Though it was released over a decade later, the 22 tracks on CANNIBALISM II are a perfect match with the selections from the first volume. However, where that volume focused primarily on the group's earliest work, CANNIBALISM II directs its attentions to a broader range, covering tracks from 1968 to the group's first (temporary) breakup in 1978. Including obscure tracks like "Mother Upduff" (a musical recasting of the urban legend about the stolen grandmother's corpse), an excellent edit of the expansive "Animal Waves," and a fascinating remix melding "I Want More" and "And More" from 1976's FLOW MOTION, CANNIBALISM II functions as not only a convenient starting point for neophytes, but a handy collection for fans. Taken in toto, the three volumes of CANNIBALISM are as good a summation of this wide-ranging group's work as you're likely to find.

2009 digitally re-mastered two-for from this Atlanta-based '70s outfit containing a pair of their albums on one CD (1976's Moonlight Feels Right and '77's Rock 'N' Roll Rocket) alongside a few rare bonus tracks added for good measure. This disc the first ever UK/European CD release of either of these classic albums. The first of the two albums contains their big hit and ever constant radio staple 'Moonlight Feels Right' - which has sold over 3 million copies - moreover, it has the finest marimba solo ever committed to seven inch vinyl! The great Starbuck name has been sullied in the past by a severe plague of naughty bootlegs and unoriginal recordings, but rest assured, our stuff is 100% the real deal.

B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance.

The Very Best of Level 42 is a compilation released by the UK band Level 42. It features a chronological track listing of the band's hit single releases from 1981 to 1994.

After the hostile reaction to the politically charged Sometime in New York City, John Lennon moved away from explicit protest songs and returned to introspective songwriting with Mind Games. Lennon didn't leave politics behind - he just tempered his opinions with humor on songs like "Bring on the Lucie (Freda Peeple)," which happened to undercut the intention of the song. It also indicated the confusion that lies at the heart of the album. Lennon doesn't know which way to go, so he tries everything. There are lovely ballads like "Out of the Blue" and "One Day (At a Time)," forced, ham-fisted rockers like "Meat City" and "Tight A$," sweeping Spectoresque pop on "Mind Games," and many mid-tempo, indistinguishable pop/rockers. While the best numbers are among Lennon's finest, there's only a handful of them, and the remainder of the record is simply pleasant…

This is a rather exuberant collection of cello sonatas by Ferdinand Ries (1784-1838), a student of Beethoven and, along with Beethoven, an innovator of the cello/piano sonata form. Neither Mozart nor Haydn composed cello sonatas; for their more intimate music they preferred the trio or even the string quartet where, in either case, the cello's role always remains submerged. Ries gave the cello a greater and more melodic role (which he learned from Beethoven), and the genre is all the more enriched because of it. But you won't hear Beethoven in any of Ries' works.

Born in Vechta in northwestern Germany, Andreas Romberg (1767-1821) began touring throughout Europe as a violinist at age 6 with his cousin Bernard. After working in orchestras in Bonn, Hamburg, Paris and Vienna, where he concertized with Beethoven, he succeeded Louis Spohr as the court music director for Duke August of Gotha, Thuringia. Well regarded during his lifetime, Romberg's decline can be traced directly to the ascendency of his more famous contemporary. Tracking the number of public performances of Beethoven's string quartets versus Romberg's reveals an inverse relationship.

Judas Priest rebounded from the shaky Point of Entry with Screaming for Vengeance, arguably the strongest album of their early-'80s commercial period. Having moved a bit too far into simplistic hard rock, Vengeance found the band refocusing on heavy metal, and achieving a greater balance between commercialism and creativity. The results were catchy and accessible, yet harder-hitting, and without the awkwardly apparent calculation that informed the weakest moments of the album's two predecessors. Ultimately, Screaming for Vengeance hangs together better than even the undeniable landmark British Steel, both thematically and musically. There's less of a party-down feel here - the remaining traces of boogie have been ironed out, and the lyrics return to the darkness and menace that gave the band its mystique…

Vous tentiez en vain de vous procurer la version qui couronnait dans notre numéro de septembre la discographie de la Symphonie n° 38 ? Elle est à vous, avec deux autre perles.

A great collection of wonderful songs. 72 Songs including hits from a-ha, Fleetwood Mac, Kylie Minogue, Cher, Phil Collins and many others.

MOM: Music for Our Mother Ocean is a series of three compilations produced by Surfdog Records to benefit the Surfrider Foundation. The albums feature original songs as well as covers – many sharing a surfing or summer theme – by a range of popular artists.

Greatest Ever! Electric Eighties is a budget three-CD compilation that features 59 tracks from the 1980s. The bulk of the collection falls a little left of the dial, and highlights synth pop and new wave along with instrumental keyboard standards like Herbie Hancock's "Rockit" and the themes from Beverly Hills Cop ("Axel F") and Miami Vice ("Crockett’s Theme"). Much of the collection pools from the big-hooked pop music of one-hit wonders, such as the Waitresses' "I Know What Boys Like," the Buggles' "Video Killed the Radio Star," Animotion's "Obsession," Dead or Alive's "You Spin Me Round (Like a Record)," and Taco's "Puttin' on the Ritz." As eclectic as music was in the '80s, this set does a nice job of pulling it all together into a solid anthology where the synthesizer takes priority.

Orange Mountain Music is proud to announce the premiere recording of Philip Glass s Symphony No.11. The new symphony premiered at Carnegie Hall on January 31st 2017 on the occasion of Glass s 80th birthday performed by the Bruckner Orchester Linz under the direction of Dennis Russell Davies. This new recording is a continuation of the relationship between Philip Glass s Orange Mountain Music and the Bruckner Orchester Linz having recorded numerous Glass Symphonies. In composing the piece, Glass was reflecting on his relationship to the orchestra, and writing something that would be a celebratory capstone to Dennis Russell Davies s tenure there as music director from 2002-2017.

Like Steely Dan, The The wasn't so much a band as a personal musical conceit/alter ego, this one for English writer-performer Matt Johnson. While Johnson's "band" came of age during the English synth pop boom of the early ‘80s, electricity was about the only common denominator between Johnson and his fashion slave contemporaries. Indeed, the sense of conscientious outrage that informs many of the two decades worth of singles collected here fostered a perception of Johnson as something of a prickly malcontent. But fashion was never an end in itself for Johnson, even on early pop fare like "Uncertain Smile" and "Perfect." Johnson's restless creative bent has led him to remix many of these tracks anew, ensuring that this set would never be seen as mere artistic obituary. Johnson's reputation as a socio-political crank reached its zenith on tracks like "Heartland" (which decries the reverse cultural colonization of Britain by America) and "Armageddon Days" (a shotgun blast at pan-religious hypocrisy, here introduced by a hilarious parody of the Sweet's "Ballroom Blitz": "Are you ready Jesus? Yeah! / Budda? Uh-huh."), but subsequent history has only proven him sagacious.

Five CD set containing a quintet of classic studio albums packaged together in a slim line slipcase. Includes the albums Sneakin' Sally Through The Alley, Pressure Drop, Secrets, Clues and Riptide. Robert Palmer won a number of awards throughout his career, including two Grammy Awards for Best Male Rock Vocal Performance, an MTV Video Music Award, and two Brit Award nominations for Best British Male.