By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band.

"What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single, which topped the pop charts in the United Kingdom, though it performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.

"… maybe his greatest album of all time … great jazz trumpeter Harry "Sweets" Edison was one of the star soloists Cole brought into the studio on this date … it's a perfect record. There's not a clinker in the bunch …"

"I Left My Heart in San Francisco" is revered vocalist Tony Bennett's 1962 album. The record peaked at number 5 on the Billboard pop charts and is one of Bennett's best selling albums. The record features the popular title track, along with "Smile", "Love for Sale", "The Best Is Yet to Come" and more!

Recorded during his peak era, Tony Bennett's "I Wanna Be Around" continues the crooner's upward trajectory as he nestles into a superb batch of heartfelt ballads, softly swinging pop and frisky bossa nova with the kind of charm, control and coolness reserved for a legend. The follow-up to the singer's breakthrough "I Left My Heart In San Francisco", this 1963 set is every bit its predecessor's equal. Read: A bonafide vocal classic.

The first release from Neil Young’s long awaited Archive Performance series is Live At The Fillmore East.

Performed by Charles Bruffy, the Phoenix Chorale, The Harrington String Quartet, saxophonist Ted Belledin and the composer himself on piano, "Northern Lights" contains five world premiere recordings and three pieces which were either commissioned, composed, or dedicated to the Phoenix Chorale.

"John Barleycorn Must Die" was a pivotal statement in the history of British folk rock. Traffic, one of music’s most influential bands, garnered high praise for their psychedelic blend of folk, jazz, soul and rock. Their original sound was complemented by unworldly virtuosity. "John Barleycorn Must Die" was the band’s most successful album and would later be certified gold by the RIAA. This outstanding effort would be the band’s highest charting album of all time, peaking at #5 on Billboard’s Top 200. The album boast earthy staples including, “Glad”, “Freedom Rider” and the acclaimed single “Empty Pages”, which spent eight consecutive weeks on the Billboard Hot 100.

The UK’s biggest selling album of all time: "Greatest Hits" is a compilation album by the British rock band Queen, first released in the UK on 26 October 1981. The album consisted of Queen's best-selling singles since their first chart appearance in 1974 with "Seven Seas of Rhye," up to their 1980 hit "Flash."

John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was at the forefront of free jazz.

Bruce Springsteen and the E Street Band will release the film "The Legendary 1979 No Nukes Concerts" in mid-November. The concert at the MUSE Benefit Concerts in New York's Madison Square Garden will be shown for the first time with edited full-length film recordings. Three release dates have been set for the concert film.

"A Thousand True Stories" is Silje Nergaard's twelfth album and her first on Sony Music. The Norwegian singer with the girlish voice recorded her new CD complete with the famous Metropole Orchestra conducted by Vince Mendoza.

Certainly one of the most important sessions in Pepper's entire recording career, if not the history of jazz, this classic 1959 recording features the legendary sax player backed by an astounding big band that includes drummer Mel Lewis and alto sax icon Bud Shank. The album features brilliant arrangements by Marty Paich (who would later orchestrate for artists like Carly Simon and Elton John).

Praising a previous incarnation of Steve Swallow's quintet, The Times described the band "as near a perfect display of small-group jazz - robust yet exquisitely poised". The description holds true for the latest edition of the bassist's quintet and its album Into the Woodwork. Swallow leads the group - including his longtime partner in music and life, Carla Bley, on organ - in multi-hued performances of a dozen original compositions from his pen. Recorded in the south of France, the album accommodates atmospheric grace and loping grooves, wry humour and understated virtuosity.

How could one deconstruct Bach’s music when this opus has had such a structuring effect? How could one subvert a tribute to the organist of Leipzig and not bow before the “old wig”, as Busoni liked to call him endearingly? In short, how today variate Bach without turning the master into a kitsch cantor? In much the same way is there a significant nuance between laughing at and laughing with, Edouard Ferlet offers to play with Bach rather than merely play Bach; and because to play is to do hence we stand at the core of a poetical process. A process by which the pianist “recomposes” both substracting and enhancing: a few notes are extracted here and there from a prelude’s voices whereas elsewhere some are luckily added without ever being reduced to simple ornaments. By no doubt the German composer would have approved a piano thus enhanced with such delicate sounds – as we know he had a preference for the clavicord’s softness.