Elegant orchestrations, playful rhythms, and unforgettable voices shaped the soundtrack of la dolce vita era, music that still carries the charm, wit, and romance of its time.

Japanese only collection. Blessed with good looks, a powerful voice, and a gift for communicating with an audience, Julio Iglesias is one of the most popular and enduring figures in the history of Latin music, a true international superstar who has sold over 300 million albums worldwide and remains a popular concert draw and chart-topping recording artist in a career that has spanned six decades. It is estimated that during his career he has performed in more than 5000 concerts, for over 60 million people in five continents. In April 2013, Iglesias was inducted into the Hall of Fame of Latin Composers. During his career, Iglesias has won many awards in the music industry, including the Grammy, Latin Grammy, World Music Award, Billboard Music Award, American Music Award and Lo Nuestro Award. He has been a star on the Hollywood Walk of Fame since 1985.

Bi Kyo Ran (美狂乱, Bikyōran) is a progressive rock band from Japan which began in 1973. They gained some attention when they performed the soundtrack to Cromartie High School (under the pseudonym of Bikyoran). They also performed the ending theme for the show (entitled "Trust Me"); however the opening theme was by Yoshida Takuro. Their sound is often compared with King Crimson (they started as a King Crimson tribute band) which is understandable given guitarist Kunio Suma's emulation of Fripp's renowned style and some similarity in song titles ("Vision of the City", "21st Century Africa").

One has to admit, the German psychedelic rock reissue label Garden of Delights puts a lot of care in its sampler albums. They are generous - occasionally to the detriment of an album - and packaged with informative and lavish 16-page booklets. For every tenth release of their catalogue they pick a track from each of the nine previous releases and compile them under a volume of this series. All catalogue numbers are an integer multiple of ten. The tracks chosen for these samplers comprise recordings from the field of progressive rock music in all its different shades, ranging from psychedelic to symphonic, fusion and blues-rock, provided that there are progressive elements in it.

Every five years since 1986, the corporate custodians of Impulse! have served up batches of Coltrane reissues and unreleased tapes to commemorate a birthday ending in "0" or "5." In the year 2001, which would have been Coltrane's 75th birthday, current label owner Vivendi Universal delivered four single CDs, three of which serve tourists who want to get on the 'Trane for the first time. Standards is probably the least eventful of the lot, offering no unreleased material or particularly enticing packaging. But you won't get shortchanged by the music, which takes us from the first galvanic Impulse! album Africa/Brass ("Greensleeves") through the run of projects by Coltrane's classic quartet of the first half of the '60s (McCoy Tyner, Jimmy Garrison, Elvin Jones)…

This is one of Heldon's most impressive recordings. It offers the continuity of a group sound throughout, with Pinhas' keyboards and guitars supported by Francois Auger playing drums and percussion on most tracks, and additional assistance from Patrick Gauthier on moog synthesizers and either Didier Batard or Janick Top on bass. Stylistically, it's a great leap forward from previous Heldon releases, and much closer to the fusion jazz of Mahavishnu Orchestra, than to conventional psychedelic or prog-rock. The five pieces (one in both a live and a studio version) have no real melodies or themes; rather, they use simple patterns and chord sequences as guidelines, and let the musicians improvise around them. The opening "Marie Virginie C." almost sounds like late Coltrane free jazz, or perhaps like Hendrix at his most frenzied, with guitars and synthesizers howling, and Auger thrashing wildly in the background…

Lark in the Morning: The Early Years is a mid-priced, two-disc rendering of the band's first three records. Remastered for the first time, Hark! the Village Wait, Please to See the King, and Ten Man Mop are featured in their entirety, and in their original sequence, making this an absolute necessity for fans, and a perfect entry point for the uninitiated. Steeleye Span are masters of arrangement, and nowhere is that more evident than on their debut. Though familial tension ran high during its recording, Hark! the Village Wait yielded some of the most agreeable tunes the band ever laid to tape. Beginning with the a cappella "A Calling-On Song," the group established itself as peerless singers, utilizing the dual lead vocals of sirens Gay Woods and Maddy Prior to a tee, particularly on "My Johnny Was a Shoemaker" and "Dark Eyed Sailor." The lineup is legendary, rivaling only Fairport Convention in their Sandy Denny/Richard Thompson heyday. Ashley Hutchings, Dave Mattacks, Tim Hart, future Pogue Terry Woods, and Gay and Maddy produced a landmark album that continues to inspire countless musicians and fans alike.

These two ballets reveal a specific facet of Stravinsky's genius, his skill in pastiche. Having used music from eighteenth-century Naples for Pulcinella, he turned to Tchaikovsky for Le Baiser de la fée. On both occasions, he succeeded in transforming the exercise of homage into a highly personal work. Stravinsky had a special artistic affinity with the Toronto Symphony Orchestra, which amply repays the debt in this new recording!

23 live tracks taken from the acclaimed Luck and Strange Tour on 2 CDs. Produced by Charlie Andrew and David Gilmour. Luck and Strange was a concert series by English musician David Gilmour to support his fifth solo album, Luck and Strange (2024). The tour was Gilmour's shortest solo tour, at only 21 concerts, held in Rome, London, Los Angeles, and New York.

If the Piano Concertos nos. 19 and 23 are among the most famous in the corpus, it is of course because of their sublime middle movements, but also because they reach the very heights of Mozartian subtlety in terms of orchestration, thematic development and dramatic instinct. The historically informed performances presented here take the same interpretative approach as earlier volumes in the series, underpinned by an utterly luminous musical discourse!