For their latest album, recorded live at the Reitstadel in Neumarkt, Christian Gerhaher and his long-time duo-partner, Gerold Huber, have revisited the songs of the great Romantic composer Johannes Brahms (1833-1897). Yet it is not their first time: on their debut album in 2002 you´ll already find the ‘Four Serious Songs’ Op. 121, and in 2017 they released their version of ‘Romances from L. Tieck´s Magelone’, Op. 33. However, with this album, they bring single songs and cycles to the fore that testify to an intense striving by Brahms to create a new ‘folk tune’. Embedded into social changes of the 19th century, Brahms here tries to establish the art song as a reflection of its own imagined history as well as a reminiscence and portrayal of a naturalness gradually becoming lost during the rise of the modern world – similar to the ambivalence between tradition and progress, noticeable in his instrumental works.

Recorded in 1973-1974, Mirage was one of the finest albums of the 1970s by Animals front man Eric Burdon. The soundtrack for a proposed United Artists film with the Vietnam War as its subject matter, the music recorded by Burdon such as Dragon Lady, River of Blood, Mind Arc and Driftin / Geronimos Last Stand was some of the finest of his career. Exploring the genres of rock, psychedelia and African beats, the sessions also saw Burdon record the song Mirage, written by Jimi Hendrix on the night he died. Sadly, first the film and latterly a proposed double album release by Atlantic Records were shelved and the Mirage album and sessions were consigned to the archives.

Eric Victor Burdon (born 11 May 1941) is an English singer-songwriter best known as a member and vocalist of rock band The Animals, and the funk band War and for his aggressive stage performance. He was ranked 57th in Rolling Stone's list – The 100 Greatest Singers of All Time. This CD the part of the 'Spirits of Eric Burdon series', recorded between 1982 and 1984, Los Angeles, London and Berlin.

Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

Perhaps it was just their name, but the Peanut Butter Conspiracy somehow failed to reap due plaudits during their existence. From an early incarnation as the Ashes onwards, their story intertwines with those of several Californian contemporaries while, at its best, the band's music fused Bay Area-styled invention with '60s LA sunshine harmonies. They scored early on with the deathless "Turn On A Friend (To The Good Life)". By the time of their third album, released in 1969, they had begun moving into Rock and R&B territory whilst retaining those glorious harmonies and Alan Brackett's effortlessly commercial songwriting. For this special edition, Rev-Ola uncovered no less than six previously unreleased tracks which they think are so good they have decided to reconfigure the album in their honour.

Chet Baker in Tokyo is a live album by jazz trumpeter and singer Chet Baker, recorded at Showa Women's University's Hitomi Memorial Hall. Released just eleven months before his death, the album has been hailed as "A glorious moment in Chet Baker's twilight."

The early 2000s was basically the zenith of the European power metal scene in a collective sense, seeing some of the most brilliant works coming out of a host of different bands from north to south. Two particular bands on the the northern end of things in particular were that of Nightwish and Sonata Arctica, the latter of which saw their magnum opus "Silence" released at around the time vocalist Tony Kakko made this one time studio collaboration with Nightwish. This is both bands before they abandoned their roots and saw key members of their lineups cut ties for greener (though not as green as the original) pastures, ergo this is both bands back when they were actually playing power metal rather than experimenting with mallcore and modern pop influences.
This EP basically centers around the Gary Moore cover that it's named after, which is both brilliantly innovative in its adaptation and also very faithful to the original…

Trumpeter/vocalist Chet Baker had already achieved a high degree of success prior to his association with Riverside , beginning in 1958 and continuing for six albums through 1959. However, by then, his chemical dependence had tarnished both his musicianship and reputation. But, as shown in this 11-song compilation, Baker staged a comeback of sorts. “Baker may not be moving toward new eminence in jazz,” commented Down Beat writer Gilbert Erskine in his review of Baker’s In Milan LP on Riverside , “but, happily, as this date of October 1959 shows, neither is there a sign of a wasted, frittered talent. He plays with warmth and assurance, his gift of melodic inventiveness is paraded clearly and unmistakably, and his sensitivity to luminous tone beauty has not dimmed.” Highlight tracks from the lyrical trumpeter and cool-toned singer’s Riverside era include “Look for the Silver Lining,” “Polka Dots and Moonbeams” and “Alone Together.” Each CD also contains a FREE full-length bonus disc featuring other great Riverside artists.

The Smashing Pumpkins’ thirteenth collection to date, Aghori Mhori Mei continues the prolific hot streak frontman Billy Corgan kicked off a decade ago. Just last year, the band released the third and final Act of their sprawling and adventurous rock opera ATUM, a sequel to 1995’s Mellon Collie And The Infinite Sadness and 2000’s Machina/The Machines Of God. While some artists might take a breather after an acclaimed and ambitious triple album, Corgan went straight back into the studio to write, produce, and record this new 10-track body of work. As vital and vibrant a songwriter as ever, Corgan had quickly promised a 2024 follow-up on the horizon, which serves as the latest twist in Corgan’s careful commitment to how his art is presented. The band completed the recording of Aghori Mhori Mei amidst an expansive touring schedule across the last few years.

One of just two albums to be released by the easier-going American equivalent of Richard & Linda Thompson (without the brooding gloom and biting irony), this set includes some virtuoso folk-blues performances, as well as the version of "Brazil" made famous in Terry Gilliam's movie of the same name. Though the ten tunes here are all covers, Geoff & Maria Muldaur treat each as if molded from clay of their own making, just as they had old traditional numbers as members of the Jim Kweskin Jug Band. It's probably no coincidence that this album would eventually find its way to Joe Boyd's Hannibal label. It's a collection that suggests the Richard & Linda Thompson albums he would release throughout the '70s. Although it's often difficult to find, many fans will find Pottery Pie more than worth the money and effort.

One can sympathize with Freddie Cole's plight. The younger brother of Nat King Cole, Freddie has spent most of his life in his brother's shadow, even though Nat died in 1965. The problem is that Freddie is also a pianist/vocalist and sometimes performs similar material. In fact, the title of this CD is a bit absurd, since Cole is heard playing in the same type of group that Nat made famous (a trio with guitarist Ed Zad and bassist Eddie Edwards) and his repertoire includes such songs as "Home Fried Potatoes," "To Whom It May Concern," "The Best Man," and a ten-minute, six-song "Nat Cole Medley." Add to that such originals as "He Was the King" and "I'm Not My Brother, I'm Me," and one is not allowed to forget for a moment that Freddie was Nat's brother. Actually, Freddie has an older and raspier voice (which is natural, since he has outlived Nat) and his piano style is more tied to 1950s jazz (such as Red Garland) than to swing. This fairly definitive CD from Freddie Cole does give one a strong sampling of his talents.