To celebrate his first arena rock tour since 2005, Universal Music Australia released an Australian Exclusive album from multi-Grammy Award winning artist, Bryan Adams. ‘Australian Tour Edition 2013’ is a double album of Bryan’s most popular tracks with Australian audiences. The 2CD features hits such as ‘Summer of ’69,’ ‘(Everything I Do) I Do it for You’ and ‘Heaven’ as well as previously unreleased tracks from Bryan’s personal archives, including performances recorded live at the Sydney Opera House. ‘Australian Tour Edition 2013’ was released on April 19, 2013.
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records.
"Cold Blue Music has an unofficial “stable” of composers and performers names that come up on multiple releases. And why not? Every record label needs an identity. Composer Jim Fox is the man behind Cold Blue Music, and that position serves as a kind of bully pulpit for his own music. Again, why not? I like Cold Blue Music a lot, and one of the things I like about it is its advocacy for the specially priced CD single.
Andalousie, juin 1553 – Le couvent de Las Golondrinas est menacé par l’Inquisition. L’abbesse et les sœurs n’ont aucun doute sur le sort qui leur est réservé et mettent tout en œuvre pour sauver cinq de leurs orphelines ainsi qu’un médaillon, bien le plus précieux de leur ordre. …
Among the young British instrumentalists vying to pick up the mantles of the great soloists of a generation ago, flutist Katherine Bryan seems among the most promising, and she takes a major step forward with this, her second release. Her startlingly clear, bright articulation in the upper register is pleasing on its own, yet the real attraction here is that she approaches a repertory intelligently and brings fresh perspectives to it. The Flute Concerto (1993) of Christopher Rouse only seems to be the odd item in the set; Rouse's instrumental writing, with its intricate grasp of texture and register, is truly a descendant of the French (and French-Swiss) music on the rest of the album, and it was an inspired choice in terms of showcasing Bryan's technique as well. The three central movements have a memorial tone, with flute solos woven into Rouse's characteristically spacious chords, and Bryan has the stamina to stick with the long line here. Ibert's delightful Concerto for flute and orchestra (1934) receives an absolutely crackling performance from Bryan.