Live In Tokyo is a live performance from November 14, 2012 at Zepp Tokyo for supergroup PSMS, which features drummer Mike Portnoy (Dream Theater, The Winery Dogs, Transatlantic), bassist Billy Sheehan (Talas, Mr. Big, David Lee Roth), guitarist Tony MacAlpine & keyboardist Derek Sherinian (Black Country Communion, Dream Theater, Billy Idol). This 95 minute concert showcases a wide range of instrumental performances from each of the members careers & collaborations. Included in the set are Shy Boy from Sheehan's band Talas, MacAlpine's The Stranger, Sherinian's Apocalypse 1470 B.C. and Dream Theater's A Change Of Seasons: The Crimson Sunrise.

There's the Rub is the fifth studio album by rock band Wishbone Ash. It is the first album to feature guitarist/vocalist Laurie Wisefield, who would be a major part of the band's creative direction for the next 11 years. The album is considered by many to be a highpoint of the band's recording career. The title is taken from Shakespeare's Hamlet; "To sleep—perchance to dream: ay, there's the rub." The track "F.U.B.B." caused controversy because of the acronym's meaning ("Fucked Up Beyond Belief") upon the album's release. Moreover, the haunting ballad "Persephone" would go on to become one of the band's most popular live songs. The lyrics of "Lady Jay" are based on the Dartmoor folk legend about Kitty Jay.

The decade in question on this 2018 compilation is the 1970s, ten years that found the Kinks extraordinarily busy – so busy that Dave Davies didn't often get a chance to place his songs on Kinks albums. Between 1971 and 1979, the period during which these 13 songs were recorded, the Kinks were powered by a conceptually minded Ray Davies, who cycled through rock operas at a maddening pace before finally finding the hard rock groove that brought the Kinks stadium success in the U.S.A. During this time, Dave had a grand total of two songs appear on Kinks albums: "You Don't Know My Name" on 1972's Everybody's in Show-Biz and "Trust Your Heart" on 1978's Misfits. Behind the scenes, he was writing as much as he was in the 1960s, a period chronicled on the 2011 compilation Hidden Treasures.

All the Best is a greatest hits album by Tina Turner, released in November 2004. The track list concentrates on Turner's solo hits, but also features a few highlights from her partnership with Ike Turner. It also contains three new recordings ("Open Arms", "Complicated Disaster" and "Something Special") and some rarer tracks including duets and her song from the Brother Bear soundtrack, "Great Spirits". The album peaked at #6 in the UK Albums Chart, and at #2 on the Billboard 200 albums chart, making All the Best Tina Turner's highest debut in the United States. The album went platinum in the U.S. 3 months after its release. In March 2007, the album re-entered the UK Charts and peaked at #18. It has since been certified platinum in various countries.

Having already transitioned from traditional acoustic jazz and blues to her own eclectic folk- and pop-leaning originals on past albums, Madeleine Peyroux once again embraces the latter on 2018's Anthem. Named after the Leonard Cohen song that she covers with emotive precision here, Anthem finds the former busker turned chanteuse collaborating with a team of highly regard musicians, arrangers, and songwriters including longtime producer and multi-instrumentalist Larry Klein, guitarist and primary lyricist David Baerwald, organist Patrick Warren, and drummer Brian MacLeod. Also joining in at various times are guitarist Dean Parks, saxophonist Chris Cheek, drummer Jay Bellerose, and vocalist Luciana Souza (who does not sing but instead adds subtle percussion accents), and others.

This series of the complete harpsichord concerti of C.P.E. Bach is one of the most important and monumental recording projects of the century so far… it is a whole planet of delights and amazing discoveries.

The Orchestre national d'Auvergne invite us to dive into the lyricism of the musical universe of Berg, Webern and Schreker. In the heart of Vienna, at the twilight of romanticism, Webern and Schreker embrace their beginning careers. With much spirit and expression, their works convey a surprising melodic breadth, as the first lights of expressionism loom on the horizon. On the other side, Berg's Lyric Suite echoes Beethoven and Mahler but also reveals all the extent of the serial modernism. The Orchestre national d'Auvergne, conducted by Roberto Forés Veses, brings us to Vienna as the musicians perform this programme with an exceptional verve.

Strap yourselves in for the sonic ride of your life. Rock and classical royalty unite on Drastic Symphonies - a brand-new euphoric album featuring Def Leppard’s greatest produced tracks dramatically reimagined, and sounding more exhilarating than ever before, via the band teaming with London’s iconic The Royal Philharmonic Orchestra. This album represents a bold new approach to Def Leppard’s most loved songs. Def Leppard have deconstructed and rebuilt not only some of their most well-known tracks, but also some of their hidden gems as well. By and large, they have intertwined the audio from the original tapes and performed them alongside The Royal Philharmonic Orchestra, consistently ranked as one of the world's leading orchestras. The album additionally includes new vocals and guitars that culminate in stunningly beautiful symphonic arrangements, which at different points you can hear Joe Elliott duetting with his younger self.

Santtu conducts Strauss is a 2-CD deluxe album with four works by Richard Strauss conducted by Principal Conductor Santtu-Matias Rouvali, two of which are live recordings of Santtu’s 2021/22 opening concert and first concert as Principal Conductor at Royal Festival Hall. Eine Alpensinfonie and Also sprach Zarathustra are live recordings of Santtu’s opening concert of the 2021/22 season, and his first concert with the Philharmo- nia as Principal Conductor. The concerts received great reviews. Tim Ashley (The Guardian) said “With the Philharmonia on tremendous form, Rouvali proved a fine Straussian, measured in his approach, and careful in his attention to detail and colour”. Rebecca Franks (The Times) awarded 5-star reviews: “There were “wow” moments aplenty as the Philharmonia laced up its hiking boots and happily hit every waymark in Strauss’s mountain journey: the glorious sunrise, the resplendent summit, the violent storm with wind machine, thun- der sheet and organ.”.

Jordi Savall's exemplary performance of Handel's Water Music and Music for the Royal Fireworks is among the finest available on disc: refined and precise, but very big, with blood-stirring grandeur. This is just the kind of extroverted, rousing presentation that best highlights the music's open-air ceremonial function. Savall's Le Concert des Nations is essentially a chamber orchestra with double or triple winds, but the sound he elicits from the group is majestic and surprisingly powerful. The playing is crisp and the rhythmic articulation bracing, but the sound is never brash. In fact, more often than not it is seductively sensual, a heady integration of precision and supple, shapely phrasing. Handel left no authoritative edition of the score of Water Music and it has traditionally been divided into three suites, but Savall reorders the material into two suites, a decision that makes more sense in terms of key relationships and that sounds entirely satisfying.