Terrified is the seventh album by American heavy metal band Quiet Riot. It is the band's first album in five years, and marks the return of singer Kevin DuBrow after his firing in 1987. It is bassist Kenny Hillery's only studio album with the band, and drummer Bobby Rondinelli plays on several songs. Many of the album's songs were featured in Charles Band's movie Dollman vs. Demonic Toys, with the album itself being released on Moonstone Records, the soundtrack offshoot of Band's film company Full Moon Entertainment.

After a 3 year long break, "Sign Of The Modern Times" is the much-anticipated follow up to 2000's "Dance In The Fire" by respected UK Hard Rock veteran Steve Newman who is joined here by bassist Mike Brooke and FM drummer Pete Jupp, who lays down a strong backbeat as you’d expect from such a talented drummer. Added to this Pete Coleman (Black Sabbath/AC/DC) handles production, which has a deep and luxurious sound throughout the album.

One of the best-sounding Led Zeppelin bootlegs that surfaced in the 1990s was Another White Summer, which focuses primarily on a June 27, 1969 concert at Playhouse Theater in London. A bootlegger calling itself Big Music obviously had a high-quality master recording to work with, for the sound quality is superb (by 1969 standards)…

This collection spans Waite's career with The Babys and his solo work and includes 2 previously unreleased tracks: "Love Is A Rose To Me" and "World In A Bottle."

The legendary label, Deutsche Harmonia Mundi, releases a special 50 CD boxset featuring star performers such as Hille Perl, Nikolaus Harnoncourt, Dorothee Oberlinger, Simone Kermes, and Nuria Rial and more!
This collection displays the sheer variety available from theDHM archive. A perfect collection ranging through medieval, Renaissance, baroque and Romantic music.

A native of Vernon, BC, Darby Mills began to the top of Canadian rock's most recognizeable voices in the mid 70's, doing mostly what she termed 'BG's (background vocals), and then fronted the Vancouver group Steelback for a short period prior to their sole album in 1981…

Turn of the Tides is a concept CD by Tangerine Dream. It is based on an excerpt from The Coachman's Tales by Edgar Froese. The disc opens with a beautiful synopsis of Mussorgsky's "Pictures at an Exhibition," one of Tangerine Dream's strongest tracks ever. The samples are timely and the arrangement is flawless. This Tangerine Dream lineup has Edgar Froese and Jerome Froese on keyboards, synths, sound design, guitars, and programming; Linda Spa on saxophones and sound design; and Zlatko Perica on lead, acoustic, and rhythm guitars. The opening track sets the stage as the refrains from "Promenade" lead into the story as the journey begins. Tangerine Dream paints the pictures as this soundtrack to no movie unfolds. (The liner notes do, however, have a recap of the story.)

Elisabeth Schwarzkopf, soprano accompanied by various other participants including the Pianisten, Orchestras & famous Conductors cover the classical great composers.
This extensive 10 disc boxed set is part of EMI’s Icon line – a series of which I am becoming a very big fan. This respect and affection has increased with every new set I have become acquainted with. The present collection, like the others, includes a broad selection of songs and arias from widely dispersed dates. One can learn a good deal about post-war singers from listening to some of these albums including figures such as Giuseppe Di Stefano, Tito Gobbi and Franco Corelli.

Few new Bands had or have caused such a stir as this debut album! Kingdom Come released their well-received, self-titled debut album in early 1988. Led by German born front man Lenny Wolf, who co-wrote most of the album's material with the group's manager Marty Wolff, the band scored their most popular and best-selling album right out of the gate. After the band’s lead single generated tremendous buzz well ahead of the album release, Kingdom Come went gold on the same day it was released and eventually went platinum status in the United States, Germany and Canada and peaked at #12 on the U.S. Album charts. Part of the initial attraction (and later critique) of the band was their audio likeness to classic-era Led Zeppelin.