Two CD set containing the final live performance by this Australian band fronted by Neil Finn (also of Split Enz and the Finn Brothers) finally released on the 10th anniversary of it's recording. In Novermber of 1996, Crowded House played their final gig in front of 120,000 fans in Sydney, Australia. Farewell To The World is the offically released recording of that bittersweet concert. All the Crowdies hits are here including 'Don't Dream It's Over', 'World Where You Live', 'Weather With You', 'Something So Strong', 'It's Only Natural' and many more.

Gonna Take a Miracle is the fifth album by New York City-born singer, songwriter and pianist Laura Nyro, with assistance by vocal trio Labelle. It was released on Columbia Records in November 1971, one year after its predecessor, Christmas and the Beads of Sweat. The album is Nyro's only all-covers album, and she interprets mainly 1950s and 1960s soul and R&B standards, using Labelle as a traditional back-up vocal group. In 2005, music magazine The Word voted Gonna Take a Miracle among the 60 Best Underrated Albums of All Time.

Godard/Spillane is a compilation album by American composer and saxophonist/multi-instrumentalist John Zorn consisting of music created through Zorn's file-card compositional process. He first released the composition "Godard", a tribute to French film-maker Jean-Luc Godard whose jump-cut technique inspired Zorn's compositional approach, on the French tribute album The Godard Fans: Godard Ca Vous Chante? in 1986, "Spillane was first released on Zorn's Nonesuch Records album Spillane in 1987 and "Blues Noel" was first released on the compilation album Joyeux Noel - Merry Christmas Everybody! on the French Nato label in 1987.

Tribute to David Bowie. Includes: Blondie, Duran Duran, Mott the Hoople, Midge Ure, Tears for Fears, Bauhaus, Iggy Pop, Susanna Hoffs and More…

Homesick for the Road provides a showcase for three fine blues singer/guitarists. The recording is clean and crisp, as is typical of the Telarc label, and the music cooks from start to finish. This disc provides an excellent introduction to each performer, with ample opportunities for each to shine. Debbie Davies brings to mind Bonnie Raitt, with her appealing vocal timbre and bluesy delivery. The youthful Benoit sings with an authority beyond his 31 years, making Screamin' Jay Hawkins' classic "I Put a Spell on You" his own. Kenny Neal has the scruffy, soulful delivery of a man who knows what the blues are all about. His "I've Been Mistreated" sounds like a late '60s slice of Muscle Shoals soul. All three of the co-leaders are excellent guitarists, and the band is solid and tight. Homesick for the Road rolls down the car window for an enticing look at three relatively young performers carrying the blues torch into the future.

Although Tomcats Screaming Outside is technically his debut album, Roland Orzabal has been a solo artist in all but name for the best part of a decade. The dominant half of Tears for Fears, Orzabal turned the 1980s pop duo into a one-man band after the departure of Curt Smith in the early 1990s, releasing two albums, Elemental and Raoul and the Kings of Spain. Although "Ticket to the World," "Bullet for Brains," and "For the Love of Cain"–big chorus, guitar-led pop/rock anthems–could happily fit into either of his post-Curt Smith albums, Tomcats is very much a return to the experimental ways of Tears for Fears' heyday. The dark production and menacing rhythm tracks of "Under Either" and "Hypnoculture," the ambient sway of "Day by Day," the grunge-esque "Dandelion," and the drum & bass of "Kill Love" and "Hey Andy" are all coupled with contagious melodies and Orzabal's twisted vocals, leaving little doubt that the imagination that separated his former band from their peers and made their songs so enduring is still incredibly fertile. Solo album or not, Tomcats Screaming Outside is the best Tears for Fears album in a decade.

For the first time ever on CD, brings together two landmark albums by veteran blues master JOHN HAMMOND - Source Point (1971) and I'm Satisfied (1972). Originally recorded for Columbia, these two albums are the missing links in a career charted by a series of popular recordings for Vanguard and Atlantic. Hammond began his career on the New York coffeehouse scene at the beginning of the first blues renaissance of the early '60s, and these albums confirm his status as one of the finest interpreters of Chicago blues. These recordings show Hammond as a more than capable band leader playing electric as well as acoustic guitar on some of the best Chicago style electric blues ever recorded.

As a composer of sacred music, Bob Chilcott has found his own niche by writing accessible choral works that speak to contemporary sensibilities. As has been noted frequently, his Requiem evokes Gabriel Fauré and Maurice Duruflé, mostly through its gentle feeling and serene melodies, though without imitating their style or content. Rather, it has its own mix of somber harmonies and fluid, chantlike lines, and the expression of the work is a little cooler and darker. Chilcott's music admits occasional and mild dissonance, though the orientation is strongly modal and the harmonies always feel like a natural result of the counterpoint. Chilcott's Salisbury Motets, Downing Service, and three shorter pieces share the same modern Anglican style, which is approachable and easy to follow. The Wells Cathedral Choir, under the direction of Matthew Owens, sings with a pure tone and clear diction, and the sound of the recordings is quite resonant, thanks to the responsive acoustics of the Cathedral of St. Andrew.

Sinatra & Strings, Frank Sinatra's first album with arranger Don Costa, is an exquisite, romantic collection of ballads and one of his most sensual records. Costa has given the songs – which consist entirely of standards – exceedingly lush, heavily orchestrated arrangements that sound like updated, contemporary versions of Axel Stordahl's ornate charts. Sinatra responds with smooth, nuanced, yet powerful vocals that make these traditional songs sound fresh. The pair take some chances with their arrangements – "Stardust" never reaches the chorus, for instance – but Sinatra & Strings remains a definitive ballads album, complete with impassioned readings and endlessly rich, detailed arrangements.

Claudine Longet's third album continues the middle-of-the-road tendencies of her first two, leading off with an oddly jaunty reinterpretation of "Falling in Love Again," Marlene Dietrich's theme song, whose jaded world-weariness Longet replaces with her own pleasantly insubstantial persona. With its cinematic background noise staging and odd ragtime piano accents, it recalls Harpers Bizarre's playful deconstruction of pre-rock standards. More successful are the straightforward bilingual version of the title track, one of the evergreen tunes of '60s easy listening; the oft-recorded Alan Gordon and Gary Bonner sunshine pop tune "Small Talk"; and a mournful, skeletal version of Randy Newman's little-known early tune "Snow" that's among Longet's finest interpretations of her career. Even better is Longet's take on the Bee Gees standard "Holiday"; Longet's endearingly pitch-poor, lispy vocals are tailor-made for this spooky, unconventional song, which arranger Nick DeCaro gives a suitably off-kilter arrangement featuring a chorus of wordless Longets between the strings and the increasingly florid piano accompaniment. Longet's next album, the masterful Colours, would benefit from even more of this gently psychedelic experimentation.

Neil Young, Carole King, Billy Preston, Leon Russell, James Taylor and Bill Withers all saw their songs covered by Merry on her 1971 LP. Her reputation soared yet higher after people witnessed her stunning performances of Southern Man; Walk on In; After All This Time; Same Old Story; Grandma's Hands; a Song for You; Light on the Hill, and more!

This Digitally Remastered Best reissue from Japan of the Best of A&M Years features all of the wispy French lounge pop singer's best cuts, including "Hello, Hello," "I Think it's Going to Rain Today," "A Man and a Woman (Un Homme et Une Femme)" and the Beatles' covers "Here, There and Everywhere" and "Good Day Sunshine".

A much more polished set than its predecessor, Midnight Son is a particularly effective effort with several numbers that remained in Son Seals on-stage repertoire for quite some time – "Telephone Angel," "On My Knees," the jumping "Four Full Seasons of Love." The addition of a brisk horn section enhanced his staccato guitar attack and uncompromising vocals, rendering this his best set to date.

So Many Roads is Hammond's most notable mid-'60s Vanguard album, due not so much to Hammond's own singing and playing (though he's up to the task) as the yet-to-be-famous backing musicians. Three future members of the Band – Robbie Robertson, Garth Hudson, and Levon Helm – are among the supporting cast, along with Charlie Musselwhite on harmonica, and Mike Bloomfield also contributes. It's one of the first fully realized blues-rock albums, although it's not in the same league as the best efforts of the era by the likes of the Paul Butterfield Blues Band or John Mayall's Bluesbreakers. In part that's because the repertoire is so heavy on familiar Chicago blues classics by the likes of Willie Dixon, Bo Diddley, and Muddy Waters; in part that's because the interpretations are so reverent and close to the originals in arrangement; and in part it's also because Hammond's blues vocals were only okay.

With L’Amore innamorato – ‘Love in love’ – Christina Pluhar and L’Arpeggiata return to their own first great love, Italian music of the 17th century, and specifically to composer Francesco Cavalli (1602-1676). A luminary of the glamorous and innovative world of Venetian opera, Cavalli was a protégé of Claudio Monteverdi – the composer around whom L’Arpeggiata built Il teatro d’amore, the ensemble’s first Warner Classics album, which was released in early 2009. “Cavalli’s music excites my passions”, says Christina Pluhar. He composed some 40 operas, some of which have achieved new currency since the 1960s, such as La Calisto, Il Giasone, L’Egisto and L’Ormindo and La Didone. Arias and instrumental numbers from six of his operas feature in L’Amore innamorato. The instrumentalists of L’Arpeggiata are joined for the album – which also includes pieces by two of Cavalli’s contemporaries, Girolamo Kapsperger and Andrea Falconieri – by two sopranos, the Catalan Núria Rial and the Czech Hana Blažíková.