Sensation 90s Vol. 4 The Ultimate Party Hits celebrates a fabulous and unique decade that laid the foundations for electronic club sounds and whose legendary parties are still talked about today. This sound is just as good today as it was back then, everyone flocks to it on the dancefloor, everyone can sing along to these hits! To your attention is presented a Pink Revolver.

As the monasteries of the German-speaking countries emerged from the ravages of the Reformation, they found themselves in quite a different religious landscape. Gone were the days of absentee abbots who preferred hunting to chanting, or illiterate monks who feasted rather than fasted. In the wake of the Council of Trent, monks and nuns, friars and sisters, were expected to contribute to the religious regeneration of the Catholic Church, and to find a new sense of purpose for their cloistered existence.

Livin' on the Fault Line fell between two of the Doobie Brothers' biggest-selling records. The album had no hit singles, and one-time leader Tom Johnston kept a markedly low profile (this would be his last record with the group, not including a later reunion). Despite this, Livin' on the Fault Line contains some of the most challenging and well-developed music of the band's career, with Patrick Simmons and Michael McDonald really stepping to the fore. There's a vague mood of melancholia running through the songs, as well as a definite jazz influence. This is most obvious on the title track, which has several instrumental passages that showcase the guitar abilities of Simmons and Jeff Baxter.

The Ultimate Chart Show presents the most successful hits of 2024 - plus the best dance party hits of all time. With Billie Eilish "Lunch", Sabrina Carpenter "Espresso", Hozier "Too Sweet" and of course Shirin David with her summer hit "Bauch Beine Po". Plus the biggest dance classics, such as Ace of Base "All That She Wants", Snap! "Rhythm Is A Dancer" and Jennifer Lopez "On The Floor".

Pantera The preeminent metal band of the early to mid-'90s, Pantera put to rest any and all remnants of the '80s metal scene, almost single-handedly demolishing any notion that hair metal, speed metal, power metal, et al., were anything but passé. Loathe to admit it, the Texas band had in fact been one of those '80s metal bands, releasing fairly unsuccessful (and later disowned) glam-inspired music throughout much of the decade. The about-face came with the addition of vocalist Phil Anselmo, and the key turning point was the band's major-label debut, Cowboys from Hell (1990). Pantera's mainstream breakthrough came next with Vulgar Display of Power (1992), their second major-label album, which thrust the band to the forefront of the metal scene, alongside such veteran bands as Metallica, Megadeth, Slayer, and Anthrax, as well as fellow up-and-comers Sepultura and White Zombie.

This 1979 outing saw Alex Harvey returning to the rock music world for what would be his final album. It's no big surprise that The Mafia Stole My Guitar sounds a lot like the Sensational Alex Harvey Band: the music remains the same unusual but intriguing blend of prog ambition and punk energy and it also contains a few of Harvey's trademark oddball cover versions (example: his surprisingly straight-faced cabaret version of "Just A Gigolo/I Ain't Got Nobody"). What is a surprise is how consistent The Mafia Stole My Guitar is, especially in light of the uneven final albums of his last band.

Gerhild Romberger, Bernard Haitink, Bavarian Radio Chorus and Bavarian Radio Symphony Orchestra featuring Augsburger Domsingknaben, Gerhild Romberger (contralto), Juliane Banse (soprano)

Most classical music lovers know – or at least know of – J.S. Bach’s The Art of Fugue. It’s sometimes described as the composer’s greatest creation, and spoken about in terms of its mathematical beauty, purity of musical thought, and thematic complexity. But strikingly, none of these descriptions tell us very much about what the music actually sounds like – or indeed what The Art of Fugue is, and who it’s for.

This late 1967 album found the Hollies making some modest adjustments to the psychedelic era: occasionally trippy studio effects, a sitar on their most psychedelic track ("Maker"), songs that didn't always deal with boy-girl relationships. In fact, however, the group's focus remained where it usually was: modest but pleasing, similar-sounding catchy tunes with high harmonies and strumming guitars. It's not remarkable or essential, but it's certainly pleasant enough, and a bit better than their earlier 1967 LP, Evolution, with some of their better album-only cuts ("Postcard," "Pegasus," "Butterfly," "Away Away Away").

In the last quarter of the 16th century, the madrigal spread well beyond Italy. Over 85 books of Italian madrigals were printed in Antwerp, mainly by Pierre Phalese the younger, giving a place of choice to both Italian and local composers. Thanks to research into the collections published at the time, La Compagnia del Madrigale is unveiling the world premiere of works taken from the volumes that made the genre such a success. It reveals their full potential and establishes the madrigal as a cosmopolitan art form.

39-track collection of every A- and B-side from Edmunds’ years on Swan Song Records on double-CD and double-LP • Featuring material written by and with Nick Lowe, Elvis Costello, Bob Seger, John Fogerty, Chuck Berry, Graham Parker, Huey Lewis, Rodgers & Hart, and more. • Mastering and Restoration by multiple Grammy-winner Michael Graves with liner notes from Joe Marchese (theseconddisc.com) Robert Plant and his Led Zeppelin cohorts—Jimmy Page, John Paul Jones, and John Bonham—launched Swan Song Records in 1974. Rock ’n’ roll revivalist Edmunds wasn’t as unexpected a choice as some might have felt at the time; Plant was a big fan and would indulge his own love of vintage rock ’n’ roll and R&B with his 1980s band The Honeydrippers.

The New Orleans barrelhouse boogie piano specialist's earliest sides for OKeh, dating from 1940-1941 and in a few cases sporting some fairly groundbreaking electric guitar runs by Jesse Ellery. Dupree rocks the house like it's a decade later on two takes of "Cabbage Greens" and "Dupree Shake Dance," while his drug-oriented "Junker Blues" was later cleaned up a bit by a chubby newcomer named Fats Domino for his debut hit 78 "The Fat Man."

As the tumultuous 1960s crashed into the '70s, few American bands could match the fevered output, unified vision, and consistent hit-making ability of Creedence Clearwater Revival. Despite hailing from Northern California, bandleader John Fogerty rooted his imagination in the Deep South, fusing vivid Southern imagery with a distinctive brand of rock & roll that combined swamp pop, blues, R&B, and country. Viewed as outliers in the Bay Area's overwhelmingly psychedelic music scene, CCR's punchy roots rock delivery, blue-collar work ethic, and comparative sobriety helped them quickly surpass their peers and become one of the most prolific and popular bands in the country. This 1987 ten-CD box set, distributed by ZYX Music, includes all of their studio albums, plus the live release Live In Europe and the Creedence Country & Chooglin' ​​compilations.

The piano trio in Jazz - it does not get more essential than this. On these ten CDs fifteen excellent alliances of piano, bass, and drums present prime examples of what has often been called Jazz' "chamber music". A perfect and poignant introduction to the genre, this collection of nineteen original albums also serves as a beautiful reminder of just how diverse this instrumental combination could be made to sound in the late 50s and early 60s. Just listen to the way a standard like Cole Porter's "What Is This Thing Called Love" is interpreted by Bill Evans with his trio of Scott La Faro on bass and Paul Motian on drums or by Barry Harris, who also played with Miles Davis back in his hometown of Detroit, when accompanied by Joe Benjamin and Elvin Jones. Or how differently "Caravan" sounds when played by Thelonious Monk on his tribute to Duke Ellington or by the eminent Kenny Drew. Take away the bio- and discographic details and all musicological mumbo jumbo and the music will speak for itself, always deeply touching and emotionally sublime, perfectly suited for a Sunday at the riverside - or any other weekday or location for that matter.

A fantastic album as a leader from Sonny Red - a saxophonist who never got much chance to record under his own name, but always gave us something special when he did! Sonny recorded famously with Donald Byrd and Curtis Fuller in the 60s - but here, he's in an even hipper 70s mode of his own - a bit modal, a bit spiritual - in ways that make the whole album feel like some of the best 70s efforts on the Black Jazz label, with a righteous quality we might never have expected in Red a decade before! Sonny blows tenor, alto, and flute - all of them with a sharp, soulful edge - and he works here in a fantastic quartet that includes Cedar Walton on piano, whose own shadings give the record a lot of depth - plus the great Billy Higgins on drums, and Herbie Lewis on bass.