The popularity of Earth, Wind & Fire's biggest hits - 'September', 'Boogie Wonderland', 'Let's Groove', 'Got To Get You Into My Life', 'Fantasy' and 'After The Love Has Gone' - will never diminish! Formed in Chicago in 1969 by Maurice White, with a blend of soul, funk, R&B, pop, rock, jazz and ultimately disco, they had hits in the US and UK through the '70s and '80s. Aside from the unique combination of White's baritone and Philip Bailey's falsetto vocals, the ensemble also featured the tightest horn section ever, playing the most exciting arrangements. The band won six Grammys, and sold over 90 million records. This 45-track compilation contains their 17 UK hits and 38 US hits, and features extended 12" versions of 'Boogie Wonderland' and 'Let's Groove'.

Total: From Joy Division to New Order is a compilation album of material from Joy Division and New Order. It was released in the United Kingdom on 6 June 2011 by Rhino Entertainment and is the first album to feature songs from both bands in one album. It features five Joy Division tracks, including "Love Will Tear Us Apart", and thirteen New Order tracks, including a previously unreleased track, "Hellbent".

The Game is the eighth studio album by the British rock band Queen. It was released on 30 June 1980 by EMI Records in the UK and by Elektra Records in the US. The Game features a different sound than its predecessor, Jazz (1978). The Game was the first Queen album to use a synthesizer (an Oberheim OB-X). A critical and commercial success,The Game became the only Queen album to reach No. 1 in the US, and became their best-selling studio album in the US, with four million copies sold to date, tying News of the World's US sales tally. It is estimated to have sold a further 4 million copies in other countries. Notable songs on the album include the bass-driven "Another One Bites the Dust" and the rockabilly "Crazy Little Thing Called Love", both of which reached No. 1 in the US. The Game was the first Queen album to be recorded digitally.

Esoteric Recordings is proud to announce the release of a new 2 CD set anthologising all the recordings made by the legendary STRAY for Pye Records and its imprint Dawn Records between 1975 & 1976. After five remarkable albums and tours with some legendary names in rock such as Black Sabbath, The Groundhogs, Status Quo and Ten Years After, Stray signed to the Pye Records label in 1975. During sessions for their first album for the label, “Stand Up and Be Counted”, Steve Gadd departed the band. Second guitarist Pete Dyer joined Stray and Del Bromham, the band’s main song writer, now handled lead vocal duties.

Ernestine Anderson's first official Concord recording (which was predated by part of Live From Concord to London) launched her "comeback" after years of neglect (and a decade off of records). Accompanied by pianist Hank Jones, bassist Ray Brown and drummer Jimmie Smith, Anderson mixes together veteran standards (such as "Yes Sir That's My Baby," "It Don't Mean a Thing" and "Tain't Nobody's Bizness") with more recent songs from Johnny Mandel, Stevie Wonder ("Bird of Beauty"), Ray Brown ("Soft Shoe") and even "Send In the Clowns" on this CD reissue. The singer's enthusiasm comes across throughout this fine studio set.

Recorded for Calliope between 1975 and 1991, André Isoir’s version of the complete organ works of Johann Sebastian Bach was an exceptional undertaking that received unanimous acclaim from press and public alike. La Dolce Volta here reissues this set, unavailable since 2008, on 15 CDs at a highly attractive price. These interpretations which have achieved legendary status for their magical touch and ornamentation, their supremely elegant and inward sculpting of phrases, are now enhanced by stylish new presentation (remastered sound, luxury packaging, recent interview with the artist, full details of the instruments).

Kscope Sampler Volume 12, featuring tracks from Tim Bowness, The Pineapple, Blackfield, Mariusz Duda, Bruce Soord, Gong, Storm Corrosion and many more.

Few ensembles are as difficult to write about as the incomparable Tallis Scholars. Inevitably, you just string together an array of superlatives and hope that other reviewers haven't gushed about the same attributes using the same words in precisely the same order. The ensemble's recording of the Christmas Mass and the antiphon Ave Dei patris filia marks both its fourth recording of works by Renaissance master Thomas Tallis and one of Gimell's last albums to be made during an unhappy affiliation with Universal Classics. (The label has since reverted to independent status, distributed in the United States by Harmonia Mundi.) As has been the case with other Tallis Scholars projects, the singers have rediscovered missing manuscripts and have put together the first modern performance editions of both of these works. Their complete mastery of their chosen subject, combining keen scholarship and transcendent beauty, makes this a radiant recording. The clarity and luminescent tone that conductor Peter Phillips achieves with his singers are simply superb. The recording, made at their frequent locale of the Church of Saints Peter and Paul in Norfolk, is a faithful one–but don't miss any opportunity to hear them live.

Thanks to the Arhoolie label, fans of zydeco legend Clifton Chenier have another chance to hear Clifton Sings the Blues. Recorded in Houston on April 1, 1969 (tracks 1-12), Chenier's accordion and vocal prowess were more relaxed on these tracks than most zydeco fans would expect. The set features sturdy assistance from Cleveland Chenier, Clifton's brother, on rub-board, drummer Robert Peter, bassist Joe Morris, and guitarist Cleveland Keyes, and Chenier's love of laid-back Texas blues is evident on tracks like "Ain't No Need of Cryin' (Every Day Is the Same)," "Brown Skinned Woman," and "Trouble in Mind." While the pace of these tunes flows between slow to midtempo shuffles, the three exceptions, "Rosemary," "Me and My Chauffeur Blues," and "Paper in My Shoe," are first rate uptempo dance tracks.

This LP has one of trumpeter Shorty Rogers' finest small group sessions of the 1950's. Rogers, Jimmy Giuffre (on clarinet, tenor and baritone), pianist Pete Jolly, bassist Curtis Counce and drummer Shelly Manne are the epitome of cool on a well-rounded and consistently interesting set. Highlights including "Isn't It Romantic," "Trickleydidlier," "Not Really The Blues" and Rogers' "hit" "Martians Go Home."