Enjoy this Compilation with the most successful NOW That's What I Call A Massive Party singers like ABBA, John Travolta, Olivia Newton-John, Cher, Blondie and many more!

Down In Havana is a 2009 bootleg CD by The Beatles. It is a release from the Remasters Workshop and features songs recorded in 1968. It highlights the recording of "Hey Jude" but also features a few songs that would make it onto The Beatles, better known as The White Album.

We Found It In The Trashcan, Honest! is a bootleg album by the band Boston, a band which didn't exist since all of the music was originally played by guitarist Tom Scholz. This is taken from an early demo tape that lead to Boston being signed and if it sounds a lot like the final recording, it's because both are all Scholz. This remastered version was released by Remasters Workshop.

Feelings is a 1974 album by Jay Richford & Gary Stevan. Their names were pseudonyms for two other musicians who worked for Stefano Torossi, whose name was used when this was reissued on CD. The album may be loosely classified as easy listening but there is a nice groove heard within.

Almost Grown is a 1983 bootleg album by The Beatles. Consisting of tracks from the Get Back/Let It Be sessions, this edition was reissued by Remasters Workshop.

Four albums and seven Grammy® nominations later, Garbage has its first best of collection – Absolute Garbage. Along with the new track Tell Me Where It Hurts, Absolute Garbage features 17 songs of extreme and intense emotion, from Stupid Girl, Queer and #1 Crush to Special, Bleed Like Me and Why Do You Love Me.
The special limited edition 2-CD set adds to the original CD a bonus disc of remixes by some of the world s most renowned DJs, including U.N.K.L.E., Massive Attack, Todd Terry, Crystal Method, Fun Lovin Criminals, and Felix Da Housecat.
Absolute Garbage offers the best of a band that, to quote a lyric from Queer, has been the strangest of the strange, the coolest of the cool.

Released at the front end of 1999's Lilith Fair, Mirrorball is a take-home sampler of the live performances that catapulted Sarah McLachlan into the modern rock stratosphere. Over half of the album's 14 songs are radio hits (including four of the first five), proving McLachlan's worth as a pop songstress bar none, but also hinting at an underlying stagnation in her recent musical output…

Smokey-voiced chanteuse Madeleine Peyroux's third CD is a lovely collection of after-hours ruminations and should confirm her rise to fame. Credit producer Larry Klein for doing a bang-up job with the album's sound: the elegant, pared-down arrangements are all brushed drums, acoustic guitars, and cool organ licks. But of course it's Peyroux's voice that brings it all home–preferably one where the shades are drawn, embers are smoldering in the fireplace, and the white wine is kept dry. Two-thirds of the songs are well-chosen covers, including a duet with k.d. lang on Joni Mitchell's "River"; a relaxed version of Fred Neil's "Everybody's Talkin'," from Midnight Cowboy; a delicately lilting samba take on Leonard Cohen and Anjani Thomas's title track; Serge Gainsbourg's "La Javanaise," performed in the original French; and Charlie Chaplin's "Smile," from Modern Times. The four originals, all coauthored by Peyroux, easily keep up with such august company, especially "I'm All Right"–written with Klein and Walter Becker, it captures the easy sophistication of Becker's regular band, Steely Dan. Fans of Norah Jones (whose collaborator Jesse Harris cowrote three of the songs) should gobble up this album, but Peyroux is no mere imitator: She's her own, very real thing.

West Coast vocalist, guitarist, and songwriter Robert Lucas forged a path for himself in the blues world after the release of his much-hailed 1990 self-produced debut cassette, Across the River. Based in Long Beach, CA, as a solo artist Lucas recorded for the Audioquest label out of San Clemente. He was also a member of the legendary boogie blues band Canned Heat, singing and playing bottleneck guitar and harmonica with the group off and on starting in 1994. Lucas paid homage to traditional blues but also carefully crafted his own singing and slide guitar style. These talents are on ample display on his Audioquest albums, including Luke and the Locomotives, Usin' Man Blues, Built for Comfort, Layaway, and Completely Blue, all released during the '90s, as well as latter-day Canned Heat albums on the Ruf and Fuel 2000 labels.

Nuance is not a term normally associated with thrash metal, but between the infectious melodic hooks and the varied velocity factor, this iconic Danish outfit has brought just that to the table without losing any of the style’s inherent intensity…

Pietro Antonio Cesti, byname Marc’ Antonio, (1623-1669) composer who, with Francesco Cavalli, was one of the leading Italian composers of the 17th century. Cesti studied in Rome and then moved to Venice, where his first known opera, Orontea, was produced in 1649. In 1652 he became chapelmaster to Archduke Ferdinand of Austria at Innsbruck, a post he combined for a time with membership in the papal choir. From 1666 to 1669 he was vice chapelmaster to the imperial court in Vienna.

This is a compilation of Franki Valli & The 4 Seasons' hits, including "Big Girls Don't Cry", "Sherry", and "December, 1963 (Oh What A Night)". Although they were one of the very biggest rock & roll groups of the 1960s, the Four Seasons – unlike, say, the Beatles, Rolling Stones, or the Byrds – don't excite virtually automatic respect from listeners and critics. A big factor is their most distinguishing trademark, the high falsetto vocals of their lead singer, Frankie Valli. Many also found their material – romantic tunes with tightly arranged group harmonies that updated doo wop ethos into the '60s – a little too clean-cut. Whatever your feelings about the group, though, there's no denying their considerable importance.

Lonely Girl (1956). Liberty Records was pleasantly surprised when Julie London's debut album was such a big hit. Julie Is Her Name did contain the hit single "Cry Me a River," but each featured mellow jazz guitar and bass backing - which was considered commercial suicide in 1955. So, instead of changing direction and recording the follow-up Lonely Girl with a full orchestra, Liberty wisely allowed London to strip the accompaniment down even more on the album by dropping the backing down to one instrument. Lone guitarist Al Viola plays gentle Spanish-tinged acoustic behind the hushed vocalist, and it suits London perfectly. While the singer was often chided for her beauty and lack of range, she deftly navigates these ballads without any rhythmic underpinnings to fall back on. London's intense focus on phrasing and lyrics recalls Chet Baker's equally telescopic approach…

Although her career seems to have been more as a media sensation than as a musician at times, British-born singer, songwriter, and actress Hazel O'Connor has stayed active and productive since her breakthrough role as Kate in the 1980 film Breaking Glass. The soundtrack album for Breaking Glass, which O'Connor wrote, was a huge U.K. hit and spawned several singles, launching her musical career, although she continued to act on British TV and in several stage productions while maintaining an active touring schedule with her band Megahype. Among her many albums are the 1980 debut, Breaking Glass, that same year's Sons & Lovers, 1981's Cover Plus, 1984's Smile, 1993's To Be Freed and Over the Moon…Live, 1995's Private Wars, 1997's Live in Berlin, 1998's 5 in the Morning, 2000's Beyond the Breaking Glass, 2002's Acoustically Yours, 2003's "best of" A Singular Collection, 2005's Hidden Heart and the double-disc Fighting Back, and a 2008 version of Smile. Throughout her career, O'Connor has used the tremendous pressure and scrutiny that accompanied her sudden fame as a central metaphor in her work, detailing the often-baffling complexities of modern life in a media-driven world.

Innovatively fusing traditional ethnic musics with state-of-the-art rhythms, the work of Deep Forest was best typified by their 1993 smash "Sweet Lullaby," which brought together the contemporary sounds of ambient techno with a haunting traditional lullaby from the Solomon Islands…