The Man-Machine is the seventh studio album by German electronic music band Kraftwerk, released in May 1978. It includes the singles "The Model" and "The Robots". Upon its release, the New Musical Express stated: "The Man-Machine stands as one of the pinnacles of 1970s rock music." Although the album was initially unsuccessful on the UK Albums Chart, it reached a new peak position of number nine in February 1982, becoming the band's second highest-peaking album in the United Kingdom after Autobahn (1974). The Man-Machine was certified gold by the British Phonographic Industry on 15 February 1982.

Bad Company is the debut studio album by the English hard rock supergroup Bad Company. The album was recorded at Headley Grange with Ronnie Lane's Mobile Studio in November 1973, and it was the first album released on Led Zeppelin's Swan Song Records label. The album reached the top of the US Billboard 200. Since then, the album has been certified five times platinum, and became the 46th best selling album of the 1970s. Kerrang! magazine listed the album at No. 40 among the "100 Greatest Heavy Metal Albums of All Time". The album was also included in the book 1001 Albums You Must Hear Before You Die. In 2000 it was voted number 323 in Colin Larkin's All Time Top 1000 Albums.

Symphonia is a live album of the music project Schiller, created by the German electronic musician Christopher von Deylen. The album was released on October 17, 2014. The album is a live recording of the "Schiller meets Classic" open air concert with the Berlin Symphonic Pop Orchestra at the Classic Open Air 2014 event on the Gendarmenmarkt in Berlin. The orchestra consisted of 60 musicians. On this album Schiller has collaborated with the singers Midge Ure, Jaël Malli, Eva Mali and Der Graf from Unheilig. The album reached in its first week number 4 of the German albums chart.

Inspired by the legendary violinists whose dazzling showpieces and heart-melting melodies Garrett fell in love with as a child, Iconic includes more than twenty tracks and is set for release in all formats on 4 November 2022. Music by Bach, Dvořák, Gluck, Kreisler, Mendelssohn and Schumann, among many others, is presented in new arrangements for violin, guitar and orchestra (by Franck van der Heijden and David Garrett). David Garrett is accompanied by his guitarist Franck van der Heijden – who also conducts the players of Orchestra The Prezent – as well as being joined in duet arrangements by his former teacher Itzhak Perlman, star tenor Andrea Bocelli, flautist Cocomi and trumpeter Till Brönner.

instrumental output is being championed on the Brilliant label by Italian pianist Costantino Catena, who features in this well-rounded 8-CD set in solos as well as in the Violin Sonatas, Cello Sonata and Piano Quintet.
Completing the chamber music side are recent recordings of the String Trios and Quartets, the Piano Trios and the Violin-Cello duo.

Klaus Mäkelä’s forthcoming album with the Orchestre de Paris will be released on Friday, June 6, 2025 on Decca Classics. This is the third album in Mäkelä’s series with the orchestra and features two famous French works: Berlioz’s Symphonie fantastique and Ravel’s La Valse.

The musical legacy of the late, great Gregg Allman continues with the release of The Gregg Allman Band – One Night In DC, May 15, 1984, a full-length concert recording arriving digitally and on CD June 20, 2025, via the Rock and Roll Hall of Famer’s posthumous label, Sawrite Records. Recorded live at The Bayou in Washington, DC before a capacity crowd of 900 lucky fans, the latest release from Allman’s personal archives sees the Gregg Allman Band flying at full force after three years of non-stop touring, rocking the house with a stacked setlist highlighted by new songs, iconic covers, and fiery renditions of classic songs from the Allman Brothers Band repertoire. Highlights include the Allman Brothers Band classic, “Dreams,” premiering today at all digital streaming services.

On this, the second volume of Magnificat’s three-part project ‘Lassus: The Alchemist’, the ensemble explores the composer’s Magnificats based on motets. It is remarkable that, of Lassus’s thirty-five Magnificats based on polyphonic models, only eight draw musical inspiration from motets. But if these Magnificats are relatively few in number, their musical quality and impact are outsized. Whether in Praeter rerum seriem, where he expands Josquin’s motet into a formidable 250-bar Magnificat, or Aurora lucis rutilat, where he transforms his own Eastertide motet into a jubilant musical celebration, these works exemplify some of Lassus’s finest compositional achievements. Inspired by the lavish musical resources of the ducal chapel in Munich, where Lassus worked from 1557 until his death in 1594, this album brings together voices and instruments in diverse combinations, enhancing the richness and variety of the scoring.

Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of this impression. Adderley is undeniably a successful, widely-acclaimed artist, and it may seem to some that his success came quickly. But it is more in the nature of what one night-club comic once referred to bitterly as "my overnight success after fifteen years."

Introducing "#1s - 50s," the first installment in the highly-anticipated '#1s' series. Dive deep into the golden age of music with this compilation of chart-topping sensations from the 1970s. This disc collection captures the spirit, innovation, and charm of a transformative decade. Expect to be transported back in time with iconic tracks that still resonate today.

Anyone who thinks that there is no longer anything to say on the subject of Sviatoslav Richter’s discography is wrong. For sixty years these recordings, which were made by Deutsche Grammophon at the Tours and Lucerne Festivals in 1965, have slumbered in the Yellow Label’s archives. Carefully restored by Emil Berliner Studios, they are being released now for the very first time. Like many other artists, Richter felt that he could play more freely and give better performances in the concert hall rather than in the studio. These tremendous recordings reveal the pianist at the pinnacle of his powers as a pianist. Indeed, they evoke Van Cliburn's comment: ‘That is the most powerful piano playing I have ever heard’. Richter's interpretations of Beethoven are phenomenal. The performances of the Sonatas Nos. 18, 27, 28 and 31 show a strikingly modern approach that never shies away from taking risks to express the music in its furthest extreme. Pianist Elisabeth Leonskaja, a confidante of Richter, was enthusiastic about the artistic freedom, technical brilliance and love of the music conveyed in these recordings. The album is available digitally, as a CD and double LP and includes a recent interview with Elisabeth Leonskaja, an essay by Jed Distler and editorial notes by Markus Kettner. Numerous photographs, some previously unpublished, complete the edition.

The internationally renowned pianist Yulianna Avdeeva presents Shostakovich's 24 Preludes and Fugues Op. 87, one of the most important works in the piano repertoire. This monumental cycle harks back to Bach's Well-Tempered Clavier and is considered one of the most demanding works for piano ever written. Avdeeva joins an elite group of pianists who have undertaken the challenge of performing the complete opus, which is rarely heard in its entirety. To complement this iconic work, Avdeeva also presents the completion of an alternative Prelude and Fugue in C-Sharp Minor, discovered by leading Shostakovich expert Olga Digonskaya and completed by composer and Shostakovich biographer Krzysztof Meyer.

Clarinetist Andreas Ottensamer releases a further pre-release track of his upcoming album Romanza, on which he presents a beautiful collection of works by Satie, Brahms, Rachmaninoff, Rota, Debussy and many more. He collaborates with his long-term recital partner José Gallardo. Having captured audiences and critics alike with his distinct musicianship and versatility as clarinetist, artistic director and conductor, Ottensamer is considered one of the leading instrumentalists of our time.

Back in March 2024 we were inspired by the Fame Studios vibe, lush acoustics and unique musical legacy with so many legends recording their first hits in these hallowed studios back in the early 60’s. We started jamming our favourite blues songs at night after the rock sessions, Marti hit record and we decided to do an album with some of these standout jams. After all the Muscle Shoals style fused Blues, Gospel, Country and was the birth place of Rock.

The Sundowners' sole album suffers from the problems afflicting many similarly obscure late-'60s pop/rock LPs on major labels. One, the group can't really decide what they want to be, which though leading to some admirable versatility, also ensures a sort of anonymity. Two, there aren't any really good songs, though one or two come close. It might be backhanded praise, but as those sort of records go, this is considerably above the average; the production's very good and full, the singing and harmonies are decent and committed, and the Sundowners play pretty well. Still, they almost sound like different groups from track to track, or at the very least like they're not quite sure whether to be all-out commercial, or try and slip some hipness in on the side. There are some engaging near-Association-strength vocal harmonies and bouncy melodies that put them close to the sunshine pop camp at times…