DYNAMIC SOLO SHOW FROM JOE WALSH S 1983 TOUR Having joined the Eagles in 1975, in time to appear on the ground breaking Hotel California album (and its seminal title track), Joe Walsh re-ignited his solo career in 1978 while his new paymasters struggled to record its follow up. The critically well-received But Seriously, Folks… released in May 78 contained Joe s biggest solo hit, the comedic Life s Been Good . Following the breakup of the Eagles in July 1980, Walsh continued to release solo albums throughout the 1980s, and although the sales of such did not match the level of his earlier successes, his live tours were met with enthusiasm and commendations from fans and critics alike. Recorded for live FM Broadcast via the King Biscuit network, while touring his 1983 release You Bought It You Name It - his second post-Eagles album and his 6th overall solo-effort - the show presented here was played at the Irvine Meadows Amphitheatre on October 3rd 1983, featuring a sterling performance of his 1978 hit (which provides this CD its title) alongside 10 other JW classics, this dynamic show is finally available for non-attending fans to enjoy for the first time.

AN EXTRAORDINARY PERFORMANCE BY THE ELETRIC MILES DAVIS SEPTET The Miles Davis Septet, as it then was, toured Europe from October 24 to November 21, 1973, stopping off on November 3rd at Vienna s Stadthalle Venue, for a concert consisting of six tracks lasting 62 minutes and 48 seconds. Featuring the most familiar line-up from this period - Dave Liebman (tenor and soprano sax, flute), Reggie Lucas (guitar), Pete Cosey (guitar, percussion), Michael Henderson (bass), Al Foster (drums), and James Mtume (percussion),the entire program was broadcast on television in Austria and synched too on certain channels in the US. A no-nonsense affair, the band came on, played their set and went off. The opening track, Turnaroundphrase, titled along the lines of the infamous Call It What You Like from the Isle of Wight festival recording, begins with percussion from Mtume, then moves into an unfamiliar jam heavily featuring wah-wah guitar, heavy drums and cymbals, and Miles's horn, also through wah-wah, in a configuration similar to Zimbabwe off Pangaea. Throughout, Michael Henderson's bass is prominent, I think possibly because of where this was recorded and from where he was poached (from Stevie Wonder).

Italian composer Nicola Porpora is mainly a footnote in the history books these days, noted as Haydn's teacher, but in his day he was a rival to Handel and wrote a good deal of music for the celebrated castrato Carlo Broschi, aka, Farinelli. That music is sampled here by the startlingly soprano-like French countertenor Philippe Jaroussky, and listeners are likely to feel that it's been unjustly neglected. Jaroussky sounds great, his creamy voice sailing through the mostly tuneful pieces. There are also a few big showpieces of the sort that Renée Fleming and others have recorded on their Baroque aria albums.

Hitherto unpublished works by the very popular late seventeenth- / early eighteenth- century Italian composers Alessandro Scarlatti and Giovanni Bononcini - that's what Soprano Amaryllis Dieltiens and her continuo partner Bart Naessens found in the Brussels collection of François-Joseph Fétis, who was a famous musicologist in the nineteenth century. With their ensemble Capriola di Gioia they present many of these pieces recorded here for the first time ever. The quality of the compositions is on a par with those already known - an irresistible pleasure for friends of secular Baroque cantatas! Soprano Amaryllis Dieltiens has been acclaimed particularly by connoisseurs of Baroque singing.

40th anniversary reissue of the Police's classic album. DISC 1 is the latest remastered version of the original album, and DISC 2 contains B side tracks of the singles and past bonus tracks, all of which are being released on CD for the first time. Comes with lyrics and a description. Synchronicity is the fifth and final studio album by English rock band The Police, released in the United Kingdom on 17 June 1983. The band's most successful release, the album includes the hit singles "Every Breath You Take", "King of Pain", "Wrapped Around Your Finger", and "Synchronicity II". At the 1984 Grammy Awards the album was nominated for a total of five awards including Album of the Year and won three. At the time of its release and following its tour The Police were hailed as the "Biggest Band in the World". The album was number one on both the UK Albums Chart and the U.S. Billboard 200, and sold over 8 million copies in the U.S. Synchronicity was widely acclaimed by critics.

Beethoven's permanent move to Vienna in 1782 allowed him direct contact with the operatic and Italianate culture of the city. He took lessons in Italian word setting from Salieri and almost immediately began the composition of a series of arias in that language, including Primo amore, piacer del ciel and later the dramatic recitative and aria Ah! perfido. Beethoven also set strophic songs in German that form part of the popular Singspiel tradition which are genial and rare examples of his art. Leif Segerstam has said that he has a special place for Beethoven between his ears, having grown up with the composers music and conducting it frequently during his years in Vienna during the 1970s and 80s.

Magdalena Kozena, one of the most acclaimed recitalists of today, presents a personal collection of songs she has known since childhood and that form some of her earliest musical influences. A haunting collection of songs by Czech composers such as Dvorak, Janacek, Martinu, Schulhoff and Eben, all deeply rooted in the rich Czech folk song tradition. Like Magdalena explains about the songs on the album: They are just the sort a mother would sing to her baby. My mother is not a professional singer, but she loved to sing and knew a lot of songs!

This must surely be the most lavish and welcome Procol compilation ever released: 57 tracks, all the A and B sides from 1967 to 2002, with lavish photographs and comprehensive liner notes. All collectors will prize this album, not least since it includes Adagio di Albinoni and the live Blue Danube that was its B side… items too precious to play from the rare vinyl versions.

John Lee Hooker, Howlin' Wolf, Billie Holiday, Muddy Waters, B.B. King, Lightnin' Hopkins, Elmore James, Leadbelly and many others.

In 1956, trumpeter Art Farmer was teamed with tenor saxophonist Hank Mobley and pianist Horace Silver in one of the most vital and important modern jazz groups of the seminal hard bop era. But it was Farmer here who was emerging as a leader, with Mobley tagging along on this excellent date. Not to say that Mobley was a slouch, and indeed far from it as a peer of Sonny Rollins and John Coltrane. Fact is, Mobley led the band with Farmer and Silver, but achieved his greatest acclaim alongside trumpeters Lee Morgan, and eventually Miles Davis. For Farmer, this recording was a coming out party, establishing him not only as a fine player, but a composer who lyricists were attracted to. "Farmer's Market" with its by now immortal swift hard bop melody and harmony courtesy of the Farmer/Mobley tandem, and the languid ballad "Reminiscing" with Mobley out but pianist Kenny Drew adding reinforcement a hundredfold…

Guru Guru played in the Wartburg, a Wiesbaden hall, on September 17th, 1973. It was one of the gigs recorded by Xhol (Caravan) acquaintance Muck Krieger. His recording equipment was then state-of-the-art: an Uher tape recorder CR 124 and two Revox microphones for the stereo sound, the equipment he had used the year before (CD 'Wiesbaden 1972'). The result has turned out satisfactory, although the occasional singing sounds slightly thready and reverberant. That is partly due, however, to the live sound reproduction during the gig. With its 37 minutes, 'Ooga booga' leaves a lot of space for free improvisation. 'Round dance' and 'Das Zwickmaschinchen' are from their fifth LP, 'Don't call us', which had just been recorded at that time. Thus, Muck Krieger's supply of Guru Guru materials has been exhausted.

Code Indigo is one of those hard to categorise electronic bands whose music and concept albums cross genres and has wide appeal. The music is original, with thematic compositions, an imaginative combination of synths, keyboards, guitar, samples and rhythms plus a good helping of experimental, ambient and down tempo chill out influences. The music compares to that of a ‘Blade Runner’ style soundtrack, with Pink Floyd and Art of Noise influences. The band was founded in 1994 by David Wright and Robert Fox with the original line-up completed by Nik Smith and Vaughn Evans.

This record was created to demonstrate the sonic capabilities of the Compact Disc. Because of its extreme dynamic range, bandwidth, and clarity, this material is ideal for testing and evaluating audio systems. The selections of this disc offer the listener extraordinary examples of digital recording (jet plane takeoffs and landings, the Pacific ocean, pastoral settings, a helicopter landing, the human voice, trombones, the harpsichord, conga drums, and unusual instruments), digital processing (sounds spin through space, the male voice is transformed into growling lions, a trombone choir floats in a cathedral), and digital synthesis in its most advanced state (synthesized birds, gongs, percussion, bells, voices, plucked strings, imaginary creatures). The disc also includes an extensive test section that can aid in the fine tuning of audio systems. The sounds on this recording can be accurately reproduced only in the digital domain, therefore no analog recordings of this material will be available.

3 LP radio show features the Talking Heads and aired for the weekend of April 14-15, 1990 with DJ cue sheet. Westwood One's 'Superstar Concert Series' was a 90-minute, weekly national radio show that was broadcast on radio stations in the US who paid for the subscription. These shows feature portions of professionally record concerts as well as national commercials. Each show was pressed on 3 vinyl LPs (these would later be issued on CD) and pressed on high-quality translucent vinyl for superior sonics (hold it to a bright light and you can see through it).These were available only to radio stations who subscribed to Westwood One and were not sold in stores.

There’s no way to put all the great music that has appeared in over a century of films into one set, but this collection from EMI Classics collects enough famous pieces to make most cinephiles smile. A mix of classical works used in films (like Also Sprach Zarathustra Op. 30 [Opening], now indelibly linked with 2001: A Space Odyssey) and score excerpts (like John Williams' “Star Wars [Main Theme]”), the set flows seamlessly from piece to piece. As the title suggests, 100 Best Film Classics leans more toward the classical side than the score side, which means it would also work well as an introduction to classical music for the film score fan looking to broaden his or her horizons.