Magiske øyeblikk har gode livsvilkår og forutsetninger når utøvere med like stor evne til å lytte og respondere som til å eksperimentere og agere møtes for å skape soniske rom. Det forklarer hvorfor to systematikere og improvisatører som Ratkje og Marhaug stadig har vendt tilbake til hverandres oppfinnsomhet og skarpladde frekvenser, både som komponister og utøvere.

En liten kunstpause etter albumlytten serveres dagens versjon av Maja S. K. Ratkje og Lasse Marhaug, live fra scenen på Kafé Hærverk.

AUDIOMENYEN leveres av Duet Audio
– PLATESPILLER: Dr. Feickert Blackbird
– TONEARM: Jelko 750 LB 12”
– TONEARM LIFTER: Little Fwend
– PICKUP: Dynavector XX2 MK2
– EFFEKTFORSTERKERE: 4 x Auralic Merak mono blocks (2×800 Watt)
– HØYTTALERE: Piega Classic 80.2
– SIGNALKABLER: Midas Reference Flavia
– HØYTTALERKABLER: Midas Reference Silje


Time and Date: Sunday 26th January 2020 7:00pm – 11:00pm


KAFÉ HÆRVERK, Hausmanns gate 34, 0182 Oslo, Norway


Available Here


Kent Horne

The post Classic Album Sundays Oslo Presents Maja Ratkje ‘Voice’ appeared first on Classic Album Sundays.

from Classic Album Sundays

Mark Kimber Classic Album Sundays Oslo Presents Erykah Badu ‘Mama’s Gun’

Classic Album Sundays presenterer ERYKAH BADU ‘Mama’s Gun’ (Motown, 2000) // Kent Horne med Birgitte Mandelid og Audun Vinger // søndag 19.01.2020 kl. 17-19 // Laboratoriet (Kulturhuset)

kl. 16.30 dørene åpnes
kl. 17.00 plateprat m/Vinger & Mandelid
kl. 17.20 ALBUMLYTT; ‘Mama’s Gun’ side A og B (spilletid: 26:20)
kl. 17.50 pause
kl. 18.00 ALBUMLYTT; ‘Mama’s Gun’ side C og D (spilletid: 45:08)
kl. 18.45 plateprat inkl. publikum
kl. 19.00 avrunding

“Hip-hop purists may cite Badu’s 1997 debut, Baduizm, as her best [..] On Mama’s Gun Badu represented the woman I wanted to be – a woman with something to say who could be weird and funny and clever and sexy at the same time.“ (Kieran Yates, The Guardian)

Read: The Story Of Erykah Badu ‘Mama’s Gun’

Erykah Badu skuffet ingen på Øyafestivalen i Tøyenparken sist sommer, og da vi ba våre lytteklubbhoder stemme frem vårt Månedens Album for januar 2020 var det oppfølgeren til den kritikerroste debuten Baduizm, det like sterke dobbeltalbumet Mama’s Gun (Motown, 2000), som trakk det lengste strået.

Musikkskribent Audun Vinger (Dagens Næringsliv, Jazznytt) og markedssjef for Øyafestivalen, Birgitte Mandelid, har vært med oss flere ganger tidligere når soulfylte klassikere ligger på disseksjonsskålen.

Denne søndagen kommer de to tilbake til vårt audiofile laboratorium på Kulturhuset for å fortelle historiene rundt Erykah Badu, musikken og den tyve år gamle utgivelsen, og antagelig spre om seg med en god del fun facts, før vi gjør slik vi liker det som best; demper lyset, lener oss tilbake, skrur opp volumet og hører Mama’s Gun fra begynnelse til slutt på et lydanlegg i verdensklasse.

AUDIOMENY (levert av Duet Audio)
– PLATESPILLER: Dr. Feickert Blackbird
– TONEARM: Jelko 750 LB 12”
– PICKUP: Dynavector XX2 MK2
– EFFEKTFORSTERKERE: 4 x Auralic Merak monoblokker (2 x 800 Watt)
– HØYTTALERE: Piega Classic 80.2
– SIGNALKABLER: Midas Reference Flavia
– HØYTTALERKABLER: Midas Reference Silje

Listen: Erykah Badu ‘Mama’s Gun’ Legacy Playlist


Time and Date: Sunday 19th January 2020 5:00pm – 7:00pm


Laboratoriet (Kulturhuset), Youngs gate 6, 0181 Oslo


Available Here


Kent Horne

Listen: Erykah Badu ‘Mama’s Gun’ Musical Leadup Playlist


The post Classic Album Sundays Oslo Presents Erykah Badu ‘Mama’s Gun’ appeared first on Classic Album Sundays.

from Classic Album Sundays

Freya Parr Work experience with BBC Music Magazine


If you want to learn about the magazine industry and love classical music, why not apply for a work experience placement with us?

We are looking for people interested in a career in music journalism. An in-depth knowledge of classical music and a flair for writing are essential for the role.

During your placement in our Bristol office, you can expect to do research, write material for the website and undertake a host of other tasks. In return, you’ll get an invaluable insight into how a magazine is put together and a chance to see if magazine journalism is the career for you.*

If you think a work experience placement with BBC Music Magazine is for you, please email with the following attachments:

  • A copy of your CV
  • A covering letter explaining why you are interested in the magazine and what you’d hope to gain from working with us. You should also highlight any relevant previous experience, and your availability in the coming months.
  • Two music story pitches (up to 200 words per story) explaining the following:
    – How would the story appeal to readers from different demographics?
    – How could the story translate across print and digital mediums?
    – Who would you interview for the story?
    – How would you promote the story across different social media platforms?

*For legal reasons we are unable to accept applications from under 18s. 


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