Shamal is the sixth studio album by the progressive rock band Gong, released by Virgin Records in February 1976. The album was written and recorded without the group's founder member Daevid Allen, and consequently sounds different, with fewer of the hippie-flavoured eccentricities of the previous albums. Also, guitarist Steve Hillage and synth player/vocalist Miquette Giraudy left the band before recording began and only appeared on it as guests. The album was produced by Pink Floyd drummer Nick Mason.

Early in his solo career, Sting defined himself as a man of taste, choosing to work with jazz musicians instead of rockers. Inevitably, this meant he walked the thin line between sophisticated pop and adult contemporary, but he did it with grace from 1985's Dream of the Blue Turtles to 1993's Ten Summoner's Tales. Unfortunately, Fields of Gold: The Best of Sting doesn't illustrate what a deft trick he pulled off with that quartet of albums. Naturally, Fields of Gold concentrates on his hit singles, just like any other greatest-hits collection, but Sting's material sounds surprisingly tame in this context. Sure, there is a number of great songs here – enough to state his case as a fine songwriter or to satisfy his casual fans.

Themes is one of the most entertaining and thorough of any of Vangelis' collections, with excerpts spanning such albums as Opera Sauvage, China, and the ever-popular Chariots of Fire release from 1981. Most of the selections from Themes speak for Vangelis' movie contributions, including the infamous "Chariots of Fire" track as well as the lonesome-sounding theme from Missing and the powerful openings from Mutiny on the Bounty. With this music, Vangelis has implemented some variations in rhythm and some noticeable fluctuation in his synthesizer work, making these tracks much more colorful and animated than his new age meanderings of the '70s.

Digitally remastered edition of this classic solo release from the Deep Purple member. The new artwork includes liner notes exclusively written by Roger Glover. The Gemini Suite was first performed in September 1970 at the Royal Festival Hall and was recorded the following year at the Abbey Road and de Lane Lea studios as the first solo project of Jon Lord. It is a six piece classic-rock fusion work inspired by the members of Deep Purple and was recorded with the London Symphonic Orchestra conducted by Oscar winner Malcolm Arnold and is featuring the guest musicians Albert Lee, Yvonne Elliman, Tony Ashton as well as the two other Deep Purple member Ian Paice and Roger Glover.

The playing by the orchestra is super-human. This recording is by far the best performance in their already excellent series.

Nothing or next to nothing was known about Monsieur de Sainte-Colombe – not even his first name – and the mystery surrounding his person only intensified the mystery of his music: the Concerts à deux violes, which are the only pieces that have come down to us. He was known to violists as the inventor of the seventh string that was added to the bass viol of the Baroque era in France. It was gathered that he had two daughters because he was known to have given concerts with them. And Titon du Tillet had recounted the pleasing story of Marin Marais coming to listen to his master in secret, hidden under the hut in a mulberry tree where the latter “played the viol more peacefully and more delectably”.

Fading records is glad to announce the long-awaited first full-length album by the Italian band FEM (Forza Elettro Motrice), "Sulla Bolla Di Sapone". After their debut EP ("Epsilon", 2012), FEM reaches its full maturity with a concept, a tale of imagination and… symphonic prog-rock at its best. Their music starting from the classic 70s Italian Prog (PFM, Le Orme and above all Banco del Mutuo Soccorso) moves toward new and adventurous directions. The sound is rich of influences (progressive, fusion, classical music) but nevertheless distinctive, deeply introspective and emotional. The outstanding performance of the new singer, Massimo Sabbatini, emphasizes even more the above-mentioned features of the band. "Sulla Bolla Di Sapone" ("On The Soap Bubble") is based from a story by the German writer Kurd Lasswitz.

Laurindo Almeida, a brilliant Brazilian guitarist who was equally skilled at both classical music and bossa novas, gained famed originally for his work with Bud Shank in the mid-1950s. However, in the 1960s, his string of LPs for Capitol were generally quite commercial and overly brief. This album is fairly typical in that the material contains a few songs used widely in jazz (such as "Secret Love" and "Here's that Rainy Day"), current pop tunes ("Call Me" and "Goin' Out of My Head") and a few lesser-known numbers. All 11 performances clock in between two and four minutes, as Almeida is joined by an anonymous string section, background horns and rhythm players, all arranged unimaginatively by Lex de Azevedo. The playing is pleasing but very predictable, and at best these soothing sounds work well as background music.

Vivaldi, Handel, Purcel, J.S. Bach and now Rameau: London Baroque is proceeding through the Baroque Masters at an impressive pace. After acclaimed recordings of the Fantazias of Purcell and Bach's trio sonatas the turn has come to Pièces de Clavecin en Concerts, Jean-Philippe Rameau's important collection of chamber music works. The title (Concert pieces for harpsichord) is actually misleading, for although the harpsichord does play an important role throughout, the violin and viola da gamba are indispensable. Here London Baroque members Ingrid Seifert, Charles Medlam and Terence Charlston again prove their almost uncanny ability to play as one. Being mainly famous for his operas and stage works, Rameau in his Pièces has created a series of character pieces of which many are portraits of friends and acquaintances of the composer. Among the titles are the names and colleagues such as Marais and Forqueray but there is also a delightful self-portrait in La Rameau. A kaleidoscopic journey through the artistic circles of Paris in 1740, which can only be recommended.

One of the initial works in the ambient house canon, Chill Out is the practically beatless soundtrack to a late-night journey along the Gulf Coast, and the track titles tell much of the story: "Six Hours to Louisiana, Black Coffee Going Cold," "3AM Somewhere Out of Beaumont," "Elvis on the Radio, Steel Guitar in My Soul." Recorded live by Drummond and Cauty (with much unintended help from sample victims Elvis Presley, Fleetwood Mac, and the throat singers of Tüva), Chill Out consists largely of fragmented, heavily reverbed steel guitar, environmental sounds (birds, trains), occasional synth, and an angelic vocal chorus repeating the KLF's own "Justified and Ancient" theme. Throughout, Drummond and Cauty display an instinctive talent for wallpaper music that's truly diverting, making Chill Out one of the essential ambient albums.

Woody Herman,one of the shining lights of the big band era,has the release of 25 cuts from his 1945-47-period band,otherwise known as the First Herd and some from his Second Herd.The name"herd" was a moniker that had been kicking around the offices of "Metronome"(along with Downbeat the best source for music info) for years.It wasn't until around 1944 that the name started getting on going use in the music industry.His first well known band was referred to by many as "the band that played the blues" in the /30s and early /40s.When he switched labels from Decca to Columbia in Feb/45 he hired some of the best musicians he could find and boy what recordings came out of those sessions;and those arrangements! Fast moving and progressive swing with high end trumpets and beautiful harmonic runs,with a solid rhythmic back beat.It was the most successful band Woody ever had.Due to personal problems he disbanded the Herd in early 1947 but came back later in the year to put together another band known as the "Four Brothers" or the Second herd.Again the progressive/aggressive arrangements were on the table and the band blew with wild abandon.

As evidenced by Megadeth's last three studio albums, fans are used to being let down. Dystopia could have been another case in point when an anticipated reunion of the Rust in Peace-era lineup failed to materialize. Undaunted, Dave Mustaine recruited Lamb of God drummer Chris Adler and Brazilian guitarist Kiko Loureiro of prog metal outfit Angra. Megadeth's 15th studio album marks a return to the band's thrash roots. It's angry, extremely aggressive, but also tight and polished. Adler adds clean, thunderous playing chock-full of syncopation and Loureiro proves to be a real surprise. Mustaine has historically cooked up imaginative riffs and motifs, but has seldom had a guitarist who displays the level of creativity and style that Loureiro does…

The Galimirs belonged to the Sephardic Jewish community, which had prospered for a millennium in the Iberian peninsula – until 1492, when expulsion from reunified Spain forced their resettlement around the Mediterranean. Reaching Vienna by the 18th century, they flourished under Emperor Franz-Joseph’s 1867 Constitution, guaranteeing freedoms throughout the Austro-Hungarian Empire.

Soprano Diana Damrau assumes the crowns of three different Tudor queens, the central characters in operas by Donizetti: Anne Boleyn (Anna Bolena), Mary, Queen of Scots (Maria Stuarda), and Elizabeth I (Roberto Devereux). With Antonio Pappano and the Orchestra and Chorus of Rome’s Accademia Nazionale di Santa Cecilia, she performs the substantial and climactic final scene of each work. When Damrau sang Maria Stuarda at the Zurich Opera, the Neue Zürcher Zeitung wrote: “She commands a voice that seems to have no limits. Her coloratura is stunning, her vocal range impressive, and her dynamic shadings are breath-taking. Damrau is in a class of her own.”

Pierre Léon Marie Fournier was born into a military family. His father was a general; his mother was musical and taught him piano lessons. At the age of 9, he suffered a mild attack of polio. Weakness of his legs made pedaling the piano difficult. So he turned to the cello, and after making rapid progress, he was admitted to the Paris Conservatoire. His teachers there were Paul Bazelaire and Anton Hekking; he graduated in 1924 at the age of 17. Fournier made his debut the year after his graduation. This was a solo appearance with the Concerts Colonne Orchestra, which received favorable notices. The almost invariable comment in reviews was the perfection of his bowing technique. He began a successful career as a touring concert artist and as a performer in chamber music concerts, gaining a great reputation in Europe.