This 25-song CD (originally a shorter LP called The Singles Album) is a handy collection of the band's most well-known English tracks from 1963 through 1966, plus their B-sides and some songs off of EPs that charted high in the U.K. Except for the final three songs – "Groovin'," "Can't Believe It," and "Did You Have to Do That?," none of which are that easy to find on compilations – it's all assembled in chronological order from their debut single "Why Should We Not" to 1966's "You Gave Me Somebody to Love." The notes by John Tobler are a bit superficial, and the American EMI Manfred Mann: The Definitive Collection is a little more adventurous. Also, the sound here doesn't match the presence and clarity of more recent 24-bit transfers. Nonetheless, this is a respectable compilation for the novice or the casual fan. The presence of the B-sides, including lost gems like "What Did I Do Wrong" (a killer Chess-style blues number written by Tom McGuinness) and the Goffin/King-authored "Oh No Not My Baby" (one of Paul Jones's greatest R&B-style performances), assures that one gets a truer picture of the band's output and their focus on R&B, jazz, blues, and folk, than the A-sides by themselves would provide.

Andrea Bacchetti follows his album of sonatas by Baldassarre Galuppi with another little-performed 18th century Venetian, Benedetto Marcello, whose work has a surprisingly modern character. The "Sonata III", for instance, opens with a sequence in which the right hand plays the same note 48 times in rapid succession, while the left cycles quadruplets around it – the kind of gambit you'd expect from a Cage or Feldman, but hardly from a contemporary of Vivaldi. Marcello is said to have once fallen into a grave that opened beneath him, a trauma perhaps responsible for the austere, near-spiritual logic of pieces such as the "Sonata V", where the absence of frills prefigures the enigmatic miniatures of Erik Satie.

Originally released as MGM E-4384 in August 1966. Tracks 13, 14, 15 released on 'Animalization' MGM SE-4384 (Stereo Version).

Now, Grapefruit has finally unearthed the full, definitive story. After two decades of planning, research, tape transfer and sound restoration, 'Beeside: The Complete Recordings' features over two hours of music recorded by Tintern Abbey between the summer of 1967 (when they spent a month in a Cornwall cottage, rehearsing and taping their performances prior to their London launch) and the end of 1968. Featuring more than 90 minutes of previously unreleased and unheard material, indeed, everything on the 68-minute Disc Two is now receiving it's first-ever public airing. Alongside that genre-defining Deram single and those previously-leaked demos are some astonishing treasures. Included are two finished masters of the intended late 1967 follow-up 45 'Snowman' (a disorientating melange of sinister Mellotron, disembodied voices and backward tapes that was abandoned when original guitarist Don Smith left the group); the Arabic-sounding 'My Prayer' and the 'SF Sorrow'-anticipating 'Let The Wind Blow', along with late 1968 creations like 'Raspberry Ripple', 'Life Goes By' and 'My House' suggesting that, even at the point of their collapse, Tintern Abbey remained a vital, vibrant unit. Featuring a new 6000 word essay with band quotes and previously unpublished photos and memorabilia, this lovingly-assembled 2-CD set is the final word on a group that turned out to be as mysterious and elusive as the Wordsworth poem that inspired their name.

It's Hard is the tenth studio album by English rock band the Who. Released in September 1982, it was the final Who album to feature bassist John Entwistle, who died in 2002. It was also the second and final Who studio album with drummer Kenney Jones, as well as the last to be released on Warner Bros. Records in the US. It was released on Polydor Records in the UK, peaking at No. 11, and on Warner Bros. in the US where it peaked at No. 8 on the Billboard Pop Albums chart. The US rights to both this album and Face Dances subsequently reverted to the band, who then licensed them to MCA Records (later Geffen Records, itself once distributed by WB) for reissue. The album achieved gold status in the US in November 1982. It was their last album for over two decades until Endless Wire in 2006.

A founding member of Deep Purple, British music veteran Nick Simper left after recording on the band’s first three albums to form hard rock act, Warhorse. Along with Uriah Heep, Black Sabbath and Juicy Lucy, Warhorse settled quickly into the ranks of embryonic cult record label, Vertigo. Initially counting Rick Wakeman in its ranks, the line-up settled down with Simper (bass), Ged Peck (guitar), Ashley Holt (vocals), Mac Poole (drums) with Frank Wilson replacing Wakeman on keyboards. Warhorse’s 1970 self-titled debut was well-received and the band became a popular attraction on the live circuit. A return to the studio in 1972 for ‘Red Sea’ with Pete Parks replacing Peck showed musical development and assured direction.

Flesh and Blood (stylized as Flesh + Blood) is the seventh studio album by the English rock band Roxy Music. Released in late May 1980, it was an immediate commercial success peaking at No. 1 in the UK for one week in June and then returned to the summit in August for another three weeks, in total spending 60 weeks on the albums chart in the United Kingdom. The album also peaked at No. 35 in the United States and No. 10 in Australia. The album was made after their drummer Paul Thompson had left the band, essentially making Roxy Music a three-piece band consisting of Bryan Ferry, Andy Mackay and Phil Manzanera.

Waking Up the Neighbours is the sixth studio album by Canadian singer-songwriter Bryan Adams, released on September 24, 1991. The album was recorded at Battery Studios in London and The Warehouse Studio in Vancouver, mixed at Mayfair Studios in London, and mastered by Bob Ludwig at Masterdisk in New York City. The album received critical acclaim and reached the number one position on the album charts in at least eight countries, becoming Adams' second best-selling album worldwide. Its first single, "(Everything I Do) I Do It for You", stayed at number one on the UK Singles Chart for a record sixteen consecutive weeks.

The 2009 compilation Africa: The Best of Toto is a double-disc set that contains all of Toto's big hits – "Africa", "Rosanna", "Hold the Line", "I Won't Hold You Back", "99", "Georgy Porgy" – and a bunch of album tracks. This is too much for most casual fans, the kind who just want the aforementioned hits, but for those who want to dig a little deeper this is a good, affordable way to do so.

Darek Oleszkiewicz, a native of Poland and member of the music faculty at the California Institute of the Arts, makes his recording debut as a leader with this remarkable CD. Not yet thirty-years-old at the time of these sessions, the bassist shows surprising depth as a composer, arranger and soloist, with a gift for lyricism and a virtuoso technique reminiscent of Niels Pedersen. The first five songs are sterling duets with pianist Brad Mehldau (with whom he has worked in the past). The only standard, "You Don't Know What Love Is," evolves from a conversational duo improvisation, with both men avoiding typical approaches. His shimmering "Like a Dream" ought to have lyrics, while his "Blues for Eden" is very playful with hints of "Kerry Dance" worked into it. On two tracks, Oleszkiewicz leads a quartet with saxophonist Chuck Manning, guitarist Larry Koonse and drummer Mark Ferber. "Precious Moments" is an intricate composition that gives a strong indication of the leader's classical background.

British singer/songwriter Olly Alexander first made a name for himself as the lead vocalist of synth pop trio Years & Years – at the same time he was attracting the British public's attention for his role in the 2021 TV drama It's a Sin. Alexander branched out from there, first with the 2024 career-spanning compilation Odyssey and then with his debut album, Polari, in early 2025. Born and raised in Harrogate, North Yorkshire, Alexander spent his childhood years nurturing his love of the arts, writing his own songs, and performing in school plays before going on to study the performing arts at college.

At long last - newly re-mastered! The jazzy and exploratory Katy Lied features fan favorites such as “Black Friday,” “Bad Sneakers,” and “Doctor Wu.” It was the first Steely Dan album after the departure of guitarist Jeff “Skunk” Baxter and drummer Jim Hodder as core duo Donald Fagen and Walter Becker’s opted to cease touring and focus on studio work. In a 2019 retrospective, Pitchfork enthused, “It captures Steely Dan in the thick of it all, still hungry and energized by their early burst of creativity but not taking anything for granted. Before Katy Lied, Steely Dan were a rock band, but this is the record where they became something else.” Steely Dan’s groundbreaking fourth studio album, Katy Lied. This gold-selling classic, originally released in 1975, has been meticulously remastered.

This is not the smooth-classic type of performance, which is usually associated with these popular concetos, but uncompromisingly intense and passionate reading by young Kyung Wha Chung, digitally recorded in 1983 in vivid sound quality. The risk she takes in the outer movements of Tchaikovsky concerto is astonishing.

There are certain violin soloists who have adopted their instrument as a real extension of his soul. This is - nor more neither less- the case of Ruggiero Ricci a virtuosi who seems to be cold at the first bars of every piece ( as a matter iof fact I had the chance to watch him four times between 1976 and 1985 in Caracas), but once you are involved in the mood of the piece he conveys us to new horizons, thanks his amazing technique and voluptuous sensibility.

”Live at the Troubadour” is a live album by Carole King and James Taylor released in 2010. The album was recorded at The Troubadour in West Hollywood in November 2007 to celebrate the venue's 50th anniversary. It was also the first venue that King and Taylor played together in November 1970. The album debuted at #4 in the United States with first-week sales of 78,000. This gives James Taylor a top 10 album in every decade since the 1970s and Carole King her first top 10 album since 1976.