Leon Russell's accolades are monumental in a number of categories, from songwriting (he wrote Joe Cocker's "Delta Lady") to session playing (with the Rolling Stones and Bob Dylan, just to name a few) to his solo work. Unfortunately, it's the last category that never really attracted as much attention as it should have, despite a multitude of blues-based gospel recordings and piano-led, Southern-styled rock albums released throughout the 1970s. Leon Russell and the Shelter People is a prime example of Russell's instrumental dexterity and ability to produce some energetic rock & roll. Poignant and expressive tracks such as "Of Thee I Sing," "Home Sweet Oklahoma," and "She Smiles Like a River" all lay claim to Russell's soulful style and are clear-cut examples of the power that he musters through his spirited piano playing and his voice. His Dylan covers are just as strong, especially "It's All Over Now, Baby Blue" and "It Takes a Lot to Laugh," while "Love Minus Zero/No Limit" and "It's a Hard Rain Gonna Fall" have him sounding so forceful, they could have been Russell's own.

Bon Jovi After ushering in the era of pop-metal with their 1986 blockbuster Slippery When Wet and its hit singles "You Give Love a Bad Name," "Wanted Dead or Alive," and "Living on a Prayer," Bon Jovi transcended the big-haired '80s, withstanding changes in style and sound to become – and stay – one of the biggest American rock bands. Unlike a lot of their peers, Bon Jovi's appeal isn't limited to the States. Slippery When Wet, its 1988 sequel New Jersey, and 1992's Keep the Faith were all international smashes, each selling over ten million copies worldwide. Another way they have differed from other MTV favorites of the late '80s lies in how Bon Jovi has cannily and subtly changed their sound to fit the time. First, the group slowly lessened their reliance on arena rock guitars, emphasizing melody and ballads without rejecting hard rock.

A previously unknown contemporary score of the St. Mark Passion falsely ascribed to Johann Heinrich Rolle recently came to light in Brussels. Due to the new identification of the copyist’s hand, a largely original version of Georg Philipp Telemann’s St. Mark’s Passion of 1759 is now available, reflected in this recording. Freshly penned “poetical reflections” were added to the Evangelist’s text. The anonymous, theologically educated author of these reflective arias and accompagnati, who in consultation with the composer also chose the selection of church songs and designed the overall structure of the libretto, coordinated the sacred message of the text with a finely calculated affective dramaturgy.

Larsen’s skilful string phrasing of his (non-period) players and, above all, Kirschnereit’s mellow, lightly pedalled touch adorned with discreet, tasteful ornaments combine to make this disc one of pure joy.

John Bryden plays Schubert is a 109 minute Franz Schubert piano music recital performed by John Bryden at an historical 1899 Bechstein piano.The album includes the famous “Moments musicaux”, two collections of German Dances and the amazing “4 Improumts D.935”. A deep moving performance of one of the greatest ever romantic piano composers.

Agustín Maruri comenzó su carrera musical internacional el 28 de Marzo de 1987 en Munich ofreciendo su primer recital de guitarra fuera de España. En estos 30 años de andadura profesional sus actividades han cubierto varios campos en los que la guitarra ha sido la protagonista absoluta.En jiras de conciertos, tanto como solista como en formaciones de música de cámara, Agustín Maruri ha ofrecido recitales en los cinco continentes.Ha realizado importantes trabajos de exploración del repertorio del instrumento redescubriendo para el público guitarrístico la obra de compositores injustamente olvidados como Adam Falckenhagen, (1697-1754), Wenzeslaus Thomas Matiegka, (1773-1830), Leonhard Von Call, (1779-1815), etc. Asimismo, Agustín Maruri, ha sido el destinatario de obras de compositores contemporáneos, estrenando numerosas composiciones de autores vivos.

Next month, Now That’s What I Call Music will release a genre-spanning ‘Era’ release called The Sound of the Suburbs 1977-1980. In 4CD form, this set offers 80 tracks encompassing punk, new wave, reggae, ska, mod, post-punk and electronic. They were all initially released between 1977 and the end of 1980, and artists include The Undertones, The Clash, Elvis Costello, The Boomtown Rats, The Jam, The Cure, The Police, The Specials, The Beat, Japan, Jonathan Richman & The Modern Lovers, PIL, Devo, Skids, The Vibrators, XTC, John Foxx, The B-52s and many more. Full tracklistings for the formats are listed below. Whether this ‘Era’ release is the start of a new series or a one-off remains to be seen.

It Won't Be Soon Before Long is the second studio album by the American rock band Maroon 5. It was released in May 2007 as the follow-up to their debut album Songs About Jane (2002). The name was inspired by a phrase the band adopted to keep themselves motivated while on their tour. The album debuted at number one on the U.S. Billboard 200, selling around 430,000 copies in its first week and, as of 2011, approximately 5 million copies worldwide. It is the first Maroon 5 studio release to feature drummer Matt Flynn. The band's former drummer, percussionist and background vocalist – Ryan Dusick, who officially left Maroon 5 in 2006 due to serious wrist and shoulder injuries, was credited as the "Musical Director."

Hot in the Shade is the 15th studio album by Kiss, released in 1989. It is the first Kiss full studio album since 1981's Music from "The Elder" to feature lead vocals from someone other than Paul Stanley or Gene Simmons, with drummer Eric Carr singing lead on "Little Caesar". It is also the final Kiss album to feature Carr in its entirety before his death in November 1991. The album is one of the band's longest, with a running time of nearly an hour. Of the 15 tracks on the album, only five were performed live. "Forever", co-written by Michael Bolton, was a pop hit and became a semi-regular part of the live setlist. Hot in the Shade was certified Gold on December 20, 1989. Its most successful single, "Forever" reached #8 on the Billboard charts, the band's highest charting single in the US since "Beth", 13 years earlier.

2013 NZ reissue of first four albums on CD. First time "This Heart This Song" (1979) has been issued on CD. "Sharon O'Neill" (1980) has been issued on CD as "Words" but with different cover & one extra track ("How Do You Talk To Boys").

«Messages from Afar» is a special concept album, that`s divided into 2 chapters – 1st by Karfagen and 2nd by Sunchild (part 2 to follow in 2018). It`s our hommage to the Art Rock as we know it from the heart of the 20th century. It`s a solid concept, statement in a modern Prog scene. Fans of Camel, Pink Floyd, Genesis, Happy the Man, Yes and other classic bands will be really at home with this two release! Once again the fabulous artwork is painted by Igor Sokolskiy, that fantastically compliments the fairy mood of the music, where Antony`s lush keyboards texture and solos meet the outstanding virtuosity of Max Velychko`s guitars.

RSD 2024 Exclusive. Limited to 4000. Fully remastered. First time with the complete sessions available on vinyl. Record Store Day 2024 Release. Bury The Hatchet is the fourth studio album by Irish alternative rock band the Cranberries. Released in April 1999, the gold-certified album features the singles, “Promises,” “Animal Instinct,” “Just My Imagination,” and “You and Me.” Available on vinyl for the first time, The Complete Sessions edition features the original album, plus five bonus studio tracks on two LPs.

Five CD set. Atomhenge, the label home for the Hawkwind catalog between 1975 - 1997, is pleased to announce the release of The Emergency Broadcast Years 1994 - 1997; a five CD set comprising all three of Hawkwind's single albums and one double album originally released by the Emergency Broadcast label between 1994 and 1997. The Business Trip Live, Alien 4, the double set Love in Space and Distant Horizons. These recordings saw a streamlined Hawkwind enjoy a new period of acclaim. With vocalist Ron Tree as an onstage front man, the band's live concerts of the period were memorable affairs and were perfectly captured on the double album Love in Space". The remaining trio of albums in this collection saw further development of the band, making Hawkwind a vital force for the 1990s. This official clamshell boxed set features each album in a replica card sleeve wallet and includes an illustrated poster.

This release is a repackaging of Welcome To The Future. Released a year after Dressed To Kill's four-CD import package The Entire & Infinite Universe of Hawkwind, this is the American recycling of the same Masters of the Universe, Bring Me the Head of Yuri Gagarin, Space Ritual, Vol. 2, and Text of Festival live albums, brought to you by a label, Cleopatra, whose early-'90s championing of Hawkwind was, in many ways, responsible for the resurgence in popularity that the band has since enjoyed. Certainly, at a time when other labels seemed to care only for mercenary repackages and shoddy compilations, Cleopatra went out of its way to invent fresh and exciting ways of looking at Hawkwind's back catalog – which may explain why this release is so disappointing. Three shows comprise the four discs, and they're precisely the same three that comprise around 30 other live Hawkwind albums: Wembley 1973, Brixton 1972, and, duplicated over both discs one and four, a mix of 1970-1971 BBC sessions and similar-era live improv. In other words, if you've ever spent money on a budget-priced, early-'70s Hawkwind live album, you already own at least one-third of this. And if you've bought three – you do the math.

Leon Redbone followed up his debut long-player On the Track (1975) with Double Time (1977), an equally enchanting, if not somewhat eclectic blend, of jazz, folk, blues and pop standards – all in Redbone's undeniably distinct throaty baritone. While the tunes may be familiar, these renderings are steeped in the artist's unique sensibilities. The results are uniformly ingenious and commence with a New Orleans ragtime flavored interpretation of Blind Boy Blake's dirty "Diddy Wa Diddie" blues. Augmenting Redbone's acoustic guitar is an extended cast of session stalwarts and a host of other musical notables – such as Milt Hinton (bass), Jonathan Dorn (tuba), Vic Dickenson (trombone) and Jo Jones (drums). Don McLean (banjo) sits in, supplying his criminally underutilized instrumental versatility on the endearing revamp of Jimmie Rodgers' "Mississippi Delta Blues." The decidedly demented reading of "Sheik of Araby" is nothing short of inspired insanity. Redbone incorporates a Screamin' Jay Hawkins-esque persona belting out a variety of hoots, snorts, howls and hob-gobbles set behind a hot-steppin' fret board flurry à la Django Reinhardt.