When recording Bach's 199 sacred cantatas, various strategies have been employed to impose meaningful order on them. There's the "everything from BWV 1 to BWV 199" approach, the "everything in the church year" approach, and the less frequently employed "everything in chronological order" approach, adopted here by the Purcell Quartet. In this the second volume in the series, the four works come from Bach's Weimar period, specifically from 1714 and 1715: Weinen, Klagen, Sorgen, Zagen, BWV 12 (Weeping, sighing, sorrowing, crying); Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (For as the rain and snow fall down from heaven); Nun Komm, der Heiden Heiland, BWV 61 (Now come, the heathen's Savior); and Komm, du süsse Todesstunde, BWV 161 (Come, sweet hour of my death).

With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists.

Joe Jackson's debut single, 'Is She Really Going Out With Him?', was not an immediate hit; however, by the time his debut album Look Sharp! Was released, the song had reached charts in the U.K. and U.S., earning him a gold record. For the follow-up, he produced the top 5 hit 'It's Different For Girls', Joe received the highest musical accolade of the Netherlands, the Edison Award. After two edgy new wave pop records, his next tracks included some reggae influences such as the tracks 'One to One' and 'Mad At You', while Jumpin' Jive - recorded with jazz musicians - was full of old jump blues and swing tunes. The huge commercial success came with his crafted pop songs 'Steppin' Out' and jazzy 'Breaking Us In Two' climbing the charts worldwide. Joe Jackson produced even jazzier hits in 1984 such as 'Happy Ending', (a duet with Elaine Caswell), 'Be My Number Two' and 'You Can't Get What You Want'. The album Big World (1986), a live album of entirely new material including 'Home Town', was recorded during six concerts. It is not a regular live album though, the audience was asked to be quiet during the songs and the applause was edited out. The pop song 'Nineteen Forever' was part of a larger construction from the album Blaze Of Glory, designed to tell a semi-autobiographical story. In 1991 Joe Jackson decided to abandon pop once and for all in favor of more serious music. It spawned the track 'Stranger Than Fiction'. Joe Jackson - collected is a comprehensive series of sounds Joe Jackson has gone through, from old to new, this collection will never get boring!

Slaves and Masters is the thirteenth studio album by the British rock band Deep Purple, and was released on 5 October 1990. This is the only Deep Purple album to feature former Rainbow lead vocalist Joe Lynn Turner, who had joined the previous year after the firing of Ian Gillan. Following its release, Slaves and Masters peaked at No. 87 on the US Billboard 200 chart. The album dramatically sold below expectations, as compared to Deep Purple's previous album, The House of Blue Light with Gillan, which charted at No. 34 in the US. A song from the Slaves and Masters recording sessions was rearranged for the soundtrack of the 1990 movie Fire, Ice and Dynamite. Despite underwhelming album sales, Deep Purple had a relatively successful tour in support of Slaves and Masters in 1991, especially for the band's European leg.

2015 release, the 10th studio album by French singer, songwriter and pop culture icon Mylène Farmer. Interstellaires was produced by The Avener and Martin Kierszenbaum. Includes the single 'Stolen Car', a duet with British rock veteran Sting. This version of the much-loved Sting track has been completely reimagined by producer, The Avener. In the span of her 30-year career, French superstar, Mylène Farmer has sold over 11 million albums worldwide, released nine studio albums and six live albums, all of which reached diamond status in France. Mylène is the first female artist in history to sell out the 80,000 capacity "Stade de France" two nights in a row. On her last arena tour, Mylène's tickets were sold out a full year in advance. She has cultivated her fervently loyal fan base through consummate songwriting, classic melodies and ground-breaking videos.

Thirty-two years after the fact, this live album presents a full-length version of the shows performed by Richard & Linda Thompson to promote their 1975 album Pour Down Like Silver, their third LP, following Hokey Pokey released earlier in 1975, and 1974's I Want to See the Bright Lights Tonight. They are accompanied by John Kirkpatrick on accordion and concertina, Dave Pegg on bass, and Dave Mattacks on drums. The recordings have not been released previously, except for "Calvary Cross" and "It'll Be Me," which were included on Richard Thompson's 1976 compilation Guitar, Vocal, but which have been remixed for this album.

31-song set. Tour debut of “Cover Me.” “Trapped,” “My Love Will Not Let You Down,” “Working on the Highway,” and “I’m on Fire” return to the set. Four songs from 2020’s Letter To You: “Ghosts,” “Letter To You,” “Last Man Standing,” and “I’ll See You in My Dreams.” “Last Man Standing” features a new arrangement. “I’ll See You In My Dreams” is performed solo acoustic to end the show. One song from 2022’s Only the Strong Survive: “Nightshift” (written by Franne Golde, Dennis Lambert and Walter Orange, popularized by The Commodores). Concert stalwarts like “Because The Night,” “Dancing in the Dark,” and “Tenth Avenue Freeze-Out” are performed in tighter, shorter versions. “Thunder Road” is the main-set closer.

Unique 3CD compilation of The Jimmy Castor Bunch. Featuring all of Jimmy Castor’s RnB chart hits.This package is jammed packed full of Funk.With sleeve notes by MOJO and Record Collector journalist Charles Waring.Despite unashamedly injecting an infectious sense of fun and irreverence in his take on funk – as evidenced on early 70s hits ‘Troglodyte (Cave Man)’ and ‘Bertha Butt Boogie’ – Jimmy Castor was a serious musician who more than lived up to his nickname, “The Everything Man”. He could sing as well as play the saxophone, piano, vibraphone, and assorted percussion instruments, and if that wasn’t enough, he was also an accomplished bandleader, arranger and producer.

GRAMOPHONE AWARD WINNER 2015 - BAROQUE INSTRUMENTAL RECORDING OF THE YEAR. This recording is the first time that the five-stringed Amati has been used to record the 6th suite and it is the only original five-string cello in existence in the UK and unique in being the only one by this maker. The Cello Suites are performed on two gut-string cellos Suite Nos. 1-5 on a Francesco Ruggieri from 1660 and Suite No. 6 the five-stringed Cremona cello by A. & H. Amati from c.1600, both tuned to Baroque pitch. Bachs cello suites are renowned as the pinnacle of the instruments repertoire and are performed here in period performances by the internationally acclaimed cellist, David Watkin. David Watkin has been performing Bachs Cello Suites in concert for 35 years, and Bachs unaccompanied cello repertoire has taken him all over Europe, from the Palace of Frederick the Great at Potsdam to the Prague Spring Festival, and, as part of Sir John Eliot Gardiner's Bach Cantata Pilgrimage, included performances sitting by the font in which Bach was baptised.

The Analogue Productions/QRP pressing reissue treatment delivers sonics and luxury packaging second to none for discerning collectors. Now we've given three titles by Canadian songstress Sarah McLachlan this premier makeover and you reap the benefits: Solace, Mirrorball and Afterglow. Each on 45 RPM LP and Hybrid SACD. Solace, McLachlan's second album, is considerably more mature and musically sophisticated than her 1988 debut, the promising if limited Touch. In fact, this disc is a must-have for McLachlan fans whose first encounter with her work was with her extremely popular later releases, Fumbling Towards Ecstasy and Surfacing.

The Border is legendary country artist Willie Nelson’s 75th solo studio record of new material. Produced by Willie’s longtime collaborator, Buddy Cannon, The Border features four newly penned tracks by the pair combined with a half dozen tunes from some of their favourite songwriters including two cowritten by Rodney Crowell plus Shawn Camp, Mike Reid and Bobby Tomberlin. Backed by some of Nashville’s finest musicians, the album is another instant classic to follow up their last album of new material, A Beautiful Time which won Best Country Album at the 2023 Grammys.

All copies of the June 2024 issue of Uncut come with a free CD – Can Live 1973 – 1977 – that brings together music from Can’s indispensable live series. On these five tracks – don’t feel short-changed: the shortest one is over eight minutes long – you’ll find rock’s most forward-thinking band at their most uninhibited…

"ERIC CLAPTON - THE ULTIMATE MASTER COLLECTION" is a comprehensive box set released by the bootleg label Mid Valley in 2018. This collection spans 16 CDs, covering live performances from 1985 to 1989. The set includes concerts from various iconic venues and dates, showcasing Clapton's work during this period.

A Grand Concert of Music a rich English Baroque programme including a violin concerto (by Geminiani) and a keyboard concerto by Arne, featuring respectively Simon Standage and Trevor himself.

This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape.