Recorded at United Western Studios and Rundwon Studios, CA, March - April 1981. Tracks 15 to 17 recorded at Clover Recorders, Los Angeles, CA, April - May 1981. Bonus tracks stolen from Scorpio Records.

New Remastered 3cd Clamshell Boxed Set Featuring All The Recordings By Progressive Rock Band Hard Meat. In the late 1960s with the first flowering of the progressive rock and heavy rock movements, bands of both disciplines - and many straddling the two - began sprouting like mushrooms, some flourishing for decades and others a mere fleeting presence in rock's back pages. One of the latter examples were the excellent Hard Meat, a progressive rock trio who recorded an unissued album intended for release on Island Records in 1969 and released two albums in 1970 for Warner Brothers. Featuring brothers Mick Dolan (guitars, vocals), Steve Dolan (bass, vocals) and Mick Carless (drums), Hard Meat came together in late 1968 and came to the attention of producer Sandy Roberton who in turn brought the band to Chris Blackwell, founder of Island Records.

AllMusic Review by Steve Leggett
While Herman's Hermits will undoubtedly never get the critical respect afforded other British Invasion groups like the Beatles, the Who, the Rolling Stones, or the Kinks, as a group they weren't as silly as most people remember them. OK, maybe they were – certainly when on camera – but they and their producer Mickie Most had the good sense to pick solid songs to cover (the Goffin & King nugget "I'm into Something Good," "Silhouettes," originally done by the Rays, and Sam Cooke's great "Wonderful World"), which allowed them to sustain a hit-making career long past the end of chart action for such rival pop-oriented British Invasion acts as Gerry & the Pacemakers and Billy J. Kramer. This four-disc set covers the Hermits' years with Most (1964 to 1972) about as well as one could in terms of content, representing everything the group did with him, including a brace of rarities, unreleased tracks, and sides that singer Peter Noone recorded with Most as a solo artist on the producer's RAK label. For most Hermits fans, it will seem like too much of a good thing, as all of the group's hits have reappeared numerous times in compilations too ubiquitous to list – but they would be making a terrible mistake to pass up this set. Indeed, if anything, this quadruple-disc set is too much of a great thing, if such a thing is possible (though with one important flaw). And that makes it well worth saving up for.

Three CDs. Beginning their career as the most popular surf band in the nation, the Beach Boys finally emerged by 1966 as America's preeminent pop group, the only act able to challenge (for a brief time anyway) the overarching success of the Beatles with both mainstream listeners and the critical community. From their 1961 debut with the regional hit "Surfin'," the three Wilson brothers - Brian, Dennis, and Carl - plus cousin Mike Love and friend Al Jardine constructed the most intricate, gorgeous harmonies ever heard from a pop band. On The Many Faces of The Beach Boys, we explore their origins along with a review of their incredible catalog, plus the music scene that saw them emerge in the mid-'60s. With stellar artwork and remastered sound The Many Faces of The Beach Boys, is the most recent addition (and an essential one) to our wide collection of Many Faces for any music fan. And remember that the album it's not available on streaming platforms.

The Grateful Dead's second live release was an eponymously titled double LP whose cover bears the striking skull-and-roses visual motif that would become instantly recognizable and an indelibly linked trademark of the band. As opposed to their debut concert recording, Live/Dead (1969), this hour and ten minutes concentrates on newer material, which consisted of shorter self-contained originals and covers. Coming off of the quantum-leap success of the studio country-rock efforts Workingman's Dead (1969) and American Beauty, Grateful Dead offers up a pair of new Jerry Garcia/Robert Hunter compositions – "Bertha" and "Wharf Rat" – both of which garnered a permanent place within the band's live catalog.

Songs of Separation is a new DSD EP featuring two time Grammy-winning American mezzo-soprano J’Nai Bridges and conductor Gianandrea Noseda with the National Symphony Orchestra.

The late Warren Zevon's 1976 debut for Asylum Records showcases the artist's songwriting genius, sardonic wit and blazing intelligence. 'Warren Zevon' reels through unforgettable tracks about a rogue's gallery of reckless souls. The expanded 2-CD edition of Zevon's masterpiece presents the remastered original album on Disc one. Bonus Disc two features 15 previously unissued tracks including an alternate version of every song from the original release.

Smokey-voiced chanteuse Madeleine Peyroux's third CD is a lovely collection of after-hours ruminations and should confirm her rise to fame. Credit producer Larry Klein for doing a bang-up job with the album's sound: the elegant, pared-down arrangements are all brushed drums, acoustic guitars, and cool organ licks. But of course it's Peyroux's voice that brings it all home–preferably one where the shades are drawn, embers are smoldering in the fireplace, and the white wine is kept dry. Two-thirds of the songs are well-chosen covers, including a duet with k.d. lang on Joni Mitchell's "River"; a relaxed version of Fred Neil's "Everybody's Talkin'," from Midnight Cowboy; a delicately lilting samba take on Leonard Cohen and Anjani Thomas's title track; Serge Gainsbourg's "La Javanaise," performed in the original French; and Charlie Chaplin's "Smile," from Modern Times. The four originals, all coauthored by Peyroux, easily keep up with such august company, especially "I'm All Right"–written with Klein and Walter Becker, it captures the easy sophistication of Becker's regular band, Steely Dan. Fans of Norah Jones (whose collaborator Jesse Harris cowrote three of the songs) should gobble up this album, but Peyroux is no mere imitator: She's her own, very real thing.

Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion – something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana's finest accomplishments.

Celebrated as one of the finest Tudor composers, Thomas Weelkes served as organist and choirmaster at Winchester College and Chichester Cathedral and although famed for his madrigals, wrote more Anglican services than any other major composer of the time.

Steinway artist Zhenni Li-Cohen's latest album gives the world an opportunity to discover the piano works of Ukrainian composer Sergei Bortkiewicz. Li-Cohen says that through Bortkiewicz’s music she has found yearning, nostalgia, and the ineffable, expressing the whole spectrum of emotion that makes us human; tears, joy, sweeping love, passion, and humor.

This new release is the penultimate volume in this acclaimed series of Medtner's Complete Piano Sonatas performed by series pianist Paul Stewart. Medtner's 14 piano sonatas, the most significant achievement in this genre by any major composer since Beethoven, span his career. The Sonata-Ballade explores a tempestuous musical allegory - the triumph of Light over Darkness, of Faith over Doubt; while the Sonata in A minor is cast in a single, terse movement, with folkloric elements and frequent use of bell-like features that exude Russianness. By contrast, the 'Night Wind' Sonata is a monumental epic of exceptional complexity that stunned Rachmaninov and led composer and critic Sorabji to call it 'the greatest piano sonata of modern times.'

Roger Glover, Ronnie James Dio, Jon Lord, David Coverdale, Tony Ashton, Glenn Hughes, Ray Fenwick, Eddie Hardin, John Lawton, and many many more… Deep Purple have always been known for their contributions to the hard rock genre. Despite this heavy reputation, the individual members have all worked outside the rock field from time to time on solo material or sessions, exploring different and often seemingly unlikely musical avenues. This two-disc set brings two such projects together for the first time. Butterfly Ball, masterminded by Deep Purple bassist Roger Glover shortly after he had left the band, forms the first half of the set and features appearances from many well known rock musicians. Glover also turns up on The Wizard's Convention, which forms the rest of this package. Eddie Hardin brought Glover together with the then current Deep Purple members Jon Lord, Glenn Hughes, David Coverdale and numerous other guests. Side by side this material forms a fascinating side line to the Deep Purple story.

This collection spotlights six legendary pianist-composers from the 19th and 20th centuries. Adolf von Henselt’s ferocious technical studies and Romantic salon pieces led Schumann to dub him ‘the Chopin of the North’. Polish virtuoso Ignaz Friedman’s works offer delightful melodic beauty and harmonic inventiveness set alongside works by his countryman, Józef Hofmann, renowned as a poet of the keyboard. The French master musician Alfred Cortot is represented here with a selection of stylish piano arrangements of works by great composers. As one of Finland’s most respected musicians during the early 20th century, Selim Palmgren displays a wide variety of technical and stylistic challenges with music that is both traditional and visionary; while music by the exiled Russian composer Nikolay Medtner is highly Romantic and spiritually charged. These six towering superstars represent the summit of the piano’s Romantic golden age, heard here in critically acclaimed performances by award-winning pianists.

The Final Cut is the twelfth studio album by English progressive rock group Pink Floyd. It was released on 21 March 1983 by Harvest Records in the United Kingdom, and several weeks later by Columbia Records in the United States. The Final Cut is Pink Floyd's last studio album to include founding member, bassist and songwriter Roger Waters, and their only album on which he alone is credited for writing and composition. It is also the only Pink Floyd album that does not feature keyboardist Richard Wright. Waters originally planned The Final Cut as a soundtrack album for the 1982 film Pink Floyd – The Wall. With the onset of the Falklands War, he rewrote it as a concept album, exploring what he considered the betrayal of his father, who died serving in the Second World War. Most of its lyrics are sung by Waters; lead guitarist David Gilmour provides vocals on only one track. The packaging, also designed by Waters, reflects the album's war theme. The Final Cut was recorded in eight British studios from July to December 1982. Its production was dominated by increasing tensions, particularly between Waters and Gilmour. It reached the top of the UK Albums Chart, but received mixed reviews.