Part of the ongoing PLAYLIST series of budget-priced single artist anthologies in minimal eco-friendly packaging, PLAYLIST: THE VERY BEST OF MARY CHAPIN CARPENTER is a solid overview of the country-folk singer-songwriter's career. All of Carpenter's best known songs are here in these 14 tracks, from the Cajun stomp of "Down at the Twist and Shout" to the jangly pop-rockers "I Take My Chances" and "He Thinks He'll Keep Her." The package also includes a CD-ROM data track that contains complete liner notes and photos.

This recording of Richard Strauss's opera Elektra by De Nederlandse Opera (The Netherlands Opera) was made in November 2011 at the Amsterdam Music Theatre. In addition to an impressive cast, it features the Netherlands Philharmonic Orchestra and the Toonkunst Choir Amsterdam conducted by Marc Albrecht.

Leif Ove Andsnes has long been renowned for his powerfully emotive and disciplined performances of Rachmaninov: attributes prized by the supreme composer-pianist himself. This set brings together for the first time the complete cycle of acclaimed concerto recordings, including the perennially loved Second in an award-winning live performance, acclaimed by Gramophone as ‘a Rolls-Royce reading.’

New Mix Version. Recorded live July 13, 1975 at The Forum in Los Angeles, California, U.S.A.

Best Of…, also referred to as Sia: Best Of…, is the first greatest hits album by Australian singer-songwriter Sia, released in Australia on 30 March 2012 through the Sydney-based independent record label Inertia.[2] The compilation includes tracks from four of her previous studio albums: Healing Is Difficult (2001), Colour the Small One (2004), Some People Have Real Problems, (2008) and We Are Born (2010). Also included are two tracks featuring Sia as a vocalist ("Destiny" by Zero 7 and "Titanium" by David Guetta), "My Love" from The Twilight Saga: Eclipse film soundtrack, plus a remixed version of "Buttons" by Brazilian rock band CSS.

The Art of Renée Fleming is essentially an album of the soprano's most popular hits, probably not targeted at listeners who are already big fans (who are likely to already have the albums from which these selections were culled), but at more general audiences interested in expanding their operatic horizons. With a few very familiar exceptions, the songs and arias are from the Romantic and post-Romantic eras, and showcase the luxurious creaminess of Fleming's voice and her ability to spin out melodic lines with seamless, soaring lyricism.

By early 1975, the flame was quickly fading out for the Ritchie Blackmore era of Deep Purple. Discontent with the overtly funk-based direction the group had recently embraced on such releases as Burn and Stormbringer, Blackmore's focus had shifted to launching a solo career. But the "Mark III" lineup of Purple certainly went out with a bang, as evidenced by the release of their last ever show together, Live in Paris 1975. Issued via the fan-operated label Purple Records (which specializes in, you guessed it, strictly Purple-related recordings), the album is an honest reflection of pre-punk/early-to-mid-'70s arena rock concerts. In other words, Live in Paris 1975 is a double-disc set, but only consists of nine songs total, as it is loaded with extended soloing that will test the patience of the average fan but will delight the hardcore Purple buff. Included are the expected Purple favorites: "Smoke on the Water" and "Space Truckin'," which stretch past 19 minutes and 21 minutes respectively in duration. Also featured are such latter-day standouts as "Stormbringer" and "Lady Double Dealer," which are included as much more streamlined renditions when compared to the aforementioned tracks. For those wanting to sample classic Purple on-stage, Made in Japan is still your best bet. But if you're looking for a live follow-up, Live in Paris 1975 is a worthy snapshot of David Coverdale-fronted Purple – warts and all.

Dans le catalogue Ocora consacré à la musique japonaise, ce CD est la première parution dédiée à la musique du royaume du Ryûkyû, aujourd’hui Okinawa, dont la musique est encore très peu connue hors du Japon. Parmi les rares écrits consacrés à la musique d’Okinawa et des archipels environnants de l’ancien royaume des Ryûkyû, outre on peut signaler une récente parution de Matt Gillan (2012), ainsi que divers articles. 2Bien qu’il présente un historique du royaume Ryûkyû, le livret aurait mérité d’être un peu plus étoffé. Ces îles ont été envahies par le clan Satsuma de l’île japonaise de Kyûshu en 1609. Grâce à un commerce lucratif avec la Chine, le royaume a pu maintenir une certaine autonomie. La cour royale a été destituée en 1879 lorsque le Japon a entièrement occupé ces îles. Bien que cette culture ait eu subi des influences autant de la Chine que de la Corée et du Japon, sa musique, ses coutumes et sa religion en sont demeurée distinctes (Gillan, 2012 : 11-12). Cependant, depuis les années 1990, nous assistons à un mouvement de revitalisation musicale auprès des jeunes.

UK four CD collection from the British Prog Rock band that rounds up all of their Chrysalis albums with bonus tracks including John Peel sessions, 7" mixes, live tracks, 'B' sides and more. Gentle Giant was born out of the ashes of Simon Dupree & the Big Sound, a successful UK rock and R&B-based outfit led by the Shulman Brothers. In 1970, the brothers founded Gentle Giant. Derek was lead vocalist and played alto sax and bass, Ray sang and played bass and violin, and Phil handled the saxophone and added vocals. Kerry Minnear, on keyboards, came straight from the Royal Academy of Music, and Gary Green became guitarist. John Weathers joined the band in 1972 and was the drummer for two albums. Gentle Giant's utilization of complex classical chord and time patterns, together with hard rock, blues, jazz and even medieval melodies, set them apart from other "progressive" groups of their time or since.

The Beach Boys' new 50th Anniversary Greatest Hits: 50 Big Ones collection features the band's most popular songs, including "California Girls," "Good Vibrations," "Surfin' U.S.A.," "Wouldn't It Be Nice," "God Only Knows," "Kokomo," and two songs from the band's newest studio album – the title track "That's Why God Made The Radio" and a new single version of "Isn't It Time,"

In the early 70's the young French Prog scenario was full of competent bands that were being listened in and outside their country, and while most of them ascribed to the "French Theatric Symphonic", early Pulsar decided to re-create the sound of Pink Floyd with that unique Gaulish sound with a lineup of competent musicians formed by Jacques Roman (organ, piano, synth), Victor Bosch (drums, percussion), Gilbert Gandil (guitar, vocals) and Philippe Roman (bass), but something was missing so they recruited the flutist and string musician Roland Richard.
Their 1975 debut "Pollen", was acclaimed by most critics (despite the economic failure in the UK), who saw them as a breeze of fresh air, because they didn't limit themselves to copy a style, but added some Symphonic touches that gave them a special flavor…

Tri-fold 2xCD digipak with transparent picture trays.

This is the 45th title in the Vivaldi Edition, 3 years after the first recording dedicated to Vivaldi scores discovered in Europe between 2000 and 2007, now in its 12th year. This second volume features the most recent discoveries in world premiere recordings and will further contribute to complete one of the most fascinating jigsaw puzzles in musical history Federico Maria Sardelli is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi at the Fondazione Cini in Venice, for which he has published numerous scholarly essays. In July 2007 Peter Ryom chose him to continue his monumental work of cataloguing the music of Antonio Vivaldi; since then, Sardelli has been the editor of the Vivaldi Werkverzeichnis (RV).

Italian pop singer Umberto Tozzi began singing at a very young age, joining a band called Off Sound in 1968 and later teaming up with Adriano Pappalardo. "Un Corpo un 'Anima" became his first hit in 1974, and he recorded his debut album, Donna Amante Mia, in 1976. Ti Amo followed in 1977, and the successful Tu was released in 1978. Tozzi's breakthrough came a year later when he climbed the Italian and Latin American charts with "Gloria," a song covered by Laura Branigan on her 1982 self-titled debut record.

The breakout star from the burgeoning Romanian dance scene that has also spawned the likes of Alexandra Stan and Edward Maya, permanently scantily clad Inna has been pivotal in restoring some musical pride to a country whose only previous notable contribution to the pop landscape was the Cheeky Girls. Produced by regular cohorts Play & Win, her second album, I Am the Club Rocker, picks up where her debut, Hot, left off, with 13 sun-soaked Europop tracks that appear destined to blare out of various Club 18-30 hotspots until the inevitable 6-a.m. stagger back to the hotel.