4CD set. Hard-to-beat 93-track collection of punk 'n' post-punk by The Ramones, Royal Headache, Suicide, The Boys Next Door, Eddy Current Suppression Ring, Buzzcocks, Radio Birdman, Wire, Hard-Ons, Pel Mel, Models, Television, The Birthday Party, Refused, Devo, X, The Smith Street Band, The Pop Group and more!

Issued exactly 40 years after Patrick Cowley's death, Malebox is a set of six previously unheard disco tracks from the heralded producer. Following the release of 2020's Some Funkettes, this EP concentrates on Cowley's disco-funk side, with no shortage of pounding beats and killer synth basslines. "Floating" is more laidback and vibey, but others such as the guitar-laced "If You Feel It" are no-nonsense dancefloor jams. "Low Down Dirty Rhythm" (which LaBelle's Sarah Dash recorded and released as a single in 1983) is the only non-instrumental, with Jeanie Tracy verbally illustrating the song's gloriously sleazy rhythm. "Love Me Hot" is Hi-NRG at its unforgettable best, all pulsating neon synths and electro-disco beats. Cowley's posthumous releases have demonstrated his extraordinary range as an artist, but for those who just want to dance to pure disco, Malebox is where it's at.

Jaco Pastorius was a meteor who blazed on to the scene in the 1970s, only to flame out tragically in the 1980s. With a brilliantly fleet technique and fertile melodic imagination, Pastorius made his fretless electric bass leap out from the depths of the rhythm section into the front line with fluid machine-gun-like passages that demanded attention. He also sported a strutting, dancing, flamboyant performing style and posed a further triple-threat as a talented composer, arranger and producer. He and Stanley Clarke were the towering influences on their instrument in the 1970s. Born in Pennsylvania, Pastorius grew up in Fort Lauderdale, where he played with visiting R&B and pop acts while still a teenager and built a reputation as a local legend.

For an act as iconic as Ike & Tina Turner, they sure haven't been given a CD compilation worthy of their stature. The main problem has always been that the duo, like many early R&B and rock & roll artists, recorded for a variety of labels, including many independents, which makes cross-licensing the key tracks a headache, and an expensive one at that. Time/Life's three-disc box The Ike & Tina Turner Story 1960-1975 comes close to being that long-awaited definitive set. It's close enough to satisfy, since it's certainly the easiest way to get the great majority of their best material, yet it falls just short of being the final word due to that long-standing problem of cross-licensing. Here, the blind spot is the mid- to late '60s, as this is missing the legendary Phil Spector production of "River Deep-Mountain High" and cuts that often show up on EMI-affiliated compilations, such as "Funkier Than a Mosquito's Tweeter" and other minor charting singles.

Ten Summoner's Tales is the fourth solo studio album by the English rock musician Sting. The title is a combined pun of his family name, Sumner, and a character in Geoffrey Chaucer's The Canterbury Tales, the summoner. Released in 1993, it explores themes of love and morality in a noticeably upbeat mood compared to his previous release, the introspective The Soul Cages released in 1991 after the loss of both his parents in the 1980s. This album contained two US hits; "If I Ever Lose My Faith in You" reached No. 17 on the Billboard Hot 100 and "Fields of Gold" reached #23. Ten Summoner's Tales was shortlisted for the 1993 Mercury Prize. In 1994, it was nominated for six Grammy awards, winning Best Engineered Album, Non-Classical, Best Male Pop Vocal Performance ("If I Ever Lose My Faith in You") and Best Long Form Music Video. It did not win Album of the Year, Record or Song of the Year.

[Violinist Fabio Biondi has a singular capacity for finding something new and exciting in the music of Antonio Vivaldi whenever he considers it, a prodigious feat which he demonstrates with Concerti per La Pietà, a new collection of works calling for a variety of demanding solo challenges, superbly met by Biondi and his colleagues from Europa Galante. In his Venetian years the well-spring of Vivaldi an inventiveness was fed by the composer working with one of the leading orchestras of early eighteenth-century Europe: the one at the Ospedale della Pietà, the charitable institution which took in, cared for –and educated – girls who had been orphaned or abandoned.[/quote]

~ Recorded at the Paris Theatre on October 29th, 1970 for BBC Radio 1's 'In Concert' series hosted by John Peel.

Even the most despondent soul will not be able to resist the Bluebells' charms on The Singles Collection. Containing more than an hour of uplifting, buoyant, and toe-tapping jangle pop, The Singles Collection is an irresistible career retrospective from a band that should've sold as many records as the Beatles. Unfortunately, the Bluebells were trapped in the wrong decade. The influence of '80s college-radio favorites such as Aztec Camera and the Pale Fountains is easily detected in the Bluebells' marriage of new wave and folk, but the golden harmonies of "Everybody's Somebody's Fool" and "Cath" recall '60s fixtures like the Everly Brothers and Every Mother's Son. "All I Ever Said" captures the lovestruck innocence of the early Beatles. On "Patriot's Game" and "Aim in Life," the Bluebells explore serious matters such as the futility of war and the loneliness of old age with warmth and intelligence; although they're not as hummable as most of the tracks on The Singles Collection, they inject emotional weight in the group's discography. However, there's nothing wrong with catchy, rousing pop music, and the Bluebells cook a king's feast on The Singles Collection. One listen is all it takes to be spellbound by the shimmering hooks of songs such as "Forever More" and "Happy Birthday (Turn Gold)."

Legendary Album Recorded in 1972 from Tormented and Nostalgic Singer, J. brel. 11 Songs Including 'Les Biches', 'ne Me Quitte Pas', 'la Valse a Mille Temps' and Much More.
"Ne me quitte pas", au début, ne marchait pas tellement. Au bout de quelques années, Jacques Brel ne l’a plus chantée. Mais quand il est mort, de très nombreux artistes comme Nina Simone … ont repris sa chanson, et puis c’est devenu un Succès Mondial ! Il y a des mystères …" Gérard Jouannest

30 eternal titles of QUEEN recorded during their young years, "The Lost Radio Tapes" is to be recommended to all lovers of Rock 7 stars.

Either the mid-'70s or the addition of Ted Turner's replacement, Laurie Wisefield, brought about a severe identity crisis for Wishbone Ash. No longer were they the self-conscious band that evolved from their blues-based debut to their prog precursor Pilgrimage to their progressive tour de force Argus. While Wishbone Ash was still a guitar-oriented band, Locked In provided no originality and, save for a guitar refrain in "Rest in Peace," no memorable passages whatsoever. While his credentials are impressive, producer Tom Dowd was not the man for the job.

The music on this CD was originally released in 1966, when Harnoncout's approach of recording baroque music on period instruments was still relatively new. Some of those early productions sound prim and academic. Not this one. The music sounds fresh and even modern. Though composed in the second decade of the 18th century, these baroque concertos are already close to the music of the coming "enlightened" period. They explain why along with Bach and Händel, Telemann was considered one of the leading composers of his time.

Broadcast Easter night 2018 on NBC, this electric live presentation of the Tim Rice/ Andrew Lloyd Webber rock opera chronicling the final week in the life of Christ offers unforgettable performances by John Legend in the lead, as well as Sara Bareilles (Mary Magdalene), Brandon Victor Dixon (Judas), and Alice Cooper (King Herod). All the favorites from the score–“Heaven on Their Minds,” "I Don't Know How to Love Him," "Gethsemane," "Everything's Alright," and the rest–are memorably presented.

This special PBS soundtrack includes live recordings filmed at the Newport Jazz Festival for Ron's classic piece SOFT WINDS; a surprise bass duet session at The National Jazz Museum in Harlem with the enigmatic Christian McBride on WILLOW WEEP FOR ME; a session at the Blue Note with guitarist Bill Frisell on MY MAN'S GONE NOW; the first live performance of the two great bassists, Stanley Clarke and Ron playing BAG'S GROOVE, also at the Blue Note; and a joyful version of SWEET LORRAINE featuring Jon Batiste, released here for the first time.

Some places retain a quiet magic. This magic doesn’t announce itself, but you do feel it nonetheless. It’s in the air and among the denizens as if they’re keeping a secret they can’t wait to share—but hold onto tightly nonetheless. You can count Muscle Shoals, Alabama among those mythical places…