2018 five CD collection. 100 Hits: The Best Country Album contains the defining tracks of country, including songs from: Dolly Parton, Johnny Cash, Tammy Wynette, Kris Kristofferson, Elvis Presley, Willie Nelson, Janis Joplin, Charlie Rich, The Charlie Daniels Band and many others.

Gustav Mahler’s Symphony No. 1 is an incomprehensible wonder of music history, rigorously peculiar, disturbingly new, and timelessly modern. “Wie ein Naturlaut” (Like a sound of nature) is indicated above the first notes of the symphony. It is both the prelude and the key to his symphonic cosmos as a whole. Mahler captures this music of the world, transforms it into a symphony in the old, comprehensive sense of the word and uses it to create his masterpiece of harmony. Composed over the course of just a few months at the beginning of 1888 in Leipzig, this symphony is a true musical awakening. Riccardo Chailly and the Gewandhausorchester Leipzig bring Mahler’s sounds of nature to life in a riveting performance.

Handpicked by charismatic, bespectacled Scottish siblings Craig and Charlie Reid, the 30 tracks that make up this two-disc greatest-hits compilation represent the cream of the crop from all nine of the Proclaimers' studio albums, from 1987's gutsy, stripped-down This Is the Story to 2012's sugary and infinitely more settled Like Comedy. Listeners who recoil upon hearing the churning, palm-muted guitar line that opens their most notable pop culture offering, 1988's near perfect folk-pop earworm "I'm Gonna Be (500 Miles)," will retreat into the shadows even further at the thought of enduring nearly two hours of like-minded whimsy, but longtime fans, many of whom consider tracks like "Sunshine on Leith," "Letter from America," "Throw the 'R' Away," and "Oh Jean" to be far superior examples of why the Reid brothers are so beloved, both at home and abroad, will thrill to the idea of having almost (where is the magnificent "Over & Done With"?) all of their favorites, many of which have been remastered, together in one place.

GRAMMY and Americana Award-winning singer/songwriter and violinist, Amanda Shires, has pushed the reset button with Take It Like a Man, a record that is so unlike anything she has ever recorded that you would be tempted to think it was her debut album instead of her seventh. Shires, who also plays in The Highwomen, worked with producer Lawrence Rothman (Angel Olsen, Kim Gordon) to make a fearless confessional, showing the world what turning 40 looks like in 10 emotionally raw tracks.

Take the nightclub home with 101 R&B HITS. 5CD's of massive urban anthems from Alicia Keys, Usher, R. Kelly, TLC, OutKast, Chris Brown, Jennifer Lopez, Kelis, P!nk, Pitbull and more.

Stojowski was born and brought up in Poland though he later lived in Paris and finally became an American citizen. He was both virtuoso pianist and serious composer (he wrote a symphony and violin concerto as well as music for his own instrument) and his initial career was full of promise. Unfortunately for his later reputation his style was that of a previous generation and in the 20th century his music was viewed as increasingly dated. One hundred years later this hardly matters and on this CD we find works steeped in the language of Tchaikovsky and Grieg, perhaps with a hint of Saint-Saëns and the almost sentimental lyricism of Paderewski (ten years Stojowski's senior, Paderewski was both teacher and friend to the younger composer, the second concerto was dedicated to, and played by him).

The White Room is the fourth and final studio album by British electronic music group The KLF, released in March 1991. Originally scheduled for 1989 as the soundtrack to a film of the same name, the album's direction was changed after both the film and the original soundtrack LP were cancelled. Most tracks on the original album version are present in the final release, though in significantly remixed form. In 1993, NME staff and contributors voted the album the 81st best of all time, and in 2000, Q magazine listed it as the 89th best British album of all time. The US version of 'The White Room' was strongly edited for its official commercial release. It has a total playing time of 39:39, and it contains 9 tracks. The original UK version presents the first five tracks ('What Time Is Love?' through 'Last Train To Trancentral') as a kind of 'mini-concert' with sampled crowd noise from, among other places, U2's 'Rattle And Hum'. All five tracks are segued and mixed. It has a total playing time printed of 45:05, but in reality it's only 43:54. It lists 9 songs, but only has 8 indexed. The US version eliminates the crowd noise, with some tracks fading out near the end.

Everyone gets the blues, says Skip McDonald, who should know. The legendary guitarist gets them - like, really gets them - more than most. The blues are a fact of life, he adds in a Dayton, Ohio twang undiminished by two decades of UK living. It doesn't matter where you are. The blues have no boundaries. An old school bluesman in the tradition of everyone from Howling Wolf and Leadbelly to Blind Willie Johnson, McDonald channels the past into the future through his internationally regarded project, Little Axe. A project that is more than just a band: it's a collective of different people who, at certain periods, come together to create great work.

Here we finally have a young band staying true to the soul-powered '70s with blues-based heavy guitar, strong dynamics, and groove-induced riffs in the spirit of Humble Pie, The Black Crowes and Free. The songs are top-notch, soaked in the essence of cool retro-rock. Fronted by Todd McCullough (guitars, vocals) with Pete Scott (guitar), Bob Willow (bass), Glenn Sorino (drums) and featuring Daphna El Roy (backing vocals) the band make a huge statement in the eleven tracks that fill Next Round. "Something To Tell You" kicks the disc off in style with twangy feedback and a fundamental drumbeat that lends itself to McCullough's mid-range timber. The guitar work is blues-based forged in old school British rock – emotive and peppered with exotic spice.

For much too long, the legend of Long John Hunter was largely a local one, limited to the bordertown region between El Paso, Texas and Juarez, Mexico. That's where the guitarist reigned for 13 years (beginning in 1957) at Juarez's infamous Lobby Bar. Its riotous, often brawling clientele included locals, cowboys, soldiers from nearby Fort Bliss, frat boys, and every sort of troublemaking tourist in between. Hunter kept 'em all entertained with his outrageous showmanship and slashing guitar riffs. Collection includes: Ride With Me (1992); Border Town Legend (1996); Swinging From The Rafters (1997).

Miss Wonderful is a 1959 album by Peggy Lee that was arranged and conducted by Sy Oliver.
A prolific singer remembered as one of the great female song stylists alongside Ella Fitzgerald, Billie Holiday, and Sarah Vaughan. Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship. Lee started out in the early '40s as the vocalist for the Goodman band, and shortly thereafter became a star in her own right…

In 2015, Fitzgerald founded Tim Fitzgerald's Full House, a septet with a repertory mission that borrowed its name from one of Montgomery's compositions (and the live album on which it first appeared). Drawing members from the top shelf of Windy City straight-ahead jazz - the vibrant scene that tenor saxophonist Von Freeman called 'hardcore jazz' - Fitzgerald turned to folks he's worked with extensively, including the sparklingly inventive pianist Tom Vaitsas and Grammy-nominated trumpeter Victor Garcia, as well as George Fludas, one of the city's greatest drummers and a veteran who has worked with Wes's pianist/vibraphonist brother Buddy Montgomery as well as Mel Rhyne, who played organ with Wes. Working towards this, their eponymous first record, Full House dug in for residencies and one-nighters, cultivating a deep understanding of the material and establishing an approach to Wes quite unlike anything previous. With a 'little big-band' vibe that allows them to range back and forth from fulsome arrangements featuring a three-horn and guitar frontline to spare soulful small group sounds.

Kaidi Tatham is a master of broken beats and a widely respected figure in the London music scene. His new 12 track album takes us on a lush and louche trip through all his myriad musical skills and styles. Boogie, gospel-tinged hip-hop, jazz-funk and more all colour the futurist grooves with contributions from The Easy Access Orchestra, and pianist Robert Mitchell. This is a fourth solo album from the man and maybe his best yet, even though it has come so quick on the heels of the release of An Insight To All Minds in 2021.

Released in 2013, Regions of Light and Sound of God was the debut solo album from Jim James of My Morning Jacket. This deluxe reissue features the original album plus a second LP of twelve B-sides, demos and alternate versions, including ‘State of The Art (Demo)’ and the previously unheard ballad ‘Begin Again’.

Ani DiFranco is celebrating the 25th Anniversary of her seminal first live album 'Living In Clip' with offering a 25th anniversary, remastered edition of the landmark double album on July 29 (vinyl + cd + digital formats). This marks the first time the breakthrough recording will be available on vinyl (3 LPs 180g red smoke), which includes a new album cover and never previously seen photos of Ani, her band and crew from that era. Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans.