Part of the Icon series’ spotlight on Clarence Avant's Tabu imprint, which also involved titles covering the label’s Cherrelle and Alexander O’Neal, this set effectively replaces 2004’s Greatest Hits. “S.O.S.,” “It’s a Long Way to the Top,” “Have It Your Way,” “Love Won’t Wait for Love,” and “No Lies” aren’t contained here, but that allows more room for additional extended mixes, as well as “Even When You Sleep” and “No One’s Gonna Love You,” two grade-A ballads that were missed on that earlier comp. The tinny Reggie Thompson/Scott Folks remix of “Just Be Good to Me” is here instead of the preferred album or eight-minute version, but even so, the disc is essential for any ‘80s R&B fan – disciples of Jimmy Jam and Terry Lewis' productions especially – who doesn’t have all the original vinyl releases.

Gold is a 2005 greatest hits collection from hard rock band KISS. This two-disc set covers the band's recordings from 1974 to 1982. KISS Gold (2008 Japanese exclusive limited edition 40-track digitally remastered 2-disc SHM-CD album set.

A leading vihuela specialist, the Argentinian virtuoso Ariel Abramovich has already devoted two albums to the favourite instrument of the Iberian Renaissance, the first on Arcana (Esteban Daça, El Parnasso, A316, 2002) and the second on Carpe Diem (Diego Pisador, Si me llaman, 2009). For this third instalment he is joined by one of the world’s most respected and innovative solo lutenists, Jacob Heringman, for a vihuela duo project which is the result of years of research and performing. While there is a significant number of publications for two lutes from the sixteenth century, only one of the seven collections for vihuela de mano includes duets, and it is precisely that collection that was the main source of inspiration for this project. The performers, both highly experienced with intabulations of sixteenth-century music, decided to recreate an ‘imaginary’ book of vihuela duets, following the taste and practice of the ancient masters, who through a notation system of ‘numbers’ used to arrange works by the composers they listened to and played. Cifras Imaginarias is the poetic name they have given to an imaginary music collection of vihuela duos of the kind that might have been published in the mid-sixteenth century.

WE ARE is a masterfully constructed and visionary album that represents a completely new sonic chapter for Jon Batiste and a new direction for music culture as a whole. Writing, travelling, painting - all while inviting some of the most esteemed creative minds to assist in birthing the album - he reached the finish line smack in the middle of the first wave of the worldwide pandemic and volatile social unrest. At the end, a masterpiece of Black Pop Music characterized by the consciousness of Marvin Gaye, the grounded optimism of Stevie Wonder, the iconoclasm of Thelonious Monk and the swagger of Mannie Fresh was born.

Onwards into battle, one more time… Almost two years have passed since album the »Requiem For Mankind« was released, but we all know there’s no standing still in the MEMORIAM camp. Their fourth studio album »To the End« will be released on March 26th – Fans can be assured that this is going to be one of the strongest albums of 2021. It is the beginning of a new era - and the beginning of a new trilogy of albums. »To the End« is a tremendous demonstration of power that impressively unites all elements of its predecessors and paints a frightening picture of war, death and destruction at the end of which nothing remains but ashes and the realization of a masterpiece. The grandiose songwriting and first-class recordings are rounded off by the production of Russ Russell (NAPALM DEATH, DIMMU BORGIR, AT THE GATES, AMORPHIS etc.) at Parlour Studios, which comes across as charming "Down to Earth", but wonderfully differentiated, to give every detail on »To the End« its deserved space.

The 2008 New Year’s Eve gala from Berlin features the Berliner Philharmoniker under the baton or Sir Simon Rattle, plus world-class singers Thomas Quasthoff and Pauline Malefane in an outstanding all-American program ranging from Gershwin’s “Porgy and Bess” and “An American in Paris” to Copland’s “Old American Songs”.

One of Hawkins's better Prestige sessions (originally on its Swingville subsidiary) finds him fronting a then-modern rhythm section for a variety of basic originals, the ballad "I Want to Be Loved" and "It's a Blues World." The lengthy "Bean's Blues" is the highpoint of this generally relaxed session.

Legjobb Felvételei 1972-1983 (Best Recordings 1972-1983).
Mini was founded in 1968 by vocalist and flutist Ádám Török in Budapest. In the beginning they played early Jethro Tull-like music. In the early seventies they became jazzier. Along with Syrius, they were a most popular underground band in Hungary. Their first album was released in 1978, and features space rock, jazz rock, and soft Camel-like tracks too. There is no guitar, but there is much flute, Fender Rhodes, floating string synth and a very precise rhythm section. The second album, ''Úton a föld felé'', was released in 1979, and is similar to the first one. The next album, released in 1983, was named ''Jungle''. This product was easier and lighter. Ádám Török disbanded the Mini in 1984 and began to start other projects…

Berlin Classics' 2000 recording of Jan Vogler performing Haydn's cello concertos with Ludwig Güttler and the Virtuosi Saxoniae was first released in 2001 and reappeared in 2009 with a different cover and a lower price, but otherwise unchanged. Vogler's performances are bright and alert, with vivacious allegros and soulful adagios; Güttler's accompaniments are sweet and simpatico; the Virtuosi Saxoniae players live up to their name, and Berlin Classics' digital sound is clear, yet evocative.