Simply the Best is the first greatest hits compilation by Tina Turner and was released on October 22, 1991. The album includes Turner's most popular hits since her comeback in the early-mid 1980s. It also includes three new songs that were previously unreleased; "Love Thing" (UK Airplay #13), "I Want You Near Me" (#22 UK), and "Way of the World" (UK Airplay #6 and UK #13) as well as a re-recorded dance version of Turner's classic "Nutbush City Limits", all of which were also issued as singles in 1991 and 1992. The album is Turner's biggest seller in the UK where it is one of the best selling albums of all time for sales in excess of 2.4 million copies. It was certified 8x platinum in the UK and stayed on the UK charts for over 140 weeks. The album sold over 7 million copies worldwide.

Introducing the Hardline According to Terence Trent D'Arby is the debut studio album by Terence Trent D'Arby. It was released in July 1987 on Columbia Records, and became an instant number one smash in the UK, spending a total of nine weeks at the top of the UK Albums Chart. It was eventually certified 5x Platinum. Worldwide, the album sold a million copies within the first three days of going on sale. The album's success was slower in the U.S. It was released there in October 1987, eventually peaking at number four on May 7, 1988 – the same week that the single "Wishing Well" hit number one on the U.S. Billboard Hot 100. It did peak higher on the Billboard R&B Albums chart at #1 around the same time. Other singles from the album included "If You Let Me Stay", which was a top ten hit in the UK, and "Sign Your Name", which reached #4 on the Billboard Hot 100 and #2 in the UK. A fourth single, "Dance, Little Sister", reached the UK Top 20 as well.

Gary Moore's tribute to Fleetwood Mac guitarist Peter Green, Blues for Greeny, is more of a showcase for Moore's skills than Green's songwriting. After all, Green was more famous for his technique than his writing. Consequently, Moore uses Green's songs as a starting point, taking them into new territory with his own style. And Moore positively burns throughout Blues for Greeny, tearing off licks with ferocious intensity. If anything, the album proves that Moore is at his best when interpreting other people's material – it easily ranks as one of his finest albums.

Quartet Records, in collaboration with GDM and EMI Music Publishing Italia, presents a remastered, expanded edition of Ennio Morricone’s avant-garde score for Elio Petri’s UN TRANQUILLO POSTO DI CAMPAGNA (aka A QUIET PLACE IN THE COUNTRY) (1968). The film, a psychological thriller-drama starring Franco Nero and Vanessa Redgrave, is about a renowned and neurotic painter (Nero), who after moving into a dilapidated rural villa to reinvigorate his creative energies, becomes obsessed with an uninhibited countess who died there many years prior. The film inspired one of Morricone’s most fascinating scores, and one of his favorites. The composer based his ideas on two different musical styles: one more phantasmagorical, ethereal, and the other experimental, aggressive, with an essential contribution from the famous avant-garde group of which Morricone was a member: Gruppo D’improvisazione Nuova Consonanza. This musical duality allows Morricone to reflect how sanity gradually and irretrievably loses ground to madness in Franco Nero’s character.

"The symphony performance under Eivind Aadland has everything you would hope for: lots of energy and excitement, with a very fine, well-prepared orchestra." (American Record Guide) The complete edition of Edvard Grieg's symphonic works with the WDR Symphony Orchestra under Eivind Aadland is now available as a set. This edition is especially convincing thanks to the authentic approach of the Norwegian Eivind Aadland. Vol. 1 and 2 are dedicated to the original orchestral works, whilst Vol. 3 contains a portion of the transcriptions of works that Grieg had originally composed for the piano.

Sette Voce was founded in 2001 and its members are from a number of European countries. They are directed by the renowned Dutch baritone Peter Kooij and the ensemble has been invited to appear at several important national and international festivals.

With 17 symphonies and 32 concertos to date, Kalevi Aho is one of today’s most prolific composers of large-scale orchestral scores. The present disc brings together two works separated by 35 years, but also by the reception they have enjoyed: whereas Sieidi, the percussion concerto Aho composed in 2010, has become one of his most performed works, Symphony No. 5 from the mid-70s is a rarely heard score. Sieidi was written for Colin Currie, who has recorded it here and who performs the concerto with orchestras across the world.

"Sonic depictions of outer space from the vaults of the Finders Keepers Family 1969-2009". 2009 collection. Compiled and mixed by Andy Votel, this interplanetary patchwork mass brings together some of the most innovative, maligned and respected cult figures in hi-fi sci-fi Progressive Pop history, celebrating 40 years since the human moon invasion and four decades of space inspired concept rock. Custom built from the vintage vaults of Finders Keepers Records and their associated constellation, Celestial Mass features 80 minutes of global misplaced Pop, communal Rock, celestial Jazz, kosmic Disco, Space Age electronics and astral Ambience from the post-lunar trespass generation. Finders Keepers.

All Analog Process (AAA) From The Original Master Tapes. Cut By Kevin Gray At Cohearent Audio. Lyric Sleeve Included. Ltd Feather Blue Vinyl Edition. In 1970, one of the leaders of the musical Mardi Gras Indian Tribes movement, The Wild Magnolias, became the first band to have a commercial recording released as a Mardi Gras Indian group. The band’s legendary performances at the New Orleans Jazz & Heritage Festival also helped them launch into the recording of their 1974 debut LP—the self-titled The Wild Magnolias which we are so pleased to present to you here. Easily some of the most fantastic New Orleans funk and soul ever laid down on vinyl. Eight songs that don’t let up with its street-beat funk, call-and-response vocals (with lyrics like “just a few puffs to make you feel all right” leading the charge) and a recording that captures the unhinged mania of so many talented musicians crammed into a studio making a stone-cold classic.

Originally released in 1969. Regarded as one of the greatest blues albums of all time. All Analog Process (AAA) From The Original Master Tapes. Cut by Kevin Gray. Midnight Color Vinyl. Recorded in 1969, this album, as McDowell’s titular quote suggests, is not just a collection of songs but a significant piece of musical history. It’s a masterclass, a confessional, a musical statement, and a history lesson all in one. Despite its seemingly simple nature, it’s a profound work. Regarded as one of the greatest blues albums of all time, I Do Not Play No Rock 'N' Roll is a must-listen, a testament to one of the greatest musical forces that has directly influenced The Rolling Stones, Aerosmith, The Black Keys & Bonnie Raitt (to whom McDowell taught slide guitar). In 1959, McDowell’s talent was first captured by folklore musicologist Alan Lomax, and from there, he quickly rose to stardom with his live recordings and festival appearances across the US and UK. This album is a testament to McDowell’s unique voice and guitar style, dominating the air and filling it with raw power and authenticity.

200-gram gatefold double LP cut at 45 RPM. Mastered by Bernie Grundman from the original analog tapes. Surfacing is the fourth studio album by Canadian singer-songwriter Sarah McLachlan, released on 15 July 1997. It was produced by McLachlan's frequent collaborator, Pierre Marchand, and its release coincided with the start of McLachlan's Lilith Fair tour. The album reached the top position on the Canadian RPM 100 Albums chart, number two on the US Billboard 200 and became her first album to reach the top 50 outside of North America, achieving that in the UK, Australia and the Netherlands. It was certified as Diamond in sales in Canada and as 8× Platinum in sales in the US. Critical reviews were mixed; some of the more positive reviews praised the songwriting, while the album's detractors criticized it as banal and slow.

It always seemed that women have led the way when it came to Swing. For every Crosby and Sinatra, there was not only an Ella or a Billie, but also a Sarah and a Peggy. For each Mel Tormé or Tony Bennett, there was a Lena, an Aretha, a Nina or a Dinah. When women became band singers during the Swing era, they frequently outlasted their employers in terms of celebrity and record sales. There are many remarkable examples of female vocal art on this compilation, some by those who have achieved superstar status. So many stories, so many brilliant performances. What a way to swing!

In the words of the Guinness Who s Who of Jazz, Sun Ra was one of the great modern visionaries…He showed that with imagination, commitment and a love of beauty, you can create your own future and make the impossible real. No longer with us, you can still pay tribute to and enjoy a Jazz genius with two of his finest works collected here.

Anyone who's ever looked through Michael Cuscuna and Michel Ruppli's Blue Note discography inevitably wonders what many of the sessions labeled "unissued" or "rejected" sound like. This anthology is full of fascinating tracks worthy of release, starting with Charlie Rouse's "One for Five," on which the tenor saxophonist leads a fine quintet that includes McCoy Tyner and Freddie Hubbard. Collectors have long awaited the release of the four tracks from an abandoned date by Tadd Dameron, since there's a paucity of material available featuring him as leader and pianist. The octet's performances of Sam Rivers' lively, gospel-flavored "The Elder Speaks" and Dameron's ominous "Lament for the Living" aren't flawless but are well worth hearing. Pianist Duke Pearson's quartet is featured on three tracks, with tenor saxophonist Ike Quebec contributing a soulful solo on "For All We Know." The individual tracks led by Quebec, Sonny Stitt, Fred Jackson, and Herbie Hancock aren't quite as successful but are still enjoyable. Since this is a limited-edition release, don't pass up the brief opportunity to acquire this long-overlooked and very rare music.~Ken Dryden

Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011 is a 2011 greatest hits album from alternative rock band R.E.M. Intended as a coda on their career, this is the first compilation album that features both their early work on independent record label I.R.S. Records in addition to their 10 studio releases through Warner Bros. Records. The double-disc retrospective was released through Warner Bros. on November 11, 2011, and was compiled by the band members; the existence of the compilation was revealed simultaneously with the group's announcement that they were disbanding on September 21, 2011.