Gut ein Jahr jünger als Max Reger und fünf Monate älter als Arnold Schönberg, verdiente der Wiener Julius Bittner (1874-1939) seinen Lebensunterhalt lange Zeit als Jurist. Gleichwohl war er schon, bevor er diese Tätigkeit 1922 aufgab, einer der meistgespielten österreichischen Opernkomponisten. Insbesondere der 1916 uraufgeführte Einakter Das höllisch Gold fand große Anerkennung, und auch etliche Instrumentalwerke stießen auf offene Ohren – obwohl (oder weil) er alles andere als ein »Neutöner« war: Er wurzelte in der Melodie, hatte sich aus der Wagner’schen Umklammerung gelöst und war »volkstümlich« geworden wie beispielsweise in den zwei Streichquartetten (1913 und 1917) mit ihrem »pastoralen« Flair. Insbesondere das ältere der beiden Werke wirkt in einigen Passagen wie ein »kammermusikalischer Mahler« – womöglich eine posthume Hommage an den einstigen Förderer, der Bittners Talent die richtige Richtung gegeben hatte.

The blending of Don and Phil everly's voices is truly one of the great sounds of post-war American popular music. Derived from folk and traditional styles brought to the USA via immigrant communities, their seamless vocal harmonies had its precursor in mid-twentieth century duo/ family country music acts such as the louvin brothers, delmore brothers and many others. The Everly, however, were able to bring the fraternal harmony approach into the mainstream pop market of the late 1950s by dint of their Youth, good looks, and that other, far more elusive quality - timing. Alongside the other breakthrough acts of rock and roll's first wave, they were true musical frontiersmen that helped set the template for all that was to succeed them. The likes of The Beatles, the hollies, Simon & Garfunkel, the birds, Flying burrito brothers, Bob Dylan, Elvis Costello, Nick Lowe, Emmylou Harris, through to Billy Joe Armstrong (of Green day) and norah Jones are but a few of the notables whose music Bears the Everly influential thumbprint.

Club Des Belugas is one of the leading Nujazz projects in Europe, probably in the world combining contemporary European Lounge & Nujazz Styles with Brazilian Beats, Swing and American Black Soul of the fifties, sixties and seventies. Featuring guest appearances from Swedish vocalist Anna Luca and multi award winning Californian jazz impresario Brenda Boykin. Recorded at the Rex Theatre, Wuppertal 2010 and the Grillo Theatre Essen, Germany, June 19, 2009.

Cardboard sleeve (mini LP) reissue from Diana Ross & The Supremes featuring the high-fidelity SHM-CD format. Part of a ten-album Diana Ross & The Supremes SHM-CD cardboard sleeve reissue series featuring albums "Where Did Our Love Go", "More Hits By The Supremes", "I Hear A Symphony", "The Supremes A Go Go", "Sing Holland Dozier Holland", "Reflections", "Join The Temptaions", "Love Child", "Let The Sunshine In", and "Cream Of The Crop".

Cardboard sleeve reissue from Diana Ross featuring the high-fidelity SHM-CD format. Part of a ten-album Diana Ross SHM-CD cardboard sleeve reissue series featuring albums "Ain't No Mountain High Enough", "Everything Is Everything", "Surrender", "Touch Me In The Morning", "Last Time I Saw Him", "Diana Ross", "Baby It's Me", "Ross", "The Boss" and "Diana".

Collection includes twelve studio albums, one EP, and also tree compilations: "Please" (1986); "Actually" (1987); "Introspective" (1988); "In Depth" EP (1988); "Behaviour" (1990); "Discography" (1991); "Very" (1993); "Bilingual" (1997); "Essential" (1998); "Nightlife" (1999); "Release" (2002); "PopArt" (2003); "Fundamental" (2006); "Yes" (2009); "Elysium" (2012); and "Electric" (2013).

Present is the ninth studio album by British progressive rock band Van der Graaf Generator, released in 2005. It was the band's first studio album since The Quiet Zone/The Pleasure Dome in 1977, and the first with the 'classic' line-up since World Record in 1976. The Charisma Records label was reactivated for its release, as well as a reissue series of Van der Graaf Generator's back catalog and Peter Hammill's solo releases from 1972-80. For many years the band's lead singer and principal songwriter Peter Hammill had rejected the idea of a VdGG reunion, but in 2004 (following two one-off, unannounced reunions at Hammill concerts), work began on an official reunion album. Present was the result.

Itoiz was the name of a Basque music band from the coastal towns of Mutriku and Ondarroa, started off in 1978 and disbanded in 1988. Born in times of turmoil for the Basque Country (Spain), Itoiz stems from a dancing music band (i.e. playing other groups' songs) called Indar Trabes (1974), which performed mainly in evening festivities of towns. Throughout their existence spanning ten years, Itoiz dealt with several styles ranging from folk to progressive rock to pop. Collection includes first three albums: 'Itoiz' (1978), 'Ezekiel' (1980), and 'Alkolea' (1982).

Do Not Disturb is the thirteenth studio album by British progressive rock band Van der Graaf Generator. It was released, on Esoteric Recordings, on 30 September 2016. Reviewing the album for TeamRock, Kris Needs reported that vocalist Peter Hammill had sent organist Hugh Banton and drummer Guy Evans a CD of the new songs, which they spent a week rehearsing, another week recording backing tracks, then six months overdubbing and tweaking at their home studios. Of the album, Needs said: If, as Peter Hammill has indicated, this is the last Van der Graaf album, these winners of Prog’s Lifetime Achievement award this year are going out with the kind of mind-joltingly gorgeous roller coaster that made them one of the greatest genuinely progressive bands of all time. But there’s also a noticeably reflective aura and sense of closure around their 13th album…

The Rolling Stones By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them.

The Ramones may or may not have invented punk rock, but they were inarguably the most important band in punk history, creating the stylistic prototype that would be followed by countless bands who emerged in their wake. They were informed by the thunder and flash of the Who and the MC5, the speed and primitivism of Iggy and the Stooges, and the alternately sullen and goofy musings of '60s garage rock, but the Ramones synthesized their influences into something raw and revolutionary, a fury of pounding rhythms and downstroked guitars married to rudimentary melodies and comically absurd lyrics that both mocked and celebrated popular culture and teenage life. The Ramones were tuneful, aggressive, and challenging in their embrace of minimalist fury, and while bands from the Clash and the Sex Pistols to Rancid and Green Day would build on their formula, it's essentially impossible to imagine any of those bands, or punk as we know it, without the Ramones' guiding example.

Live broadcasts from 1979 and 1972. When Peter Frampton finally made his breakthrough as a solo act, it was with a live album. While his earlier records had been well-regarded critically, the praise had failed to translate to record sales, but the release of Frampton Comes Alive! in 1976 finally changed all that. A new studio album, I m In You, the following year consolidated the success, rising to number 2 on the US billboard chart and featuring a constellation of the biggest stars in rock Ringo Starr, Mick Jagger, Stevie Wonder and Richie Hayward all of whom had lined up to be a part of the project. In 1978, however, the wheels came off literally.

A Grounding in Numbers is the eleventh studio album by the British rock group Van der Graaf Generator. It was released on 14 March 2011. This date, if written as 3,14, comprises the first three digits of the number π. The second track, "Mathematics", refers to Euler's identity, sometimes known as the mathematical poem. The album's release signals a continuation in the direction set by the current trio lineup, but it is released on a new label, Esoteric Recordings, a departure from previous releases on Virgin/Charisma. Hugh Padgham is the mixer of the album.

It would probably have been more fitting to credit 2005's The Atlanta Years solely to Steve Marriott, as he's the only recognizable name from Humble Pie here. The story goes something like this – circa 1982 and 1983 (immediately after a briefly reunited Humble Pie called it quits once again), Marriott regularly gigged and recorded in the Atlanta area. And despite the fact that Marriott did play other places during this time, it's referred to as his "Atlanta Years," which this 17-track release focuses on. With countless veteran rockers trading in their blues-rock and blue jeans for synths and headbands during this era, Marriott admirably sticks to his stylistic guns here, as evidenced by such bluesy, funky, and soulful tracks as "Heartbreaker," "Trouble You Don't Fool Me," and "I Need More." Also rounding out the set are live renditions of several Humble Pie classics, including elongated versions of "Thirty Days in the Hole" and "I Don't Need No Doctor," as well as a 20-minute phone interview with one of Marriott's former wives. While The Atlanta Years is certainly not a wise starting point to discover the great Humble Pie (search out one of their many comps of early-'70s material), it does serve as a taster of what one of rock's most underrated vocalists was up to during the early '80s.

No popular music group from the 60s, 70s, 80s or 90s has experienced more ups and downs in terms of popularity, or attracted such a diverse audience as The Bee Gees. They made their debut in the mid-60s in an ensemble reminiscent of The Beatles, then quickly began to write their own lyrics and develop a more personal style, perfecting along the way a completely singular progressive pop sound. After an empty stint in the early 70s, the band reinvented themselves during the disco era thanks to the soundtrack of the film Saturday Night Fever, which made them the most famous white soul band of all time.