Jailbreak was such a peak that it was inevitable that its follow-up would fall short in some fashion and Johnny the Fox, delivered the same year as its predecessor, did indeed pale in comparison. What's interesting about Johnny the Fox is that it's interesting, hardly a rote repetition of Jailbreak but instead an odd, fitfully successful evolution forward. All the same strengths are still here – the band still sounds as thunderous as a force of nature, Phil Lynott's writing is still graced with elegant turns of phrase, his singing is still soulful and seductive – but the group ramped up the inherent drama in Lynott's songs by pushing them toward an odd, half-baked concept album. There may be a story within Johnny the Fox – characters are introduced and brought back, at the very least – but it's impossible to tell. If the album only had an undercooked narrative and immediate songs, such digressions would be excusable, but the music is also a bit elliptical in spots, sometimes sounding theatrical, sometimes relying on narration.

Susan Jacks (nee Pesklevits) began her singing career at the age of 14, was a regular performer on a national Canadian television show at 15 and appeared as a guest on numerous other television shows in Canada and the U.S. At 18, she hired Terry Jacks to accompany her on rhythm guitar. Craig McCaw was soon added on lead guitar and Susan stopped performing solo engagements, dedicating her time to the trio. They would eventually add Satwant Singh on tablas, recording and performing as The Poppy Family featuring Susan Jacks. As the voice of the Poppy Family, Susan and the group recorded a string of hit records, the most notable being "Which Way You Goin' Billy?", "That's Where I Went Wrong" and "Where Evil Grows". Susan left the Poppy Family in 1972, resuming her solo career and recorded a string of hits through the seventies and eighties. The Dream album, recorded in 1975, was received with rave reviews as she crossed from a predominantly light pop genre to a more alternative format, moving easily through blues, country rock and alternative rock. Produced by Claire Lawrence, who was not only an accomplished rock musician but also an innovative and solid producer, the album was abruptly removed from the market a few short months after its release, its future uncertain. After regaining her rights to the album and re-mastering by the best in the business, this extraordinary album is now available on CD.

Definitive 2 CD best-of collection from cult Anglo-Australian folk-pop group best known for their international smash hit 'I'd Like To Teach The World To Sing'. In their heyday between 1970-74 they were one of the biggest bands in the world, selling over 25 million records, and this release revisits that period. It includes the aforementioned classic and has been hailed by fans for finally bringing together all their top tunes, including some never before available on CD. 52-tracks in all.

In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.

50 Words for Snow is the tenth studio album by English singer-songwriter Kate Bush. It is the second album to be released on her own label, Fish People. It is her first all-new studio album since Aerial from 2005, and marks the first time since 1978 that she has released two new albums in one year.

Even when paying homage to the Moroccan music she grew up with, vocalist Natacha Atlas can't help but let the multicultural and modern seep in. With bossa nova, Western pop, and just a thin slice of electronica figuring into the mix, the "back to my roots" album Mish Maoul is a rich collection of music that doesn't sound decorated but natural coming from an artist who prides herself in being a musical nomad. Easy to believe a nomad's memories of her homeland would be foggy and sentimental, and easy to believe the modern nomad's soundtrack would sound something like this – only something like this because this is far and away Atlas' most personal album. Suitably, she seems totally in charge of its construction, making interesting production choices with the help of Temple of Sound, Timothy Whelan, and others. For someone who has worked with Transglobal Underground, Art of Trance, and Jah Wobble in the past, the restraint Atlas uses on the rhythmic and ritualistic "Hayati Inta" is surprising and creates an intoxicating tension with only a slight bit of electric guitar revealing this isn't a field recording.

Outtakes and Outfakes. Pepper Isolations and outffakes in Mini LP format. 6-disc collection of "Sgt. Pepper's Lonely Hearts Club Band" studio sessions.

Donizetti considered Dom Sébastien, Roi de Portugal (1843), his final completed opera written for the Paris Opéra, to be his masterpiece. In spite of its relative obscurity, on the basis of this recording, one is inclined to agree with him. The opera has several attributes that in the past have proved to be obstacles to its popularity. The first is its length – it's in five substantial acts and lasts three hours, but that's not so onerous for contemporary audiences accustomed to Wagner and Strauss. Besides, the composer created an abbreviated version for Viennese audiences, who at that time wanted to be out of the theater by 10 p.m., and that version could be used if necessary.

Enrique Granados' famous opera 'Goyescas', first performed at the Metropolitan Opera in New York in 1916, derives from the piano suite premiered in Paris two years previously. At the head of a BBCSO in top form and a handpicked cast, Josep Pons clearly much enjoyed conducting this sparkling new production in London. Many scenes in the opera draw their inspiration directly from paintings by Goya, which listeners will also have the pleasure of discovering in the booklet of this rare and precious album.

Oberlin is a native of Akron, OH, who, despite his birthdate (1928), is a contemporary to falsetto countertenor Alfred Deller – Oberlin also began his recording career right around 1950. Unlike Deller, countertenor is Oberlin's true range, and unlike Deller, he did not stick around to make recordings when his voice was past its prime; in the mid-'60s Oberlin quit singing and went into education. While Oberlin is not quite forgotten, relatively few plaudits and reissues have come his way.

Did you know one of the most beloved albums in the Statler Brothers catalog never even went to retail? Consisting of the Statlers' renditions of classic pop songs from the '40s through the '60s, and featuring performances recorded especially for the project, The Statler Brothers Sing the Classics was a collection created by mail order outfit Heartland Music back in the '90s for a direct response TV campaign. And what a wildly successful TV campaign it was…Heartland ended up selling hundreds of thousands of copies. But, like most TV packages, the lifespan of Sing the Classics was short, and the album soon went out of print, prompting the group's fanbase (and, for that matter, the group itself) to put it at the top of their reissue wish list for over two decades. Now, Real Gone Music is proud to present The Statler Brothers Sing the Classics in a new set that takes the same 24 tracks of the old, 2-CD version but fits them on to a single, less expensive CD, with new, updated cover art, added photos, and new liner notes by noted Johnny Cash scholar Dr. John M. Alexander featuring quotes from the Statlers' own Don Reid. Starting with "Memories Are Made of This" and winding up with "Goodnight, Sweetheart, Goodnight," this collection captures the Statlers at their warm, intimate best, with a track listing to die for. Indeed, one of Don's quotes perfectly sums up the vibe of this collection: "These were songs we grew up with. They helped make us and our style. We never had more fun making an album than we did making this one." A great listen!

Almost to the day we released our The Mamas and The Papas: Complete Singles–50th Anniversary Collection back in January 2016, fans of the group (and they are legion!) started asking us about reissuing Papa Denny Doherty's criminally overlooked 1971 solo album on the ABC/Dunhill label, Watcha Gonna Do. This record came out on CD only in Japan back in 2002, and commands hundreds of dollars online, so a straight reissue would have worked just fine. But that's not how we do things at Real Gone Music… and so we aren't stopping with the album. We're adding six bonus tracks, five of 'em previously unreleased, to fashion a brand-new compilation, Of All the Things–The Complete ABC/Dunhill Masters! Arranged by Jimmie Haskell, produced by Bill Szymczyk, and featuring songs written by Denny with his first wife Linda Woodward with such session players as Barry McGuire, Buddy Emmons, Russ Kunkel, "Fast" Eddy Fischer, and Eric "The Doctor" Hord, Watcha Gonna Do is truly a lost gem of early '70s roots rock, sort of The Mamas and Papas meeting The Band and The Eagles (Szymczyk went on to produce all of The Eagles albums). The bonus tracks include the rare single of the non-LP track "To Claudia on Thursday"–with additional vocals supplied by Spanky McFarlane of Spanky & Our Gang–plus five other tracks unearthed from both album session tapes and follow-up recordings left in the vaults. Joe Marchese provides liner notes featuring quotes and reminiscences from Eddy Fischer, Denny's daughters, Bill Szymczyk, Michelle Phillips, and others. Artwork includes previously unpublished period photographs. Remastered by Mike Milchner/Sonic Vision, this release is a must for any fan of The Mamas and The Papas and of that gorgeous Doherty tenor!

A two-disc compilation of City Pop music. Discs are labeled as "Boys Side" and "Girls Side".

In the late 1950s, The Gospelaires of Dayton, Ohio, moved up to become one of the most exciting gospel quartets of the 1960s. They followed in the footsteps of the Five Blind Boys of Mississippi and the Dixie Hummingbirds, who were all on the famous Peacock label. Several best selling records propelled the Gospelaires into touring nationally, along with the elite of hard gospel groups, such as the Mighty Clouds of Joy and the Violinaires. The Gospelaires performed at the most prestigious venues, such as the Apollo Theater, where they appeared with illuminaries like James Cleveland and the Staple Singers. They also visited Europe. This is the first CD compilation of the Gospelaires' early recordings. CD-notes written by Robert Marovich, editor of the Journal of Gospel Music and author of "A City Called Heaven - Chicago and the Birth of Gospel Music".

Journey Through the Past is a double LP soundtrack album from the film of the same name by Canadian / American musician Neil Young, released in November 1972 on Reprise Records, catalogue number 2XS 6480. It peaked at #45 on the Billboard 200. Its initial release was on vinyl, cassette tape, reel-to-reel tape, and 8-track tape cartridge. Although its follow-up Time Fades Away was finally released on CD in August 2017, Journey Through the Past remains the only 1970s Neil Young album yet to see an official CD reissue.