Jim Ed Brown was an American country singer-songwriter who came to fame as a member of the 1950's vocal group The Browns, where he was the band's lead male vocalist. In 1965, when the group was still together, he embarked on a solo career that would eventually eclipse the success of The Browns. Jim Ed Brown had his greatest success in the late 1970's, when he regularly performed duets with Helen Cornelius.

Swedish 70s rock music quintet Spiral Skies join forces with AOP Records.

Lady hailed from Hannover, Niedersachsen formed in 1974 by ex-Jane keyboard player Werner Nadolny. Their single “Without you” and “On the Road” gain minor success back on 1976 the year they release their self-titled album featuring pomp-rock not that different from the parent group with a progressive touch in some parts. Strong songwriting and outstanding melodies compose this rarity. At the end of 1976, Grossmann and Zaake quit and were replaced by Matthias Jabs (later with Scorpions) and Rob Perotti. The band was active till 1982. If you are in vein of bands like Dull Knife, Fargo, Harrison, Panka & Nadolny, Jane, The JP’s, Lady Jane and Scorpions check these guys…

Belgian group playing "civilized rock music", with a career spanning the seventies to the nineties.

The Munich Philharmonic has arguably given more performances of Anton Bruckner’s music than any other orchestra. A great number of Bruckner recordings lead by the many legendary conductors that have worked for and with the Munich Philharmonic are stored in the historical archive of the MPHIL Label including magnificent pieces with Sergiu Celibidache, Christian Thielemann, Rudolf Kempe, Günter Wand and Oswald Kabasta.

For several years now, the guitarist and lutenist Björn Colell and the Baroque violinist Georg Kallweit, Konzertmeister of the Akademie für Alte Musik Berlin, have formed a noted duo called Ombra e Luce: ‘With only two musicians and two instruments, we aspire to a perfect rapport and a permanent dialogue. We have access to a rich repertory of original pieces from the sixteenth to eighteenth centuries for violin and lute/theorbo: this was a widespread combination, essentially before 1700.

World premiere recording: Although the turn of the twentieth century marked the golden age of French song, the genre was generally accompanied on the piano and only rarely orchestrated by its composers. But Camille Saint-Saëns, a great lover of poetry, was also a champion of the orchestrated mélodie and the French coloristic style. He also wanted to counterbalance the overwhelming popularity of operatic arias in concert programmes.

Nearly a century after its composition, Lully's Persee was recreated in 1770 to mark an exceptional event: the inauguration of the Royal Opera House at Versailles Palace, built to celebrate the wedding of the Dauphin (the future Louis XVI) and Marie Antoinette. For this unique occasion, three composers (Antoine Dauvergne, Fran?ois Rebel and Bernard de Bury) were commissioned to revise Lully's work and adapt it to the new circumstances and the new venue, which was regarded as absolutely extraordinary in its time.

Following on from his critically acclaimed Lutosławski programme, the conductor Krzysztof Urbański pursues his collaboration with the NDR Elbphilharmonie Orchester et Alpha. The New World Symphony is a work that has always fascinated Krzysztof Urbański: ‘It was only when I studied Dvořák’s other symphonies that I came to understand the principal characteristic and strength of the Ninth: simplicity.

Some of the Italian musicians who came to London to ‘make their fortunes’ found themselves influenced by the Celtic lands and their rich tradition of folk music. They were in their turn admired and sometimes even copied by their counterparts in the British Isles. This recording shows the outcome of that encounter. Lorenzo Bocchi was probably the first Italian cellist to settle in Edinburgh, in 1720.

„On their second album Long Player, the Faces truly gel – which isn't quite the same thing as having the band straighten up and fly right because in many ways this is album is even more ragged than their debut, with tracks that sound like they were recorded through a shoebox thrown up against a couple of haphazardly placed live cuts.