This is one of two albums released by Capitol Records in anticipation of the December 2001 release of the remake of Ocean's Eleven, the 1960 Las Vegas caper film that utilized the talents of Frank Sinatra's Rat Pack of entertainers. The original film had no formal soundtrack album, but there was music in the picture and, of course, Sinatra, Dean Martin, and Sammy Davis, Jr. (along with comedian Joey Bishop and actor Peter Lawford) performed on-stage during the making of the movie. This compilation of studio recordings made in the 1950s and '60s draws not only from the Capitol archives but also from Reprise, for which all three singers began to record starting in the early '60s.

Recorded in early 1975, Tale Spinnin', Weather Report's fifth studio album is filled with sunny textures of Latin and African flavors. During the '60s and early '70s Weather Report began to move towards a more cosmopolitan groove, and a melding of song with jazz in new and refreshing ways. The recording stands with anything recorded during the so-called "jazz-rock fusion" era, if only on the basis of the range of fresh, intriguing originals by the band's co-founders and principle composers, the keyboardist Joe Zawinul and the saxophonist Wayne Shorter. Zawinul's pioneering interest in what we now call world music is more in evidence with the exotic percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on their previous albums and Alphonso Johnson puts his melodic bass more to the fore.

The Freewheelin' Bob Dylan is the second studio album by the American singer-songwriter Bob Dylan, released on May 27, 1963, by Columbia Records. Whereas his self-titled debut album Bob Dylan had contained only two original songs, this album represented the beginning of Dylan's writing contemporary lyrics to traditional melodies. Eleven of the thirteen songs on the album are Dylan's original compositions. It opens with "Blowin' in the Wind", which became an anthem of the 1960s, and an international hit for folk trio Peter, Paul and Mary soon after the release of the album. The album featured several other songs which came to be regarded as among Dylan's best compositions and classics of the 1960s folk scene: "Girl from the North Country", "Masters of War", "A Hard Rain's a-Gonna Fall" and "Don't Think Twice, It's All Right". The Freewheelin' Bob Dylan reached number 22 in the US (eventually going platinum), and became a number-one album in the UK in 1965. In 2003, the album was ranked number 97 on Rolling Stone's list of the "500 Greatest Albums of All Time". In 2002, Freewheelin' was one of the first 50 recordings chosen by the Library of Congress to be added to the National Recording Registry for being "culturally, historically, or aesthetically significant".

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit. They were one of the bands that built the foundation for goth rock, but by the time goth caught on in the mid-'80s, the Cure had moved toward a more polished and thoughtful (if still often depressing) sound.

Three Dog Night's self-titled debut is one of the strongest and most cohesive offerings by the combo. Their claim to fame would come via overhauls and sleepers from a wide spectrum of luminous singer/songwriters. The moniker refers to lead vocalists Danny Hutton, Chuck Negron and Cory Wells, but credit is overdue for the incendiary instrumentalists: Mike Allsup (guitar), Jimmy Greenspoon (keyboards), Joe Schermie (bass) and Floyd Sneed (drums). The combo's initial achievement came in April of 1969 after their remake of Harry Nilsson's loner/heartbreak anthem "One" landed in the Top Five.

Born Paul Mazzolini on February 18, 1960 in Beirut, Lebanon, to a family of an Italian diplomat and an American singer, Gazebo spent his early years globetrotting around the world with his parents. As a teenager, he played in a rock band; later he studied the classical guitar in Paris for two years and spent some time in London, where he was briefly interested in the punk scene. Upon his return to Italy in the early '80s, he recorded his first song, "Masterpiece", co-written with his friend Pier Luigi Giombini (who would become his regular songwriting partner). Issued as a single, it became a big success in Italy in 1982 and only missed the number one spot in the charts by a whisker. A year later, Gazebo released his self-titled debut album, containing the hit song "I Like Chopin": a number one in Italy and 15 other countries that sold eight million copies around the world and contributed to the popularity of the nascent Italo-dance style.

One gets the feeling that, as 1966 drew to a close amid an incredible acceleration of innovations in the pop and rock world, the Hollies felt the need to prove themselves capable of artistic growth despite having established a very winning formula. For Certain Because… was their first album entirely composed of original material, and it echoed pop's increased sophistication with fuller, more adventurous arrangements and more personal, folk-rock-influenced compositions. Such was the intense competition of the time that this record couldn't hope to take on Revolver, Aftermath, or Face to Face, but it nevertheless remains an admirable effort that may stand as the group's most accomplished album (greatest-hits packages excepted) of the '60s.

Culled from four albums, except for one previously unreleased track, Shuggie's Boogie: Shuggie Otis Plays the Blues is a tour de force made all the more remarkable because the prodigy who produced it was so young. In fact, Shuggie Otis recalls during a boyish spoken intro in "Shuggie's Boogie" how he used to wear dark glasses and paint on a mustache to look older than his 14 or 15 years when he played in bars in the band of his legendary father Johnny Otis. During the same intro he effortlessly throws off guitar impersonations of T-Bone Walker, B.B. King and Elmore James. This compilation has a few rousing, up-tempo numbers, but the highlights are the slow, soulful tunes. One unfortunate omission is the seven-minute "Oxford Gray" from his 1970 album Here Comes Shuggie Otis.

Time is the sixteenth studio album by British-American rock band Fleetwood Mac, released on 10 October 1995. This album features a unique line-up for the band, featuring the addition of country vocalist Bekka Bramlett (daughter of Delaney and Bonnie) and former Traffic guitarist Dave Mason. It was the second album released after the departure of Lindsey Buckingham in 1987 (although he makes an appearance as a backing vocalist on one track), and the only Fleetwood Mac album since 1974's Heroes Are Hard to Find to not feature any contribution from Stevie Nicks. Additionally, it is the final Fleetwood Mac studio album to feature Christine McVie as an official member.

…Sopranos Emma Kirkby and Elin Manahan Thomas are excellent throughout…Harvey is a solid, dignified presence elsewhere as well, while tenor Charles Daniels and countertenor Michael Chance are at their eloquent best… Both The Purcell Quartet and Fretwork relish the variegated sonorities afforded by Buxtehude’s score, as well as the word painting, while blending with the voices to effect a homogenous yet multi-timbred sound of great beauty.

This album features cello concertos by Witold LutosIawski and Henri Dutilleux performed by the multiple prize-winning German-Canadian cellist Johannes Moser and the Rundfunk-Sinfonieorchester Berlin, conducted by Thomas Sondergard. These works, premiered in 1970, are two of the biggest gems of the twentieth century, the golden age of the cello. While equally virtuosic and engaging, both pieces showcase different aspects of the musical landscape of the late twentieth century.

Despite establishing the bel canto tradition through a series of romantic, serious operas (Otello, William Tell) and elegant buffas (the timeless Barber Of Seville) Gioacchino Rossini retired at 37 to live life as a Parisian bon vivant. Fortunately, Rossini (1792-1868) came out of retirement to complete the Stabat Mater, a choral masterpiece every bit as impressive as his more famous works. An expression of the Mediterranean belief in life and faith, this setting of the Stabat Mater is written for full orchestra with four soloists and chorus.

Pavillon de Paris, Paris, France 6 July, 1978

Nat King Cole, a man too great to be forgotten, has been loved by many great artists. Four famous albums dedicated to him are thoroughly dissected. Two sets of the best songs that could be called selected from the artist's side. Nat King Cole, a man too great to be forgotten, has been loved by many great artists. Among the countless artists who have covered him, the spotlight is on four who have released tribute albums. Gregory Porter, George Benson, Marvin Gaye, Hibari Misora, and others. This is the ultimate best of the best, which could be called a selection of songs from the artist side.

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit. They were one of the bands that built the foundation for goth rock, but by the time goth caught on in the mid-'80s, the Cure had moved toward a more polished and thoughtful (if still often depressing) sound.