One of two paired box sets chronicling the entirety of Kate Bush's recorded work as of 2018, Remastered, Vol. 2 features upgrades of the three albums since 2005: Aerial, Director's Cut, and 50 Words for Snow. In addition to these records, Remastered, Vol. 2 contains four CDs of non-album tracks, featuring a disc of 12" mixes, two discs of B-sides (labeled "The Other Side"), and a disc of covers (called "In Others' Words"). For the diehards, having these rarities on a proper album is reason enough to acquire Remastered, Vol. 2, and they do elevate a box that doesn't have as many classics as the first box: the 2005 comeback Aerial is teamed with an album where she revisits her past and the lush orchestral 50 Words for Snow. Like its cousin, Remastered, Vol. 2 boasts clean, detailed remasters that feel fuller than their predecessors. That's appropriate for music as sumptuous and transporting as this; the improved fidelity has the effect of making the music seem more vivid, not less.

After a string of releases on Sony Classical that have redefined the parameters of the classical recital album, Khatia Buniatishvili is returning to tradition with a recording of two of Mozart’s most sublime late piano concertos. Khatia Buniatishvili joins an iconic orchestra in performances of two cherished piano concertos by Mozart.

The ultimate Yes tribute and collection! Features Yes and many of their side projects and solo work. Includes previously unreleased tracks and rarities.
Along with Emerson, Lake & Palmer, King Crimson and Genesis, Yes is without a doubts the most important of the British progressive rock band of all time. The original sound of the group was a something never Heard of when its self- titled debut album came out in 1969. In The Many Faces of Yes we present an unknown side of the band, with recordings by the group as a whole and also by solo members, including rarities and other gems.
In CD 1, "The BBC Sessions", we presented the group with their original lineup (Jon Anderson on vocals, Peter Banks on guitar, Bill Bruford on drums, Chris Squire on bass and Tony Kaye on keyboards) with their performanc es in the London's BBC Radio…

Despair, loss, love, and existential struggles have always been the foundation of Harakiri For The Sky’s distinctive sound. Since their formation in 2011, multi-instrumentalist M.S. and vocalist J.J. have gained recognition for pushing musical boundaries with their emotionally charged blend of atmospheric extreme metal and melodic post-rock, grunge and modern hardcore, carving out a genre of their own.
Taking four years to craft their next epic chapter after 2021’s "Maere" (which peaked at #4 on the official German charts), Harakiri For The Sky will now release their new tour-de-force, "Scorched Earth", on January 24th through AOP Records. The album is a snapshot of the world we are living in, a world that’s tragically broken…

On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.

The Black Crowes' debut album, Shake Your Money Maker, may borrow heavily from the bluesy hard rock grooves of the Rolling Stones and Faces (plus a bit of classic soul), but the band gets away with it due to sharp songwriting and an ear for strong riffs and chorus melodies, not to mention the gritty, muscular rhythm guitar of Rich Robinson and brother Chris' appropriate vocal swagger. Unlike their later records, the Crowes don't really stretch out and jam that much on Money Maker, but that helps distill their virtues into a handful of memorable singles ("Jealous Again," "She Talks to Angels," a cover of Otis Redding's "Hard to Handle"), and most of the album tracks maintain an equally high standard. Shake Your Money Maker may not be stunningly original, but it doesn't need to be; it's the most concise demonstration of the fact that the Black Crowes are a great, classic rock & roll band.

Jacintha picks up the tempo on her first bossa nova session. Featuring a program of some of the most well known classics of the genre, including several Jobim favorites like So Nice, Desafinado, Dindi and Corcovado, as well as less familiar tunes like O Ganso and So Danco Samba, this CD is a striking change of pace for Jacintha. With superb work from tenor Harry Allen and guitarist John Pisano (ex-Diana Krall), the album's supreme finishing is the magical playing of legendary Brazilian master percussionist Paulinho Da Costa, who blesses the entire album with an authentic bossa nova vibe.

The four musicians who formed Frumpy were all members of Irishman O' Brian-Docker's folkband The City Preachers, which he founded in Hamburg in 1965. The City Preachers played an excellent blend of American and British folk music and had, sometimes, over a dozen people on stage. Discontent with singer Dagmar Krause, drummer Carsten Bohn left the City Preachers in November 1969 and took singer Inga Rumpf, French keyboarder Jean-Jacques Kravetz and guitarist Karl-Heinz Schott with him to form Frumpy. In spring of 1970, Frumpy started a successful tour of France. The same year, they went on a 50 concert tour with Spooky Tooth, and played with Yes, Humble Pie and Renaissance. In autumn of 1970, Frumpy released the first album "All Will Be Changed" which contained only own material with the exception of a Richie Havens cover…

After Boddy released three cassette albums in the early 1980’s on the Mirage label "The Climb" came out on vinyl in 1983 on Signal Records. This was a huge leap both musically and technologically for Boddy and is rightly regarded as a classic of the early UK electronic music scene. The music was composed and recorded at Spectro Arts Workshop in Newcastle between December 1982 - March 1983 except for the opening track "Kinetics" which was produced as part of Boddy’s stint as composer in residence at the Triangle Arts Centre in Birmingham. Whilst there he also had access to the Fairlight C.M.I. which Boddy employed on the opening three sections of the title track. This tone poem is split into five sections and still stands up as one of Boddy’s most iconic compositions with the music ranging from the eerie opening of "Dawn", the grinding toil of "Procession" followed by the majestic "Hymn"…

Before they had even released 3-Way Tie for Last in the fall of 1985, the Minutemen had blocked out plans for their next album, which was to be a sprawling three-LP set featuring three sides of studio material and three sides of live recordings. Initial pressings of 3-Way Tie included a ballot so fans could vote for the songs to be included on the live half of the upcoming album; the tragic death of D. Boon meant the Minutemen would never make another studio album, but Mike Watt and George Hurley compiled the ballots sent in by fans and used the results as the basis for this album, which uses radio broadcasts, studio outtakes, rehearsal tapes, and audience recordings to assemble a final tribute to their fallen comrade. As you might expect, the quality of the sound varies quite a bit from track to track (though there's nothing as awful as the stuff on side two of The Politics of Time), and there are a few items here that were outtakes for a good reason (like the overlong version of "Mr. Robot's Holy Orders" or the spontaneous soundtrack improvisation "Hell"). But for the most part, Ballot Result is a fitting memorial that makes clear the Minutemen were just as strong onstage as they were in the studio and that their songs were smart, provocative, adventurous, and stand up well to the test of time.

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but its concept from Isaac Asimov's classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence – will it overtake man? What does it mean to be man? What responsibilities do mechanical beings have to their creators? And so on and so forth – with enough knotty intelligence to make it a seminal text of late-'70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this.