Live at Orange Bowl, Miami, Florida, USA 7 April 1985: LIVE AND SOUNDCHECK - COMPLETE EDITION 1985 Purple & Rain Tour of Prince & The Revolution with a worldwide popularity globally with album and film success "The final performance April 7 Miami · Orange · Bowl performance debuted for the first time as a complete collection of concerts & sound checks by the latest sound board · remaster!

Long-running San Diego, California deathgrind outfit CATTLE DECAPITATION will release their tenth studio album, Terrasite, May 12th via Metal Blade Records. The band's follow-up to 2019's critically adored Death Atlas full-length was again produced by Dave Otero (Allegaeon, Khemmis, Archspire) with startling new artwork by longtime collaborator Wes Benscoter (Vader, Kreator, Bloodbath, Hypocrisy). Comments vocalist Travis Ryan, "We've all heard the old saying about how the cockroach is so pervasive… so invasive… so insidious… that they could survive a nuclear war… Our previous album, Death Atlas, left the world blackened and lifeless.. or so we thought. It turns out that the carbon-encrusted bodies that adorned the album's layout and music video (and that resemble the victims of Pompeii that were frozen in time by the Mt. Vesuvius disaster of 79 A.D.) were actually more of a cocoon stage for something much more vicious to come: Humanity 2.0. "On the cover we see the terrasite, aka 'earth-eater,' molting from its ootheca. Having lived the tortuous existence of being a human, they have now re-emerged into a new world… saddened… confused… PISSED; rebirthed as a new variant of human disease, now adapted to continue and finish the utter ravaging of its home planet, Earth."

Brothers in Arms is the fifth studio album by the British rock band Dire Straits, released on 13 May 1985 by Vertigo Records internationally, and by Warner Bros. Records in the United States. Brothers in Arms charted at number one worldwide, spending 10 weeks at number one on the UK Albums Chart, nine weeks at number one on the Billboard 200 in the United States, and 34 weeks at number one on the Australian Album Chart. The album is the eighth-best-selling album in UK chart history, is certified nine-times platinum in the United States, and is one of the world's best-selling albums, having sold over 30 million copies worldwide. The album won two Grammy Awards in 1986, and also won Best British Album at the 1987 Brit Awards. Q magazine placed the album at number 51 in its list of the 100 Greatest British Albums Ever.

Farewell Tour is the first live album by American rock band The Doobie Brothers, released in 1983. It documents the group's 1982 Farewell Tour and is a double album set. By the early 1980s, the Doobie Brothers had evolved from the guitar-boogie sound under original band frontman Tom Johnston to a soulful keyboard-driven AOR sound under Michael McDonald. Despite the many personnel changes in the group, Patrick Simmons remained from the original incarnation of the group. In 1982, Simmons decided to retire from the group after years of constant touring and recording. When the band decided to break up in light of his impending departure, Simmons encouraged the group to make one last tour during the summer of 1982 as a way of thanking the group's loyal fanbase.

Born into a long line of musicians, some of whom officiated at the court of Versailles, Boëly was first taught from the age of five by his father, a countertenor at the Sainte-Chapelle who was also a composer, teacher and author of a treatise on harmony influenced by Rameau. In 1796, he entered the Paris Conservatoire to study under Guérillot (violin) and Ladurner (piano), who introduced him to Bach, Haydn and Clementi. His formal education was of short duration, however, since he was forced to leave the conservatory in 1800. From then on, he taught himself, reading the old masters to cultivate his personal tastes and develop his style, which was out of sync with that of the audiences of his time who preferred patriotic or Italian works to his overly classicist offerings.

In the months following the unexpected passing of Dolores O'Riordan, the surviving members of the Cranberries decided to complete the album they had been recording together before her accidental death in January 2018. The resulting eighth and final effort, In the End, served as both a goodbye to their inimitable vocalist and the band itself. Along with longtime producer Stephen Street, Fergal Lawler and Mike and Noel Hogan returned the group's sound to the '90s, evoking the spirits of 1994's No Need to Argue and 1996's To the Faithful Departed. Elegiac and bittersweet, In the End is a heavy listen, haunted by the finality of mortality and unrealized potential.

Johann Nicolaus Denninger (1743-1813) numbers among the many musicians of the Classical period who in their multiple roles as instrumentalists, composers and music directors contributed not inconsiderably to tilling the field for the greats of their epoch. In the few extant instrumental works remaining it his main instrument, the harpsichord or the fortepiano then coming into fashion, occupies the focus. Formally and stylistically, these works represent the state of development during the last two decades of the 18th c., a period for which Haydn and Mozart set the decisive standards.

Natürlich muss man die Bearbeitung, ja Entstellung von originalen Werken der Kunst ablehen - aber man sollte die Gesetze auch manchmal ruhen lassen. In diesem Fall eröffnet sich dem Freund des Bachschen Solowerkes eine neue Welt. Ganz einfach weil die Piano-Begleitung Robert Schumanns (egal wie angemessen oder gelungen) den einzigartigen Meditationen des Barock-Meisters eine ganz neue Note verleiht. Aus dem Monolog wird eine Dialog. Aus den manchmal anrührenden, manchmal nervenzerfetzenden Phrasen des Einsamens wird eine Kommunikation, ein Gemessenwerden, ein Ver- oder Mißverständnis. Das verlangt Benjamin Schmid ein ganz anderes Musizieren ab (er hat die Original-Version schon ganz großartig genommen). Und er schafft es auch hier meisterhaft.

When Jeff Lynne was growing up, he listened to music on longwave radio, soaking up all the sounds coming through the big radio in the living room. His 2012 tribute to these days, appropriately called Long Wave, is a far-reaching salute to the glory days of pop in the years before the Beatles. It's too easy to peg this as a standards album, a designation that isn't quite accurate. Lynne may cover many show tunes along with '50s favorites of big-band vocalists but he spends nearly as much time with rock & roll, and not just the operatic pop of his fellow Traveling Wilbury Roy Orbison, either. He cranks through Chuck Berry's "Let It Rock," slides into the silken harmonies of the Everly Brothers on "So Sad," and grooves through Don Covay's "Mercy, Mercy."

English singer-songwriter Jon Allen follows up Dead Man’s Suit and Sweet Defeat with his third album, Deep River. The most immediately arresting thing about Jon Allen is his voice, which we can only imagine he has acquired from a Bluesman after beating him in a game of cards in a bar somewhere in New Orleans. Allen’s haunting voice, which sends shivers down the spine, conveys pathos, pain and wisdom in equal measure. If he sang the phone book it would sound profound. Thankfully, Allen has no recourse to such banality, and he has once again assembled a strong collection of thoughtful and striking songs. Deep River, as even the name suggests, has strong blues roots, and the occasional strains of the harmonica shores up the conjured illusion of a wander across the American south.

An intergalactic roadmap to the most mind-blowing sounds in the Universe, this set contains the best space rock including Hawkwind, Amon Düül II, Gong, Can, Guru Guru, Tangerine Dream, Ozric Tentacles, Nik Turner, Popol Vuh, Alice Cooper, Nektar, Chrome, and others.

La Petite Bande has recorded a spectacular rendition of Bach’s four orchestral suites, certainly some of the most spectacular instrumental music of the Baroque repertoire. La Petite Bande director, Sigiswald Kuijken, has written a very informative essay explaining the history of these pieces. Unfortunately, more is unknown than known. Kuijken speculates that the works were conceived for string orchestra and the wind parts were added at a later date. He also notes that sections of the 4th Suite were reused in the opening chorus of the Christmas Cantata, BWV 110. Kuijken also remarks that he has rethought his approach to these works opting for small musical forces as opposed to the rather large ensemble that La Petite Bande employed in its performances and recording of about 30 years ago.

As part of ECM'0bs Old & New Masters series of box sets, John Abercrombie's The First Quartet collects three albums recorded for the label between 1978 and 1980. Two titles, 1979's Abercrombie Quartet and 1981's M, have been unavailable for decades. By the guitarist's own admission, this band represents the guitarist's first time as a "proper" bandleader. His earlier dates on ECM had been co-led sessions (Timeless, Gateway, Sargasso Sea), a solo album (Characters), and sideman gigs (Jack DeJohnette's New Directions, David Liebman's Lookout Farm, etc.). These three dates also represent an important foundation for Abercrombie as a composer.

CD contains a thrilling new show - featuring a revised setlist - from Elvis’ Opening Night at the Las Vegas Hilton on the 26 January 1972. The soundboard recording has been remastered and restored using the most sophisticated technology available, and - for the first time ever - presented in true stereo.

"Partners in Crime" is an album by British American singer-songwriter and musician Rupert Holmes. The album was Holmes's most commercially successful record and includes all three of Holmes's solo Top 40 hits: "Him," "Answering Machine" and "Escape (The Piña Colada Song)." "Escape" was the Billboard #1 hit of December 1979 and January 1980; it was the only single to hold the #1 position in both years and in different decades. The album itself reached #33 on the Billboard Album Charts. Although "Escape (The Piña Colada Song)" was released as a single on Infinity Records, "Him" was released on MCA Records. The Infinity catalog had been absorbed by MCA at the time the latter single was released.