Surfin' U.S.A. is the second album by American rock band the Beach Boys. It reached number two in the US, lasting 78 weeks on the albums chart, eventually being certified gold by the RIAA, and brought the group newfound national success. Like the group's debut album, production was credited ostensibly to Capitol's representative for Artists and Repertoire, Nick Venet, although bandleader Brian Wilson was heavily involved in the album's composition. The album marks the beginning of his practice to doubletrack vocals, resulting in a fuller sound.

Philip's Wish is a very unique SACD featuring a mixture Flamenco grooves , Jazz improvisation and Brazilian and World music feel.

The title of Ry Cooder's Chicken Skin Music - Hawaiian slang for goosebumps - serves as a direct, simple description of the album's emotional appeal. But it barely scratches the surface of a 1976 effort that triggered an interest in "world music" a decade before the term became commonplace and a genre into and of itself. Part of a series of inimitable mid-1970s records on which Cooder ignored traditional boundaries and instigated lasting cross-cultural communication, Chicken Skin Music blends gospel, Hawaiian, folk, blues, and Tex-Mex styles into a brilliant roots stew distinguished with virtuosic playing and inspired contextual surprises. Mastered from the original master tapes and strictly limited to 2000 numbered copies, Mobile Fidelity's hybrid SACD of Chicken Skin Music brings the brilliant instrumental textures and lively tonalities to the fore like no prior digital edition.

Welcome to the Club is a 1959 album by Nat King Cole, arranged by Dave Cavanaugh. Cole is accompanied by an uncredited Count Basie Orchestra, without Count Basie himself. Welcome to the Club was chosen as one of Billboard magazine's "Spotlight Winners of the Week" upon its release in February 1959.

Claire Martin is joined by her all-Swedish trio as she celebrates another career milestone: recording her twentieth album for Linn Records. Uppsala-born pianist/arranger Martin Sjöstedt leads the trio comprising bassist Niklas Fernqvist and drummer Daniel Fredriksson. Sjöstedt, one of Sweden’s most gifted and talked about jazz musicians, has created imaginative new arrangements of contemporary material exclusively for Claire. Encompassing a century’s worth of tunes, tracks include ‘Broken Wings’ by Mr. Mister and ‘I’m Not in Love’ by 10cc, as well as favourites by Joe Locke, Joni Mitchell, Ivan Lins and Pat Metheny. Claire remembers legendary singer Lena Horne with her own arrangement of ‘Come Runnin’’ and pays tribute to Norway’s Karin Krog with ‘Cherry Tree Song’.

"Montreux II" is a live album by jazz pianist Bill Evans with Eddie Gómez and Marty Morell recorded at the Montreux Jazz Festival in Switzerland in 1970 and released on the CTI label. The album was the second of Evan's Montreux concert recordings to be released following the Grammy Award-winning "Bill Evans at the Montreux Jazz Festival" (1968).

Dottie West (born Dorothy Marie Marsh) was an American country music singer and songwriter. Along with her friends and fellow recording artists Patsy Cline and Loretta Lynn, she is considered one of the genre's most influential and groundbreaking female artists. "I'll Help You Forget Her" is her sixth album, originally released in 1967. This is one of West's more successful albums. The album sold quite well and reached No. 11 on the "Top Country Albums" chart in 1967. However, the album only spawned one single. however, which was "Like a Fool". The single was successful also, reaching No. 13 on the Billboard Country music charts that same year. This was one of West's many albums with legendary RCA producer Chet Atkins.

NODEBOG presents musical pleasures and "divertissements" from 18th century Norway. The melodies are found in hand-written music books containing both international "hits" well known throughout Europe and local favourites - Halling dances and Pols dances are featured alongside minuets, marches and English country dances. These rediscovered treasures from the past can only be recreated through living performance today, here by flautist Hans Olav Gorset and his fellow musicians. These melodies may not seem important to the music historian, but to the listener they certainly are - being international "hits" of yesterday - and, who knows, perhaps becoming the hits of today.

Celebrated jazz trumpeter Lee Morgan paved the way for the popularity of ‘60s soul-jazz with the release of his definitive classic The Sidewinder. The title track and one of Morgan’s signature tunes exemplified the soul-jazz genre, later becoming a jazz standard. Recorded in 1963 at Rudy Van Gelder’s studio, the highly successful album would chart on both the Billboard 200 and Billboard’s Top R&B albums. Its provocative phrasing and innovative technique mesmerized audiences. The album includes the hard-bop tracks “Gary’s Notebook”, “Hocus-Pocus” and “Boy, What a Night”. An absolute essential.

Suzanne Vega is the self-titled debut album by Suzanne Vega. It was well-received by music journalists in the U.S. and reached platinum status in the United Kingdom. Produced by Lenny Kaye and Steve Addabbo, the songs feature Vega's acoustic guitar in straightforward arrangements. In 1989, Rolling Stone magazine listed Suzanne Vega at number 80 on its "100 Best Albums of the Eighties". It is also mentioned in the book 1001 Albums You Must Hear Before You Die.

This is a remarkable collection of 5 compositions for strings by Thomas Pitfield, performed with thoughtful skill by members of the Pleyel Ensemble. This album of Pitfield’s string chamber music is accompanied by two further Divine Art releases – The Songs of Thomas Pitfield performed by tenor James Gilchrist and pianist Nathan Williamson and Thomas Pitfield (DDX 21119): His Friends & Contemporaries, including works from a fine collection of composers (DDX 21246).

Our knowledge of Kaikhosru Shapurji Sorabji is based more on his reputation than on his work. A marginal figure in twentieth-century music, he is renowned for the length and complexity of his compositions. After forbidding the performance of his music, he earned a small income through his writings as a critic and essayist of great wit. His best-known works are for solo piano, many of which have been released by BIS. This disc presents first recordings of his music for chamber ensemble and chamber orchestra plus several world premiere recordings of art songs, including a new arrangement and the first completion of a fragment.

LOOSENING is a double album of five works by award winning composer GRAHAM FITKIN. Each one has the string quartet at its core but every work includes its own additional soloist. The string quartet is a really homogenous group, steeped in history and tradition, in which timbrally similar instruments create a well-honed sound through trusted communication and shared purpose. Each work has clearly defined roles for the two protagonists – quartet and solist. Each piece allows for two perspectives, two distinct approaches to the material and yet each protagonist is affected by the other.

Aram Khachaturian was devoted to ballet music and produced two masterpieces of the genre – Spartacus and Gayane. Distinguished by indelible thematic beauty of which the ‘Adagio of Spartacus and Phrygia’ is a perfect example, the ballets are symphonic in conception and, in the case of Gayane, marked by the use of leitmotifs. The Masquerade Suite is a richly contrasted theatre score. These sensitive piano arrangements preserve the very essence of Khachaturian’s music, maintaining the texture and clarity of the original orchestral scores. Mikael Ayrapetyan is the world’s leading exponent of Armenian piano music and his Grand Piano recordings of music from his homeland have been met with universal admiration.

His first recital album on Signum Records, internationally acclaimed pianist Melvyn Tan brings a new perspective to Beethoven’s Piano Sonatas 30, 31 and 32. Exploration, insight and imagination are vital ingredients in Melvyn Tan’s blend of artistic attributes. He established his international reputation with pioneering performances on fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms.