The Kings Of Disco, is a compilation by two world-renowned DJs, Dimitri From Paris and Joey Negro. Famous for their science of mixing house with disco, the two DJs also have a prolific list of production & remix credits under their belts. In 1997 Dimitri From Paris released his first album Sacrebleu, a subtle mix of jazzy samba and soft house. With Sacrebleu selling over 80,000 copies, Dimitri went on to release the successful mix compilations, A Night at the Playboy Mansion, Disco Forever, followed by After the Playboy Mansion, and his most recent contribution to the In the House Series .
Dave Lee (AKA Joey Negro), prominent Artist, Producer, Remixer , Arranger, Songwriter and DJ, is the producer of choice for artists and record companies the world over. One of the UKs first heavyweight dance producers, Daves superior productions skills have led him to work with some of the brightest and biggest names in music including Diana Ross, Lionel Richie, Artful Dodger, the Pet Shop Boys, Mariah Carey, Seal and Royksopp. Theres no better way to introduce a new series than with the two dons of the disco house scene, who are sure to deliver a strong collection of retro grooves, disco anthems, and dancefloor classics.

The Complete Picture: The Very Best of Deborah Harry and Blondie is a compilation album released on Chrysalis Records in 1991. It contained all of Blondie's biggest hits such as "Heart of Glass", "Sunday Girl", "The Tide Is High", "Atomic", and "Call Me" as well as some of Deborah Harry's solo hits, including the UK Top 10 single "French Kissin' in the USA".

Frequently classified as the first album by the group Mountain, which was named after it, Leslie West's initial solo album featured bass/keyboard player Felix Pappalardi, who also produced it and co-wrote eight of its 11 songs, and drummer N.D. Smart II. (This trio did, indeed, tour under the name Mountain shortly after the album's release, even performing at Woodstock, though Smart was replaced by Corky Laing and Steve Knight was added as keyboard player for the formal recording debut of the group, Mountain Climbing!, released in February 1970.) Pappalardi had been Cream's producer, and that power trio, as well as the Jimi Hendrix Experience, were the models for this rock set, which was dominated by West's throaty roar of a voice and inventive blues-rock guitar playing. Though West had led the Vagrants for years and cut a handful of singles with them, this was his first album release, and it made for an auspicious debut, instantly establishing him as a guitar hero and setting the style of Mountain's subsequent recordings.

The Hits Album: 80s Chartbusters captures the best of the charts across the 80s, including the most popular and defining love songs, dance club hits, rock anthems and party jams. With synth-pop megahits such as The Human League’s “Love Action (I Believe In Love)”, Frankie Goes To Hollywood’s “Relax”, Dead Or Alive’s “You Spin Me Round (Like A Record)” and Heaven 17’s “Temptation” alongside unforgettable chart-toppers from Wham!, Michael Jackson, Blondie or Billy Idol…there is nothing you can’t sing out loud to at home or in the car. Celebrate one of the greatest decades in music with the most popular artists including Adam & The Ants, Kim Wilde, Culture Club, Billy Ocean, Soft Cell, UB 40 & Chrissie Hynde, Run DMC feat. Aerosmith, Meat Loaf & Cher, Cameo, Five Star, Lisa Stansfield and The Jam.

Crucial 2LP vinyl repress in stock and available to order now. The collection captures early work from some of the genre's defining artists, including Lee "Scratch" Perry, The Techniques, Desmond Dekker, Johnny Nash and many others.

The Tangent is a collaboration between British keyboardist and singer Andy Tillison and several moonlighting members of Sweden's Flower Kings. The band's overall sound is distinctly British, though, drawing heavily on the mystical Canterbury Scene of progressive rock and, equally heavily, on the sounds of 1970s jazz fusion. The world is divided into two kinds of people: those for whom this sounds like a description of heaven and those who would rather have their brains eaten by monkeys. Neither school will be surprised by anything on this album, which features dramatic vocals, inward-looking lyrics and lots of elegantly drawn-out guitar and keyboard solos, and on which the average track length is about 12 minutes.

“I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. …over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation.” - Lou Reed

The creator of hundreds of spirited, extroverted instrumental works, Italian composer Antonio Vivaldi is widely recognized as the master of the Baroque instrumental concerto, which he perfected and popularized more than any of his contemporaries. Vivaldi's kinetic rhythms, fluid melodies, bright instrumental effects, and extensions of instrumental technique make his some of the most enjoyable of Baroque music. He was highly influential among his contemporaries and successors: even as esteemed a figure as Johann Sebastian Bach adapted some of Vivaldi's music. Vivaldi's variable textures and dramatic effects initiated the shift toward what became the Classical style; a deeper understanding of his music begins with the realization that, compared with Bach and even Handel, he was Baroque music's arch progressive.

Liberated from the shackles of major-label demands and the strictures of other people's expectations, Chris Rea has nailed his newly unadulterated colours–the blues, of course–firmly to the mast on the eloquently tranquil jazz of Blue Street, the follow-up to his corner-turning personal exorcism Dancing Down the Stony Road and one of four simultaneous releases on his newly created and independently minded Jazzee Blue label. Unashamedly self-satisfying, as chilled-out as a cool pool on a baking summer's day and almost entirely instrumental (the vocals do finally appear on "Still Going to a Go Go", one of those time-honoured hoarse-throated cogitations on the way life deals the cards) this is another refined offering from a man who just loves the sweet, slow sounds of collectable vintage guitars and whose former role as the archdeacon of the drivetime adult-rock chorus seems strangely distant.

After spending nearly nine months as a guest of the Texas penal system, veteran rocker David Crosby emerged from his incarceration sober and brimming with ideas that had previously been stunted due to decades of substance abuse. In many ways Oh Yes I Can (1989)—Crosby’s second solo effort during his two-decade-plus career—is a musical rebuttal to his equally vital debut effort, If I Could Only Remember My Name (1971). Even the album’s title appears to indicate his newly achieved success and freedom from the haze that so indelibly influenced the earlier compositions.

The tenth volume of the complete recording of Bach's cantatas contains a final group of works (BWV 44, 73, 119 and 134) from the first cycle of 1723-1724. It continues with the first of a substantial series of chorale cantatas that give the second Leipzig cycle of 1724-1725 its particular character. This volume ends with the serenata BWV 134a, which completes the secular cantatas in Volumes 1 to 3; it provided the musical model for the Easter cantata BWV 134, which was composed in 1724. Bach's commitment in composing this second cycle of cantatas went well beyond his undertaking in the previous year. Whereas in the first cycle, existing cantatas from the Weimar period could be found alongside new pieces, the second cycle contains a sequence of newly composed works that continued uninterrupted until the spring of 1725.

Claudio Abbado was undeniably the supreme Mahler conductor of our time. With his Lucerne Festival Orchestra he has set new standards in the field of classical music, especially in the interpretation of works by Gustav Mahler. The core of the orchestra is provided by the Mahler Chamber Orchestra, itself an élite body of players. Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble.

Death Walks Behind You is the second studio album by British rock band Atomic Rooster. It was their first album to receive US release, albeit in a different sleeve. It is commonly thought of as the archetypal Atomic Rooster album, recorded by the 'classic' line-up of Vincent Crane, John Du Cann and Paul Hammond. It is certainly, critically and commercially, their most successful album and often hailed as a classic of the progressive rock genre. It also produced the hit single "Tomorrow Night" (UK #11), which became one of the band's best-known songs. The album's cover features the William Blake monotype Nebuchadnezzar.

In her new project, City Lights, Lisa Batiashvili gathers all the places and memories that have been important in her life and career together with some of the world’s most beautiful music. A journey from her native Georgia to Paris, Berlin, Buenos Aires and Hollywood that features ground-breaking collaborations with artists as diverse as Miloš, Katie Melua and Till Brönner. City Lights shares the beautiful melodies from Cinema Paradiso and Chaplin’s own compositions with all time classics from Piazzolla, J.S. Bach and the late Michel Legrand - all in new arrangements by Nikoloz Rachveli - and last, but not least a new song by Katie Melua about the magic of London.

First released in 1991, Lean into It, is the second studio album by the American rock supergroup, consisting of Paul Gilbert, Eric Martin, Billy Sheehan and Pat Torpey, Mr. Big. This is the band's breakthrough album - Lean into It peaked at number 15 on the Billboard 200 charts, while the single 'To Be with You' became the band's first and only song to hit number 1 on the Billboard Hot 100. The follow-up single, 'Just Take My Heart', was a Top-20 hit, peaking at number 16 on the Billboard Hot 100.The million-selling album also contains the popular tracks 'Daddy, Brother, Lover, Little Boy','Alive and Kickin' and 'Green Tinted Sixties Man'. Lean Into It shows that Mr. Big could also strip away all the flash and 7-minute solos and simply create well-written songs with rhythm, groove and good melodies, making the band one of the iconic new wave of progressive 'musician's bands' who could play mind-blowing complicated riffs on their instruments at lightning speeds.