Luxury You Can Afford is the seventh studio album by Joe Cocker, released in 1978 on Asylum Records, his only release for that label.

25th Anniversary: Live in Amsterdam is a live album by Toto, released in 2003, in the 25th anniversary of the band.

Matthew & Son and New Masters – both released in 1967 – feature some classic songs including ‘I Love My Dog’, ‘Matthew & Son’, and ‘The First Cut Is The Deepest’.

After the interplanetary cardboard of Black Ice and the undisputed success of the tour that followed, Ac / Dc and its new record company intend to beat the iron while it is still hot.

Ray Charles's decision to cut an album of duets with then-rising jazz singer Betty Carter defines the phrase "unerring instinct." Charles responds to Carter's gorgeous voice and compelling melodic changes with some of his softest singing; you might say that this already masterful conduit of emotion got in touch with his feminine side on this 1961 date.

There’s a battle raging inside Brandon Flowers. For years, the Killers frontman has played dual lead roles: the boisterous, cocksure heartthrob at the helm of one of the biggest rock bands of the 21st century, and the yearning, spiritual nomad with an eye toward eternity.

Charles Ives – Complete Symphonies offers fresh insights into the music of a radical thinker, creator of what Leonard Bernstein called “his own private musical revolution.”

With Airlines, supreme instrumentalist, flautist Emmanuel Pahud, takes the music of an Oscar-winning film composer, Alexandre Desplat, into new realms.

Louis Armstrong Plays W. C. Handy is a 1954 studio release by Louis Armstrong and His All Stars, described by Allmusic as "Louis Armstrong's finest record of the 1950s" and "essential music for all serious jazz collections".

Only a relatively small proportion of Haydn's works are present in today's concert repertoire. While every compositional exercise by other composers, no matter how insignificant, has been catalogued, it is extremely difficult to get an overview of the enormous oeuvre of the father of Viennese classical music. Haydn's long life certainly plays a role in this: born in the High Baroque period, he experienced the zenith of the Classical period and still touched on the beginnings of Romanticism in his old age. The scoring with two violins instead of the more usual violin and viola has certainly also contributed to the fact that a chamber music collection that is particularly attractive in many respects has remained almost completely unknown until now.

Only a relatively small proportion of Haydn's works are present in today's concert repertoire. While every compositional exercise by other composers, no matter how insignificant, has been catalogued, it is extremely difficult to get an overview of the enormous oeuvre of the father of Viennese classical music. Haydn's long life certainly plays a role in this: born in the High Baroque period, he experienced the zenith of the Classical period and still touched on the beginnings of Romanticism in his old age. The scoring with two violins instead of the more usual violin and viola has certainly also contributed to the fact that a chamber music collection that is particularly attractive in many respects has remained almost completely unknown until now.

Here is an irresistible collection of love songs by three masters of Danish Romanticism: Weyse, Heise and Lange-Müller. Their songs with piano have made an indelible mark on a genre of Danish music and express a world of yearning and joy. The young lyric tenor Mathias Hedegaard has an outstanding feel for the style and offers masterly renderings of these beautiful Danish songs.

First recording of Jan Ladislav Dussek's string quartets with the Camesina Quartet: they lay unnoticed in libraries for 200 years, but now the Camesina Quartet has rediscovered them and recorded them for the Musikmanufaktur Berlin label. Dussek composed these string quartets in 1806, shortly before his friend and employer, Prince Louis Ferdinand of Prussia, was killed in battle at Saalfeld. "They are the best that I have written, and neither in the style of Mozart, Haydn nor Pleyel, but in the style of Dussek, and I think that they will attract some attention in the musical world.

Reissiger's string quartets follow the classical-romantic tradition as found in Mendelssohn and Schumann. Occasionally one recognises the influence of opera music, both German, influenced by Reissiger's predecessor Carl Maria von Weber, and Italian, which was very present in Dresden in Reissiger's time. There are clear echoes of Reissiger's idol Franz Schubert and of course his Leipzig colleague Felix Mendelssohn Bartholdy. Reissiger's music is thoroughly individual, and the combination of the most diverse influences in particular testifies to Reissiger's cosmopolitan education. Rediscovering Reissiger's music also means bringing an important piece of German music history to light.

If it takes a village to support and sustain a Jazz trio, then what better way to acknowledge that cherished sense of community than with a marvelous piece of art. In the case of drummer Rodrigo Recabarren, pianist Yago Vazquez and bassist Pablo Menares, that takes the form of their new trio album Famila, releasing on February 23 via Greenleaf Music. Having played together for more than a decade, refining a chemistry and musical telepathy that defines their signature sound, Famila is the consummate expression of this talented trio, as well as the kinship they feel for each other, their collective families and the larger community supporting their music.