Serving as both accomplished career overview and a live-in-the-studio effort that covers two and a half hours and over 40 years of work, Trainsong is a seemingly effortless release, such is the apparent delicacy and grace of Michael Chapman's performing throughout. As Charles Shaar Murray's combatively entertaining liner notes acknowledge, Chapman couldn't play at least one favored piece due to a recent injury. What is on offer, however, is the kind of reflective, elegant playing on both acoustic and electric guitar one would expect from any instrumentalist after decades of experience. From the start, the tender flow of notes on "The Last Polish Breakfast," almost a portrait of sunrise on sparkling water, Chapman seems to be both celebrating his past and claiming a space in the present.

F.E.A.R. is the eighth studio album by American hard rock band Papa Roach. It was released on January 27, 2015. F.E.A.R. sold 24,425 copies in the United States in its first week of release to land at position No. 15 on the Billboard 200 chart, charting higher than their previous albums Time for Annihilation and The Connection, also outselling both of them. It is their first Top 15 album in UK since Lovehatetragedy. The album differs from the band's previous sound via the utilization of a "djent" tone in the guitar recordings.

The obscure British band Still Life released a self-titled album on Vertigo in the early '70s. The record was early organ-dominated progressive rock, its lyrical themes dwelling upon uneasy doubt and sadness, the melodies colored with the gothic classicism prevalent in much of the genre during the period. "People in Black," "Don't Go," "Witches," "Love Song No. 6 (I'll Never Love You Girl)," "Dreams," "Time" – the titles of Still Life's only album alone indicate that these fellows were both morbid and ambitious. As happens so often when musicians set out to conquer such big issues, the music's not as illuminating as the intentions.

Thorough retrospective with 32 of the best tracks she cut for the Bell, Big Tree and RSO labels, including all of her U.S. chart hits for these labels: her top five collaboration with Chris Norman, 'Stumblin' In', plus 'She's In Love With You', 'I've Never Been In Love', 'If You Can't Give Me Love', 'Can The Can' and 'All Shook Up'.

Anthology is a compilation album by The Alan Parsons Project. This compilation of songs was released by Arista Records in 1991, as part of their "Connoisseur Collection" series. Note that the tracks are in chronological order.

The Vaughan String Quartet features two Brazilian pieces for string quartet by Heitor Villa-Lobos and Antônio Carlos Gomes, and two new Italian works by Davide Runcini and Simone Boi. "The beauty of this disc springs directly from the ambiguity between contrasts and identities, between dichotomies and parallelisms that create a fertile ground of frictions, thus reproducing the sweet-and-sour feeling of being on an endless journey, longing for home. Whatever home might mean".

The Grosses Festpielhaus in Salzburg has been the scene of countless memorable musical events - operas, concerts and recitals - for 50 years. Here is a unique chance to celebrate the glories of this distinguished era. In an exceptional collaboration with the Salzburg Festival, we have prepared a 25-CD box set - 5 complete operas, 10 concerts and 2 recitals - featuring many of the world's greatest artists, in recordings with classical status and others that are appearing on CD for the first time. Concerts (five out of ten are first-time releases): with Abbado, Bernstein, B hm, Boulez, Karajan, Levine, Mehta, Muti, Solti. Soloists include Anne-Sophie Mutter and Jessye Norman.

For our first album, we have chosen three original works that have accompanied us through six years of experimentation, training, travel and success as a quintet. This chronologically limited musical programme paints a portrait of an era, between avant-garde effervescence, neo-classical temptations and world catastrophe. When André Jolivet composed his Chant de Linos in 1944, the world explored by Admiral Jean Cras had disappeared forever, and his music with it. At the Halfway point, László Lajtha’s work bears witness to an acute awareness of the political situation and an artistic posture that is both avant-garde and engaged: a certain art of musical irony?

Le Jugement de Midas (The Judgement of Midas) is a French comédie mêlée d'ariettes (a kind of opéra comique), in three acts by André Grétry dedicated to . It was first performed, with amateur singers, on 28 March 1778 in the private little theatre set up by Madame de Montesson in the apartments of her secret husband Louis Philippe, Duke of Orléans at the Palais-Royal in Paris. Libretto is by the Irish playwright Thomas Hales (also known by the French name Thomas d'Hèle) with additional contributions by Louis Anseaume. It was based on the burlesque opera Midas (1760) by Kane O'Hara. The public premiere at the Comédie-Italienne took place on 27 June 1778.

Compilation album from Taiwan. Nice compilation of some unknown & unusual tracks.

The recordings on Sweden's BIS label by Israeli-born flutist Sharon Bezaly have exposed a great deal of neglected and often highly virtuosic repertory, much of its brought within reach by Bezaly's unusual circular breathing technique. She's a remarkable flutist, but it's her repertory selection that really sets her apart from the crowd. She actually throws in some chestnuts, like Cécile Chaminade's Concertino for flute and orchestra, Op. 107, this time around, but the highlight is a really nifty and unknown little work: the Flute Concert in D major, Op. 283, of Carl Reinecke, composed in 1908. Its three movements reduce Wagnerian language to a compact concerto in all kinds of ingenious ways. Sample the first movement, where the flute provides a charming pastoral element against a varying backdrop. The other works are each characteristic of their composer, even including the very early Largo and Allegro for flute and strings of Tchaikovsky.