Anybody's first impression on hearing Joseph Lyons aka Eaves might reasonably be how old he sounds. He even has a song titled As Old As The Grave, which could be a reasonable description of a voice which sounds like it has been simmered in oak vats since time immemorial. The next thing that strikes you is the wisdom in his words - dark yet unusually spirited tales of love, death, hope and alcoholism which have reduced audiences to attentive silence at gigs, festivals and on tours with the likes of Slow Club and Nick Mulvey, whose gigs he traveled between via a National Express coach, "carrying my guitar bag on the bus!"

Themes of migration and crossing borders are as hot topics today as they ever were. This recording explores two works written in the so-called “New World” by composers from the “Old World”.

After less than 3 years in existence, and some 15 million albums sold, „Goodbye“ was Cream's farewell release. Baker, Bruce and Clapton indicated at the time that they were burned out on the concept, the touring, the improvisational 'battles,' and each other. The live cuts ('I'm So Glad,' 'Politician' and 'Sitting On Top Of The World') are indicative of how the band's concert chemistry had evolved from earlier live recordings (such as those on „Wheels Of Fire“ and Live Cream Vol. 1 & 2). But what's most striking about „Goodbye“ is the charm and craftsmanship of their last studio tracks, indicating that Cream was far from played out creatively, and illustrating how strong their songwriting skills really were.

Beethoven began composing the Missa solemnis in 1819, when he learned that his patron (and pupil) Archduke Rudolph was going to be appointed Cardinal Archbishop of Olmütz. The plan was for the mass to be ready for performance at the enthronement celebrations in March 1820, but one year proved to be too little time. It wasn’t until almost three years later, in January 1823, that Beethoven was able to complete the work.

The original Fillmore East album is one of the finest live documents of the rock era, capturing the original line-up of one of the '70s' tightest outfits before they were cruelly robbed of Duane Allman and Berry Oakley. Taken from five 1971 performances at New York's fabled Fillmore East, the extended and effortlessly melodic workouts of "In Memory Of Elizabeth Reed" and "Whipping Post" still have the power to rivet and move.

Let Britain’s favourite tenor Alfie Boe be your ‘Storyteller’ with his eagerly-awaited new album – a personal selection of classic songs, perfectly suited to Alfie’s versatile voice and demonstrating his years of experience and musical passion.

Nightports was established by musician-producers Adam Martin (based in Leeds) and Mark Slater (Hull), and Nightports w/Matthew Bourne is the first of a series of collaborative albums to be released by The Leaf Label. Material for the album was recorded at Bourne's home outside Keighley, West Yorkshire, and at Besbrode Pianos in Leeds. The recordings coax hitherto unheard sounds from a range of contrasting instruments - decrepit dusty uprights holding their own against the attack and precision of a modern concert grand. The lines between the source material and the manipulations are seamless, delivering an unexpected percussive drive and emotional impact.

Reissued for the Mahler Year 2010, this legendary recording - of the single occasion when Leonard Bernstein conducted (or was permitted to conduct) Herbert von Karajan's Berlin Philharmonic Orchestra.

The daughter of Haitian immigrant parents, Leyla McCalla, whether by design or synchronicity, moved to New Orleans in 2010 after studying cello performance and chamber music at New York University, and once there, while busking and playing on the street corners and in the bars and clubs, she fell in love with Louisiana Creole culture, and coupled with her further explorations of Haiti's traditional Creole folk music, she developed a strong and grounded musical vision, part old and traditional and part bohemian intellectual.

Paris '81 est le second album live du groupe de rock français Téléphone sorti en 2000. Il regroupe quatorze titres du groupe, tous enregistrés les 16, 17 et 18 février 1981, les trois derniers concerts de la tournée française soutenant l'album Au cœur de la nuit (1980), à l'Olympia de Paris, le palais des sports de la Porte de Versailles et le palais des sports de Saint-Ouen.

Fans of the great Finnish composer Jean Sibelius have reason to rejoice this holiday season with the Grammy® Award-winning Atlanta Symphony Orchestra.

Following the death of Frans Brüggen in August 2014, the decision was taken by the Orchestra of the Eighteenth Century to continue touring the world, and inviting various guest conductors who have worked with the ensemble over the years, such as Daniel Reuss and Andrea Marcon, and indeed Kenneth Montgomery, who directs the orchestral pieces on this brand new recording for Glossa.

Brahms was a severe critic of his own work, often assailed with uncertainty and reluctant to publish works he considered immature or incomplete. With the exception of the Scherzo in C flat for the Sonata F.A.E. he made his first violin solo work known to the public at only the age of 45 with the publication of the Concerto in D major, op. 77.

Running On Empty is a landmark album in many ways. The album was recorded while on tour, but is not merely a live album. It's an album of all new songs that gives the real feel of what it's like to be on tour. The title track, "Running On Empty," went to #11 on Billboard's Hot 100 Chart and "The Load Out/Stay" was another top 20 hit, peaking at #20. The album reached #3 and stayed on the charts for an amazing 65 weeks. It went gold immediately and was certified platinum within 9 months. (The album has since been certified multi-platinum with more than 7 million sold.) A third single from the album, "You Love The Thunder," peaked at #109 nearly a year after the album had been released.

Two much-loved orchestral favourites representing the summit of Elgar’s maturity are coupled with three of the lesser-known wartime works, here receiving their first recordings with the original French texts. Kate Royal is the soprano soloist in Une voix dans le désert, a hauntingly tender masterpiece which every Elgarian should know.