Howard Shelley’s third disc in Hyperion’s traversal of the complete extant piano concertos by Ignaz Moscheles brings us triumphant performances of the fourth and fifth concertos which are complemented by a spirited rendition of the Recollections of Ireland, composed almost by way of thanks for divine deliverance from a storm-tossed crossing of the Irish Sea in 1826.

Heathen marks a new beginning for David Bowie in some ways – it's his first record since leaving Virgin, his first for Columbia Records, his first for his new label, ISO – yet it's hardly a new musical direction. Like Hours, this finds Bowie sifting through the sounds of his past, completely at ease with his legacy, crafting a colorful, satisfying album that feels like a classic Bowie album.

Daryl Hall started 'Live From Daryl's House', a free monthly web show in late 2007, after having the idea of 'playing with my friends and putting it up on the Internet', and the show has since garnered acclaim from Rolling Stone, SPIN, Daily Variety, CNN, BBC, Yahoo! Music and influential blogger Bob Lefsetz, who cited the series as a perfect example of a veteran artist reinventing himself in the digital age by collaborating with both established colleagues and newer performers. 'Before After' is a compilation of songs from Daryl's previously released solo albums, plus bonus tracks from Daryl's 'Live From Daryl's House' program. Guest performers include Dave Stewart and Todd Rundgren.

Released in 1972, a completely unknown formation from the underground of the Italian prog movement, Akarma believes that all of the musicians contained here are of Italian origin, but it is unclear. The liner notes on the cover don’t help either. The band was comprised of 7 members and they presented a sound comparable to British groups from the 70’s like Jethro Tull, Audience, or Family. In fact in one of the first tracks they play a cover of “Dharma For One”, plus they offer two other covers later on, “Eye To Eye” & “I Have A Dream”.

In a neatly symmetrical fashion, Gramavision chose two tracks from each of Scofield's half-dozen albums for the label, sequenced them chronologically, cross-faded or ran many of them together, and ended up with an exciting hourlong summary of his mid-'80s output (would that more best-of albums be assembled with such consistency). After the jagged electric jazz-rock of the first two albums, Electric Outlet and Still Warm, "Make Me" and "The Nag" from Blue Matter inject a funk element into the Scofield bag, which becomes even nastier on "Wabash" (from Loud Jazz) before resolving into the potently jazzier direction of Flat Out ("The Boss's Car" is a gas). Amidst all of the electric bluster and energy, there is a dignified, quietly bluesy Scofield solo take on "Georgia on My Mind" (from Pick Hits Live) at the dead center of the CD…

This compilation of Ennio Morricone music features twelve re-recordings by the Solisti E Orchestre Del Cinema Italiano, all of which have appeared (in their original forms) in the Quentin Tarantino films Grindhouse: Deathproof, Kill Bill Vol. 2 and Inglorious Basterds. The renditions themselves are impeccable, utilizing the same analogue recording techniques that spawned the originals. While it was smart not to go with more recognizable fare like the vocal/electric guitar versions of Navajo Joe or The Good, The Bad and the Ugly (both are represented here by their quieter, more orchestral movements), the overall effect seems superfluous, as die-hard fans of both the composer and the director will likely seek out the real thing.

Master of Time is a live performance commissioned for the exhibition of Bardo Now, The Second Buddha: Master of Time at the Tang Teaching Museum during a residency on April 16-18, 2019.

Led by Garth Watt-Roy and his younger brother (future Blockhead) Norman, five-piece Harlow band Living Daylights signed with Beatles publisher Dick James in 1967. Paired with a studio production team that included Caleb Quaye, the band were given a song that James published, 'Let's Live For Today', as their debut single. Released in April 1967, it entered Radio London's Fab Forty after being championed by the pirate station's DJ John Peel. Also issued in America, the song showed significant sales potential, and Dick James decided the band should record an album that would be rushed out if the single became a success. Unfortunately, 'Let's Live For Today' lost out to a cover version by American band The Grass Roots, who scored a US Top Ten hit. Without a hit to support it, the Living Daylights' album failed to appear, and the band split after a second single failed to find favour. 55 years later, that album finally gains a release, with mono and stereo mixes joined by their UK singles and American and Japanese versions. 'Let's Live For Today: The Complete Recordings' is a vital addition to the pantheon of British psychedelic pop albums from the epochal year of 1967.

A few months ago, we performed at a private party for a lovely group of people who asked us to play several sets of purely improvised instrumental music, accompanied by friends new and old on light projections and auxiliary sounds. This record is a collection of the best moments from that special night.

Triple CD box set that houses three studio albums from the Rock pioneer. From Bowie's more recent career this album collection features Outside 1995 (his reunion with Brian Eno), 1997s Earthling and Hours… from 1999. Includes the singles 'Hallo Spaceboy' and 'Little Wonder'.

"Barbirolli's famous 1969 version on any count is one of the greatest, most warmly affecting performances ever committed to disc, expansive, yet concentrated in feeling: the Adagietto is very moving… A classic version." The Penguin Guide to Classical Music about the 5th Symphony

The Cure were never afraid of artistically defining themselves. They had their own sound, an eerie glamour surrounding a dark whimsicality, yet fans flocked to them throughout the '80s and '90s. Commercial or cult favorites, they're impressive as being one of the '80s' seminal bands who culled more than 30 critical singles. Compilations like 1986's Staring at the Sea: The Singles and 1997's Galore showcased the Cure's accessibility; therefore, having a solid greatest-hits collection might be a bit nonessential. Then again, releasing an album like this at the tip of the new millennium calls for a celebration, and that's what the Cure did. They collected 16 amazing cuts which spanned 23 years and recall what once was…