The Gathering is the first-ever complete cross-career celebration of the U.K.’s much adored melodic rockers musical canon. From the very first demo’s recorded in 1974 right up to the last album, Into The Valley Of The Moonking released in 2009, The Gathering captures every era of Magnum’s life and work over 5 classic discs. Included in the chronology are previously unreleased live tracks; rare demos; hard-to-find single B-Sides featuring extended and alternative versions. Disc 5 of the set is a complete vintage live performance previously unreleased on CD and taken from the Wings Of Heaven tour recorded at the Hammersmith Odeon, London in March 1988. Accompanying the set is a sumptuous 60-page booklet which includes a ‘no stone left un-turned’ ten thousand word story of Magnum written by the Classic Rock magazine news editor, Dave Ling.

After a period of inactivity since 2007's The Blue, which involved the departure of longstanding member Giuseppe Orlando, Novembre returns with URSA, a new set of potent and poignant tracks. The album effortlessly blends soothing, epic, melancholy and intense moods and represents a high point from one of the originators of the atmospheric Death/Doom Metal scene.
Headed by founding member and writer Carmelo Orlando (with a reinvigorated musical alliance with Massimiliano Pagliuso), the line-up is completed by Fabio Fraschini (previously bassist on the Materia album), and David Folchitto on drums. Anders Nystrom from Katatonia makes a special guest appearance, adding his own unique 'cold' touch to the album's single track Annoluce…

Inspired by a time of war, protest, and a nation on the brink, Shostakovich's Symphony No 11 reflects upon the tumult and tragedy of the 1905 Russian Revolution.

Pierrot lunaire, premiered in Berlin in 1912, is a series of twenty-one short melodramas for voice and five instruments on German translations of poems by Albert Giraud. Here the composer first introduces Sprechgesang (speech-song), a technique that revolutionised declamation. Schoenberg wanted the piece to be ironic, at once tender and grotesque, in the manner of cabaret songs. Patricia Kopatchinskaja, the violinist who is also an occasional actress, had long dreamt of playing and reciting this unique work. It was a pain in her arm preventing her from playing the violin that one day propelled her into the role of narrator: ‘All my life I have felt that I was Pierrot.

"I Will Not Go Quietly" and "The Wind Cries Mary" are just two of the highlights from this stormin' album which includes Don Airey, Bernie Marsden and Mario Parga in the line-up with Graham, Cozy and Ray. Formed in 1987, Forcefield’s ever-changing line-up brought together the mainstays of some of the biggest 80s rock bands. The original members were Pete Prescott, Ray Fenwick and Cozy Powell. Amongst guitarist Fenwick’s credits were The Spencer Davis Group, Fancy and The Ian Gillan Band, while drummer Powell had been a key figure in bands of the calibre of Black Sabbath, Rainbow and Whitesnake and is widely regarded as an all-time rock great.

Michael Chapman's The Man Who Hated Mornings might be seen as comparable to Eric Clapton's Slowhand release of the same year, and the presence of guitarist Mick Ronson (reunited with Chapman after six years spent elsewhere) does ensure that the frets get a fair workout as the album goes on. The comparison, however, has more in common with the mood of the record than any virtuoso concerns – it is Chapman at his most laid-back, and only occasionally stirring himself into first gear. A cover of Dylan's "Ballad in Plain D" is a triumphant highlight, seguing into Chapmans own "Steel Bonnets" instrumental to emerge a shoo-in for any "best-of" Chapman anthology.

By the release of Amigos, the Santana band's seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. "Let It Shine" (number 77), an R&B-tinged tune, became the group's first chart single in four years, and the album returned Santana to Top Ten status.

Jimi Hendrix's headlining appearance at the Atlanta Pop Festival would be the largest U.S. audience he would ever play to. Most people assume it was Woodstock, which was a larger festival, but by the time Jimi took the stage at around 9 a.m. on Monday morning, the Woodstock crowd was down to about 25,000 stragglers. Estimated between 300,000 and 400,000, the actual crowd at Hendrix's Atlanta Pop performance was hard to pin down due to the fact that many of the festivalgoers turned up after dark, in an effort to stay out of the stifling heat of Atlanta in the summertime. The trio of Jimi, Mitch, and Billy Cox had been touring for about two and a half months solid when July 4 rolled around, and they sound really tight kicking off the show. "Fire" starts the set, and one immediately notices how differently Billy Cox plays it versus Noel Redding. "Spanish Castle Magic" has Jimi trying out some new solo ideas and he really starts feeling it on a very improvisational, extended "Red House." A rare live performance of "Room Full of Mirrors" is followed by an absolutely incredible version of "Hear My Train A Comin'".