Edge of Twilight is a thorough overview of Gentle Giant's years at Vertigo Records, containing nearly every highlight from each of their early records. As a result, it's not only a perfect introduction to the strange, provocative world of Gentle Giant, it could be all the Gentle Giant most prog-rock fans need.

David Coverdale's first two post-Deep Purple solo albums, 1977's White Snake and 1978's Northwinds, were combined onto one CD prior to this package, which came out on the Purple label in 2003. That two-fer, however, didn't have the four bonus tracks that appear on this configuration…

Widely regarded as a master of the cover version, Bryan Ferry’s new interpretations of four classic love songs.

The Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178, popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered in New York City on 16 December 1893. It has been described as one of the most popular of all symphonies. In older literature and recordings, this symphony was – as for its first publication – numbered as Symphony No. 5.

This new, excitingly original production of Mozart's most popular opera was the sensation of the 2006 Salzburg Festival. "What young director Claus Guth has made of Figaro - with Harnoncourt's active collaboration - is genius … The stellar cast performed with power and precision …" (Le Monde). "…a fully rounded musical performance…By and large the opera could hardly be more strongly cast. Anna Netrebko is a dreamy, vulnerable and beautifully sung Susanna, and Ildebrando D'Arcangelo's smouldering Figaro is a really macho rival to the Count.” (Gramophone)

Remember when, in the 1980s, the hard rock landscape was littered heavily with Led Zeppelin impostors? The apex of this so-called movement was probably 1987 through 1989, when metalheads were treated to such popular Zep-like releases as Whitesnake's self-titled commercial breakthrough and Bonham's The Disregard of Timekeeping. But possibly tops on the "Zep disciple" list were Kingdom Come, with their debut album Kingdom Come and single "Get It On," which were big hits. Their subsequent albums failed to perform as well (guess fans realized that one Zep was enough), but Kingdom Come singer Lenny Wolf has persevered and stuck to his guns throughout the years by fronting various lineups of the band.

Born and raised in Toronto, Garnett Ford formed his first band, Pinball, during the mid '70s. They played the local area circuit, venturing occasionally out west and into the US, when Frederick Starchuck took an interest. He signed Ford to a management deal, and within a year a contract with Warner Brothers. They wanted him as a solo act, so Pinball folded and Ford went into Phase One Studios with Ian Thomas and Gary Muth. UNDER THE INFLUENCE was released in February, 1978. A slick blend of pop and adult rock, it was all originals, mostly written by Ford with Doug Templeton, sent in for the job by Starchuck.

Combining the Vocal talents Of David Raitt (Bonnie's brother) with the explosive guitar of Jimmy Thackery, this is modern Blues/R&B at it's finest. Having know each other since they were kids David Raitt and Jimmy Thackery decided it was time to join forces and see what they could do in the sudio together. These recordings not only feature David's wonderful vocal skills and Jimmy's explosive guitar work but also some fine song writing by both. As a special bonus there is the guest appearance of David's sister Bonnie Raitt helping with vocals on two tracks. Add powerful rhythm and horn sections and, well, "That's it!"

Like most British pop, Lily Allen's debut album, Alright, Still, overflows with impeccably shiny, creative productions. However, Allen attempts to set herself apart from the likes of Rachel Stevens, Natasha Bedingfield, and Girls Aloud with a cheeky, (mostly) amusing vindictive streak in her lyrics that belies the sugarcoated sounds around them. You know exactly what she means when she says her ex is "not big whatsoever" on "Not Big"; later, she revels in being the one that got away on "Shame for You." However, this nice-then-naughty approach is at its best on Alright, Still's singles, which open the album in a one-two-three punch.

There are compositions whose title sounds purposely reductive, and these certainly include Symphonic Dances, Rachmaninov's last composition, so the name of symphony would not seem usurped even if the form does not correspond to the classical one.

Over 2 hours of the smoothest soul from the 60s, 70s and 80s on 2 CDs featuring tracks by classic soul artists such as Luther Vandross, The Isley Brothers, Isaac Hayes, Fat Larry’s Band, The Chi-lites, Jackie Wilson and many more.
Soul Sessions takes us on a journey through the deepest soul cuts of the last 30 years. From the loved-up sixties stomp of Jackie Wilson’s ‘Sweetest Feeling’ through the blissed-out harmonies of The Chi-lites ‘Have You Seen Her’ to the smooth sensuality of eighties heart throb Luther Vandross. Soul Sessions offers enough soul food to satisfy the hungriest of lovers. So whatcha waiting for…get it on!

Summer 1988 and as Acid House raged across the UK pockets of resistance began springing up delicated to a very different beat. Inspired by Hip-Hop, Jazz and a wealth of Soul and Funk recordings stretching back to the 60's America, young musicians breathed life into old sounds, recorded new ones and set about spreading their message worldwide. Soul Jazz Sessions celebrates those bands, producers, and DJ's who took the next step into the studio and produced some dancefloor magic in the process.

Heron's self-titled debut LP was mild, drummerless British folk-rock with the rural/pastoral feel common to many early-'70s records in the style. That pastoral feel, in this particular case, might have been in part deliberate; the record was actually recorded in a field by the River Thames, and though the sound quality is very good, you can occasionally hear some birds and faint ambient outdoor noises. The music is very friendly, acoustic guitar-based stuff that, as improbable as such a blend may seem, is a little like a combination of Simon & Garfunkel with the Incredible String Band, though there aren't many of the weirder elements of the latter. You might also cite the most acoustic and folky Paul McCartney ballads of the late '60s and early '70s (à la "Blackbird") and the harmonies of Crosby, Stills and Nash as less prominent influences. Some organ, piano, and accordion add a little depth to what's essentially an acoustic folk base.

Luther Allison seemed to be on a roll when he died in 1998. He was back home after many years in Europe, and was winning awards and making a good living. This, his debut album, was cut in 1969 when he was 30 years old. He sang as if barely able to keep a lid on his emotion, and the elegance and precision of his guitar playing belied the fact that he had only been playing the instrument for a few years. If this debut can be faulted it's only in that it relies too heavily on overfamiliar standards like "Little Red Rooster," "Five Long Years," "Dust My Broom," "Sky Is Crying," and "Every Night About This Time." The CD reissue has been expanded with alternate takes and bonus cuts.