British progressive pioneers Henry Cow was the leading group of the Rock In Opposition (R.I.O. for short) movement, initiated by their drummer Chris Cutler. All members of Henry Cow have been involved in collaborations with Canterbury groups and artists at one point or another, and most of them still are. Their music aged amazingly well over the last 20 years due to diverse influences: some of its roots in the Canterbury school, most notably early Soft Machine, other influences (Frank Zappa, Bela Bartok, Kurt Weil). The group functioned more or less as a collective, with a true group identity that changed from album to album as members came and went.
Henry Cow's first album, "Legend" (read "Leg End"), is considered by many their most accessible, and makes a good starter. Their sound draws on modern classical music, jazz and experimental music…

Looking back on 20 years of creative growth since the electro-pop band's inception, The OMD Singles is logically and chronologically arranged. The earliest recordings, 1980's "Electricity" and "Messages," prove electric messages were being channeled from such German pioneers as Kraftwerk and Neu! These English boys were enamored of melody, though, and it was not long before such dulcet, song-like structure became self-evident, as in 1984's "Tesla Girls." From then on, it is a steady climb in coherence, with synth rhythms downplayed in order to bring the melodic theme to the front. The pinnacle of this progression is OMD's memorable "So in Love" (1985) and "If You Leave" (from 1986's Pretty in Pink). The album closes with their last hit, 1996's glam-influenced autobiography "Walking on the Milky Way"…

Sinuous rhythms, conversational singing, and, most of all, intricate, bluesy guitar playing characterize Cale's performances of his own songs. This compilation, covering 11 years of recording, includes the songs Eric Clapton, who borrowed heavily from Cale's style in his 1970s solo work, made famous: "After Midnight" and "Cocaine."

George Harrison's albums have been notoriously uneven, but despite the rough patches, his talent for songcraft never really left him, as the compilation The Best of Dark Horse (1976-1989) proves. A 15-song retrospective covering five albums, The Best of Dark Horse contains nearly every gem from 33 1/3, George Harrison, Somewhere in England, Gone Troppo, and Cloud Nine, including "Crackerbox Palace," "All Those Years Ago," "Got My Mind Set on You," "Cloud 9," "When We Was Fab," and the lovely "Blow Away." For most casual fans, the record will be a welcome summation of a hit-and-miss era of Harrison's career.

Issued by Collectors Dream, the Saturday Night Special (Ready for Rock 'n' Roll Part II) disc pulls together a cash-in collection of classic rock covers. In the late 1980s, they had their greatest hits with like Rock Me, Once Bitten, Twice Shy or Save Your Love. Over the same period, the songs from seventies heavy weights Aerosmith ("Same Old Song and Dance"), Lynyrd Skynyrd ("Saturday Night Special"), Led Zeppelin ("Dazed & Confused"), Thin Lizzy ("Sarah") and Van Halen ("Unchained") carry the sharpest teeth from the recording. Saturday Night Special is the follow-up album to the Collector's Dream Series Ready For Rock N Roll.

Happy Xmas, Eric Clapton's first Christmas record in a career that's spanned over four and a half decades, certainly bears its share of seasonal charm, but it's also of a piece with the warm, amiable music he's made in the 2010s. Like Old Sock and I Still Do before it, Happy Xmas relies on songs from other songwriters (he wrote only one tune, the slow-burning "For Love on Xmas Day") and cooks to a cozy groove that's grounded in the blues but also encompasses soul, reggae, rock, and a bit of vaudeville shuffle ("Xmas in My Hometown"). This homey atmosphere is certainly suited for the season, even if it rarely sounds like a typical holiday record.

The Calidore Quartet begin their new cycle of Beethoven's complete String Quartets with the Late Quartets, a 3-volume set of Opp. 127, 130, 131, 132, 133 & 135. Performances of the Calidore String Quartet are renowned for their "deep reserves of virtuosity and irrepressible dramatic instinct" (New York Times). Their unique "balance of intellect and expression" (Los Angeles Times) is complemented by the feeling that "four more individual musicians are unimaginable, yet these speak, breathe, think and feel as one" (Washington Post).

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.

A brilliant and radiant performance of Lehar's valedictory composition, his only operetta written for the august Vienna State Opera, which premiered the piece in 1934. Edith Moser and Nicolai Gedda head up a good cast in this work, which is more serious and profound than most of Lehar's music. The music is as attractive as in any Lehar work, but at times more self-consciously dramatic than in any piece except The Land of Smiles, despite the relatively straightforward subject, about the unhappy romance between the married title character and the officer she has run away with.

This CD showcases Maggie Reilly's silky, melancholy voice through several genres in the last two decades. Notably, "Every Time we Touch" is a much different arrangement than the previous album or single versions. Those familiar with her singing for Mike Oldfield will find her rendition of "To France" a fresh interpretation, more evocative of the Scottish highlands than Mike Oldfield's original arrangement.

The music for harpsichord has been considered an inexplicable chance occurrence in Alessandro Scarlatti's output, and in assessing it, we should avoid unfair and unappropriate comparisons with the work of his exceptionally gifted son. Alessandro's cultural background was quite different and very precise in the way it affected keyboard music: Frescobaldi was the first in a series of figures who are known to a greater or lesser extent today and whose teaching came down to Scarlatti in a solid stylistic tradition. Pasquini, his extremely diligent and prolific contemporary, the last of the line, was strongly motivated by his patron, the Prince Borghese in writing harpsichord music. Alessandro also wished to try his hand in this area. 250th Anniversary Release. On the occasion of the 350th anniversary of Alessandro Scarlatti's birth (Palermo, 2 May 1660), Arcana is re-releasing this anthology of toccatas and fugues by the elder Scarlatti, father of the better-known Domenico.