It was distinctly ironic: at the very zenith of America's postwar space-age love affair with TV, 3-D, and rock & roll (and other disposable cultural ephemera), a grassroots movement set out to recapture the country's lost musical heritage. These curious minds not only found it in a wealth of seemingly forgotten protest songs, spiritual blues, and country laments, but also forged new songs in its image. That this crusade sprang from lower Manhattan's Washington Square and the doorstep of New York University made the paradox all the sweeter. Ted Myers, the producer of this triple-disc anthology, grew up just blocks from the epicenter of that folk-quake, and his generous sense of place and time permeates this rich collection. Generally misunderstood and historically pigeonholed, the era finally gets its due, chronicled here by 72 tracks that extend far beyond the roots-conscious work of Woody Guthrie, the Weavers, Ramblin' Jack Elliott, and Pete Seeger on one hand, and the more popular material by the Kingston Trio, Limeliters, Joan Baez, and Bob Dylan on the other. Culturally, the Folk movement was the alt-rock of its day–if eminently more conscious of history and politically committed.

This 8 CD box set of 128 tracks will blow your mind with a wide range of chill out music from various artists. It ranges from artists of the 70s such as Brian and Roger Eno, Mike Oldfield, Tangerine Dream, Klaus Schulze, Jon Anderson, Rick Wakeman, Genesis, to world music from artists like Shelia Chandra, Govinda, Joi, Baaba Maal, to classical themes by Ennio Morricone, Tasmin Little, Michael Nyman and Barrington Pheloung, to New Age and Celtic music from Enigma, Matt Molloy, Mae McKenna, David Byrne, Sacred Spirit, Adiemus, Douglas Spotted Eagle, Yulara, Clear Sound Project, Penquin Cafe Orchestra plus many many more varieties of artists and music. This box set will satisfy everyones taste and mood for chillout music.

Flashback is the second box set compilation by Electric Light Orchestra (ELO), released in 2000. In 2000, Jeff Lynne found a new impetus to work on the music of his old band and returned to the recording studio to work on an ELO project for the first time in some 15 years just prior to the comeback album Zoom in 2001. This work resulted in a digitally remastered compilation released in late 2000. Unlike its predecessors, this project, Flashback, was personally approved and endorsed by Lynne. The set includes songs featured from all 11 studio albums up to that point, including an edit of "Great Balls of Fire" from their live album The Night the Light Went On in Long Beach, plus some new recordings amongst the band's extensive back catalog, most notably a reworking of Lynne's only UK number one hit "Xanadu". The album includes liner notes by David Wild with quotes on each song from Lynne and a booklet inside.

These four cycles make an excellent and generous coupling, with Dagmar Pecková, brilliantly supported by Irwin Gage, a most persuasive advocate. Hers is an ideal voice, unmistakably Slavonic in timbre, yet firm and pure as well as rich. She retains a freshness specially apt for the songs inviting a girlish manner, including Dvorák's most famous song, the fourth of the seven Gypsy Melodies, 'Songs my mother taught me', sounding fresh and new.

Emerson, Lake & Palmer were progressive rock's first supergroup. Greeted by the rock press and the public as something akin to conquering heroes, they succeeded in broadening the audience for progressive rock from hundreds of thousands to tens of millions of listeners. They created a major radio phenomenon as well, penning classic rock radio staples like "Lucky Man," Still…You Turn Me On," and "Karn Evil 9 1st Impression, Pt. 2," and issuing hugely influential albums like Tarkus and Brain Salad Surgery. Their flamboyance on record and in the studio echoed the best work of the heavy metal bands of the era, proving that classical rockers could compete for that arena-scale audience.

With a little delay following the issue of a complete set of violin works, Supraphon came with the sequel to that title in the "hommage a Zdenek Fibich" series, presenting a new recording of the complete quartet output of this Czech neo- Romantic composer who has so far failed to get all the interest he would rightfully deserve. The considerable creative challenge involved in this project was taken up here by the experienced Panocha Quartet, which was once again, after its account of Dvofak's early quartets, offered a golden opportunity to place its high artistic repute in the service of asserting music which may lie on the margins of the mainstream repertoire, yet whose values are thoroughly unmistakeable.

Record Store Day 2025. The Complete Show. First Time Pressed to Vinyl 4xLP-Limited Edition of 4,000. A Performance So Good It'll Leave You Grinnin' from Ear to Ear".

Just Testing is the tenth studio album by the British rock band Wishbone Ash, released on 18 January 1980 by MCA Records. Recorded primarily at Surrey Sound Studios in England, it was the last to feature the original lead vocalist and bass guitarist Martin Turner until the release of Nouveau Calls (1987). The track "Helpless" is only the second cover version released by the band on a studio album, the previous one being "Vas Dis" on Pilgrimage.

There's the Rub is the fifth studio album by rock band Wishbone Ash. It is the first album to feature guitarist/vocalist Laurie Wisefield, who would be a major part of the band's creative direction for the next 11 years. The album is considered by many to be a highpoint of the band's recording career. The title is taken from Shakespeare's Hamlet; "To sleep—perchance to dream: ay, there's the rub." The track "F.U.B.B." caused controversy because of the acronym's meaning ("Fucked Up Beyond Belief") upon the album's release. Moreover, the haunting ballad "Persephone" would go on to become one of the band's most popular live songs. The lyrics of "Lady Jay" are based on the Dartmoor folk legend about Kitty Jay.

Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup. Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods.

Karajan was unquestionably a great Tchaikovsky conductor. Yet although he recorded the last three symphonies many times, he did not turn to the first three until the end of the 1970s, and then proved an outstanding advocate. In the Mendelssohnian opening movement of the First, the tempo may be brisk, but the music's full charm is displayed and the melancholy of the Andante is touchingly caught.

FIRE & ICE, Sarah Chang's eleventh recital album, is a throwback of sorts: an old-fashioned star turn packed with virtuosic showpieces that would test the mettle of any violinist. But the precociously talented Chang is not just any violinist and she certainly proves it here. As usual, she rises to the occasion and offers a dazzling, bravura performance of a crowd-pleasing program, guaranteed to make even the most jaded listeners sit up and take notice.

It is mentioned in almost all biographies of Johann Sebastian Bach: Bach was part of a large family of musicians and at festive gatherings the musical gifts were used to increase the revelry. We know, for example, an occasional piece by Bach about the departure of a brother, in which the wailing of the family who stayed behind, the dangers of the journey and the sound of the post horn (as a sign of the departure of the stagecoach) are portrayed in a humorous way.

Either the mid-'70s or the addition of Ted Turner's replacement, Laurie Wisefield, brought about a severe identity crisis for Wishbone Ash. No longer were they the self-conscious band that evolved from their blues-based debut to their prog precursor Pilgrimage to their progressive tour de force Argus. While Wishbone Ash was still a guitar-oriented band, Locked In provided no originality and, save for a guitar refrain in "Rest in Peace," no memorable passages whatsoever. While his credentials are impressive, producer Tom Dowd was not the man for the job. He was much better suited as a producer of Southern rock, jazz, and R&B acts. Again, Wishbone Ash suffered from inadequate lead vocals, but that wasn't as serious a problem as their atrocious songwriting.

6 CDs with 168 tracks. This box set contains all the recordings for Reprise Records between march 1966 and 1974 and some recordings from 1983-1985. It's about 452 minutes of play. By 1966, when this retrospective begins, Dean Martin was once again one of the biggest stars in American entertainment…perhaps the biggest! His records were selling more than ever; his top-rated television show was renewed year-after-year; his appearances in Las Vegas were sell-outs; and he was the star of the cult Matt Helm movies.