On the Who's final album with Keith Moon, their trademark honest power started to get diluted by fatigue and a sense that the group's collective vision was beginning to fade. As instrumentalists, their skills were intact. More problematic was the erratic quality of the material, which seemed torn between blustery attempts at contemporary relevance ("Sister Disco," "New Song," "Music Must Change") and bittersweet insecurity ("Love Is Coming Down"). Most problematic of all were the arrangements, heavy on the symphonic synthesizers and strings, which make the record sound cluttered and overanxious.

Fleetwood Mac's first album made after the departure of Danny Kirwan features the additions of guitarist Bob Weston and singer Dave Walker. By now Bob Welch and Christine McVie were the dominant forces in the band, and all traces of blues-rock were gone, replaced by Welch's hypnotic melodies and McVie's romantic sentiments married to up-tempo pop tunes. This album gave Fleetwood Mac its best U.S. chart showing yet, but the wonder is that this phase in the band's career wasn't even more popular.

Reckless is the fourth studio album by Canadian singer-songwriter Bryan Adams. Released on 5 November 1984 through A&M Records, the album was co-produced by Adams and Bob Clearmountain, and it was arguably Adams' most successful solo album. The album was a huge international hit, selling over five million units in the United States alone and twelve million worldwide. It was the first Canadian album to sell more than one million units within Canada. The album reached number one on the Billboard 200 and reached high positions on album charts worldwide.

Leading his own bands in the late '70s and early '80s, Ian Gillan continued to embrace music that, not surprisingly, was heavily influenced by his former band, Deep Purple. And he never sounded more Purple-ish than he does on Mr. Universe, which isn't quite on a par with Purple's Burn but is stronger than many of the albums the outfit had recorded after Gillan's departure (some of which were quite disappointing). This is Gillan at his most aggressive and passionately rockin'. Those with fond memories of his work with Purple will appreciate the testosterone-driven energy of "Vengeance," "Roller," and "Message in a Bottle." Headbangers shouldn't overlook this one.

The great Italian legend of the piano Maurizio Pollini sadly passed-away earlier this year, on 23rdMarch 2024. This album recorded together with his son Daniele, is dedicated to three different aspects of Schubert's piano oeuvre covering: the sonatas, the collections of short pieces, and music for four hands. The first time that both musicians performed a piano work for four hands: Schubert's great F minor Fantasy. The release is accompanied by a 16-page booklet with an essay by Maurizio Pollini's long-time companion Paolo Petazzi.

Cole Porter was one of a handful of American musical colossi. He had the genius to conjure up improbable rhyming lyrics to catchy melodies delivering not only a single song but as often or not a whole conundrum of numbers collected within the sphere of a show. This collection of 40 songs exemplifies the talent of Cole Porter and is a testament (tribute) to his longevity in musical history. Wit, humour, sophistication, rhythmic and key changes are small change to his ability.Who else could win a challenge to produce 'Miss Otis Regrets' after questioned whether he could write lyrics from the next words he heard? The cast of star celebrities in this collection say it all. Sinatra, Bennett, Crosby, Ella, Billie, Nat, Marlene, Judy to name a few. Also, the bigger bands of not so long ago, Nat Gonella, Jack Hylton, Geraldo. These need preservation orders and what better than endorse the master composer Mr Cole Porter? Add this to your collection.

Reach for the Truth: Best of the Reprise Years 1971-74. Generously packed with 23 tracks including one previously unreleased selection (a closing acoustic demo version of "Red Light Ladies," the tune that also opens the album), rare photos, extensive liner notes, and track-by-track descriptions from Lewis in the 24-page book, it's hard to imagine a more perfect single-disc representation of her material from these years.

Following their award-winning Mendelssohn cycle, Sir John Eliot Gardiner and the London Symphony Orchestra embark on a new journey through the symphonies of Robert Schumann. Gardiner feels the Schumann symphonies are criticised unfairly and with these recordings he is on a mission to dispel the cobweb of myths around these symphonic masterpieces.

Alexandre Tharaud pays tribute to composers associated with the courts of the French kings Louis XIV, XV and XVI. Lully, Rameau, Charpentier and François Couperin stand beside lesser-known masters: d’Anglebert, Forqueray, Royer, Duphly and Balbastre. “I’ve always been attracted by French music of this period,” says Tharaud, adding that when he plays the album’s initial Rameau prelude, “It’s like being alone at Versailles, opening the doors and entering those huge, imposing rooms.”

Rescue operas are not what one is used to associating with Handel, yet that, in a sense, is what this is. Costanza, a princess of Navarre, has been shipwrecked on Cyprus, where she now awaits the arrival of her betrothed, Richard the Lionheart (yes, the same). The island's tyrannical ruler, Isacio, fancies her for himself, however, and spends the entire opera trying to prevent the intended union from going ahead, first by sending Riccardo his daughter Pulcheria instead, and, when that has failed thanks to Pulcheria's brave entreaties, by imprisoning Costanza and declaring war. Only with his final defeat by Riccardo's army, aided by Pulcheria's own fiancé Oronte, do things finally turn out happily.

London '66–'67 is an EP and film of Pink Floyd music, containing two "lost" tracks—an extended version of "Interstellar Overdrive" and a previously unreleased track "Nick's Boogie".
These tracks were originally recorded for Peter Lorrimer Whitehead's film Tonite Lets All Make Love in London in 1967, and the former appeared in edited form on the soundtrack album.
Originally released in full on the 1990 See for Miles Records UK reissue of the soundtrack album, they were the earliest Pink Floyd recordings available commercially.

This expanded collection includes a bonus CD which features 10 bonues tracks including rarities, demo versions and previously unreleased live performances from the BBC. Also included is an extensive booklet which features complete original artwork, plus new liner notes.
Even as a serious-minded singer/songwriter, Cat Stevens never stopped being a pop singer at heart, and with Teaser and the Firecat he reconciled his philosophical interests with his pop instincts. Basically, Teaser's songs came in two modes: gentle ballads that usually found Stevens and second guitarist Alun Davies playing delicate lines over sensitive love lyrics, and up-tempo numbers on which the guitarists strummed away and thundering drums played in stop-start rhythms…