Part of the Icon series’ spotlight on Clarence Avant's Tabu imprint, which also involved titles covering the label’s Cherrelle and Alexander O’Neal, this set effectively replaces 2004’s Greatest Hits. “S.O.S.,” “It’s a Long Way to the Top,” “Have It Your Way,” “Love Won’t Wait for Love,” and “No Lies” aren’t contained here, but that allows more room for additional extended mixes, as well as “Even When You Sleep” and “No One’s Gonna Love You,” two grade-A ballads that were missed on that earlier comp. The tinny Reggie Thompson/Scott Folks remix of “Just Be Good to Me” is here instead of the preferred album or eight-minute version, but even so, the disc is essential for any ‘80s R&B fan – disciples of Jimmy Jam and Terry Lewis' productions especially – who doesn’t have all the original vinyl releases.

Gold is a 2005 greatest hits collection from hard rock band KISS. This two-disc set covers the band's recordings from 1974 to 1982. KISS Gold (2008 Japanese exclusive limited edition 40-track digitally remastered 2-disc SHM-CD album set.

A leading vihuela specialist, the Argentinian virtuoso Ariel Abramovich has already devoted two albums to the favourite instrument of the Iberian Renaissance, the first on Arcana (Esteban Daça, El Parnasso, A316, 2002) and the second on Carpe Diem (Diego Pisador, Si me llaman, 2009). For this third instalment he is joined by one of the world’s most respected and innovative solo lutenists, Jacob Heringman, for a vihuela duo project which is the result of years of research and performing. While there is a significant number of publications for two lutes from the sixteenth century, only one of the seven collections for vihuela de mano includes duets, and it is precisely that collection that was the main source of inspiration for this project. The performers, both highly experienced with intabulations of sixteenth-century music, decided to recreate an ‘imaginary’ book of vihuela duets, following the taste and practice of the ancient masters, who through a notation system of ‘numbers’ used to arrange works by the composers they listened to and played. Cifras Imaginarias is the poetic name they have given to an imaginary music collection of vihuela duos of the kind that might have been published in the mid-sixteenth century.

WE ARE is a masterfully constructed and visionary album that represents a completely new sonic chapter for Jon Batiste and a new direction for music culture as a whole. Writing, travelling, painting - all while inviting some of the most esteemed creative minds to assist in birthing the album - he reached the finish line smack in the middle of the first wave of the worldwide pandemic and volatile social unrest. At the end, a masterpiece of Black Pop Music characterized by the consciousness of Marvin Gaye, the grounded optimism of Stevie Wonder, the iconoclasm of Thelonious Monk and the swagger of Mannie Fresh was born.

In 1990, Richard Hickox recorded Ralph Vaughan Williams' Fantasia on Christmas Carols and Hodie: A Christmas Cantata for EMI, two holiday choral favorites that complement each other well, despite having been created more than four decades apart. The subdued, folk-inspired quality of much of Vaughan Williams' music remained more or less constant through the years in his choral writing, so even though he adopted a more sophisticated and sometimes astringent style in later years, including irregular rhythms and spiky dissonances that never would have passed in the music of his youth, there is a common thread in his choices of modes and harmonies that unites both cantatas.

This disc, suitably and finely recorded with depth in 1985, is a very fine rendition of Vaughan Williams' seventh symphony, subtitled Antarctica, reflecting the source of its inspiration. The film depicts Scott's ill-fated expedition to the South Pole and Vaughan Williams was commissioned to write the music. While doing so, he became so engrossed by the subject that he reworked much of the material into his next symphony. The degree of reworking combined with fresh material took the music out of the realm of a film score suite and more properly into a symphonic conception.

Onwards into battle, one more time… Almost two years have passed since album the »Requiem For Mankind« was released, but we all know there’s no standing still in the MEMORIAM camp. Their fourth studio album »To the End« will be released on March 26th – Fans can be assured that this is going to be one of the strongest albums of 2021. It is the beginning of a new era - and the beginning of a new trilogy of albums. »To the End« is a tremendous demonstration of power that impressively unites all elements of its predecessors and paints a frightening picture of war, death and destruction at the end of which nothing remains but ashes and the realization of a masterpiece. The grandiose songwriting and first-class recordings are rounded off by the production of Russ Russell (NAPALM DEATH, DIMMU BORGIR, AT THE GATES, AMORPHIS etc.) at Parlour Studios, which comes across as charming "Down to Earth", but wonderfully differentiated, to give every detail on »To the End« its deserved space.

The 2008 New Year’s Eve gala from Berlin features the Berliner Philharmoniker under the baton or Sir Simon Rattle, plus world-class singers Thomas Quasthoff and Pauline Malefane in an outstanding all-American program ranging from Gershwin’s “Porgy and Bess” and “An American in Paris” to Copland’s “Old American Songs”.

One of Hawkins's better Prestige sessions (originally on its Swingville subsidiary) finds him fronting a then-modern rhythm section for a variety of basic originals, the ballad "I Want to Be Loved" and "It's a Blues World." The lengthy "Bean's Blues" is the highpoint of this generally relaxed session.

Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to the Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team. For the first time, the listener and interested reader can follow Schubert’s textual alterations and can appreciate the importance the written word had for the composer.