When FSM released the long-awaited expanded edition of James Horner’s Star Trek II: The Wrath of Khan (1982) in 2009, it didn’t take a Vulcan scientist to assume that the score’s companion piece, Star Trek III: The Search for Spock (1984), might also see the light of day. FSM delivers—thanks to the good graces of Paramount Pictures and Capitol Records. James Horner’s Star Trek III continues his superlative work for the Final Frontier, with emotional developments of the B-theme (the “Enterprise theme”) and Spock’s theme from the earlier film, as well as exotic atmospheres for the all-important Vulcan mysticism that drives the story. The film’s villains, the Klingons, receive a new theme with exciting barbaric instrumentation. From the grand “space opera” setpieces (“Stealing the Enterprise,” “Bird of Prey Decloaks”) to intimate, spiritual moments (“The Mind-Meld,” “Returning to Vulcan”), Horner’s Star Trek III is one of the finest scores in the Star Trek canon.

2008 CD reissue of the first album by Californian Blues-Rock legends, Pacific Gas and Electric, reissued for the first time and enhanced by the addition of almost three quarters of an hour's worth of previously unissued material from the album sessions. This raw and exciting electric Blues still shows exactly why PG & E were one of the most highly rated - and still among the best remembered - groups of their era. Reissued with the approval and complete co-operation of the surviving members of PG & E, this deluxe edition also features many previously unpublished shots of the band performing at late '60 s music festivals and a sleeve note that draws on the reminiscences of key PG & E members Brent Block and Frank Cook.

This 19-track compilation focuses on Elmore James' crucial sessions recorded for the Modern Records subsidiaries Meteor and Flair between 1952 and 1956. At the time of these recordings, the distorted amplified sound of James' slide guitar with his unmistakable electrified Robert Johnson lick was helping map out the postwar blues idiom with such classics as "I Believe," "Blues Before Sunrise," "Wild About You," "Mean & Evil," and the extraordinary reworking of Robert Johnson's "Dust My Broom" into "Dust My Blues." Even though roughly half of these tracks appear on the equally recommended 1986 Ace release Let's Cut It: The Very Best of Elmore James, this set is a great introduction to the dynamic slide guitarist's earliest recordings.

Highway 61 Revisited is the sixth studio album by American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that, in an important sense, the 1960s "started" with this album. The album was ranked No. 4 on Rolling Stone's "500 Greatest Albums of All Time". "Like a Rolling Stone" was a top-10 hit in several countries, and was listed at No. 1 on Rolling Stone's 500 Greatest Songs of All Time list.

Canadian duo Mythos synthesize dance beats, various world musics, and new age sensibilities in a manner akin to an Enigma or Deep Forest. Bob D'Eith (keyboards) and Paul Schmidt (guitar) grew up in Vancouver, both receiving classical training on their respective instruments; D'Eith had previously played in the short-lived alternative-rock band Rhymes With Orange. Dissatisfied with the constraints of rock & roll, D'Eith joined up with Schmidt to record more film-oriented music; the result was their Juno-nominated, Canada-only debut, "Introspection". Mythos then signed with Higher Octave and released their self-titled international debut in 1998. "Reality of a Dreamer" followed two years later, concentrating mostly on Western musical forms and featuring vocalists Christine Duncan and Jennifer Scott.

This summer sees the Anniversary Deluxe Edition of Eric Clapton’s eponymous first solo album, originally released in August 1970. It is being issued on 4CD and 1LP (standard black) formats and will also be released digitally. The front cover artwork for the LP differs from the 4CD artwork illustrated above. The album will be launched on 9th June with the release of two tracks: After Midnight (Delaney Bramlett Mix) & Blues Power (Eric Clapton Mix) The album represents one of rock history’s most successful reinventions. After emerging as one of the seminal guitar heroes of the ’60s, the English superstar decisively re-established his musical priorities with Eric Clapton. It marked Clapton’s transition from flamboyant instrumental icon to well-rounded recording artist, downplaying sonic pyrotechnics in favour of a song-focused ensemble approach that would lay the groundwork for his massively successful solo career. For the occasion, he surrounded himself with a new cast of American musicians, tapping into a rootsy musical foundation that provided an inspired framework for his talents. This Anniversary Deluxe Edition presents Eric Clapton – Eric Clapton in three separate mixes: The Eric Clapton Mix, The Delaney Bramlett Mix and The Tom Dowd Mix (The UK Version). The Eric Clapton mix is being released in full for the first time. This anniversary collection also includes some singles, alternate versions and session outtakes.

Rock and Roll Hall of Fame inductees Chicago became the first non-classical group to perform six nights in a row at Carnegie Hall 50 years ago. Between April 5 and 10, 1971, the band played eight shows at the celebrated venue (including two matinees) and recorded every one of them. In October of that year, performance highlights were featured on the band’s first-ever live album, Chicago at Carnegie Hall. That quadruple-LP reached #3 on the Billboard 200, was certified platinum, and is still the band’s best-selling live album.

Michael Jackson and the Jackson Five: Motow's Greatest hits 1969-1975. 1992, import on Polydor records Japan (POCT-1005). 20 tracks in total. Out of print.

Cette nouvelle réédition du célèbre enregistrement réalisé en 1985 à Radio France nous propose de somptueuses retrouvailles avec un bouquet d'interprètes devenus de véritables « stars » du baroque avec le temps. Jordi Savall devait accéder au sommet du hit-parade et de la reconnaissance internationale six ans plus tard avec la bande originale qu'il signa pour Tous les matins du monde, le film d'Alain Corneau sur un argument de Pascal Quignard qui racontait l'histoire du violiste et compositeur Marin Marais et de son maître Monsieur de Sainte-Colombe, respectivement interprétés par Gérard Depardieu et Jean-Pierre Marielle.

Nugent Nuggets is a 1991 bootleg CD by Ted Nugent. This was recorded live in Los Angeles in 1981 and is a soundboard recording. This is on the Oh Boy label.

For this compact disc, Pandit Ashok Pathak plays an Indian instrument called a surbahar, or what some will call a bass sitar. Just as saxophones have an alto, tenor, and baritone, the surbahar is a lower sounding version of a regular sitar and gives a distinctive sound. Ancient Court Raga Traditions: The Pathak Gharana is a compact disc with only two songs, each lasting 36 minutes each. Joining him on this are Priyadarshani Pathak and Sivranjani Pathak, both on tampuras. The CD was originally released in 2001, reissued in 2003 by World Arbiter.

The Duhks is the 2005 debut album by Canadian folk group The Duhks. This was released by Sugar Hill Records on 8 February, 2005. The group at the time consisted of Jessica Havey, Tania Elizabeth, Jordan McConnell, Leonard Podolak, and Scott Senior. The lossless files features the "Enhanced CD" portion in an "extras" folder, which is omitted in the MP3 version.

Migrations is the 2006 sophomore album by Canadian folk group The Duhks. The group at the time still consisted of who are considered the core of the band: Jessica Havey, Tania Elizabeth, Jordan McConnell, Leonard Podolak, and Scott Senior. This CD was released by Sugar Hill on 12 September, 2006.

Even the mightiest of ships can falter in the fact of an insurmountable storm, yet despite losing their iconic front man, guitar god dominated shred trustees Alcatrazz have returned as strong as ever with a familiar voice at the helm…

This recording focusses on arrangements made by Vaughan Williams for The Oxford Book of Carols (1928), coupled with two later carols published by OUP. Many of the tunes are far from well-known and deserve a new audience. 10 of the 22 tracks are first recordings, but reserve the right to have overlooked one or two amidst the vast but very mixed heritage of recorded carols. The preface to The Oxford Book of Carols tells us that: "Variety in the method of singing is even more important than with hymns, and the verses should never be sung straight through all in the same way". In this spirit the choir’s director, William Vann, has prepared the carols for recording with a mixture of accompanied, unaccompanied and solo verses. Few of these carols are likely to have been undertaken by a congregation; this recording by a choir of distinguished professional singers presents the carols at their best, supported by the Henry Willis organ of St Jude-on-the-Hill, Hampstead, in half of the carols.