Yessongs is the first live album by the English progressive rock band Yes, released as a triple album in May 1973 on Atlantic Records. After completing their Close to the Edge Tour in April 1973, the band selected live recordings between February and December 1972 on their tours supporting Fragile (1971) and Close to the Edge (1972) for a live album release. They were then edited and remixed with their producer and live sound mixer Eddy Offord. Three tracks feature original Yes drummer Bill Bruford while the remaining tracks feature his replacement, Alan White. Yessongs received a mostly positive reception from music critics, though much of its criticism was directed at its sound quality.

Of all the various best-ofs and compilations that have come out over time that cover the Go-Go's career, this one is the clearest winner, by a long shot. Though by default it doesn't tell the full story, appearing as it did in 1994, in terms of containing both the famous hits and a slew of rarities and unreleased tracks, Return to the Valley of the Go-Go's is equally valuable for both neophytes and hardcore fans. The first 11 tracks alone make for an entertaining peek into the band's earliest days, with a slew of live cuts from both early rehearsals and gigs, including a number of songs taped at the legendary SF punk venue the Mabuhay Gardens. Everything's rough, energetic, and merry fun – while it's no surprise why some compositions remained unheard in later years, it's still worth hearing how the group pureed everything from straight-up punk to spaghetti Western guitar and girl group right from the start. A real treat is a romp through "Johnny, Are You Queer?" which would later get a more famous (and much more sedate!) take by Josie Cotton. Plenty of rare B-sides from the group's commercially dominant days surface here and there, and as for the big hits, they're available a-plenty: "We Got the Beat," "Vacation," "Our Lips Are Sealed," "Head Over Heels," "Turn to You," and more. Choice album cuts include "Skidmarks on My Heart" and "This Town".

Living By Lanterns - New Myth/Old Science (2012) is the debut album from Living By Lanterns, a Canadian band known for blending elements of indie rock, post-rock, and experimental rock. Their music often incorporates lush, atmospheric sounds with introspective lyrics and a mixture of acoustic and electronic textures.

Split Enz - The Best of Split Enz (1993) is a compilation album that gathers some of the most iconic songs from Split Enz, a pioneering New Zealand rock band known for their eclectic mix of new wave, progressive rock, and pop. This album showcases the band's ability to blend quirky, theatrical performances with catchy melodies and distinctive sounds.

Jean Dousteyssier - Post K (2016) is an album by Jean Dousteyssier, a French composer and musician known for his work in avant-garde, electronic, and experimental music. In Post K, Dousteyssier blends a variety of genres and sonic textures, from electronic to more classical-inspired motifs, creating a unique and experimental soundscape.

Altair - La Esencia Del Tiempo (2010) is the debut studio album by the Spanish progressive rock band Altair. The album showcases their ability to blend intricate compositions with deep lyrical themes, creating a sound that is both atmospheric and symphonic.

Improvisations (2001) by Etienne Brunet and Fred van Hove is an experimental jazz album that features two skilled musicians in an entirely improvised setting. Etienne Brunet, a French saxophonist and clarinetist, and Fred van Hove, a Belgian pianist and organist, come from strong backgrounds in avant-garde and free jazz, so their collaboration is deeply rooted in spontaneous creation.

Jailbreak was such a peak that it was inevitable that its follow-up would fall short in some fashion and Johnny the Fox, delivered the same year as its predecessor, did indeed pale in comparison. What's interesting about Johnny the Fox is that it's interesting, hardly a rote repetition of Jailbreak but instead an odd, fitfully successful evolution forward. All the same strengths are still here – the band still sounds as thunderous as a force of nature, Phil Lynott's writing is still graced with elegant turns of phrase, his singing is still soulful and seductive – but the group ramped up the inherent drama in Lynott's songs by pushing them toward an odd, half-baked concept album. There may be a story within Johnny the Fox – characters are introduced and brought back, at the very least – but it's impossible to tell. If the album only had an undercooked narrative and immediate songs, such digressions would be excusable, but the music is also a bit elliptical in spots, sometimes sounding theatrical, sometimes relying on narration.

Susan Jacks (nee Pesklevits) began her singing career at the age of 14, was a regular performer on a national Canadian television show at 15 and appeared as a guest on numerous other television shows in Canada and the U.S. At 18, she hired Terry Jacks to accompany her on rhythm guitar. Craig McCaw was soon added on lead guitar and Susan stopped performing solo engagements, dedicating her time to the trio. They would eventually add Satwant Singh on tablas, recording and performing as The Poppy Family featuring Susan Jacks. As the voice of the Poppy Family, Susan and the group recorded a string of hit records, the most notable being "Which Way You Goin' Billy?", "That's Where I Went Wrong" and "Where Evil Grows". Susan left the Poppy Family in 1972, resuming her solo career and recorded a string of hits through the seventies and eighties. The Dream album, recorded in 1975, was received with rave reviews as she crossed from a predominantly light pop genre to a more alternative format, moving easily through blues, country rock and alternative rock. Produced by Claire Lawrence, who was not only an accomplished rock musician but also an innovative and solid producer, the album was abruptly removed from the market a few short months after its release, its future uncertain. After regaining her rights to the album and re-mastering by the best in the business, this extraordinary album is now available on CD.

Definitive 2 CD best-of collection from cult Anglo-Australian folk-pop group best known for their international smash hit 'I'd Like To Teach The World To Sing'. In their heyday between 1970-74 they were one of the biggest bands in the world, selling over 25 million records, and this release revisits that period. It includes the aforementioned classic and has been hailed by fans for finally bringing together all their top tunes, including some never before available on CD. 52-tracks in all.

In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.

50 Words for Snow is the tenth studio album by English singer-songwriter Kate Bush. It is the second album to be released on her own label, Fish People. It is her first all-new studio album since Aerial from 2005, and marks the first time since 1978 that she has released two new albums in one year.

Even when paying homage to the Moroccan music she grew up with, vocalist Natacha Atlas can't help but let the multicultural and modern seep in. With bossa nova, Western pop, and just a thin slice of electronica figuring into the mix, the "back to my roots" album Mish Maoul is a rich collection of music that doesn't sound decorated but natural coming from an artist who prides herself in being a musical nomad. Easy to believe a nomad's memories of her homeland would be foggy and sentimental, and easy to believe the modern nomad's soundtrack would sound something like this – only something like this because this is far and away Atlas' most personal album. Suitably, she seems totally in charge of its construction, making interesting production choices with the help of Temple of Sound, Timothy Whelan, and others. For someone who has worked with Transglobal Underground, Art of Trance, and Jah Wobble in the past, the restraint Atlas uses on the rhythmic and ritualistic "Hayati Inta" is surprising and creates an intoxicating tension with only a slight bit of electric guitar revealing this isn't a field recording.

Outtakes and Outfakes. Pepper Isolations and outffakes in Mini LP format. 6-disc collection of "Sgt. Pepper's Lonely Hearts Club Band" studio sessions.

Donizetti considered Dom Sébastien, Roi de Portugal (1843), his final completed opera written for the Paris Opéra, to be his masterpiece. In spite of its relative obscurity, on the basis of this recording, one is inclined to agree with him. The opera has several attributes that in the past have proved to be obstacles to its popularity. The first is its length – it's in five substantial acts and lasts three hours, but that's not so onerous for contemporary audiences accustomed to Wagner and Strauss. Besides, the composer created an abbreviated version for Viennese audiences, who at that time wanted to be out of the theater by 10 p.m., and that version could be used if necessary.