Long-term ELP fans will doubtless recognize much of this box set as a reprise of sundry, previously released collections and anthologies, most notably the three Manticore Archives box sets of the early 2000s. The cumulative cost of those boxes, however, makes this a magnificent alternative, cherrypicking the very best of those earlier releases to create a one-stop portrait of one of the world's most exciting live bands at its best. With 43 tracks spread across four discs, the first three CDs are sensibly divided between the three primary eras of the band - soundboard quality collections of "the early 1970s," taking us up through the band's 1974 tour; "the late 1970s," rounding up the Works tours of 1977-1978; and "the 1990s," capturing the reunions…

Ulf Wallin and Roland Pöntinen made their first duo-recording for BIS in 1991 and have released acclaimed recital discs ranging from Schumann and Liszt to Alfred Schnittke, by way of Schoenberg and Hindemith. With the present disc they bring their most recent project to a close: a recording of all the works by Johannes Brahms for violin and piano. These include not only the three well-known and -loved numbered violin sonatas, but also the Scherzo from the so-called F.A.E. Sonata and the composer’s own violin versions of the two sonatas for clarinet and piano.

The extant concertos by Johann Sebastian Bach for one harpsichord and strings were all composed before 1738, which makes them some of the first, if not the first keyboard concertos – a genre destined to become one of the most popular within classical music. In all likelihood Bach wrote them for his own use (or that of his talented sons) – probably to be performed with Leipzig’s Collegium Musicum of which he had taken over as director in 1729. The fresh and exuberant character one finds in the concertos seems to reflect how much Bach enjoyed the opportunity to engage with his fellow musicians.

György Vashegyi’s new recording of Rameau’s Dardanus superbly demonstrates the Dijon-born composer’s genius, but also the mastery which Vashegyi – with his Orfeo Orchestra and Purcell Choir – has acquired in the music of the Late French Baroque. In conjunction with the preparation of a fresh edition for the Rameau Opera Omnia of the May 1744 version of Dardanus (under the aegis of the Centre de Musique Baroque de Versailles), Vashegyi conducts from a score prepared by the composer (and his librettist Leclerc de La Bruère) following the work’s rejection by Paris Opéra audiences in 1739, with the intention of reinforcing the tragédie’s dramatic action.

Richard O'Brien - The Rocky Horror Show (Richard O'Brien's Original Demotape Recordings) These original demo recordings, all including Richard O'Brien's commentary storyline, were originally recorded for presentation to The Royal Court Theatre as an outline of the songs and storyline for The Rocky Horror Show. The recordings secured him the gig Upstairs at The Royal Court Theatre and the rest was history. - The Rocky Horror Show is the longest continuously-running contemporary musical anywhere in the world. Seen by millions, it continues to delight audiences on it's sell-out international tours.

History of "Get Back" Bootleg (Revised) For over 20 years, the collecting public has been fed a continuing stream of bootlegs drawn from the Twickenham sessions. These have usually been chopped up, placed out of sequence, and presented in inferior sound quality. Of course, bootleggers can only work from material at their disposal, and in the beginning the only material available was the film "Let It Be". The first Twickenham material to appear, then, came from the soundtrack of the film on a double album called "Cinelogue: Let It Be", which was released in February, 1974 by Contra Band Music. Of course, this was back in the days before home video, so fans were more delighted to be able to enjoy the "Let It Be" soundtrack on record! The release of the "Let It Be" videotape in 1982 provided a new audio source, and bootlegs produced after that date were mastered from the video soundtrack rather than film. The first of these was "In a Play Anyway", a 2 LP set on Circuit Records (matrix number TWK 2262). A further reissue by Beeb Transcri- ption Records (on a new plate TR-2170) was titled "The Last Blast". It was released in 1988 and it's sound quality is slightly inferior. Of course, most of the film soundtrack from Twickenham is completely useless because longer source tapes have surfaced.

This fantastic debut album from psychedelic Welsh sextet (who'd previously issued two Mod singles on Deram) was released in December 1968 by Mercury Records. lt was very enjoyable combination of pumping R’n’B, swirling psychedelia, early progressive rock & some jazz influences - full of spontaneous guitar playing, inventive Hammond organ & mellotron sounds, powerful drumming and classy vocals. Highlights include acid-tinged and very psychedelic ‘Prodigal Son’, dreamy arrangements of Handel’s ‘Largo’, powerful rendition of The Beatles’ ‘Yesterday’ and two Graham Bond songs (who also wrote the sleeve notes): ‘Love ls The Law‘ and ‘Crossroads Of Time‘.

The latest issue (#158) of German metal magazine "Legacy" features Mille Petrozza, the mastermind behind thrash metal legends Kreator, as its cover story. The 14-page feature includes an extensive interview, a detailed profile and information about the documentary film "Hate & Hope" and his autobiographical book "Your Heaven, My Hell".
Of particular interest to thrash fans is the exclusive tribute CD with 11 impressive Kreator cover versions by bands from all over the world.
Napalm Death, Pessimist, Enthroned, Dark Tranquillity, Godslave and others.

"Ray Brown with the All-Star Big Band" is a 1962 album by the jazz double bassist Ray Brown accompanied by a big band featuring the alto saxophonist Cannonball Adderley. A standout session from bassist Ray Brown - one of a few 60s big band sessions recorded for Verve, featuring some searing solo work from Cannonball Adderley! Brown's name as a leader is possibly more as a compadre than the main driving force of the record - as the arrangements here are by Ernie Wilkins, often in the tightly soulful bag he was laying down at the time - and Adderley's presence as the main soloist certainly gives a Cannonball flair to the record. But there's definitely plenty of Brown's warmth guiding the whole session - and other players include Nat Adderley, Clark Terry, Melba Liston, Budd Johnson, and Yusef Lateef. Some tracks have Brown's bass right out front in the arrangements, dipping nicely and adding into the groove…

The live album So Many Roads: Live in Europe was released in November 2009 by Neal Morse. It was recorded between October 23 and October 31 2008, in Netherlands, Germany and Belgium. This is the quintessential Live 3 CD Box Set from Neal Morse! Recorded at some of the best venues in Europe, this contains breathtaking performances handpicked by Neal Morse from a series of concerts with his critically acclaimed European band.

2018 five CD collection. The Best 80s Groove Album contains the defining tracks of the soul genre. Including Aretha Franklin, Wham!, S'Express, Billy Ocean, Marvin Gaye, Whitney Houston, Luther Vandross, Donna Summer, Deniece Williams and many others.

German synthpop outfit And One formed in Berlin in 1989. DJs/producers Steve Naghavi and Chris Ruiz first met the previous year in a local dance club, bonding over their mutual affection for early ebm acts like Front 242 and Nitzer Ebb and borrowing their subsequent dual synthesizer and beatbox aesthetic from Depeche Mode. Upon signing to the fledgling Machinery label, And One issued their 1990 debut single, "Metal Hammer," a significant club hit that set the stage for their first full-length effort, Anguish, completed with contributions from newly added third member Alex Two.
On August 8, 2014, And One released their 12th studio album Magnet. The album was released by itself, and as the Magnet Trilogie I Box in regular and limited editions on CD and vinyl. The Magnet Trilogie I Box features the additional new albums Propeller and Achtung 80. The Premium Edition contains all 3 albums, and 3 additional live albums…

When Sun Ra released his debut Saturn release in 1957, he signaled the Arkestra’s mission for the future. The cover declared the album a "21st Century Limited Edition." The compositions on Supersonic Jazz conveyed optimism and hope, bringing a message auguring the World of Tomorrow. Ra declared this the first dimension of a fresh art form, as he set about evolving a new American music — a composite of the past and future, the known coalescing with the unknown. The album, not very well received upon release, reveals a vibrant universe of sound, with highly developed arrangements and sophisticated musicianship, especially Ra’s innovative keyboard work and John Gilmore’s astonishing tenor sax solos. Official expanded 2xLP / 2xCD edition features 14 tracks of alternate versions and studio takes, and the CD contains an additional four bonus tracks. Liner notes by avid Sun Ra fan Ira Kaplan of Yo La Tengo, and additional essay from longtime Ra blogger Rodger Coleman (NUVOID Sun Ra Sundays). Vinyl includes a 12x12 insert reproduction of the alternate Saturn jacket art.

Our mission at Complete 60s Records to collect every U.S. pop instrumental hit of the 1960s produced three spectacular box sets, but when we found it impossible to go forward past 1962, collectors demanded we turn back the clock to 1959, another great year for instrumentals. So now, on two jam-packed CDs, we have collected every charting U.S. pop hit from 1959 in sparkling fidelity, all 66 of them! Nearly a third of these (21) are CD debuts, tracks that appear on CD for the first time ever.Even more exciting, Complete Pop Instrumental Hits of 1959 sports EIGHT iconic 1959 songs in real STEREO for the first time. These aren't just minor hits, but the biggest hits of the year in spectacular new STEREO that will knock your socks off. Check out the sound samples available elsewhere (search for CD Title + Listen). You won't believe your ears!

"For the second time in a matter of weeks, here we have an opportunity to hear more from guitarist Derek Bailey, this time performing with John Stevens. Neither man should need much by way of introduction: both were seminal figures in the world of free improvised music as it took shape in the 1960s and 70s. Thanks to Michael Gurzon’s recording, here they are, in 1989, performing together at The Duke of Wellington in London. The first track, ‘I’m Alright Actually’, begins with a series of slippery shapes, the noise-elements of Bailey’s guitar merging with those of Stevens’ percussion in a non-stop stream of invention. The music reaches a point of stasis before moving off into a series of angular shapes which give way to a stream of more slow-moving ideas. There is always a sense of restlessness though, a feeling that, at any moment, things might get more chaotic, which, inevitably, the do. The music ebbs and flows, but the inventiveness and the sense of restless energy is always there. A few seconds of applause have been left in at the end, which really captures the ambience of the venue (the same goes for both the other tracks, too). The second, ‘What’s the Time?’, begins with more spacious, harmonic-dominated ideas from Bailey, in dialogue with Stevens’ ‘pocket trumpet’. Almost seven minutes in, the music becomes more dense and agitated.