First-ever complete 3CD anthology of cult late 60s UK psychedelic pop band The Mirage. Features all of their singles (including pseudonymous releases), numerous demos, previously-unreleased recordings and BBC sessions.After serving an apprenticeship on the mid-60s Hertfordshire beat scene, The Mirage became house band at Beatles’ publisher Dick James’ Oxford Street demo studio. After forming a friendship with The Hollies, The Mirage cut a couple of singles for CBS before James and his regular business partner, Kinks/Troggs manager Larry Page, oversaw the band’s subsequent, heavily Beatles-influenced releases on the Philips and Page One labels. The Mirage then moved over to Mervyn Conn’s Carnaby label, where they cut a single as Portebello Explosion before releasing a 1970 album under the name Jawbone. A lavish 3CD digipack set, ‘The World Goes On Around You’ is the first-ever complete Mirage anthology, featuring all of their singles, the Jawbone album, numerous studio out- takes, alternative versions and BBC sessions.

The Seer is the third studio album by the Scottish band Big Country, released in 1986. The album featured very traditional Scottish musical settings, reminiscent of the band's debut album The Crossing (1983). Kate Bush worked on the title song in a duet with lead singer and lyricist Stuart Adamson. The album's first single, "Look Away", was an Irish number one, and was also the group's biggest hit single in the UK, reaching #7. The album reached number 2 in the UK Albums Chart.

The Norrköping Symphony Orchestra (in Swedish: Norrköpings Symfonieorchester) is one of the leaders among Sweden's crop of regional orchestras. It has spawned the careers of several conductors who went on to international renown.

But that isn’t all of the good news. Along with two regular guests, the Rijeka Symphony Orchestra, and thus the Rijeka Opera, also received a new house conductor (Kapellmeister), the young, yet already established Valentin Egel. Maestro Egel, winner of the Lovro pl. Matačić Award, recently conducted the concert “From the New World”. On that occasion, the concert audience could see why the world’s music critics have rated him as a conductor of “special strength and rich interpretation,” who delivers music “emotionally, powerfully, vividly,” and can “awaken emotions in the audience.” Maestro Egel will perform on October 3 in celebration of the 135th anniversary of the opening of the Rijeka theatre building, and will conduct a concert performance of Verdi’s Aida.

The Freiburger Barockorchester (Freiburg Baroque Orchestra) is a period-instrument ensemble focused on the authentic performance of Baroque music, though its repertoire extends into the Classical and Romantic periods as well. The group is mainly led by the concertmaster and often features members of the ensemble as soloists. The Freiburger Barockorchester was founded in 1987 in the German city known as the unofficial "Capital of the Black Forest" by a group of students who shared an interest in playing Baroque music on authentic period instruments. The orchestra performed without a conductor during the first three years of its existence, preferring to select a musician from within its ranks to lead its music on a case-by-case basis. Nevertheless, in 1990, Thomas Hengelbrock was named joint musical director along with Gottfried von der Goltz, a situation that lasted until 1997, when Hengelbrock stepped down. His place was taken by Petra Müllejans, who lead the Freiburger Barockorchester in tandem with von der Goltz. Müllejans was succeeded by Kristian Bezuidenhout in 2017.

LORD AGHEROS return to the scene, after the clamor of "Koinè", is marked by an intimate approach towards what has been created, making "Anhedonia" a bridge between past, present and future. It is a sort of musical journey between esoteric and oriental sounds, Ambient-wave elements and references to Nordic musical traditions, but without losing the identity of the project made by the beauty of the atmospheres that blend inextricably with the sonic extremism of Black Metal.

This 2015 box set is weighed down by the curious inclusion of Songs from The Capeman and You're the One, the former being one of Paul Simon's weakest records and the latter being a cult favorite, but the other three records – Paul Simon, There Goes Rhymin' Simon, and Hearts and Bones – are among his best and help make this a nice bargain-priced box.

Agartha, Personal Meditation Music is a 7 CD boxed set, originally released on cassette in 1986, at the height of New Age, as an aid for meditation and alignment. Bringing to mind 20th century composers like Eliane Radigue, La Monte Young or even Brian Eno's Shutov Assembly, the time-stopping, enveloping, electronic music contained in this series sounds eerily modern, mysterious and moving. Characterized by deep analog drones, rising overtones, floating frequencies surfing on sine-waves and intervals with mystic modulation, this is truly moving, vibrational music. In Agartha, the individual notes of each Harmonic Triad proceed in a fashion that is neither improvisational nor chance-based, nor is it generative. Instead the music flows outward as if being transmitted— or channeled — from a place outside human consciousness. There is a profound sense of cosmic depth expanding ever outward as the music fills the listener with waves of emotion, and a palpable somatic response is felt, although there are subtle differences with each unique Triad. Each disc is individually packaged in original replica sleeves and housed in a heavy duty cardboard clamshell box. Digitized and remastered by Jessica Thompson. Liner notes include extensive instructions for use from the original text and an essay by library music scholar David Hollander. The original edition of Agartha, Personal Meditation Music, featured one track 30 minute track per tape repeated on both sides. Subsequent editions had unique Side B tracks on all but two of the 7 volumes. We have included all tracks in this boxed set. "if you liked Light In The Attic’s crucial box set I Am The Center, do not sleep on this." Quietus

Litho in Canada. Parr's. High Fidelity recording. Recorded in Great Britain. Printed in Canada.B6 duration printed 2:32 and B7 printed 2:23 on back cover, and correctly on the label. Early copies were sold with a black and white promotional picture with "exclusive Capitol Records recording stars" written on the bottom. These copies also had a hype sticker affixed to shrink.

Features 25 songs that were released domestically at the time. The collection includes French/Yé-yé girls like Sylvie Vartan, France Gall, and Marjorie Noël; memorable Italian singers for real-time fans such as Mina and Gigliola Cinquetti; and lesser-revisited artists like Marisol and Danielle Denin.

Remain in Light is the fourth studio album by American new wave band Talking Heads, released on October 8, 1980, on Sire Records. It was recorded at locations in the Bahamas and the United States between July and August 1980 and was produced by the quartet's long-time collaborator Brian Eno. The album peaked at number 19 on the Billboard 200 in the US and at number 21 on the UK Albums Chart. In 1989, Rolling Stone named Remain in Light as the fourth best album of the decade. In 1993, it was included at number 11 in NME's list of The 50 Greatest Albums Of The '80s, and at number 68 in the publication's Greatest Albums Of All Time list.

Yevgeny Sudbin has previously recorded Beethoven’s piano concertos – releases which have received international acclaim, for instance on the website ClassicsToday.com: ‘A Beethoven experience you will not want to miss.’ For his first disc featuring solo works by Beethoven, Sudbin has chosen the two final sonatas and the Six Bagatelles, Op. 126 – late works written between 1821 and 1824, just a couple of years before the composer’s death. There are numerous anecdotes that testify to the fact that Beethoven was highly temperamental. But in his liner notes to this disc, Sudbin writes of another, contrasting side to the composer: ‘warmth, generosity and wisdom – with unexpected outbursts of cheeky humour – are also unmistakably among Beethoven’s qualities and particularly evident in the works on this recording’.

This attractively presented disc is not the same one recorded by Japanese-French lutenist Yasunori Imamura for the Capriccio label in 1998, even though the keys of the two lute sonatas, and the presence of a central pair of shorter works, makes the program look almost identical. Sylvius Leopold Weiss was nearly an exact contemporary of Bach's, and the notes by Beat Hänggi contend that were it not for the difficulty and obscurity of the lute, he would be nearly as well known as today. That's hard to swallow, considering the versatility of Bach's talents and the fact that Weiss occupies one small corner of the Baroque musical universe. Nevertheless, Bach is thought to have admired Weiss' playing, and may have written lute music for him. The comparison has some validity.

John Eliot Gardiner's is a highly musical and inspired account of Messiah, featuring an excellent group of soloists and an outstanding period-instrument band. With dance rhythms athletically sprung and da capo arias tastefully ornamented, the performance generates consistent interest and is lively in spite of its length. There is splendid choral singing from the Monteverdi Choir–the ending of "All We Like Sheep" is quite potent–and much wonderful work from the soloists. The recording, made in 1982, is impeccable.

Guitarist Alvin Youngblood Hart dedicates his third release Start With the Soul to, among others, the late Thin Lizzy leader Phil Lynott. This isn't just lip service, as you can immediately hear when the opening roar of "Fightin' Hard" comes blaring through. Hart doesn't go out of his way to appeal only to blues followers. He has the natural ability to fuse twangy country, Hendrix, funk, and reggae into his Delta blues style without regard to genres. Start With the Soul is unlike other releases from artists who at the beginning of their career display an acoustic Delta approach only to end up incorporating a very commercial soul sound for the sake of reaching a wider audience or receiving minuscule radio airplay. The choice of cover versions is revealing; Chuck Berry's "Back to Memphis," Cornelius Brothers and Sister Rose's 1971 hit "Treat Her Like a Lady," and the Sonics' mid-'60s garage rocker "The Hustler" lose none of the vigor of the originals.