This three-disc compilation features many of the Mills Brothers' best tracks. Although Golden Greats does not cover the vocal group's whole career, it still competes well with the definitive Mills Brothers: The Anthology (1931-1968) and perhaps represents them better.

The line-up on this newly released bootleg is said to consist of Florian Schneider, Michael Rother and Klaus Dinger, which tells us that this was probably recorded in that short period of time in 1971, estimated to 6 months, when Ralf Hütter had left the band. Supposedly, the recording was made at the Gondel Kino in Bremen, Germany on June 25, 1971. And it's an interesting recording.

Quiet Kenny is an album by the American jazz trumpeter Kenny Dorham of performances recorded in 1959 and released on the New Jazz label. The Allmusic review by Michael G. Nastos awarded the album 4½ stars and stated: "Cool and understated might be better watchwords for what the ultra-melodic Dorham achieves on this undeniably well crafted set of standards and originals that is close to containing his best work overall during a far too brief career… Never known as a boisterous or brash player, but also not a troubadour of romanticism… Dorham's music is also far from complacent, and this recording established him as a Top Five performer in jazz on his instrument. It comes recommended to all."

With our release of well-received titles by Blood, Sweat & Tears and Tower of Power, we at Real Gone have become something of a home for the great horn bands of the late '60s and early 70s, and with our reissue of The Ides of March's classic Vehicle album on the 50th anniversary of the band s founding, we are bringing another one into the fold. The Ides began in a basement in the Chicago suburb of Berwyn on October 16th, 1964, and have stayed together ever since; only the Rolling Stones really rival them for longevity. And this album, Vehicle, was their commercial high-water mark; its title track went to #2 and the album to #55 on the 1970 charts. It's a happy collision (no pun intended) of the band s garage-y British pop influences and the more progressive sounds of Chicago and BS&T that were sweeping through FM radio at the time; our Expanded Edition features four single bonus tracks and notes by Richie Unterberger featuring quotes from the band's Jim Peterik and Larry Millas. Highly recommended!

As an eleven-year-old in 1895, Wilhelm Backhaus met and performed for D'Albert, Grieg, Nikisch and Brahms, among others. Here was a pianist who shunned hectoring gestures of the late Romantic era for economy and purposefulness. "His facial expression always remained steady, showing an unceasing concentration on the sounds his hands were coaxing from the instrument with such concentrated energy. Everything lay in the act of playing, just as the preoccupation of a great painter or sculptor would be not with technique as such, but with craftsmanship - that is, skill not as an end in itself, but as a vehicle for the idea - giving pleasure to those who were able to watch and hear how a true master would execute even difficult passages effortlessly," writes Walter Frei. This 2-CD set brings together Backhaus's recordings with Karl Bohm and the Vienna Philharmonic of the two Brahms Piano Concertos.

This Art Farmer studio session from 1971 has a slight contemporary flavor to it, due to the addition of conga player James "Mtume" Forman and percussionist Warren Smith, Jr. to a core group of collaborators including Jimmy Heath, Cedar Walton, Sam Jones, and Billy Higgins. Unfortunately, the additional percussionists are too prominent in the mix, greatly distracting from the driving arrangements of Farmer's "Homecoming" and Kenny Dorham's "Blue Bossa" as well as a peppy bossa nova, "Cascavelo." Far better are the quintet tracks, including the laid-back and mellow interpretation of Leonard Bernstein's ballad "Some Other Time," featuring the leader's matchless flügelhorn and Heath's soprano sax, and an upbeat chart of "Here's That Rainy Day." Another annoying problem is the seemingly out of tune piano, though Walton makes the best of a bad instrument. Not an essential album in the vast Farmer discography, but worth acquiring if found at a reasonable price, though it will be difficult.

Magic Slim is simply the greatest living proponent of the intense, electrified, Mississippi-to-Chicago blues style that spawned much of the music played by modern blues artists and rockers. Featuring Slim’s trademark slash and burn guitar and booming vocals, this definitive, budget-priced collection includes some of the finest moments in his eighteen year relationship with Blind Pig. This is no-frills, unapologetic, straight-no-chaser blues for the ages from a true national treasure. A “must-have” CD for any serious blues fan!

2010 release, the 12th album in an infamous career, Not Music is part of Tim Gane's 2007 science experiment involving improvised chord sequences played on piano or vibraphone, over top of which were placed little drum loops. This was a new way of writing and it yielded a bumper crop of compositions, nearly 70 of which were boiled down into 32 new songs, 14 of which were cherry-picked to form Chemical Chords.

Digitally remastered reissue combines two domestically out-of-print albums together on one CD, 'Make It Happen' (1967) & 'Special Occasion' (1968). Packaged in a full color outer slipcase with original sleeve artwork.

This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.

As part of The Stranglers' celebration of their Ruby Anniversary, the definitive collection of the B-side recordings they made whilst signed to Epic is released for the first time, via their own label. Appropriately, as befits a band marking forty years together, Here & There: The Epic B-sides Collection 1983-1991 gathers 40 tracks across 2 CDs and is also released as a 40 track digital package. The Stranglers released no less than 13 singles in the UK during this period, which saw them produce five albums: four studio and one live. The Stranglers signed to Epic Records in 1982 having been with United Artists / Liberty since 1977. The change of label coincided with changes in marketing policy across the UK industry - often dubbed "the Frankie Goes to Hollywood effect". Previously, The Stranglers' had released only one 12" single - an extended version of Bear Cage in 1980 - but from 2nd Epic single, Midnight Summer Dream until 1990, each release had a 12" version which required extra studio or, increasingly, live tracks to "add value" to the package.

The Changeling was Toyah's follow-up album to the critically acclaimed Anthem. Although it has a similar overall sound, the band's writing took a darker, almost gothic direction. Tracks such as "The Packt" and "Brave New World" take a rather dystopian although still hopeful view of the future, a theme which largely pervades the whole album. The Changeling was not released on CD until 1999, although this long-awaited release did at least include six bonus tracks, four of which were previously unavailable on CD.

Rave Tapes is the eighth studio album by Mogwai. With Rave Tapes, Mogwai's mastery of sound and space is firmly at its apex. The album is a lustrous collection mined from the same quarry as its predecessors, wreathed in painterly textures underpinned by increasingly electronic beats. Mogwai wrote and recorded Rave Tapes at the band's Castle Of Doom studio in Glasgow, Scotland, with Paul Savage, who also worked on their 2011 album, Hardcore Will Never Die, But You Will. Japanese edition includes two bonus tracks.

Backed by a punchy horn section and sizzling rhythms, Neal didn't suffer from any sophomore jinx. Between Neal, his bass-playing co-producer Bob Greenlee, and drummer Jim Payne, there's some very crafty songwriting going on here – "Any Fool Will Do," "Bad Check," and "Can't Have Your Cake (And Eat It Too)" are among the standouts.

Although being generally acknowledged as one of the leading composers of his native Switzerland, Othmar Schoeck (1886–1957) has never acquired a stable reputation outside the German-speaking world. This is partly due to his strong focus on the sung word: His output comprises eight operas, some 400 songs and a couple of smaller works for instrumental forces. Moreover, Schoeck’s essentially late-romantic style was considered démodé after the second world war when the avant-garde was arguing for a more rational and emotionally restricted approach to composition. One of his most personal works is the “Notturno” for baritone voice and string quartet. Written between 1931 and 1933 it served as a personal confession after an unhappy extra-marital love affair. Its five movements set verses by German 19th-century-poet Nikolaus Lenau and by the great Swiss writer Gottfried Keller. The highly differentiated interpretation by baritone Christian Gerhaher – one of the most distinguished young German “Lied” singers and a former disciple of Dietrich Fischer-Dieskau – and the Rosamunde Quartett offers a strong plea for Schoeck’s expressive music and sheds an exciting light on his artistic preoccupation with the dark abysses of human existence.