Over 40 years of collaboration between Eugene Ormandy and the Philadelphia Orchestra is among the most dazzling and longest connections in the history of classical music. In this unique edition, all mono recordings from the period from 1944 to 1958 appear on 120 CDs for the Columbia label. They also reflect an important section of record history in the changing cover design. Ormandy, a master of orchestral brilliance and timbres and also appreciated as an excellent companion, created the famous "Philadelphia Sound" with his orchestra.

You Can't Kill Me is the title of an early Gong song from the album Camembert Electrique (1971) where Daevid Allen sang that you can kill the body but not the spirit. In a sense it is also the essence of this new album, to have his spirit live on in the music.
Back in October 2012 when Gong played at the Boerderij in Zoetermeer Allen introduced his band as the new generation of Gong. And shortly before he passed away in March 2015 in a statement published on his website he specifically encouraged the band to continue without him. He always wanted the band to be a collective, not depending on one or more individuals including himself. He had left the band before, in 1975, and after his departure Gong carried on for a few years led by Steve Hillage, Didier Malherbe and Pierre Moerlen…

On their 14th studio opus, Cradle Of Filth blend their iconic macabre sound with dark new delights!
Grammy Award-nominated Cradle Of Filth reign supreme as one of the most revered, formative and notorious names in music - from the depths of the extreme metal underground to the peaks of mainstream pop culture itself, and are responsible for breaking ground for many of today’s top metal artists with their trademark mixture of blackened heaviness, macabre theatricality and scintillating gothic style.
Now, following the release of 2021’s Existence Is Futile - which debuted at #20 on the Billboard 200 with Hard Rock Genre (beyond many other chart debuts) - the international institution returns with their arrestingly catchy 14th studio album, The Screaming of the Valkyries…

By 1980, when Broadway was recorded, organist Richard "Groove" Holmes had already splashed onto the scene as an expansive adherent of Jimmy Smith's soul-jazz gospel, been a player in the music's modern boogaloo-acid jazz phase of the late '60s, and survived disco by dropping synthesizers into the mix. Finally arriving at the Muse label by the late '70s, Holmes settled into a loose amalgam of past proclivities, never forsaking his high musical standards and groove aesthetic. For this, his third Muse release, Holmes enlists fellow organ combo veteran Houston Person to produce and ostensibly co-lead on tenor saxophone; for his part, Holmes sublimely comps behind the soloists, electrifying the session with his fluidly nasty runs and sanctified musings on the B3…

This release brings together Robert Schumann’s complete production for violin and orchestra – three works from the period just before the composer was confined to the mental institution where he would die within two years. The only work here that was performed in Schumann’s lifetime was the Fantasy in C major, dedicated to the violin virtuoso Joseph Joachim.