Air Supply is the eighth studio and second eponymous album by Australian soft rock band Air Supply, released in 1985. The album was a step down in the band's sales, reaching gold certification and #26 in the US charts. The single "Just As I Am" was their last major entry on the charts, reaching #19 on the Billboard Hot 100, while their interpretation of the Jennifer Rush song "The Power of Love" became a minor hit, reaching #68.

Recorded in the fall of 2006, shortly after B.B. King's 81st birthday, Live is really an abridged audio complement to a video release, containing 12 of the 19 tracks available on the DVD of the same title. King has made a lot of live albums in his time, but his approach hasn't changed much over the years. In addition to his obvious talents as a guitarist and showman, he has also been fortunate in that his chosen style of music, a version of the blues growing out of the swing-influenced jump blues of the 1940s, has not only remained perennially popular but grown in acceptance. As performed here by the B.B. King Blues Band, it is still essentially the same, a jazzy roadhouse music that leaves plenty of room for solos. At one time, most of those solos were played by King on his guitar, but now he is content to give the showcase to his horn players, as he does on "Blues Man," or organist James Toney, who claims the lion's share of "Rock Me Baby." There is still plenty of guitar work, however, and King remains seemingly as agile as ever. He is also a relaxed, comfortable frontman, engaging in easy banter with both band and audience.

Former Be-Bop Deluxe leader Bill Nelson was brought in to produce this album and provide some soaring lead guitar work, but the collaboration with Numan was beset by difficulties involving Numan's ego and approach to recording. While Nelson's production is evident on many tracks and his guitar is heard in several places, much of this is business as usual (a B-side, "Poetry and Power," features more Nelson and has gone on to a great deal of popularity, especially with the Gravity Kills cover on Random). The science fiction influences here are Robert A. Heinlein's The Moon Is a Harsh Mistress and Harlan Ellison's "'Repent, Harlequin!' Cried the Tick-Tock Man." While there is some evidence of confusion as to his direction, the music and songwriting has more energy than anything on the predecessor, I, Assassin, with some genuinely engaging moments along the way.

After building a reputation as being a concept-record mastermind and releasing four highly-realized conceptual works under The Dear Hunter name, frontman Casey Crescenzo has taken the path of the original 70’s proggers: he’s gone back to basics.
Comparisons aside, you’d be hard-pressed to find another recent album that sounds like Migrant. Although the record is mostly filled with shorter songs that do not share any particular thematic or conceptual space, the songs and arrangements themselves are still rich and unique. The end result is a fine and diverse record of standalone tracks that mostly work, but sometimes display growing pains from Crescenzo’s transformation from concept album maestro to songwriter…

Yes didn't invent progressive rock, but they helped bring it to mainstream audiences, steering the development and definition of the genre. Once their classic lineup of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Bill Bruford locked into place for 1971's Fragile, the band crystallized all of the sonic and visual signifiers that eventually became synonymous with prog rock. Yes shifted between complicated time signatures, spliced pastoral folk, and Baroque classical in their muscular rock & roll, structured their songs as mini-suites, and wrapped the entire package in fantastical artwork by Roger Dean.

The Works is the eleventh studio album by the British rock band Queen, released on 27 February 1984 by EMI Records in the United Kingdom and by Capitol Records in the United States. After the synth-heavy Hot Space (1982), the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electronic music (Freddie Mercury) and New York funk scenes (John Deacon). Recorded at the Record Plant Studios in Los Angeles, California and Musicland Studios in Munich, Germany from August 1983 to January 1984, the album's title comes from a comment Taylor made as recording began – "Let's give them the works!" During the decade, after a conservative reaction against and ban of the music video for "I Want to Break Free" in the United States, the band decided not to tour in North America and lost the top spot in U.S. sales, but sales around the world (especially Europe) would be even better. The Works has sold over 5 million copies worldwide.

The Real Thing is the third studio album by American rock band Faith No More, released on June 20, 1989 by Slash and Reprise Records. It was the first major release by the band not to feature vocalist Chuck Mosley. Instead, the album featured Mike Patton from the experimental/funk band Mr. Bungle. On this album, Faith No More continued to advance their sound range, combining thrash metal, funk, hip hop, progressive rock, synthpop, carousel music, and hard rock, along with what has been described as "a black sense of humor".

For the first time, listen to the complete concert from the Grande Ballroom in Detroit on May 2, 1968.

Originally this extraordinary heavy-psychedelic-blues rock album was recorded in L.A., in 1969. The album contains 8 original cuts of 43 mins playing time, and presents the "new" dark, haunted and aggressive progress in electric music of the end-sixties. The band name was a creation, to credit the two founding members, so the C (Carey) K (Kewley) Strong caravan began in the summer of 69, a bit later Geoff Westen, the second guitarist joined and the creative unit C.K. Strong was born. There was a big hope, that this extremely talented group will breakthrough, as the liner notes on the cover express: "Hearing is believing, but even then, you'll come away shaking your head in disbelief… everything original, everything ebullient and everything "strong" in modern-day record production…

Innuendo is the fourteenth studio album by the British rock band Queen, released on 5 February 1991 by Parlophone in the United Kingdom and it is the band's first studio album to be released by Hollywood Records in the United States. Produced by David Richards and the band, it was the band's last album to be released in lead singer Freddie Mercury’s lifetime, and their most recent one to be composed of entirely new material. It reached the No. 1 spot on the UK album charts and stayed at that position for two weeks, and also peaked at No. 1 in Italy, the Netherlands, Germany, Switzerland, staying at No. 1 for three weeks, four weeks, six weeks, and eight weeks, respectively. It was the first Queen album to go Gold in the US upon its release since The Works in 1984.

The mandora is a lute instrument that gradually disappeared with the advent of the guitar and has been completely forgotten since around 1820 - until today. The lutenist Jakub Mitrik has set himself the goal of reviving this instrument and its repertoire with this CD. The development of the mandora was a reaction to the baroque lute, which became increasingly complicated to play and had up to 14 courses of strings. It is tuned in a similar way to the later guitar and has six strings, the lower five of which are double-stringed. The mandora was particularly popular in monasteries, especially among the Benedictines. There, the mandora was valued as a solo and chamber music instrument due to its handiness and versatility. The archives of these monasteries also contain a very varied repertoire specially tailored to the mandora, which Jakub MitrIk and his Biber Consort present here for the first time. This is chamber music in a wide variety of formations, in which the mandora takes on the role of a fully-fledged partner that goes far beyond mere basso continuo accompaniment. With his selection, MitrIk presents a multi-coloured and sensitively performed CD programme that reflects the lightness of the late Baroque and early Classical periods and allows musical life in the monasteries outside the liturgy to shine in an unusual light.

A collection of 66 tracks and approximately 4 hours and 6 minutes of masterpieces by the famous pianist Richter. Schumann: Piano Sonata No. 2-3rd Movement, "Butterfly" from "The Clown at the Vienna Carnival", Handel: Keyboard Suite No. 2, Mozart: Violin Sonata No. 31-2nd Movement (Oleg Kagan), Mozart/Grieg: Piano Sonata No. 16 (2 Pianos) (Leonskaya), Beethoven: Violin Sonata "Spring"-2nd and 3rd Movements, and more.

Total of 42 tracks, approximately 3 hours and 42 minutes. Sarah Chang is known as one of the most fascinating and talented performers of her generation, with astonishing musical insight, technical virtuosity, and emotional range. She recorded exclusively for EMI Classics from the beginning of her career, from 1992 to 2009. This is a collection of her best performances. Vivaldi: Winter, Autumn, Spring, Summer, Violin Concerto in G minor, Op. 12 No. 1, Sarasate: Carmen Fantasy, Massenet: Meditation from Thais, Dvorak: Piano Quintet, Franck: Violin Sonata, Ravel: Violin Sonata No. 2 - 2nd & 3rd Movements, Bruch: Violin Concerto No. 1 - 3rd Movements, etc.

A collection of great performances by the renowned violinist Itzhak Perlman. 33 tracks, approx. 3 hours and 18 minutes. Debussy/Altman: The Girl with the Flaxen Hair, Debussy/Dushkin: Petite Suite - Minuet, Vivaldi: Summer - 3rd Movement, Bach: Sonata for Solo Violin No. 1 - 3rd Movement, Kreisler: La vie dell'Amour, Elgar: Salut d'Amour, and more.

A total of 86 tracks, about 3 hours and 42 minutes of recording. A collection of masterpieces by conductor Hugh Wolff. Dvorak: Cello Concerto (Rostropovich), Haydn: Symphony No. 1 to 3rd Movement, Stravinsky: Suite for Small Orchestra No. 1 and No. 2, Copland: Appalachian Spring, Ravel: Ma Mère l'Oye, Bartók: Suite: The Miraculous Mandarin, Bach & Gounod/Arranged by Passatieri: Ave Maria (Hampson), and more.