Live in Sweden, May 1985 & Live in England, November 1984.

60 years, 23 CDs, a career. Since its 3.7 million units sold to this day, Herbert Grönemeyer is the northern star of German-speaking pop music. For its 60th Birthday published Greenland/Universal now with Everything Herbert Grönemeyer's first, his entire career comprehensive work show — all studio albums, selected live albums, the two movie soundtracks about The American and A Most Wanted Man, a CD with rare tracks, a Remix CD and his English album I Walk on 23 CDs. The luxuriously equipped box was designed by Walter Schönauer, the legendary Art Director of Tempo, Vanity Fair and Rolling Stone as well as numerous Greenland publications. Its design of the POP 2000 Box (Greenland) has been awarded the New York Clio Award. The 68 pages book included in the box contains texts and essays by Joachim Hentschel, Frédéric Schwilden, Rainer Schmidt, Michael Lentz, Wolfgang Höbel and Pat Blashillill, as well as rare photographs of Anton Corbijn, Ellen von Unwerth, Jürgen Teller, Jim Rocket and the recently deceased Daniel Josefsohn.

1931 was the breakthrough year for 32-year-old Hungarian immigrant Eugene Ormandy. First, he was engaged by the Philadelphia Orchestra to deputize for his idol Toscanini, who was briefly indisposed. Then, a few months later, he was asked to step in for the conductor of the Minneapolis Symphony Orchestra, also indisposed – but in this case permanently. Soon Ormandy was hired to take over that rising Midwestern orchestra. At the end of his five-year tenure in Minneapolis, which produced a considerable discography for RCA Victor (available in an 11-CD Sony Classical box set), Ormandy was called back to Philadelphia, this time to become its co-conductor with Leopold Stokowski. In 1936, he began recording regularly for Victor with his new orchestra, picking up the pace in 1938 when he became its sole music director.

For four decades, Capriccio Stravagante, founded and led by early music pioneer and virtuoso harpsichordist Skip Sempé, has redefined standards of artistry, creativity, and virtuosity in the interpretation of Renaissance and Baroque music.

Tijdens de eerste helft van de 70-er jaren waren the Allman Brothers Band de meest invloedrijke rockgroep in Amerika, waarbij zij rockmuziek en de grenzen daarvan herdefinieerden. Het krachtige, uitgebreide improviseren van de band op het podium veranderde de normen van concertoptredens; er waren andere groepen die bekend stonden om hun improvisaties maar the Allman Brothers konden een nummer 30 tot 40 minuten uitrekken, en waren op zijn best opwindend, nooit hedonistisch. Zij gaven het alles een distinctieve Zuidelijke stem en openden hierdoor een deur voor een golf van 70-er rockbands vanuit de ten zuiden van de Mason-Dixon Line gelegen regio, waaronder Lynyrd Skynyrd.

Nowhere was Ella Fitzgerald's mastery of America's "classical" music more evident than on the legendary songbook albums of the 1950s. Of the songwriting giants covered in the series, the collection of songs by George and Ira Gershwin was arguably the greatest. Oh, Lady, Be Good!: Best of the Gershwin Songbook collects 17 of the strongest cuts from the 5 original LPs. Why Gershwin? Ella's painstaking attention to musical perfection helped turn many songs into standards, but Ira Gershwin's lyrics seemed to speak to Ella most directly of all. Ira, who was present at these 1959 sessions, wrote lyrics that conveyed a sense of lightness and romanticism, qualities that fit Fitzgerald's vocal style to a tee. Ella's unique abilities are showcased on her masterful version of "Someone To Watch Over Me." While many singers have captured the song's sense of longing, Fitzgerald refuses to overdo it…

In honour of Maurice Ravel’s 150th anniversary in March 2025, the Pacific Quintet is thrilled to present one of his landmark works Le Tombeau de Couperin. Originally composed as a solo piano suite between 1914 and 1917, Le Tombeau de Couperin pays homage not only to the Baroque composer François Couperin but also to friends Ravel lost during World War I. Each movement is dedicated to a fallen soldier, blending elegance with a deep sense of remembrance.

2005's Playing the Angel proved to be one of Depeche Mode's strongest albums - the combination of Ben Hillier's production, the emergence of David Gahan as a songwriter following his initial solo effort and a clutch of striking songs that openly embraced arena-level bombast following the much more subtle Exciter resulted in wide praise and a well-received tour. As a result - especially given the return of Hillier, the first producer to work on two Depeche albums in a row since Flood's heyday with Violator and Songs of Faith and Devotion - Sounds of the Universe was initially suspected of being Playing the Angel redux, something the swaggering lead single "Wrong" didn't undercut at all. After all these years, though, Depeche can still pull out surprises, and what's quite astonishing about Sounds is how they've returned to the equipment and textures of their early-'80s work…

Recorded live at End Cole Ave, October 19, 1969, except (2-1) recorded live at End Cole Ave, October 18, 1969, and (2-2/2-3/2-4) recorded live, more or less, in those days.

Previously unreleased double CD from one of the giants of Brazilian Music featuring highly sought after versions of Milton classics recorded between 1974 and 81. Featuring classic Milton tracks such as ‘Os Escravos De Jó’, ‘Ponta de Areia’, ‘Minas’, and ‘Maria Maria’, Milton considers these the ‘definitive’ versions of his classics.

A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes "Can't Get It Out of My Head" Mobile Fidelity's Numbered-Edition Hybrid SACD Plays with Previously Unheard Dynamics, Rich Tones, and Bountiful Colors Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.

Lena Horne was a multi-talented singer, dancer, actor and civil rights activist, who by the age of 16 was performing in the Cotton Club Revue in New York and soon became big band singer, and appeared in her first movies during the 1930s. Eventually enjoying a career which spanned seven decades, she became a highly-respected entertainer, famed for her sultry and sophisticated way with a song. This 48-track 2-CD set addresses the first fairly brief era of her recording career, when she established her reputation and had the first of her hits. It comprises most of her releases from these years on the Decca, Bluebird, Victor, Black & White and MGM labels, plus one V-Disc recording, and includes her hits with the Great American Songbook classics “Stormy Weather”, “One For My Baby (And One More For The Road)” and “Deed I Do”. It features performances with the orchestras of Noble Sissle, Charlie Barnet, The Dixieland Group of Basin Street, Artie Shaw, Teddy Wilson, Lou Bring, Phil Moore and Luther Henderson. She was one of the finest interpreters of popular song of her era, and this collection brings together her early versions of songs by the great writers of the day, providing a fine showcase for her highly distinctive talents.

Nils Frahm fulfills last year’s promise to follow up 'Day', the collection of solo piano music he released last March. 'Night', which contains five new tracks, will be out on May 9 on vinyl as well as via all digital platforms. A CD version, 'Night & Day', including all eleven tracks from both albums, will also be made available at the same time. The new music follows Nils' latest live album, 'Paris', which was released in December last year.

This digital-only recording features the Second Symphonies of Julius Eastman and Pyotr Ilyich Tchaikovsky—works that, despite being separated by over 100 years of history, share a remarkable vibrancy and hidden sentiment that continue to resonate today.

The Swedish mezzo soprano Anne Sofie von Otter is among the most versatile singers on today's scene, recording and performing opera of various eras and in various languages, art song, oratorio, rock, pop, and jazz. As a song recitalist, collaborating with pianist Bengt Forsberg, she has specialized in unusual and original programming. Von Otter was born in Stockholm on May 9, 1955. Her father was a Swedish diplomat, and her childhood was divided among stints in several countries; she mastered multiple languages as a child.