Status Quo, the Frantic Four, were one of the tightest, hardest rockin' UK bands of the 1970s. Morphing from psych popticians to denim clad rockers Status Quo debuted their new heavy, bluesy boogie rock with the single "Down the Dustpipe”. and followed it with the full-fledged hard rock album Ma Kelly's Greasy Spoon. Status Quo played concerts regularly across England and Europe, slowly building up a strong following. The recordings on this disc are possibly some of the best early live Status Quo recordings, both in audio quality and performance. Tracks 1 to 6 were recorded for broadcast on Swedish Radio on 24th November 1971. Track 7 dates from the previous year and features and extended workout of "Is It Really Me / Gotta Go Home" recorded for German television on 26th September 1970.

Three years have passed since the release of the previous volume in this series, but now Miklós Spányi continues his traversal of the keyboard concertos of Carl Philipp Emanuel Bach, a series which in Gramophone has been called a ‘unique monument to one of the 18th century's most underrated composers’. Once again Spányi has joined forces with the Hungarian period band Concerto Armonico, and together they offer us the first four works in a set of six, the Sei Concerti per il cembalo concertato. Composed during the early 1770s, the Sei Concerti were among the few concertos that C.P.E. Bach didn’t write specifically for himself to play. In order to secure a large number of subscribers for the scores, he advertised their publication repeatedly, marketing the works as ‘easy’.

Les mélomanes seront aux anges, à l'écoute de cette nouvelle version des Pièces de clavecin seul et en concert de Jean-Philippe Rameau, où de jeunes instrumentistes français réunis autour de la claveciniste Blandine Rannou y montrent une insolente santé musicale. Cette réalisation pétille de verdeur et d'enthousiasme, où la plénitude sonore est totale : les timbres sont bien équilibrés, et jamais on ne s'ennuie à l'audition de cet enregistrement dominé par Blandine Rannou – professeur de basse continue au conservatoire national supérieur de musique de Paris et claveciniste de l'ensemble Il Seminario Musicale. Un agréable moment musical en perspective.

Born in 1885, Alban Berg was one of the most significant composers of the Second Viennese School, whose output proved tremendously influential in the development of music in the twentieth century. He was a student of Schoenberg, who found that his juvenile compositions were almost exclusively written for voice; his natural ability to write lyrical melodic lines (even in later life while following the restrictions of twelve-tone serialism) probably remained the most outstanding quality of his style. His Op. 1 Piano Sonata was the fulfilment of a task set by Schoenberg to write non-vocal music. The Passacaglia, written between the sonata and World War I was only completed in short-score, and may have been intended to form part of a larger work.

Collection includes all studio albums by Australian alternative rock band from Sydney. In 2010, their album Diesel and Dust ranked no. 1 in the book The 100 Best Australian Albums.

Arriving six years after Emotion & Commotion, a largely instrumental album that found Jeff Beck pushing at his prog boundaries, Loud Hailer is a very different beast than its predecessor. Revived by the presence of two female collaborators - vocalist Rosie Bones and guitarist Carmen Vandenberg, both proving to be worthy sparring partners - Beck returns to gnarled, loud guitar rock on Loud Hailer, not so much reveling in the psychedelic skronk of the Yardbirds or the heavy stomp of the Jeff Beck Group but favoring an arena-ready rock that places an emphasis on such old-fashioned values as chops and social consciousness. The latter helps Loud Hailer feel tied to its time: Bones sings about reality television, loss of innocence, and any number of ills plaguing modern society…

Did you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictablespecies, when we’re allowed to be. Also the most destructive. Miracle-Level is Deerhoof’s mystical manifesto on creativity andtrust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters.

The developmental stages of the clarinet are marked by repeated interest in improving the instrument at crucial stages in its history, definitively accomplished in an ‘accelerated’ manner during the course of the 19th century thanks to daring projects that led to an extraordinary evolution. Consequently, interest in writing aimed at probing the peculiarities of the instrument was accentuated, with French composers' attention directed towards exploring the thousands of new expressive and technical possibilities, creating a catalogue of great interest demostrating both the instrumentalists’ mastery as well as musical effects to dazzle listeners.