Although Blondie made several first-rate albums, most of their best songs were released as singles, which makes The Best of Blondie an essential collection. The Best of Blondie glosses over their punk roots – very little from the first album, apart from the vicious "Rip Her to Shreds" and the seductive "In the Flesh" – but the band's pop hits are among the finest of their era and encapsulate all of the virtues of new wave. Apart from genuine chart hits like "Heart of Glass," "One Way or Another," "Dreaming," "Call Me," "Atomic," "The Tide Is High," and "Rapture," Best of Blondie picks up several of the group's best album tracks, like "(I'm Always Touched by Your) Presence, Dear" and "Hanging on the Telephone." The Best of Blondie isn't all you need to know, but it is an excellent introduction to one of the best new wave bands.

De fados en mélodies / Édition double vinyle. Rendant hommage à cette chanteuse populaire, trait d'union entre le Portugal et la France, ce double vinyle de 27 titres propose les plus grands hits de Linda de Suza, de "Un portugais" en 1978 jusqu'à "Maradona" (1987). Inclus "La fille qui pleurait", "Amália", "Tiroli-Tirola", "L'étrangère", "Un enfant peut faire chanter le monde", "Chuva…chuvinha", "O Malhão Malhão", "Une fille de tous les pays", "Si tu existes encore", "Un jour on se rencontrera", "La chance" ou encore le titre rare studio "Canto Fado (Uma Casa Portuguesa / A Casa Mariquinha / Solidão / Bairro Alto)". Un duo virtuel inédit de "L'étrangère", réalisé en 2023 avec son fils João Lança, conclut cette édition.

A Kiss in the Dreamhouse is the fifth studio album by British rock band Siouxsie and the Banshees. It was released on 5 November 1982 by Polydor Records. The record marked a change of musical direction, as the group used strings for the first time and experimented in the studio. Guitarist John McGeoch played more instruments, including recorder and piano. For Julian Marszalek of The Quietus, the release proved the Banshees to be "one of the great British psychedelic bands" of the post-punk era. In August 2007, it was ranked No. 1 on Mojo magazine's list of the best albums of 1982.

SoulMusic Records is very proud to present a deluxe box set of the 11 Columbia and ARC albums by award-winning icon Deniece Williams released between 1976-1988. A constant presence on the contemporary music scene as a soul, pop and gospel best-selling artist and distinguished songwriter, ‘Niecy’ (as she’s been known since her early ‘70s tenure with Stevie Wonder’s female background vocalists Wonderlove) has racked up over 25 charted hits, all of which can be found on the eight discs that comprise this first-of-its-kind full showcase of Deniece’s distinctive and influential music.

Lovingly compiled by seminal label Strut, this collection gathers the consummate production work of disco producer Walter Gibbons. 'Jungle Music' chronicles the years between 1976and 1986, covering Gibbons' intrinsic musical odyssey from the beginning to the end. An essential musical document, it highlights the journey from his early days when he pioneeredthe use of reel to reel re-edits (Double Exposure's 'Ten Percent' and Jakki's 'Sun Sun Sun'), to groundbreaking leftfield disco (the loose and adventurous remix of Dinosaur L's 'Go Bang') and cult electro and hip hop jams (Strafe and Harlequin Fours' 'Set It Off'). An often overlooked figure in thehistory of dance music, this astounding compilation finallygives the recognition that Walter Gibbons deserves.

This Is…Cult Fiction Royale collects 47 original television and film themes from the '60s and '70s like "Theme from Space 1999," "Theme from the Man from U.N.C.L.E.," "Theme from Dirty Harry" and "Theme from Get Carter." Much of it is from the source material (directly from the films and shows themselves), while others are from the original masters. Many of these tracks are available elsewhere, but there are enough obscurities to entice collectors of the genre. Important notice! Cult Fiction Royale is brought to you using tip top modern technology, however some tracks included on this compilation are original mono masters rather than stereo copies, so please do not adjust your stereophonic gramophone recording equipment, rest assured it is all an integral part of the listening experience of Cult Fiction Royale.

Forget that Rick Springfield was a soap star for a moment and listen to his music, because he made some of the finest guitar-driven mainstream pop/rock of the early '80s. Working Class Dog is his finest moment, filled with expertly crafted pop songs, highlighted by the massive hit "Jessie's Girl."

Michael Tippett’s oratorio A Child of Our Time was composed between 1939 and 1942 as a direct response to the events leading up to (and including) the notorious Kristallnacht, in November 1938, in National Socialist Germany. Tippet first intended to write an opera, but quickly determined that this would inevitably be too literal, and that the (rather neglected) oratorio form lent greater scope for reflective and meditative interjections to the narrative. Hoping to persuade his friend and mentor T.S. Elliot to write the libretto, he sent the poet such an intricately detailed plan that Elliot responded by suggesting that Tippett, having thought so carefully about it, prepare the text himself – which he duly did. (He then went on to write his own libretti for all his future large vocal works).

Viola de Hoog: I have often wondered which of the “great spirits” might provide a new impulse and a different direction for what we call classical music in this early part of the twenty-first century. Narratio Quartet have been immersed in all of Beethoven’s string quartets for over fifteen years now. We experience time and again how Beethoven explored and then overcame the limits of the Classical style and the instrumental difficulties that were prevalent at the start of the nineteenth century. What we hear has been enriched by the passing of two centuries and the gaining of wider experience. Progress indeed, might be your first thought, but perhaps we have also lost something along the way? The ability to feel how groundbreaking and visionary this music was in those days. My colleagues and I feel that using instruments that are comparable to those of the time has helped us enormously in getting somewhat closer to the surprise, the bewilderment and the rapture that the musicians in Schuppanzigh’s quartet must have felt when they first came face to face with the newest and most innovative chamber music of the day.

Ermal Meta annuncia l’uscita del suo nuovo atteso album di inediti prevista per il 3 maggio dal titolo “Buona Fortuna” (Columbia Records/Sony Music). L’album uscirà in vinile rosso autografato in esclusiva su Amazon. “Buona Fortuna” contiene anche i due singoli “Male più non fare” feat. Jake la Furia e “L’unico pericolo” usciti negli ultimi mesi anticipando l'album.

Expanded 30th Anniversary Edition of Kristin Hersh’s Stunning Debut Album. The album plus b-sides and string versions. Also includes lyrics and sleeve notes by Kristin. In 1994, the arrival of a solo album by Kristin Hersh seemed somewhat redundant. After all, Throwing Muses—the band she co-founded with stepsister Tanya Donnelly—had come to be defined by Hersh's singular vocals and songwriting style, both of which moved in unpredictable directions that were wholly unique and intensely evocative. It was Hersh's artistic dominance in the Muses that led to Donnelly leaving the band in 1991 to join the Breeders, then, later, form Belly to play her own, more traditionally hook-oriented take on indie rock. The first Donnelly-less Muses album, Red Heaven, found the band working as a trio, with Hersh's presence even more dominant. The follow-up—University—was recorded soon after, but was temporarily shelved for Hersh to record and release Hips and Makers. Initially viewed as a "get it out of my system" album, Hersh recorded it in fits and spurts over the summer of 1993, tapping Lenny Kaye to produce. Although she very much takes an unaccompanied guitar-and-voice approach to this material, the cavernous recording style combined with Hersh's individualistic approach to composition and tempo make this anything but typical coffee shop material. Vivid lyrics ("Don't kill the God of Sadness/ Just don't let her get you down" on "The Letter," for instance, or "press your palm to your snow-coated thought cage" on "Beestung") are both sharply focused and deeply impressionistic, and none of the songs here appear to have anything resembling a traditional chorus.

Not many versions of the Symphonie fantastique rival Myung-Whun Chung’s in conveying the nervously impulsive inspiration of a young composer, the hints of hysteria, the overtones of nightmare in Berlioz’s programme. He makes one register it afresh as genuinely fantastic. Some may well prefer the more direct, more solid qualities that you find in the new Mehta version, also well played, and recorded with satisfying weight, but the volatile element in this perennially modern piece is something which Chung brings out to a degree I have rarely known before, and that establishes his as a very individual, sharply characterized version with unusually strong claims.

Within a very short time of about 10 years, Beethoven's technique of composing developed rapidly. The artists on this recording wanted to show the comparison between earlier and later pieces, and this is the basis of this new series of recordings. of Beethoven's Violin Sonatas on three volumes.

This new release from MDG presents Beethoven's piano sonatas op. 109, 110 and 111, performed by pianist Jin Ju. Jin Ju is a hugely flexible and versatile pianist; her concert in the Vatican in front of Pope Benedict and an audience of 5,000, in which she played music from three centuries on seven different historical pianos, is almost legendary.

In March 2022, journalist Thomas Loewner of Southwest German Radio (SWR) described the Rebecca Trescher Tentet as one of the “most interesting ensembles in the contemporary German jazz scene.” This ensemble with its unusual instrumentation – and a characteristic musical language full of poetry and variety paired with clear, symphonically inspired structures – has in fact quickly established a place for itself in the German jazz scene and beyond. Breathtaking virtuoso solos alternate with six-part chorale textures, fascinating harmonies employing several saxophones, flutes and clarinets, and powerful tutti passages with cello and flugelhorn. Elements in the foreground fade away in the next moment, while delicate accompanying figures suddenly drive the music forward. The borders between meticulously composed art music and spontaneous improvisation are casually erased. And one is constantly aware of the exceptional and inspiring energy of this ensemble, which brings together some of Germany’s most outstanding musicians.