Exile on Main St. is the 10th British and 12th American studio album by the English rock band the Rolling Stones, released on 12 May 1972 by Rolling Stones Records. Recording began in 1969 in England during sessions for Sticky Fingers and continued in mid-1971 at a rented villa in the South of France named Nellcôte while the band lived abroad as tax exiles. A collage of various images, the album's artwork, according to frontman Mick Jagger, reflects the Rolling Stones as "runaway outlaws using the blues as its weapon against the world", showcasing "feeling of joyful isolation, grinning in the face of a scary and unknown future".

75 cool, sophisticated and timeless tracks on three CDs, packaged in a handy fold-out bag with pockets. Includes Andy Williams, Elvis Presley, Ella Fitzgerald, Roy Orbison, Dusty Springfield, Frank Sinatra, Doris Day and many more. It's unlikely that most of us need entire albums from most of the artists included in this compilation. But this compilation of foreign pop music from the 50s and 60s is really something special. Here you get the classics of the genre as well as some rare tunes.

Patty Pravo, one of Italy’s most iconic and enduring pop stars, shines brightly in her 2013 compilation album, Best of Patty Pravo. This album is a carefully curated collection that spans the breadth of her illustrious career, showcasing her unique voice, charismatic style, and the timeless quality of her music.

In 2015, pianist Jonathan Biss initiated the Beethoven/5 commissioning project with The Saint Paul Chamber Orchestra and more than fifteen other orchestras, resulting in a groundbreaking collaboration over nine years. The project yielded five extraordinary new piano works by some of today's most significant composers, responding to Beethoven's own concerti. Volume Three sees Timo Andres’s third piano concerto, which takes its title from “Schubertiana,” by the Swedish poet Tomas Transtromer, and envisions a “blind banister that finds its way in the darkness.” As his banister, Timo Andres seizes on the cadenza Beethoven wrote for the first movement of the Second Concerto.

Four disc (three CDs + NTSC/Region 0 DVD) set. The plight of Northern Ireland throughout the 1970s and 1980s is well documented. Less widely acknowledged, though, is the unifying impact that punk rock and everything that came in it's wake had on the country's youth. Whilst violence, disenchantment and danger became everyday obstacles, punk provided an outlet, a means of expression and something beyond the political landscape in a way few other cities on earth could have understood. The Shellshock Rock film first captured this in 1978, and we proudly extend that account with three discs of tracks recorded during a period that breathed new life into the country's musical culture. The bands of Belfast and beyond created a scene entirely of their own, without the aid of an existent network of venues and publications. Punk forged alliances that reached across sectarian boundaries, and pushed back against a culture of traditions and establishment which seemed to offer very little to the country's youth. Featuring in-depth sleeve-notes, essays by both Stuart Bailie and John T. Davis, unseen imagery and, for the first time outside of Japan, the seminal Shellshock Rock film, this latest addition to our series of deep, geographically focussed sets promises to be the most vital of them all. Nowhere was punk as necessary and as life-changing as it was in Northern Ireland.

This expansive set includes every recording made by The King of Rock 'n' Roll in Memphis, Tennessee, from his 1954 debut single, "That's All Right," through to the final 1976 sessions at his Graceland home. Each track has been newly mixed, without overdubs, by Matt Ross-Spang with the aim of getting as close as possible to what Elvis heard in the studio. Along the way, Memphis presents Presley's 1969 comeback sessions, his 1973 recordings at Stax, and a 1974 re-creation of his Vegas residency, billed as "The Homecoming Concert."

“After listening to this great recording by Vladimir Kostadinovic and this stellar group of high-level musicians, the music gives me a sense of freedom. You no longer hear that too often when people play. The sound of freedom is what jazz and improvisation is all about.” – George Garzone

R.E.M. began to move toward mainstream record production on Lifes Rich Pageant, but they didn't have a commercial breakthrough until the following year's Document. Ironically, Document is a stranger, more varied album than its predecessor, but co-producer Scott Litt – who would go on to produce every R.E.M. album in the following decade – is a better conduit for the band than Don Gehman, giving the group a clean sound without sacrificing their enigmatic tendencies. "Finest Worksong," the stream-of-conscious rant "It's the End of the World as We Know It (And I Feel Fine)," and the surprise Top Ten single "The One I Love" all crackle with muscular rhythms and guitar riffs, but the real surprise is how political the mid-tempo jangle pop of "Welcome to the Occupation," "Disturbance at the Heron House," and "King of Birds" is. Where Lifes Rich Pageant sounded a bit like a party record, Document is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger.

The last album Delaney and Bonnie Bramlett made together, this 1972 release boasted the usual superstar cast-Eric Clapton, Dave Mason, Billy Preston, Tina Turner, Steve Cropper, and Leon Russell. Includes six bonus tracks from the Bramletts' solo LPs, new notes and unpublished photos-a key roots-rock release from the early '70s!

Rubettes, Paper Lace, Mungo Jerry, Billy Ocean, Otis Redding, Patti Labelle & The Bluebells, Ike & Tina Turner, Kenny Rogers, Tom Jones amd many more.

The works of Schubert are central to Elisabeth Leonskaja's repertoire - and her interpretations of his work have been described as "essential". Born in the Soviet Union, where her greatest mentor was Sviatoslav Richter, she moved in 1978 to Vienna. She has said that: "In Schubert, there are things that any average Viennese person will understand better than I do … I, though, have to think about them carefully. In Schubert, profound matters are expressed with a lightness of touch."

Anyone familiar with the industrial metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album Liebe Ist Für Alle Da ("Love Is There for Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1997 album, Sehnsucht, with the musicianship and elaborate textures of their later work, Liebe Ist Für Alle Da is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********," or the opening theme song "Rammlied" and nostalgic cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. The best of the latter is the naked and haunting closer "Roter Sand," but little touches of a sinister yesteryear are everywhere, like the fake vaudeville music in "Haifisch," or the soundtrack strings of "Wiener Blut," which are eventually overcome by a guitar-crunching juggernaut…

EXTRAORDINARY COLLECTION OF VAN HALEN’S FINEST NUMBERS RECORDED LIVE IN CONCERT Formed in Pasadena, California in 1974, Van Halen remained among the very elite of American rock actors right across their history, only disbanding after the tragic, early death of Eddie Van Halen, from cancer, in 2020. Throughout their chequered career, Van Halen produces a number of the finest rock anthems and out and out classics ever composed and recorded by a contemporary music group, and this new CD contains live and broadcast versions of 14 such numbers, all housed together on this unique new Halen release. Featuring the most popular hits such as ‘Jump’,’ Dance The Night Away’ and ‘Runnin’ With the Devil’, alongside lesser known and more obscure classics like ‘Ice Cream Man’ and ‘Fools’, this compilation of live recordings is certain to become a must have release for Van Halen fans everywhere.

Pianist Oscar Peterson and violinist Stephane Grappelli meet up for this Scandinavian concert. The "backup" crew (guitarist Joe Pass, bassist Niels Pedersen, and drummer Mickey Roker) isn't too bad either. In addition to a closing blues (which is highlighted by tradeoffs from Peterson and Grappelli), the quintet performs five veteran standards with creativity and swing.

This Barcelona-based spanish band made their debut in 1972 with their eponymous album. This record is a mostly instrumental one (a few scatting one the opening track), but this does not hamper the enjoyment of the music: they have a fairly unique sound and the music has some very subtle Spanish overtones but not in the Flamenco realm. Their sound oscillates between Isotope, Wigwam (the Gustavson and Pohjola compositions), Focus or Finch, Sloche (or fellow Quebecois Maneige) and countrymen Iceberg. If the jazz colours are the main characteristics of the album, the classical influences peak here and there, most notably in Negra Sombra (Dark Black).
Their second slbum 'Fusioon 2' (1974) comprises a stunning combination of delightful melodies and counterpoints, clever interplaying, delicate dissonances…