A musical journey through Renaissance Europe via pieces that were highly popular and whose melodies were reused and varied by some of the best composers of the time.

"Marina Kaye fait un grand retour avec son album « Heavenbound » Sur la plupart des titres de l’album, elle travaille avec son équipe de départ. A l’écriture et la composition Nina Woodford et Mathias Andermo (Wollo). Seuls deux titres ont été écrits et composés par d’autres. Nous retrouvons Tony Esterly et Autumn Rowe sur le deuxième single “Why do the bad things feel good”. Deux nouveaux auteurs compositeurs sont à mentionner sur le titre « The Beast » : Justin Gray et Shridhar Solanki. Ce panel de collaboration permet de retrouver l’univers Dark Pop de Martina Kaye avec des productions françaises par Meya Music qui savent si bien mettre en valeur sa voix exceptionnelle."

L'auteur-compositeur de génie est de retour avec un album d'une richesse artistique exceptionnelle. L'artiste le plus mystérieux de la chanson française fait preuve de son indiscutable vitalité créative avec ce nouvel album. Inclus le single à l'efficacité imparable "Comment tu t'appelles".

Poulenc the miniaturist par excellence burst into public view, fully-formed in his late teens, emerging flamboyantly into the artistic swirl of 1920s Paris. His fabulously inventive, quirky and colourful approach to writing for chamber ensemble and voice comes vividly to life in this set of early works which capture all of his youthful elegance, wit, and occasionally sardonic humour.

Behold Orpheus, the singing shepherd who braved the Underworld to bring back Eurydice. The only human to conquer death, this famous Thracian bard is the hero of the French cantatas that flourished between 1710 and 1730. They paint a picture of the faithful husband’s burning ardour and pleas, his hypnotic song that won over the King of Darkness, his furtive glance that would forever rob him of his beloved; these are miniature operas, their intense poignancy rendered by the chamber choir that magnificently envelops the singer. This fine team masterfully weaves a tapestry of emotions, the early gems of the Rocaille period, offering a sequel to the Coucher du Roi with which they gifted us two years ago. This truly is the spirit of Versailles.

From Rutebeuf to Aragon and Prévert, and including Villon, Baudelaire, Verlaine and Desnos, this anthology confirms the musical potential of French verse. Many composers, not the least of them being Fauré, Duparc, Debussy, Poulenc, Kosma, Ferré, Brassens or Gainsbourg, added their own images in music by weaving melody and harmony into the poems that spoke to their sensibilities. In so doing, as Aragon himself wrote, it was in this way that poetry, doubled with the magic of music, made it possible for us all to read by ear. Philippe LESAGE

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes!

Massenet was not only the composer of Manon and Werther. In the shadow of his stage works slumber many mélodies decked out in subtle and delicate orchestrations, which we are delighted to revive here. These previously unrecorded works have been entrusted to a team of first-rate artists, most of them fervent champions of French poetry and its musical settings.

Catherine Spaak (3 April 1945 – 17 April 2022) was a French-Italian actress, singer, model, and media personality. A member of the Spaak family, she was known as an iconic "It girl" in Italy during the 1960s, becoming a star of commedia all'italiana films, before later becoming prominent as a talk show host and media personality. In the 1960s and 70s, Spaak also developed a parallel singing career, recording a number of albums. As a singer, she was regarded by some as the Italian equivalent of French chanteuse Françoise Hardy. Spaak recorded some of Hardy's songs in 1963 for the DET label under the direction of Ezio Leoni, who had previously worked with Hardy.

The Christmas easy-listening album by Paul Mauriat and His Orchestra, originally released in 1967, with bonus tracks released in 1971, 1977 and 1978 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Daft Punk quickly rose to acclaim in 1993 by adapting a love for first-wave acid house and techno to their younger roots in pop, indie rock, and hip-hop. The combined talents of DJs Guy-Manuel de Homem-Christo and Thomas Bangalter as Daft Punk have been responsible for the most memorable and genre-defying house hits of the last decade. Musique Vol 1 1993-2005 offers for the first time their collected singles and several rare remixes.

Among modern recordings of the opera, this one is a safe bet, assuming you want a safe version of this opera. Unlike Herbert von Karajan's oppressively string-heavy reading with the Berlin Philharmonic on EMI, this is a balanced, idiomatic account of the score, given a special luster by the Montreal Symphony Orchestra's coloristic instincts and the warm recording acoustic at St. Eustache Church. Conductor Charles Dutoit has a fine instinctive feel for Debussy in general and this score in particular. The singers in the title roles–Didier Henry and Colette Alloit-Lugaz–have both come to terms with the opera's enigmatic dramaturgy. However, it's very much a symphonic rather than operatic performance, clearly a product of the recording studio rather than of the stage.

Over a remarkably long and illustrious career, Camille Saint-Saëns thrilled audiences around the world as a pianist and organist, shaped the course of musical life in France, and enriched a multitude of genres with some 600 works, all bearing witness to the mastery of his craft. Setting his best-known compositions in their dazzlingly diverse context, this edition invites exploration and discovery. It spans more than a century of recording history, encompassing a host of great instrumentalists, singers, conductors and orchestras, many of them from France. Setting the pace, in performances from as early as 1904, is the composer himself.

Hans, le joueur de flûte is a ravishing opera, loosely based on the legend of Hamelin’s pied piper popularized notably by the Grimm Brothers, composed by Louis Ganne and premiered in Monte-Carlo in 1906. Rarely recorded, its best rendition is undoubtedly this beautiful 1967 performance with the best French singers of their time, including Liliane Berton and the amazing baritone Michel Dens in the title-role.

À l’occasion de la sortie de son nouvel album Guérison, Flèche Love propose une création originale en forme de «vocalo-thérapie». Une voix qui apaise, une musique qui soigne l’âme : en force créative et spirituelle, mêlant répertoire existant et inédits, l’artiste entraine son public vers le chemin de la guérison.