Digitally re-mastered edition of this 1972 album from the British rockers. Formed in December 1971, the band was the brainchild of former Love Affair vocalist Steve Ellis. Teaming up with celebrated keyboard player Zoot Money, the band took a harder Rock direction with Jazz overtones. The line-up of the band was completed with the addition of guitarist Andy Gee, drummer Dave Lutton and bass player Jim Leverton…

Take Me Higher is a studio album by American singer Diana Ross, released on September 5, 1995 by the Motown label. The album features production from urban producers such as Narada Michael Walden, Brenda Russell, Jon-John and the Boom Brothers, the latter two coming from Babyface's production company. The album yielded the UK hits "Take Me Higher", "Gone" and Ross's dance cover of Gloria Gaynor's "I Will Survive", which featured club mixes by Steve Rodway of Motiv8 and Grammy Award-winning Remixer Hex Hector. Upon its release, the album was well-received by music critics and fans. Ross's large fan base embraced the album as one of the finest additions to her vast body of work.

Filmed in 1981, live from the Metropolitan Opera, Luciano Pavarotti sings Nemorino in Donizetti's comic opera. This one of his Pavarotti's most famous roles and here he sings it in his prime joined by an all-star ensemble: Judith Blegen sings the role of Adina and the great comic baritone Sesto Bruscantini plays the wily Dr Dulcamara. Nicola Rescigno conducts. Kirk Browning's production is traditional and entertaining.

A lyricist in a thousand', Lupu has, naturally, placed Schubert at the centre of his repertoire and conjured from a seemingly recalcitrant black-and-white instrument a range of vocal colours and nuances that even a Souzay or Fischer-Dieskau might envy. Heard at his greatest in the sombre A minor Sonata, D845, he recreates a place where even the most outwardly genial phrase is troubled and despairing. Then turn to the A major Sonata's finale (D664) and you hear a pianist who can change from blazing defiance to a delectable lightness and vivacity.

Metro's 3 CD releases feature hot Guitarist ~ Producer Chuck Loeb & Keyboardist Mitchel Forman as the bands main soloists. The 4-piece band is a side project of both members, getting their start together with Stan Getz in the late 70's. As opposed to Chuck and Mitchel's individual solo CD's, they seem to enjoy playing their early fusion influences, and surprising alter ego chops. It's as if Chuck & Mitchel said "No matter what happens with our solo careers, let's still have a band to experiment, and have some fun doing it!".

Argerich's 1994 DG reading of the Concerto for Piano, Trumpet and Strings is already a benchmark version among modern recordings, complementing the composer's own technically fallible yet still indispensable 1958 account. But now there is a more natural flow in the slow movement, some previously slightly forced rubati are smoother, and although the textures are a fraction more richly pedalled, as often needs to be the case for projection to a big audience rather than the microphone, there is no more than an infinitesimal loss of clarity. So if anything Argerich's playing has the tiniest of edges even over her former self.

The cello concertos of Ignace Pleyel may be generally unfamiliar to many listeners outside of a cello teaching studio. These five works have been greatly overshadowed by the cello concertos of Haydn and even Boccherini. This is truly a shame; while Pleyel's works may not have the virtuosic component of the Haydn concertos (particularly the D major), they are nonetheless well written for the instrument, graceful, and charming works.

We are living in an increasingly foreboding world. We are told of the destruction that is forthcoming, of the misery that is already here. Environmental collapse looms clearly ahead, and yet the powers of the world are doing little to stop it. As artists, it seems that there is a degree of compromise that must be made when faced with these facts. How can we spend our time working on our art when we know and care about things that seem so much more important, so much more pressing? Is it our responsibility to incorporate these things into our work, or is healing the world someone else’s job? This album seeks to address this predicament. Rather than offering an answer, the music is an attempt to embody the issue itself. Beginning to end, it takes on forms of chaos to order, darkness to light, fear to love. Crushed is about the issue of creating art in the face of our own destruction, as well as the beauty that can grow from its ruins.