Joseph Haydn’s symphonic oeuvre forms the foundation on which the musical works of the Classical, Romantic and, ultimately, Modern periods stand: Many have failed to present this complex in its entirety. When the Heidelberg Symphony Orchestra proudly presented Volume 1 of Haydn’s symphonies in 1999, the intention was to record and publish the complete orchestral oeuvre of this classic composer up to the 200th anniversary of his death in 2009. There were no recordings in the orchestra’s archive and little experience with this composer: a bold plan that ultimately took 25 years to realize. And yet it seemed a thoroughly realistic vision for the still young but independent orchestra, which was not bound by any municipal repertoire. After all, it also promised solid basic funding for the decade for musicians who had previously lived from hand to mouth.

For most intents and purposes, Sugarloaf was finished after their 1973 album I Got a Song failed to generate any attention, but the band continued to push ahead, channeling their frustrations into the bubblegum sarcasm of “Don’t Call Us, We’ll Call You.” The song became a fluke hit in 1975, prompting a re-release of I Got a Song under a new title borrowed from the hit, which also was prominently featured on the new release. Of course, the fizzy pop of “Don’t Call Us” sounded very little like the rest of the earlier record, which itself wasn’t all that reminiscent of their percolating 1970 hit “Green Eyed Lady,” either. It was a curious mix of pompous neo-prog – best heard on the charging instrumental “Myra, Myra” – light hippie funk, and coolly trippy soft rock, all sounds redolent of the early ‘70s, but certainly not the epitome of it. Which isn’t to say that lead singer/songwriter Jerry Corbetta couldn’t write – in addition to the hits, he knocked off Billy Joel/Elton John’s Western fantasia quite well on “Colorado Jones” – but this album tends to drift in and out of focus, making it a period piece but not much more. [Fuel 2000’s 2010 reissue added a host of worthwhile bonus tracks, including a live version of “Green Eyed Lady.”]

Multi-part music for the same instrument, dating back to Elizabethan consorts of viols, remains outside the typical orchestral repertoire nowadays, but as ever, SOMM remains true to it's stellar reputation for presenting rare and singular releases. Habanera, Music for Eight Cellos and Voice is a joyous recording that grew out of a collaboration between baritone Roderick Williams and cellist Joely Koos, joint Artistic Directors at the 2023 Endellion Summer Music Festival.

This marriage of four players with impressive pedigrees proved to be the success story of 1982 when Asia's debut lodged itself at the top of the U.S. album charts for two months. The album spawned a massive number four single in "Heat of the Moment," a follow-up Top 20 hit in the sweeping "Only Time Will Tell," and a handful of other tracks that received heavy radio play despite going against the grain of the new wave styling of the day. Produced by Mike Stone, Asia's strengths were the powerful vocals of John Wetton, the nimble, classically tinged guitar work of Steve Howe, Geoffrey Downes' majestic keyboard playing, and anchoring the band, Carl Palmer's propulsive drumming. The lyrics are overwrought at moments, but there's no denying the epic grandeur of the music, which provided some much-needed muscle to radio at the time, and did so with style.

The Least We Can Do Is Wave to Each Other is the second album by the British progressive rock band Van der Graaf Generator, released in February 1970 on Charisma Records. It was the group's first album to be released in the UK and the only one to chart in the top 50 in that country. The songs on the album were mostly composed by group leader Peter Hammill but arranged and rehearsed by the whole band. The lyrics covered a variety of themes including relationships with friends, witchcraft and apocalyptic catastrophes, while the music ranged from ballads such as "Refugees" to unusual and aggressive playing on "White Hammer" and "After the Flood". As well as a brief commercial success, the album was well received by critics and continues to be praised.

Compilation album of Japanese Rockin' Psyche & Punk sounds. Recorded in '65-'71 on Universal label. 20 tracks included. Japanese jewel case CD with OBI.

The talented, if underrated bebop pianist Kenny Drew spent his last few decades living in Scandinavia after emigrating from the U.S. in 1961. This 1996 CD has previously unreleased material recorded by the Danish Broadcast Corporation featuring Drew at three different periods in time. There are four tunes apiece of Drew in duets with bassist Niels Pedersen in 1966, playing unaccompanied solos in 1978, and duets with bassist Bo Stief in 1983. All dozen numbers (seven jazz standards, a Scandinavian folk song, an obscurity and two Drew originals, including two versions of "Blues for Nils") are quite rewarding. The music is straight-ahead, often harmonically sophisticated, swinging and occasionally unpredictable. An excellent sampling of Kenny Drew's talents.

The result of the meeting of Michael McCartney (brother of Beatle Paul), who would work as Mike McGear to avoid accusations of coat-tailing, and Post Office engineer John Gorman, the Scaffold took a blend of absurd humor and catchy songs to chart-topping glory throughout the 1960s. Their lineup filled out with Roger McGough and Adrian Henri, the group was briefly known as the Liverpool One Fat Lady All Electric Show, to the horror of everyone around them. Henri soon departed. A change of name later, they were gaining a reputation as one of the most amusing outfits on the scene, with a residency at Peter Cook's Establishment Club (where the Bonzo Dog Doo-Dah Band also held court). The Scaffold's biggest successes were their cheerfully silly singles, starting with "Thank U Very Much" and continuing with "Lily the Pink" (a sterilized adaptation of an old rugby song, featuring Jack Bruce on bass) and the somewhat incomprehensible "Gin Gan Goolie," all of which had a knack for sticking in the mind on endless repeat without causing undue annoyance. These three songs, in particular, are well remembered even as the 1990s draw to a close.

In 2001, Philip Glass composed the music for the film Naqoyqatsi: Life as War. It was the last film in a trilogy by director Godfrey Reggio that featured only images and music. When the Cincinnati Symphony Orchestra invited Glass to be a creative director for its Boundless Series during the 2011-12 season, Glass thought of his cello concerto and its possible life beyond film. The CSO commissioned the Cello Concerto No.2 - Naqoyqatsi and gave the composer the opportunity to have it reborn as a proper concerto. The resulting recording is drawn from the live performances. This dynamic seven-movement work is conducted here by long-time Glass champion Dennis Russell Davies with soloist Matt Haimovitz.

The third of three Concord albums by this version of the Quartet (with Jerry Bergonzi on tenor, Chris Brubeck on bass and bass trombone and drummer Randy Jones) is the most rewarding of the trio although each one is recommended. Brubeck and the Coltrane-influenced tenor Bergonzi take consistently exciting solos on seven standards which are highlighted by "Music, Maestro, Please," "I Hear a Rhapsody" and "It's Only a Paper Moon"; Brubeck's solo version of "St. Louis Blues" is also noteworthy.

From all four disc faces:
“PROMOTIONAL USE ONLY NOT FOR SALE” Track durations do not appear on this release. Four factory pressed silver discs housed in a clear "Fatboy" jewel case including a two-sided front tray insert, a two-sided rear tray insert and a numbered sticker on the jewel case front.

Blue for You is the ninth studio album by English rock band Status Quo. It was released in March 1976, and is the last album until 1980's Just Supposin' that the band produced themselves. It entered the UK Albums Chart at number 1 and stayed there for three weeks, making it one of their most successful albums. In the US, the album was self-titled Status Quo and had a different album cover.

Benjamin Earl King (né Nelson; September 28, 1938 – April 30, 2015) was an American soul and R&B singer and songwriter. He rose to prominence as one of the principal lead singers of the R&B vocal group the Drifters, singing the lead vocals on three of their biggest hit singles - "There Goes My Baby", "This Magic Moment", and "Save the Last Dance for Me" (their only US No. 1 hit)

Contemporary Jazzy Music With Electronical Influences)" is a compilation album released by Irma Records on March 18, 2025. The album consists of 25 tracks that blend jazz, and electronic music elements.

Creating a definitive list of the "Top 100 American Greatest Songs" is subjective and can vary depending on the criteria used (e.g., cultural impact, sales, critical acclaim, historical significance). Below is a curated list of 100 iconic American songs that have left a lasting mark on music history, spanning genres like rock, pop, jazz, blues, hip-hop, country, and more. These songs are widely recognized for their influence, popularity, and cultural significance.