Goodbye Yellow Brick Road is the seventh studio album by Elton John, released in 1973. It is regarded as one of his best and most popular, in addition to being his first double album. It was recorded at the Château d'Hérouville after problems recording at the intended location of Jamaica. Among the 17 tracks, the album contains the hits "Candle in the Wind", "Bennie and the Jets", "Goodbye Yellow Brick Road" and "Saturday Night's Alright for Fighting" plus "Funeral for a Friend" and "Harmony". In 2003, the album was inducted into the Grammy Hall of Fame. The album was ranked number 91 on Rolling Stone magazine's list of the 500 greatest albums of all time, and number 59 in Channel 4's 2009 list of 100 Greatest Albums. The album has sold more than 30 million copies worldwide.

At last, the start of summer holidays! Dive headfirst in this collection of music inspired by the sea, celebrating its beauty, its strange power of fascination, the myths and legends that surround it, the pleasure of nautical activities, the rich culture of seafarers… Come aboard for a seven-hour long musical cruise, but beware the tempests and the wrecks! All the major composers are represented in this collection featuring such artists as Aldo Ciccolini, Natalie Dessay, Bertrand Chamayou, Simon Rattle or Elisabeth Leonskaja.

Mozart's most famous masterpieces include the Requiem in D minor, "Lacrimosa" from the Requiem, "Queen of the Night" aria from The Magic Flute, and "Sull'aria" from The Marriage of Figaro. Other notable works include Symphony No. 40, Piano Sonata No. 16, and several piano concertos, including No. 21 and No. 23.

Mozart's "Great Sacred Choruses" encompasses a collection of his most notable sacred choral works, including his Requiem in D Minor (K. 626), the Great Mass in C Minor (K. 427), and other pieces like Ave verum corpus (K. 618) and Vesperae solennes de confessore (K. 339). These works are considered some of the most important and influential sacred compositions ever written.

Mozart's operas are renowned for their beautiful and dramatic arias. Some of his most famous include "Der Hölle Rache" (The Queen of the Night's aria) from The Magic Flute, "Madamina, il catalogo è questo" (Leporello's catalogue aria) from Don Giovanni, and "Voi che sapete" from The Marriage of Figaro. These arias showcase Mozart's mastery of vocal writing and his ability to convey complex emotions through music.

Power guitarist Gary Moore's Live at Monsters of Rock is a dream come true for every guitar freak out there. Teamed with his trio of Cass Lewis and Darrin Mooney, Moore turns it up to 14 and powers his way through razored, crunching covers of the Yardbirds' "Shapes of Things" and Free's "Wishing Well" before delving into his own rather voluminous catalog. Performances of the riff-laden "Rectify," the bluesed-out "Stand Up," and the completely adrenaline-fueled metal of "Out in the Fields" take this over the top. But the final track, a deeply moving version of "Pariesienne Walkways," is a fitting tribute to the tune's original vocalist and former Thin Lizzy bandmate Phil Lynott. There is nothing but pure power here – no restraint, no mixing, no overdubs, nothing but pure Monsters of Rock power. This is the guitar record Moore had been promising his entire career.

Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals – trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore – show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955.