2CD set. Sealed out of print Rhino remastered 35-track compile spanning 1981 to 1995 w/a detailed booklet in slipcase. Barcode is marked. Incl O Superman, Language Is A Virus, , Sharkey's Day & more. Laurie Anderson is something of a missionary. Having endured the scorn of some influential avant-garde peers for "selling out" (by signing to a major label and taking her live shows to a relatively large, mainstream audience), Anderson instead chose to challenge their assumptions, proving by default that they were as ossified as anything in the so-called mainstream. Anderson also chose not to define herself strictly as an artist, but as a storyteller and de facto humorist–and one that dared point out that her chosen venue of "performance art" wasn't particularly avant at all. Or that the dreaded cliché was often merely the most efficient way to make a story point. This generous double-disc anthology charts the arc of Anderson's adventurous "mainstream" recording career, from the minimalist, unlikely Euro-hit "O Superman" through 15 years of ever more ambitious studio recordings and live shows. Tellingly, as Anderson's ambitions and acceptance grew, so did her playful warmth and often self-deprecating humor. Indeed, much of this set is an implicit jab at the implicit elitism of the so-called avant-garde–or is it their jealousy? –Jerry McCulley

Record Store Day 2025. Gilles Peterson presents International Anthem is a Deluxe Double LP compilation chronicling the infamous London-based radio host, DJ, label head, curator and cultural impresario's long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. The RSD exclusive 2LP is on "Frozen Lake Michigan" colored vinyl. This album is released via International Anthem as part of their "IA11" series of releases and events – where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

A child wonder who stirred the admiration of the court, Dandrieu was a virtuoso harpsichordist but above all, organist of the Royal Chapel of Versailles from 1721. He left a corpus of work of a rare inventiveness tracing out the chapel's most dazzling musical moments under the reign of Louis XV. Here are 'Magnificats', pieces for Christmas and some splendid hallmark scores that offer snapshots of the liturgical art of the king's organist at the height of the French Baroque. Dandrieu, writes for organ the equal of the harpsichord masterpieces of his time. Jean-Baptiste Robin, organist of the Royal Chapel of Versailles, makes the great organ ring with majesty, thanks to a decade of close familiarity with this historic instrument.

Throughout these sessions, Michel Corboz defended a clear, fluid vision of Mendelssohn's choral music. Without exaggerating, he underscored the references to J. S. Bach or Handel, of whom the composer was so fond – the beginning of Psalm 115, with its colours, distinctly evokes the Cantor's Passions. As for the chorus ‘Kommt herzu’ from Psalm 95, it attests to the thoroughly religious fervour and solemn grandeur that incontestably innervate the Swiss conductor's interpretations.

The Dancing Master (first edition: The English Dancing Master) is a dancing manual containing the music and instructions for English Country Dances. It was published in several editions by John Playford and his successors from 1651 until c1728. The first edition contained 105 dances with single line melodies; subsequent editions introduced new songs and dances, while dropping others, and the work eventually encompassed three volumes. Dances from The Dancing Master were re-published in arrangements by Cecil Sharp in the early 20th century, and in these reconstructed forms remain popular among dancers today.

Petula Clark is one of Britain’s best-love female vocalists who has succeeded in combining creativity with credibility in an all too disposable world. The 50s and 60s of course came up with its fair share of female stars, some of whom proved to have staying power as well as looks, but the lady who’s enjoyed the longest, most lustrous career of all is, by common consent, Petula Clark. Here are 2CDs of Petula’s finest recordings including the global hits Downtown, My Love and This Is My Song, together with fan-favourites Sailor, Romeo, My Friend The Sea and the beautiful and heartfelt title track Couldn’t Live Without Your Love.

Extensive 5CD box set exploring the history of Thrash Metal in the UK – curated by author and scene chronicler Ian Glasper. From legends such as Venom, Onslaught, Sabbat and Acid Reign to lesser-known, cult artists. 83 tracks across 5CD. Includes TEN previously unreleased tracks! Released to coincide with the publication of Ian Glasper’s book of the same name. Curated by the people who brought you Close To The Noise Floor, Revolutionary Spirit, Creation Artifact, Silhouettes And Statues and many more critically acclaimed box sets.

Of the numerous British blues-rock bands to spring up in the late '60s, the Aynsley Dunbar Retaliation was one of the better known, though solid reception on tours did not translate into heavy record sales. Musically, the group recalled John Mayall's Bluesbreakers during the 1966-1967 era that had produced that group's A Hard Road album, though with a somewhat more downbeat tone. The similarities were hardly coincidental, as the band's founder and leader, drummer Aynsley Dunbar, had been in the Bluesbreakers lineup that recorded the A Hard Road LP. Too, bassist Alex Dmochowski would go on to play with Mayall in the 1970s, and guitarist Jon Morshead was friendly with fellow axeman Peter Green (also in the Bluesbreakers' A Hard Road lineup), whom he had replaced in Shotgun Express.

The 1970s saw a plethora of great funk and jazz albums that for somewhat mystifying reasons have failed to be reissued. Sitting at home one night it occurred to me that we had better get a move on and get them out. With this in mind we are launching BGP Funk and Soul Classics: long out-of-print albums on CD featuring the very best mastering, great packaging and some nifty sleeve notes to let you know where the album fits into the scheme of things. Our first batch of releases come from the extensive catalogue of Fantasy Records and feature a host of albums that are sought after by collectors the world over.

Réunis dans ce coffret, 10 de ses meilleurs albums parus entre 1967 et 2006 :
MA JEUNESSE FOUT LE CAMP… (1967) / COMMENT TE DIRE ADIEU (1968) / EN ANGLAIS (1968 / LA QUESTION (1971) / MESSAGE PERSONNEL (1973) / ENTRACTE (1974) / LE DANGER (1996) / CLAIR-OBSCUR (2000) / TANT DE BELLES CHOSES (2004) / (PARENTHÈSES…) (2006). Accompagné d'un livret détaillé, tous les albums sont présentés à l'unité dans une pochette CD simple replica, reprenant les rectos / versos originaux. Ces 10 albums constituent 10 jalons qui ont marqué sa carrière emblématique : 'Ma jeunesse fout le camp'*, 'Comment te dire adieu'*, 'La question' et 'Message Personnel' ont façonné sa légende d'icone Pop dans les années 60 et 70, tandis qu''En anglais'* témoigne de son aura internationale. Le confidentiel 'Entracte'* reste un de ces recueils les plus cultes. Marquant son grand retour en 1996, 'Le Danger' a fait date. Lui succédant dans les années 2000, 'Clair-obscur' (qui comprend la reprise 'Puisque vous partez en voyage'), 'Tant de belles choses' et 'Parenthèses' (albums de duo avec Bashung, Biolay, Dutronc…) restent par ailleurs des sommets de sa discographie. *Remasterisés récemment en 2016 et 2017.

Ornette Coleman Trio, live at the Manchester Free Trade Hall on May 14th 1966 Ornette Coleman formed a new trio with bassist David Izenzon and drummer Charles Moffett in October 1961. As the decade progressed, they expanded their musical palette to include trumpet and violin not instruments Coleman was experienced on and divided audiences and critics with their fiercely uncompromising music. Originally broadcast on FM radio during a short British tour, this remarkable set finds them on typically confrontational form, and is presented here together with background notes and images.

By their very nature, remix albums carry the weight of both their source material and the expectations of a "new" record. More often than not, the original music culled for remix collections is always better, and the result isn't so much a new album as it is a set of old songs restructured and recontextualized as the artist readies their next proper LP. The Cure is no stranger to the remix album. In 1990, after the success of Disintegration, they released Mixed Up, which featured remixed songs from their first decade. A sequel, Torn Down, played catch-up with the preceding quarter century in 2018. Both albums served a purpose, closing chapters for the group.

Paul Bley is a master of the piano trio. He showed new and different ways of exploring the complex triangular geometry of what has arguably become jazz’s signature formation. Bley’s early recording with Charles Mingus and Art Blakey promised great things to come. He emerged more fully as part of Jimmy Giuffre’s innovative trio with Steve Swallow, but it was with his own trios of the mid to late 1960s, with drummer Barry Altschul and bassists Kent Carter and Mark Levinson, that he really began to unfold an individual vision that is best sampled in Touching and in the live recording he made in Haarlem, The Netherlands. These are modern jazz at its most searching.

After the critical acclaim Michael Chapman received for Rainmaker in 1969, he followed up quickly in early 1970 with Fully Qualified Survivor, a record more adventurous and haunting than its predecessor, with added production flourishes and equally strong songs. Fully Qualified Survivor is the album that established Chapman as a folk troubadour. Leaving the guitar pyrotechnics largely locked in a shed, Chapman concentrated instead on his songwriting skills, and the sacrifice—for this record anyway—paid off.

By 1965, Bley had settled on the trio format, and touring Europe revealed a warmer reception for music that employed chordless improvisations, three-way rhythmic counterpoint, un - familiar melodic constructs, and malleable song form. But there was an equally momentous conceptual change in the group’s material, as the adventurous pieces by Carla Bley were gradually being replaced by those of Paul’s new partner, Annette Peacock. - Art Lange