For the first time ever, Gong's quintessential trilogy comprised of the albums Flying Teapot, Angels Egg and You are newly remastered from the original tapes and gathered together in a lavish EarBook. Maintaining the incredible sound quality and repackaging of 2015's critically acclaimed Camembert Electrique remaster, each CD album has been digitally remastered by Nick Robbins at SoundMastering Studios. This hardback EarBook edition features exclusive content including 60-pages full of artwork, rare photos, sleeve notes by Mojo magazine's Mark Paytress and more, together with a fourth CD of bonus material, including both sides of Gong's impossible-to-find debut single on BYG Records, released only in France in 1970.
The trilogy is a series of progressive rock concept albums consisting of Flying Teapot, Angel's Egg and You…

After two late-'60s albums on Columbia, Johnny Winter hit his stride in 1970 working with Rick Derringer and the McCoys, now recruited as his sidemen and collaborators (and proving with just about every note here how far they'd gotten past "Hang on Sloopy"). In place of the bluesy focus on his first two albums, Winter extended himself into more of a rock-oriented mode here, in both his singing and his selection of material. This was hard rock with a blues edge, and had a certain commercial smoothness lacking in his earlier work. Derringer's presence on guitar and as a songwriter saw to it that Winter's blues virtuosity was balanced by perfectly placed guitar hooks, and the two guitarists complemented each other perfectly throughout as well…

While trumpeter Webster Young pays tribute to Billie Holiday on this, his only studio date as a leader, the set is equally a tribute to Young's musical role model, Miles Davis. Young has Miles' soft-focus tone from the early to mid-'50s and, according to Ira Gitler's liner notes, he is actually playing Miles' cornet on the date. The similarities between the two players make this 1957 session a satisfying companion to Miles' work circa 1951-1953. Young is nicely matched here with tenor saxophonist Paul Quinichette, with the two of them using a pleasantly blowsy approach to weave loose, discursive counterpoint around each other. Guitarist Joe Puma distinguishes the set with thoughtful, understated playing that calls to mind Kenny Burrell's own Prestige dates from this period. Pianist Mal Waldron, drummer Ed Thigpen, and bassist Earl May infuse the performances with a cohesive, relaxed swing…

It speaks well for the continued viability of their catalog (probably second only to Bob Dylan's among '60s folk artists) that this is only the sixth compilation ever done on Peter, Paul & Mary's music in four decades of musical activity - and since one of the others was a Readers' Digest mail-order release and two of the others were done for special markets outside of the United States, that low number is downright astonishing. This release effectively supplants the perennially popular Ten Years Together: The Best of Peter, Paul & Mary, from 1970, and also outdoes the 2003 WEA International Very Best Of, with more songs drawn from a much wider chunk of their history as well. The material at hand covers not only most of the key singles and a handful of important album tracks by the trio from the 1960s, but also acknowledges their less widely heard solo material from the 1970s and their much more directly provocative work from the 1980s…

When the album "Phaedra" hit the album charts worldwide back in 1974, no one had foreseen such a remarkable career of a new musical sound created by Tangerine Dream. All instruments were new and unknown to the audience. The sound itself was the opposite of all common music at those days. During the concerts the band created an uncomparable atmosphere. Now, more than 30 years later you can listen to the modern form of this classic recording. The material has been re-recorded by using partly the same kind instruments as on the original recording. Also the new digital technology has played a keyrole during various recording sessions. It was not the intension to please all the TD purists and analogue fans ­ but you will have an idea of how the band is still connected to the style and trademark that has made them so original. The additional title "Delfi" has been composed 2005 in the spirit of the seventies.

Handel's Messiah is increasingly performed in authentic Baroque style and with period techniques, and this version by conductor Anders Öhrwall, the Stockholm Bach Choir, and the Swedish Radio Symphony Orchestra falls in line with the trend. While there is no clear indication that the instruments are anything but modern, the orchestral sound is imbued with a glossy string sound and transparent textures supported by a basso continuo that includes both harpsichord and organ, and the choir's scaled-down size gives it the transparency associated with Baroque choral singing.

Amore Doppio, or to give it its full title, "La costanza non gradita nel doppio amor d'Aminta" is a serenata from 1694 for three voices by Giovanni Battista Bononcini. The piece involves a dialogue between the shepherd Aminta and his two loves, the nymphs Filki and Dori. Torn between desire for both and unable to choose, he finally ends up with neither.

This recording of Handel's Acis and Galatea (or Acis und Galatea) features the German translation and arrangement completed by Mozart in Vienna circa 1788, per the instructions of the Baron Gottfried von Swieten to "modernize" Handel's pieces - including Alexander's Feast, Messiah, Ode for St. Cecilia's Day, and Acis and Galatea. Mozart kept much of Handel's original string arrangements, but proceeded to layer harmonies with a degree of sophistication that Handel could only have dreamed of.

Following up on the success of Sony Classical’s recent large-scale Ormandy collections – his monaural discographies with the Minneapolis Symphony and Philadelphia orchestras – the label now presents the conductor’s stereo recordings from Philadelphia containing all recordings released from 1958 to 1963 (plus some fillers from later years) Eugene Ormandy took over the music directorship in Philadelphia from Leopold Stokowski in 1938 and held the position for 42 years. During that time his name and the orchestra’s became inseparable as he cultivated and further developed the voluptuous sound that originated with his predecessor.

The pianist Anna Vinnitskaya has built up an impressive discography since her victory at the Queen Elisabeth Competition in 2007: Bach, Brahms, Ravel, and of course the Russian composers with whom she has been familiar since her childhood in Novorossiysk, then her studies with Evgeni Koroliov. She has now made her first Chopin recording, coupling the four Ballades, a cross between the miniature and the sonata, with the four Impromptus he composed at different periods of his life, between 1835 and 1842.