Two CDs devoted to the Springfields is probably a bit much for casual fans. This set could likely have been trimmed to one 70-minute CD, leaving out "Silver Dollar," "Row Row Row" and some of the other lesser material from their first album, although it is strange in an enlightening way to hear Dusty singing the latter, a pre-World War I standard more suited to the likes of Ruth Etting. What's good is that none of the high spots are left out, including "Allentown Jail," the ethereal "Far Away Place," "Silver Threads and Golden Needles" (natch), the delightful "Little Boat" (the best of their international numbers), and the gorgeous, near-British beat style "Come On Home," where Dusty starts to show off some of the soulfulness that would later identify her voice. The notes are well detailed, and the mastering is flawless.

"This compact disc presents all the studio recordings that remain from a time when, as a twenty-five year old champion of the avant-garde, I had to seek for every possible occasion of playing the new works of our composers. In those days, they were hounded and ripped apart by ideological critics; now they are recognized as the masters of new music. Audiences today need to realize with how much excitement and trust people discovered and took over the new currents seeping in from Europe through the Iron Curtain. These works represent and symbolize a marvelous epoch of friendship, a time when we came to know new horizons and discovered ourselves in the Soviet Union's huge, heterogeneous spaces." (Alexei Lubimov. May 2003)

Over a period of five years, Swiss directors Norbert Wiedmer and Peter Guyer documented the activity of legendary producer Manfred Eicher, the founder and driving force behind ECM Records, whose advocacy of progressive jazz and of classical composers like Arvo Pärt, Meredith Monk, Valentin Silvestrov, and György Kurtág changed the landscape of contemporary music in the late 20th and early 21st centuries. The film Sounds and Silence: Travels with Manfred Eicher was released in 2009 and this 2011 soundtrack album is made up largely of tracks taken from previously released ECM albums that Eicher produced, some from as early as 1980. Most of the pieces are low-key and understated and feature chamber ensembles, although there are several piano tracks and several featuring orchestra or chorus. The album has a mix of selections from ECM's classical and jazz repertoire, and from the label's specialty, the many pieces that lie somewhere in between the two.

Helen Shapiro is remembered today by younger pop culture buffs as the slightly awkward actress/singer in Richard Lester's 1962 debut feature film, It's Trad, Dad. From 1961 until 1963, however, Shapiro was England's teenage pop music queen, at one point selling 40,000 copies daily of her biggest single, "Walking Back to Happiness," during a 19-week chart run. A deceptively young 14 when she was discovered, Shapiro had a rich, expressive voice properly sounding like the property of someone twice as old, and she matured into a seasoned professional very quickly.

Allar Kaasik has enjoyed a long and fruitful career, in his native Estonia as well as abroad. Reflecting on it in the liner notes to this very personal disc, he singles out one particular aspect: the ambition to embrace the very latest compositions by Estonian composers. Performing in churches as he often does, Kaasik finds music resounding in a church a part of the Holy Service. This is reflected in many of the works which have been written for him, with composers such as Galina Grigorjeva and Kuldar Sink enriching the tradition of Estonian church music. Among Allar Kaasik’s many partners in performing these works, several appear on the present disc, including two eminent choirs – the State Choir Latvija and Estonian National Male Choir – as well as the Latvian organist Kristīne Adamaite. A focal point of the programme is the cello concerto Pro et contra by the most celebrated of all Estonian composers, Arvo Pärt. Kaasik is supported by the Estonian National Symphony Orchestra conducted by Peeter Lilje and the recording has a particular significance – originally released by Melodiya in 1989, it was the first recording of Pärt’s music published on disc in the Soviet Union following the lifting of the unofficial ban on his music. The remaining works on Timeless Light were all recorded between 2014 and 2016.

Possessing not the greatest album sleeve in history - "Images" was nonetheless a bit of a Jazz-Funk peach. Produced by "Stix" Hooper, Wilton Felder & Joe Sample for "Crusader Productions, Inc." and mastered by long-standing expert Bernie Grundman, it followed so much of their Seventies output - really well-produced instrumental funky tracks followed by mellow ones that filled both the floor and the heart at one and the same time. Remastered from the original tapes by KEVIN REEVES at Universal Mastering in the States, it now sounds FABULOUS - really clear and defined - and virtually hiss-free. After a whole decade and umpteen albums of their particular type of funk & jazz, the same team that handled "Images" would finally hit paydirt a year later in 1979 with the global smash of "Street Life" and make Randy Crawford a star.

Perry and Gerrard continued to experiment and improve with The Serpent's Egg, as much a leap forward as Spleen and Ideal was some years previously. As with that album, The Serpent's Egg was heralded by an astounding first track, "The Host of Seraphim." Its use in films some years later was no surprise in the slightest – one can imagine the potential range of epic images the song could call up – but on its own it's so jaw-droppingly good that almost the only reaction is sheer awe. Beginning with a soft organ drone and buried, echoed percussion, Gerrard then takes flight with a seemingly wordless invocation of power and worship – her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. Nothing else achieves such heights, but everything gets pretty darn close, a deserved testament to the band's conceptual reach and abilities.

Five CD box set containing a quintet of original albums in card LP replica sleeves! Features "Pretenders" (1980); "Pretenders II" (1981); "Learning To Crawl" (1984); "Get Close" (1986) and "Last Of The Independents" (1994).

To celebrate the 150th anniversary of Janáček’s birth, this Decca Collector Edition brings together most of the composer’s chamber works and solo pieces plus his most popular orchestral works and the magnificent Glagolitic Mass in a superb digital recording with Riccardo Chailly and Wiener Philharmoniker. The recordings of the solo works and chamber pieces feature one of the world’s most distinguished ensembles: the London Sinfonietta and David Atherton. Their recordings were originally released as a 5-LP set in 1981 and many of these performances have not been available for several years; many also make their first international appearance on CD. This set provides the listener with all the essential non-operatic Janáček in one convenient collection.

This two-fer from the Australian Raven label is a part of a series of Delbert McClinton reissues. All of them come with new liner notes, session photos, and bonus tracks. These two albums, from 1980 and 1981, respectively, represent a renaissance for McClinton of sorts. While he never had a fallow period creatively, The Jealous Kind allowed him a renewed commercial viability even if it was short-lived. Both records were issued by the Muscle Shoals Sound imprint of Capitol Records and were produced by Barry Beckett with the Muscle Shoals rhythm section and horns. While the first disc is centered around diversity in its song choices – by everyone from Larry Henley to Bobby Charles to Van Morrison to Al Green to Jerry Williams – and took radical approaches to reinterpreting the material through soul, blues, funk, rock, and country, the latter chose hard-driving Southern-fried funk and R&B and a relatively close-to-the-vest approach in terms of material – most notably covers of "In the Midnight Hour" and Naomi Neville's "Lipstick Traces (On a Cigarette)".

All six albums Joan Baez recorded for A&M during the '70s with non-LP singles-a long-overdue look at a key phase in her career! This box has every note from this fertile period, including the albums Come from the Shadows, Gracias La Vida (Here's to Life), Diamonds and Rust , the live album From Every Stage and the never-before-on-CD Where Are You Now My Son? and Gulf Winds releases.

For the first time in her career, Blues diva Dana Gillespie releases a live album. After four studio sets for Ace, dating back to 1982's Blue Job, this CD is released in response to the demand by her audiences around the world. Recorded with the London Blues Band in Poole in 2006, the set features the dynamic guitar skills of Dino Baptiste. No fancy studio tweaks are used here. Dana and the Band cut the mustard, with the very highest level of musicianship, spiced up with a lot of fun, to create this straight-ahead record of a fabulous gig from a great singer with a great band.

Reissue of this 2004 release from the American singer-songwriter. The album was originally recorded in 1989 but remained unreleased for 15 years. Delaney Bramlett is probably best known for his partnership with his former wife Bonnie. Eric Clapton was so enamored of the duo that he subsequently left Blind Faith and toured with Delaney and Bonnie and recorded a live album with them in Europe in 1970 following which Eric recorded his first solo album with much input from Delaney. Other high profile musicians attracted to the Bramletts were Dave Mason, George Harrison and John Lennon.

Dream into Action is the second studio album by the British pop musician Howard Jones. It was released in March 1985 and reached No.2 in the UK Album Charts. The album also reached the top ten in the US. The album went gold and platinum in many countries including the US and UK. The album contained the hit singles "Things Can Only Get Better" (UK #6, US #5), "Look Mama" (UK #10), "Life in One Day" (UK #14, US #19), and "Like to Get to Know You Well" (UK #4).

Barbirolli made later recordings of all the works on this CD and these have become cornerstones of the catalogue. These are earlier recordings that he did with his own orchestra, the Halle, in the 1950s. To start with, the recording quality is pretty amazing. They were recorded on 35mm film tape rather than half inch recording tape by the Mercury team and have astonishing immediacy and amazingly lifelike. Barbirolli uses an organ in the finale of the Enigma Variations. The recording is a little bass heavy but this is a small caveat. For people who consider Barbirolli to be a bit indulgent as a conductor, these recordings may come as a surprise. The performances are very direct and nicely flowing. They therefore complement rather than compete with the later recordings. Of course, Barbirolli's later recording of the Cello Concerto with Jacqueline du Pre is a very famous and special rendition of the work. However, it is not without its detractors. Andre Navarra, by contrast, plays with golden tone. He plays gorgeously. Highly recommended.