A follow up to The Studio Albums 1996-2007 release in October 2021, is a second collection of Mark Knopfler studio albums, including Get Lucky (2009), Privateering (2012), Tracker (2015) and Down The Road Wherever(2018) plus a collection of studio b-sides and bonus tracks and two previously unreleased songs – ‘Back In The Day’ and ‘Precious Voice From Heaven’.  Audio has been overseen by original mastering engineer Bob Ludwig at Gateway Mastering. This is a mini-vinyl style 6CD collection in a clamshell-style box. Original studio albums housed in gatefold sleeves with folded printed lyric sheets. Bonus disc in single sleeve wallet with lyrics insert, plus 5 art cards.

Between 1970 and 1976, James Taylor released six albums with Warner Bros. Records that became the foundation for his unparalleled career that includes five Grammy® Awards, induction into the Songwriters and Rock and Roll Halls of Fame, and more than 100 million records sold worldwide. Albums: 1970–1976 includes newly remastered versions of the six legendary studio albums that James Taylor recorded between 1970 and 1976 (Sweet Baby James (1970), Mud Slide Slim and the Blue Horizon (1971), One Man Dog (1972), Walking Man (1974), Gorilla (1975), and In the Pocket (1976). Each album in the set has been remastered, a process overseen by Peter Asher, who signed Taylor to the Beatles’ Apple Records label in 1968, worked as his manager for 25 years, and originally produced several of these albums.

The return of Amanda Lear to dance music. An album containing remixes by some top Italian and English DJ, including a special DJ: Boy George! Including a cover of "Back To Black" by Amy Winehouse, "Always On My Mind" by Pet Shop Boys and other very good unreleased tracks.

In 1974, Deep Purple were proving detractors wrong who figured that the exit of both singer Ian Gillan and bassist Roger Glover a year earlier would lead the group into an artistic tailspin. But as it turned out, newcomers David Coverdale and Glenn Hughes were worthy replacements, who contributed significantly to two more Purple classics in a single-year span, Burn and Stormbringer. And the "new look Purple" was certainly capable of delivering the goods during their live performances that year, as evidenced by the 2011 archival release, Live in London 1974. Expectedly, the track listing is comprised of then-new tunes (a red hot, set-opening reading of Burn's title track, as well as "Might Just Take Your Life," etc.), plus classics ("Smoke on the Water," "Space Truckin'," etc.).

The Blackbirds were originally formed in south-west Germany and they released their first album "No Destination" on UK-Label Saga in 1968. The Blackbirds consists of psychedelic beat/pop music with a touch of the Mothers of Invention type satire (Something Different) and some progressive touches. Strong vocals by singer and guitar player Werner Breinig and some interesting Hammond organ work by Hubert Koop are characteristic of the group's music which proves a great talent of specific song writing. The German label OPP released 5 tracks of this first album on the "Snake in the Grass" album later on. 2nd album "A Touch Of Music", originally released in 1971 on German label OPP with a complete new line-up - with the exception of singer and guitar player Werner Breinig who now played violin and flute as well- and a complete new style of music…

Apparently a staple in Russia, the music of Taneyev exists on the fringes of the repertoire in the West, something that should be rectified–and will be if this superb CD made by a starry cast of performers gets the attention it deserves. He’s a Romantic composer, but hardly of the heart-on-sleeve variety, since he was a master of counterpoint and firmly encased his Romantic impulses in a well-fitted classical jacket. Sometimes he makes you think of a more modern, pungent Brahms with a Russian accent.

One listen to Lisa Gerrard's The Silver Tree (originally available only digitally, then as an Australia-only import, and finally, as a U.S. release) is enough to convince anybody – who isn't already convinced – that there's a very specific reason she has been courted by directors to compose soundtracks. There are 13 tracks here full of wispy ambient soundscapes, on top of which the former Dead Can Dance vocalist places her almost otherworldly gift of a voice. Sung nearly as prayers or meditative mantras, Gerrard employs monosyllabic glimpses of other languages – and occasionally English – to create her own tapestry of dreams. Some may be tempted to call this "new age" music, but it's so much more melancholy than much of what passes for that trash, and it's nearly sacred in its approach to articulation, creating the feeling in places ("Come Tenderness," "The Sea Whisperer," and "Abwoon," to name a few) that she is actually singing inside a cathedral. In other places, such as "Wandering Star" and "Serenity," her voice offers a drone approach that is as subtle – yet powerful – as her instrumentation.

After the stripped-back collection I Often Dream of Trains, Robyn Hitchcock slowly formed a backing band called the Egyptians with ex-Soft Boys Andy Metcalfe and Morris Windsor, and keyboardist Roger Jackson over the course of the next year. Fegmania!, the Egyptians' first album, was a distinct departure from both the Soft Boys and Hitchcock's previous solo work, featuring layered, intertwining guitars and keyboards that created lush and thick sonic textures. Even with the more detailed arrangements, the songs remained twitchy and off-kilter, with melodies that usually went in willfully unpredictable directions, yet remained catchy all the while. Fegmania! was Hitchcock's most consistent work to date, featuring such highlights as the Eastern-tinged "Egyptian Cream", and the creepy "My Wife & My Dead Wife", and the relatively straightforward "The Man with the Lightbulb Head".

This was the last of the six albums John Mayall originally made for Blue Thumb/ABC Records between 1975 and 1978, about which he has said, "ABC released six of my albums as a tax write-off. A week after they were released you couldn't find them in any store." It's a live album on which Mayall fronts a quartet consisting of guitarist James Quill Smith (who sings lead on several songs), bassist Steve Thompson, and drummer Soko Richardson. The approach is rock-oriented, and the set list includes such Bluesbreakers favorites as Mose Allison's "Parchman Farm," and Freddie King's "Hideaway" (taken at a frantic tempo), along with the usual complement of generic Mayall originals, among them, a remake of "The Bear," from Blues From Laurel Canyon.

A versatile guitarist and onetime head of the guitar department at the University of Bridgeport, Sal Salvador was a capable soloist and accompanist whose single-string style, shaped by his early interest in the music of Charlie Christian, was augmented by extensive studies of guitar technique. Salvador's years of research, playing, and analysis eventually led to his writing guitar methodology books, among them Sal Salvador's Chord Method for Guitar and Sal Salvador's Single String Studies for Guitar in the '50s and '60s. He became interested in jazz during his teens, and began playing professionally in Springfield, MA, in 1945. He worked with Terry Gibbs and Mundell Lowe in New York at the end of the '40s, then joined Stan Kenton's orchestra in 1952. Salvador worked with Kenton until the end of 1953, and appeared on the New Concepts of Artistry in Rhythm album…

A brand-new label from one of the world's finest early music ensembles makes an auspicious debut with this stunning new recording of Handel's oratorio Belshazzar. Les Arts Florissants, led by the great William Christie, have launched their new label with the goal of expanding the ensemble's connection to the listening public on a scale far beyond the concert hall. Belshazzar was first performed in 1745, and was frequently revised. Christie has chosen what he considers to be the most successful of the various versions of Belshazzar, resulting in the restoration of the piece in all its splendor. The libretto's subject, which focuses on the decline of a once glorious society and the ephemeral nature of Empire, is especially relevant today. This deluxe set also includes a bonus essay by Jean Echenoz entitled In Babylon, printed separately on special paper and included alongside the regular booklet. This specially commissioned work draws the reader deep into the ancient, majestic city, the seat of power of Belshazzar the King.

These are both exciting, high-powered performances very typical of Sir Georg. The dazzling qualities of the Chicago orchestra in achieving knife-edged precision of ensemble shine out consistently, and anyone who still thinks that Mendelssohn has Victorian cobwebs on him could hardly find more striking proof otherwise. The performances certainly bring out the exuberance of the inspiration, with the Scottish Symphony made almost as bright and athletic as the Italian.

Marcel Dupré had a long and busy career as a recitalist, composer, teacher, writer and editor and he exerted enormous influence on all aspects of the organist's art in the early part of this century. Dupré's place in the evolution of twentieth century organ music has yet to be fully understood or appreciated and there are those who would seek to detract from the enormous impact his playing and teaching had on countless students who studied with him. It cannot be ignored that the list of his Premier Prix students at the Paris Conservatoire contains nearly every important twentieth-century French organist and composer, including Marie-Claire Alain, Jean Langlais, Jean Guillou, Jeanne Demessieux, and Olivier Messiaën.

Lars Vogt continues his series of concerto recordings with the Royal Northern Sinfonia with this new recording of Johannes Brahms (1833-1897) First Piano Concerto together with Four Ballades (Op. 10) for solo piano. As in previous albums, Lars Vogt conducts from the keyboard. The evolution of Brahms 1st Piano Concerto took several steps. Originally conceived to become a Sonata for Two Pianos through orchestration it was developed into a four-movement Symphony until reaching into its final form of a Piano Concerto in three movements. During the process, which lasted from 1854 to 1856, some movements were also discarded and replaced by new material.