Original Albums Series collection of the British pub rock band's core first 5 albums: Brinsley Schwarz (1970), Despite It All (1970), Silver Pistol (1972), Nervous on the Road (1972) & Please Don't Ever Change (1973). Band members included Nick Lowe & Ian Gomm.

Barking at Airplanes is the ninth studio album by American singer-songwriter Kim Carnes. It was released on May 5, 1985 by EMI America. The album spawned two Billboard Hot 100 hit singles; "Crazy in the Night (Barking at Airplanes)" (No. 15) and "Abadabadango" (No. 67). In 2001, the album was reissued by EMI-Capitol Special Markets with three bonus tracks; a cover of "Into the Lens" (retitled as "I Am a Camera") by Yes, "Forever" written by Steven Van Zandt, and a demo version of Carnes singing "Make No Mistake, He's Mine". Carnes became aware of this reissue during an interview with Nashville Scene in 2020, and said she never intended for them to be released.

Japanese original release. Box set release from The Millennium consisting 8CDs featuring unreleased tracks of the band, each member's solo works (Curt Boettcher, Sandy Salisbury, Lee Mallory), the first album "Begin," and a rare album "Pieces."
Influenced by psychedelia and California rock, pop/rock producer Curt Boettcher (the Association) decided to assemble a studio supergroup who would explore progressive sounds in 1968. Millennium's resultant album would find no commercial success and only half-baked artistic success, but nonetheless retains some period charm. Influenced in roughly equal measures by the Association, the Mamas and the Papas, the Smile-era Beach Boys, Nilsson, the Left Banke, and the Fifth Dimension, Boettcher and his friends came up with a hybrid that was at once too unabashedly commercial for underground FM radio…

Given that it is a compilation of rarities and live performances, this double-CD retrospective is not the best starting place for those interested in the back catalog of Wigwam. It is, however, an excellent addition to those already initiated. Wigwam was one of the key players of the Finnish progressive rock scene in the late '60s and early '70s, and an instrumental group in establishing English-language rock music as a viable alternative for Finnish bands. Its ability to work clever pop melodies into their complex and innovative albums should have resulted in a much larger scale success than they achieved, but their attempts at breaking into the British market through a contract with Virgin failed, and as a result they're not well known outside Finnish borders. This retrospective CD opens with their first single release "Must Be the Devil"/"Greasy Kid's Stuff" from 1969…

Eric Church's eighth studio album, Evangeline vs. The Machine features 8 new songs, including "Darkest Hour" and "Hands of Time." A seven-time ACM Award-winner, four-time CMA Award-winner (including the highest honor for Entertainer of the Year) and 10-time GRAMMY-nominee, Church has amassed a passionate fan base around the globe known as the Church Choir, plus a critically acclaimed catalog of music.

Jah Wobble is perhaps the only man who could safely assume the mantle of the UK's King Of Dub. 'I Could Have Been A Contender' is the first true major retrospective that chronicles the entirety of Jah Wobble's dazzling career. Includes three PIL classics, 'Public Image', 'Poptones', & 'Death Disco'. Remastered three CD set featuring 37 tracks total.

Produced by Kelly Jones, 'Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait' is the brand-new studio album by Stereophonics released in April 2025, and featuring 8 tracks, including the brand-new single ‘There’s Always Gonna Be Something’. As Stereophonics celebrate over 25 years as one of the UK’s most loved bands, with 'Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait', Kelly Jones continues to cement his place amongst the great British songwriters. Stereophonics have developed an enduring success and deep-seated bond with their audience that is like few others.

Dornel’s imaginative and dynamic compositional style was perfectly suited to the lively and ever-changing musical environment of Paris in the first decades of the eighteenth century. The glorious years of Louis XIV’s reign were coming to a close, and with it the Sun King’s uncompromising grip on permitted musical taste was beginning to weaken. As musical life at the royal court began to decline so the hub of French musical life shifted from Versailles to Paris, and a strong sense of new found freedom prevailed in the city’s cultured circles. The relative merits of French and Italian musical styles were hotly debated, and works by the likes of Corelli and Vivaldi became well known and were eagerly consumed. In addition, a tradition of public concerts (including Philidor’s famous Concert Spirituel) began in Paris, giving visiting artists from far afield a chance to demonstrate their skills as well as giving composers a chance to air new works. Dornel’s Pièces de clavecin were published in 1731. His keyboard pieces were highly praised in the Mercure de France, and are notable for how little they owe to Rameau’s seminal 1724 collection. Instead the influence of François Couperin’s Ordres from fifteen years or so before is much more strongly discernible.

Best of Naked Eyes offers 15 tracks of the synth pop duo's best moments from their two U.S. albums, 1983's Naked Eyes and 1984's Burning Bridges. The collection is surpassed by the more extensive Very Best Of from 1994, but is notable for the inclusion of one track, "Could Be," which the second collection excluded.

Josh Groban - The world’s most unmistakable voice. Presenting a collection of his most celebrated recordings…The album is called GEMS and will be released in support of his first ever exclusive Las Vegas residency. With over 35 million albums sold globally and numerous world tours in some of the most stunning venues, Josh selects some of his most personal and well-loved songs from previous albums released over the last two decades.

As was often the case during the early days of jazz recordings, these six selections (seven, if you count the two attempts at "Think of One") were released under a myriad of names, among them We See, The Golden Monk, and simply Monk - with the assembled musicians credited as the Thelonious Monk Quintet. Monk can be heard supported by two distinct outfits during these, his respective second and third outings as a bandleader on the Prestige label. Taken chronologically, "Let's Call This" and both versions of "Think of One" were documented on November 13, 1953, with Monk (piano), Sonny Rollins (tenor sax), Julius Watkins (French horn), Percy Heath (bass), and Willie Jones (drums). The other four cuts come from a confab involving Monk, Frank Foster (tenor sax), Ray Copeland (trumpet), Curly Russell (bass), and Art Blakey (drums) circa May 11, 1954…

Zusätzlich zum neuen Studioalbum werden bereits ab Winter 2024 alle alten Alben von CREMATORY schrittweise digital, auf CD und speziellen Vinyleditionen wiederveröffentlicht. Diese Neuauflagen werden digital remastert sein und bieten ein modernes Sounderlebnis, das sowohl alte als auch neue Fans begeistern wird.

You'll forgive Propagandhi for their lack of humor on At Peace. A lot has happened since their last album, 2017's Victory Lap, and to say that none of it has been good would still be a cop out. Leftists being mortified is nothing new, but for those who laid bare their beliefs for decades only to watch people twist them into disastrous neoliberal policies and miscues, simply being alive is rough. Chris Hannah, the longtime voice of the band, says it best: "Speaking for myself, this record might be a snapshot of me deciding whether I'm going to live out the rest of my life as Eckhart Tolle or … Ted Kaczynski."

A precious sonic masterwork, documenting the extraordinary collaboration between Michael Mantra and Charlz De La Casa. A cd of suspended time and space… 'classical' static music. Two long tracks flow like sonic lava, weaving together lush background washes, and evocative field recordings. Dark electric sounds, beautiful drones, inner-Earth rumbling, human voices, concrete noises, ship engines, sirens, sounds of the sea, bubbles, wind, chants, and wildlife sounds merge in an indefinable (and never before experienced) way… an absolutely unmissable work.

Angus Stone is a bearded singer-songwriter from Australia who records as Dope Lemon. Like his four previous albums, Golden Wolf blends laid-back psychedelic soul with indie rock in a way that suggests that a bit of the Tame Impala got into every Australian band since. The album is all about choices which I can relate to when recently unable to choose between a punnet of strawberries or a punnet of raspberries at Marks & Spencer.